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沙孟海自青年时代而始的书法史研究即对颜书颇多关注,其后则尤为集中在其体态笔意和风格源流等问题的考析上。从帖拓字态、颜氏家学及地域碑刻等方面切入,其研究门径深具现代书史研究的方法学意义。除散见之论,沙孟海于颜真卿书法的研究更集中于《近三百年的书学》《宋拓忠义堂帖影印本前言》《我的学书经历和体会》以及《颜真卿行书蔡明远刘太冲两帖》等文章中。如果说《近三百年的书学》一文中关于“颜字”及颜派书家的论述是沙氏对颜书较为系统性的基本认识,那么后三文中就颜书字态体势及风格来源的探析查考则表现出在其前认识基础之上更具学术性和针对性的研究旨趣。
Sha Menghai from the youth of the calligraphy history that is a lot of attention on the Yan Book, followed especially concentrated on its body posture and style of origin and other issues on the analysis. From the Tinto characters, Yan family and regional inscriptions and other aspects of the cut, its research path deep modern method of history research methodological significance. In addition to the scattered theory, Sha Menghai’s research on Yan Zhenqing’s calligraphy is more focused on “book study of nearly three hundred years”, “Preface to the printed version of Songtuo Zhongyi Hall”, “My study history and experience” and “Yan Mingqing’s book Cai Mingyuan Liu Taichong two posts ”and other articles. If we say that the book about “Yan Zi” and Yanpai Shu in the article “Nearly Three Hundred Years of Book Study” is a systematic and basic understanding of Yan Shu by Shashi, then in the latter three articles, The analysis of sources and styles of sources shows that they are more academic and targeted on the basis of their previous understanding.