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在书法领域,金石之学尽管在宋代学人中得到了力倡,则多属于正经补史之用,之后的黄道周、倪元璐诸家的书法艺术虽然在碑版方面有所尝试,却依然延续着经典法书的基本风貌,可以说,帖学一直昌盛于整个书法史长河。有学者认为,清代的考据学对碑学的繁荣与发展起着决定性作用。本文则认为在书法艺术的发展过程中有着穷则思变的一面,取法碑版书法艺术是时人追求新面目的一种表现,也是书法艺术本体发展的基本规律所致。
In the area of calligraphy, Jinshi’s study, though strongly advocated by scholars in the Song Dynasty, was mostly reserved for the history of the country. Afterwards, the calligraphic arts of the Zodiacal and Ni Yuan-lu families continued despite the attempts at the tablet edition With the basic style of the classic book, it can be said that the book has always flourished in the history of the entire calligraphy river. Some scholars think that the textual research of Qing Dynasty played a decisive role in the prosperity and development of the study of Buddhism. This paper argues that in the process of the development of calligraphic art, there is a poignant and ever-changing side of the calligraphy. The calligraphic art of the tablet-engraving is a manifestation of the pursuit of the new face and the basic law of the development of calligraphic art.