碑学家笔法理论的体系建构——清代碑学建构的逻辑起点及其涵义的最终生成

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碑学研究是一个宏大的课题,关于碑学的界定、审美及其具体实践等方面的问题讨论已多,但关于碑学笔法理论的探讨,却多局限于如涩笔、中锋、裹绞等某一个点的衍说,有的甚至批评碑派书家不懂笔法。其实,对碑学笔法理论的误解往往是由于批评者多以帖学的立场去审视碑学的笔法理论。清代以包世臣为核心的碑学家,在有意无意地建构着有别于帖学,体现出新的审美原则的碑学笔法系统,这些理论不仅是碑学建构的理论基点,而且使理论落实为具体的实践,以其独特的审美特征标志着碑学涵义的最终生成。在笔法理论的建构中,碑学家确立了自己的笔法原则和系统。用逆是为藏锋,藏锋方能中锋行笔,行笔时既要疾中有涩,以得雄厚自然,又要行中有留,留中有行,以绝呆板、轻滑。要得厚重,故而铺毫而行,万毫齐力而得中实之妙,避免空怯。因铺毫易散锋,故而裹笔以得势。这些笔法原则与篆隶和北碑的审美特点是相一致的。 Beibei study is a grand issue, on the definition of Belem, aesthetic and its practical aspects of the problem has been discussed, but on the study of the theory of penmanship, but more limited, such as astringent pen, center, wrapped around the twist Some point of the derivative, and some even criticism of calligraphers do not understand writing. In fact, the misunderstanding of the theory of brushwork is often attributed to the fact that critics often examine the brushwork theory of the school of thought with the attitude of the teacher. In the Qing dynasty, the plainer with Baichen Chen as its core constructed the monumental system of calligraphy, which is different from Turen, embodying the new aesthetic principles. These theories are not only the theoretical bases of the construction of the monuments, but also enable The theory is implemented as a concrete practice, with its unique aesthetic characteristics marking the ultimate formation of the meaning of the inscription. In the construction of the theory of calligraphy, the monuments and philosophers established their own principles and systems of writing. With the reverse is for the possession of front, possession of the front center to line pen, line pen should not only have disease in the astringent, in order to get rich and natural, but also to stay in the line, stay in the line, with dull, smooth. To get heavy, so paved the way, thousands of miles Qi and get the real wonderful, to avoid empty cowardice. Because of the shop is easy to scattered front, so wrapped in a pen to get the upper hand. The principles of these strokes are consistent with the aesthetic characteristics of the Zhuanli and Bei Bei.
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尼采的超人哲学、“日神与酒神”艺术二元论、审美人生等美学思想都极大地丰富了中国现代美学的问题域,他的箴言写作和独特的个人风骨也给同样充满诗意的东方民族留下了广袤的