论文部分内容阅读
元明书法在中国书法史上有着重要的地位。元代书法既是宋代书法的延续,同时又是书法史上的一个转折,宋代融合晋唐书风在元代发展为一种全面回归的潮流。明代书法,既有对元代书风承接的前期书法,又有中期的地域流派,晚明的书法革新开创了清代书法的新格局。黄悖教授的近著《中国书法史·元明卷》就是一部研究元明断代书史的开拓性著述。在论述元代书法时,著者开宗明义,把赵孟烦放在经纬之交点上,逐次拓展,给书家以历史客观的评价和定位。在文人流派书法史上,赵孟頫识越高远,跨越前人,根柢锺王而出入晋唐,不为近代习尚所窘,他的出现,完成了文人流派书法史上继东晋、中唐后的又一次变革。这种变革,涵盖书史五六百年。在评述赵孟頫的书法时,著者着力以大德二年(1298)春元成宗请赵氏由杭州人大都写金
Yuan Ming calligraphy in Chinese calligraphy history has an important position. Yuan Dynasty calligraphy is not only the continuation of the calligraphy in the Song Dynasty, but also a turning point in the history of calligraphy. The Song Dynasty integrating the style of the Jin Dynasty and the Tang Dynasty in the Yuan Dynasty developed into a trend of full regression. Calligraphy of the Ming Dynasty, both on the early calligraphy inherited the calligraphy of the Yuan Dynasty, but also the mid-term regional genres, the late Ming calligraphy innovation created a new pattern of calligraphy in the Qing Dynasty. Professor Huang’s recent book, “History of Chinese Calligraphy Yuan and Ming Dynasties,” is a pioneering work on the history of the Yuan and Ming dynasties. When discussing the calligraphy of the Yuan Dynasty, the author made a clear and definite meaning and placed Zhao Mengfun on the intersection of latitude and longitude, expanding one by one, giving the book historians an objective appraisal and orientation. In the literary history of the literati calligraphy, Zhao Meng saw more and more far, beyond the predecessors, roots and out of Jin and Tang Dynasty, not for the modern habit of embarrassment, his appearance, completed the literati genre calligraphy history following the Eastern Jin Dynasty, after the Tang Dynasty again change. This change covers the history of five hundred or six hundred years. In commenting on Zhao Mengfu’s calligraphy, the author focused his efforts on the second year of Dade (1298) Chun Yuan Cheng Zong Zhao’s written by the people of Hangzhou