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自清人阮元《南北书派论》及《北碑南帖论》出,“江左风流,疏放妍妙,意态挥洒”的南帖与“中原古法,拘谨拙陋,长于碑榜”的北碑在美学追求上的差异立即引起书界的重视,且不论以地域之南北强分书法风貌是否科学,也不论某个具体书家倒底应归入那派可否定论,有一点是肯定的,那就是东晋至今的一千六百多年里,历代书家在用笔、结体与意态、神韵的取舍上确实存在着两种截然不同的标准,也就是说,中国书法艺术有过两种不同的美学追求。一尚阴柔,一尚阳刚。 有趣的是,从王羲之所处的东晋直到清代中叶包世臣、康有为等崇碑抑帖、尊魏卑唐为止,其间的一千五百年,一直是“南帖”统领着书坛。阴柔之美,或妍美流畅、典雅秀丽如王羲之父子,或落笔云烟、一泻千里如张旭、怀素,或刚健阿娜、神完气足如苏东坡,或沉着痛快、点画跳跃如黄山谷、米芾,再到婉转妩媚、秀润温雅的赵孟(兆页),天姿迥异、潇散简淡的董其昌等,尽管“江山代有才人出”,却全在“帖书”的大范畴里留恋忘返。它的成功之处,是使得阴柔之美的内涵得到充分地淋漓尽致地发挥和发展;而它的不足之处,是魏碑书法曾经展现过的阳刚之美似已被人们彻底忘却。而
Since the Qing Dynasty Ruan Yuan “North and South School School” and “North Monument on the” theory, “Jiang left the romantic, dashing ghosts, gestures,” the southern post and the “ancient law of the Central Plains, formal cautious, longer than the monument list ”North Monument in the aesthetic pursuit of the differences immediately caused by the book community attention, and regardless of geographical North and South strong points of law is the science of style, but also whether a specific bookruth should be categorized into that party can be inconclusive, one thing is To be sure, there are two very different standards in the selection of pen, knot and state of mind, charm of the ancient book writers in more than 1600 years since the Eastern Jin Dynasty. That is to say, Chinese calligraphy art There are two different aesthetic pursuits. A still feminine, a still masculine. Interestingly, from the Eastern Jin Dynasty in which Wang Xizhi lived till the mid-Qing Dynasty, Bao Shichen and Kang Youwei advocated the calligraphy respecting the Wei and Tang dynasties. Feminine, or Yan Mei smooth, elegant beauty such as Wang Xizhi’s father or son, or set foot in the clouds, blew away like Zhang Xu, Huai Su, or just Anna, God as full as Su Dongpo, or calm, , Then to mildly charming, graceful show Zhao Meng (trillion pages), Tian Zi different, simple and tidy Dong Qichang et al., Although “the generation of talented people out”, but all in the “book” a large area Nostalgia. Its success is that the connotation of the beauty of femininity has been fully demonstrated and developed. However, its inadequacy is that the beauty of the masculine art once presented by the calligraphy of Weibei seems completely forgotten. and