论文部分内容阅读
清代碑学是碑刻艺术自觉审美的发轫期,碑学作为一种独立的形态被重新搬上书法史的舞台绝非偶然。康乾之世文字狱使得文人墨客不敢有所创新,执使考究学、金石学大肆于世。清代的书家把南北朝的碑刻重新搬上书案,推陈而出新,使得清代的书法在书法史上博得巨擘。以邓石如、赵之谦、何绍基、吴昌硕为中心的碑学实践家开启碑学之城门,并将碑学推向“时人皆写碑”的高度,执使后来人继而捧之。
It is no coincidence that the early stage of calligraphy was reintroduced into the history of calligraphy as a form of independence. The world heritage of Kang Gan literary genius makes literati can not be innovative, executive excellence, precious stone science in the world. In the Qing Dynasty, the calligraphers reinstall the Northern and Southern Dynasties inscriptions and put them on the books, pushing the old and new, making the calligraphy of the Qing Dynasty a great winner in the history of calligraphy. Inspired by Deng Shiru, Zhao Zhiqian, He Shaoji and Wuchang Shuo, the practitioners of the study of brahmania opened the door to the study of sculptures and pushed the study of sculptures to the height of “when everyone writes a tablet.”