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民国初期碑帖融合的书法审美思潮转向进入民国以后的书法审美观逐渐由一味的崇碑向碑帖融合转向。这种碑帖融合的书法审美观有两个表现形式:一是碑与帖互相借鉴学习、互相融合,形成你中有我、我中有你的格局,很难说某人的书法是纯粹帖学或纯粹碑学。当然大量地存在碑主帖辅或帖主碑辅的情况。就民国总的情况而言,尽管也出现了以沈尹默为代表的帖派大家,但书法的主流恐怕还是以于右任等为代表的碑学为主、辅以帖学的一派。张大千的书法创作即属于后者。二
In the early Republic of China, the aesthetic trend of calligraphy integrated with rubbings turned to the calligraphic aesthetic concept after entering the Republic of China gradually turned from blind monument to tablet fusion. This combination of calligraphy and calligraphy aesthetics has two manifestations of calligraphy: First, the monument and the posts learn from each other, learn from each other to form you in me, I have your pattern, it is hard to say someone’s calligraphy is a pure quote or Purely literary. Of course, there are a large number of main proprietors or auxiliary posts. As far as the general situation of the Republic of China is concerned, although there have also been many people who are represented by Shen Yinmo, the mainstream of calligraphy is probably still based on the literary quotations represented by You Ren and others. Zhang Daqian’s calligraphy creation belongs to the latter. two