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近古五百年的中國書法吏有三個重要的轉折點,而影響至今的第二個轉折點即發生在十七世紀中期的清代乾隆、嘉慶時代,雖然此一時期的書壇主流仍是以張照、劉墉等為代表的帖學書風,但在文字學、金石學研究的帶動下,這一時期的藝術斷代史特徵突出地表現為碑學書風的興起,并在道光時代(1821一1850)及其以後成為書法作品風格的主流形態。在乾隆、嘉慶將近一百年時間內,由于大尺幅褂軸書法作品的取法需要,和以阮元、包世臣等為首的文字學、金石學封篆、隸、北魏碑刻書法的學術關注,形成了以金農、鄭燮、伊秉綬等為前導的前碑派書法潮流,最終促成以鄧石如、趙之謙為書壇主將的碑派書法時代,並影響至今。
In ancient China, there were three important turning points in Chinese calligraphers, and the second turning point till now is that of the Qianlong era and the Jiaqing period in the mid-17th century. Although the mainstream of calligraphy in this period was still based on photographs, Liu 墉, etc., as the representative of the calligraphy style, but in the philology, the study of perennial stone, the characteristics of the art history of this period highlighted the rise of the study of calligraphy, and in the Daoguang era (1821-1850) and its Later become the mainstream style of calligraphy style. In Qianlong and Jiaqing for nearly a hundred years, due to the needs of large-scale gibbon calligraphy, and the academic attention of calligraphy, such as sealigraphy, lithography, sealigraphy, and Northern Wei inscription headed by Ruan Yuan and Bao Shi-chen, Forming the forerunner of the calligraphy trend with Jinnong, Zheng Xie and Yi Bingshou as the leading figures, eventually led to the era of the calligraphic calligraphy of the calligraphists with Deng Shiru and Zhao Zhiqian as the chief of the calligraphy genre, which has affected the present day.