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颜真卿的书法史地位主要是在北宋时期经欧阳修、苏轼等人的推崇而确定的,而在北宋众多“崇颜”现象背后隐含着差异明显的不同论述角度和原因。深入理解这种不同,尤其苏轼作为北宋“尚意”书风的开创和引领者,他对颜真卿的推崇角度和原因能够向我们揭示出颜真卿与北宋“尚意”书风之间的主要的、直接的联系,这种关系并非是当前书坛所推崇的某种书法风格的传承关系,颜真卿对于“尚意”书风的价值主要体现在作为一个案列典范来支撑“尚意”书法的合理性。
Yan Zhenqing’s calligraphy history was mainly determined by Ouyang Xiu and Su Shi in the Northern Song Dynasty. However, behind the phenomenon of many “Chong Yan” in the Northern Song Dynasty, there were implicit differences and obvious reasons. In-depth understanding of this difference, especially as a pioneer and leader of the book style of “Shang Yi” in the Northern Song Dynasty, Su Shi’s point of view on Yan Zhenqing and his reasons can reveal to us the relationship between Yan Zhenqing and the Northern Song Dynasty Shang Yi The main, direct relationship, this relationship is not advocated by the current calligraphy style of a certain relationship between the inheritance, Yan Zhen Yan “Shang Yi ” book style is mainly reflected in the value of a case as a model to support The Rationality of “Shang Yi” Calligraphy.