颜真卿的书法是中国书法史上的一个典范,可以说,从颜真卿的书史地位确立以后,颜体书法便成了“二王”体系之外的另一条传统书学路径。从晚唐开始,历代书家都不同程度上掀起学习颜体书风的潮流。在明清鼎革之际,在改朝换代之时,颜真卿又开始叩问着士人的灵魂。傅山学颜在晚明具有重要的典范性,我们在其中可以寻得一条重要的脉络,以贯穿傅山的艺术人生。 Yan Zhenqing’s calligraphy is an example of the history of Chinese calligraphy. It can be said that after Yan Zhenqing’s status as a book historian was established, Yan calligraphy became another traditional path of study outside the “two kings” system. Beginning from the late Tang Dynasty, the book writers of different ages set off to some extent the trend of studying Yan style. In the Ming and Qing dynasties, on the occasion of the dynasty, Yan Zhenqing began to inquire about the scholar’s soul. Fu Shan Xue Yan in the late Ming has an important model, we can find an important context in which to run through Fu Shan’s artistic life.