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关于晚清书法,学者大多关心碑学的发展以及书家的碑学实践,而鲜有学者关注碑派书家的临摹观念与方式。文本认为,晚清书家对全石碑版的临摹是特定时期对古代碑石的另一种解读,是千锤百炼后的创新,是晚清书家希冀通过全石碑刻借古开今,打通各种书体的隔阂,丰富书法样式的一种尝试。这种临创方法既符合时代审美,又给全石碑版注入了书家的审美情感和思想。其敢于标新立异的态度乃是时代因素和书家主观意识使然。文章从晚清书家的崇碑态度与临摹观念两方面未证明此时的临摹并不是对原本的破坏,反而拓展了临摹概念和临摹的无限可能性。
Concerning late Qing calligraphy, most scholars are concerned about the development of the study of inscriptions and the practice of scrutiny by the calligraphers. Few scholars pay close attention to the notion and method of copying the inscriptions. The text holds that the copying by the late Qing dynasty to the full-stele edition was another interpretation of the ancient monuments in a certain period of time and an innovation after thorough temperament. It was the hope of the late Qing dynasty that through the use of stone inscriptions, Body estrangement, an attempt to enrich the style of calligraphy. This innovative approach is not only in line with the aesthetic era, but also to all the tablet edition into the book’s aesthetic feelings and thoughts. Their courage to unconventional attitude is the result of the times and the book’s subjective consciousness. The article does not prove that the copying at this time is not the destruction of the original from both the Chongming attitude and the copying concept of the late Qing scholars, but instead expands the infinite possibility of copying the concept and copying.