张照书法对清中期帖学的影响

发布时间：2018-03-29 04:00

本文选题：张照　切入点：清代帖学　出处：《陕西师范大学》2015年硕士论文

【摘要】：清初书法为晚明书风之延续,以徐渭、王铎、傅山、倪元璐等书家,不拘于时局,堪为清初书坛之浪漫书家之代表。康熙对董其昌温文尔雅的书法推崇备至。至乾隆朝,书家在张照书法的引领下,有意突破董书的樊笼,加之乾隆皇帝对赵孟擐的喜好,书法上统领一时的董书逐渐有被赵书所取代之势,书家的取法开始由单纯的学董转而学赵,进而追踪晋唐诸书法大家,大胆求变,勇于创新,各具特色,形成了百花齐放的局面,清代帖学书法在这一时期达到鼎盛。清政府在弘扬汉族文化,笼络汉族文人的同时,丝毫没有懈怠对他们的警惕、猜忌和打击,其主要手段就是文字狱。高压政策下的文人士大夫们战战兢兢,于是金石考据学应运而生,金石考据学成为这一时士人们逃避文祸和抒发感情的领域,西周金文、秦汉刻石、南北朝摩崖造像和唐代碑版大量进入文人士大夫的生活,影响至于书风与法帖风格出现截然不同的面貌,令人耳目一新,由此,朝野内外学碑之风大盛,最终取代帖学,风靡一时。乾隆后期,碑学逐渐兴起,帖学式微。对于清代书法,学界多关注于碑学的研究,对于帖学书法则较少涉及。客观的看待清代书史,帖学书法与碑学书法在书坛上的地位是不分伯仲的,由于有关清代书法的研究中,更多的则是侧重于碑学,导致的结果则是帖学不能与碑学相媲美。而作为清代帖学书家的代表人物张照则更是很少受关注。张照于书法上的创作实践大致反映了康熙末到乾隆时期的帖学书风转变情况。清乾隆帝对张照书法给予了很高的评价：羲之后一人,舍照谁能若。对这样一个具有时代代表意义的人物开展研究,对于丰富清代书法研究成果,尤其是张照对清中期帖学研究有重要的意义。而笔者试从张照书法对清中期帖学的影响作为方向来论述。本文以清中期帖学书法家张照对帖学的影响为出发点,试分析张照承前启后,在学习董其昌书法的基础之上,转而又追踪晋唐诸书家,并融会贯通,在被董其昌书风弥漫的樊笼里大胆革新,冲出董氏书风的弥漫,在清中期书坛上独树一帜,开辟了清代帖学的新局面,为清代帖学书法的进步揭开了序幕,直接影响到后来的刘墉、王文治、翁方纲等帖学书家,在他们不断地的努力创新实践下,最终开创了清代帖学的新局面。
[Abstract]:Calligraphy in the early Qing Dynasty was a continuation of the style of calligraphy in the late Ming Dynasty. Xu Wei, Wang Duo, Fu Shan, Ni Yuanlu and other calligraphers, regardless of the situation, were representatives of romantic calligraphers in the early Qing Dynasty. Kangxi worshipped Dong Qichang's gentle and gentle calligraphy to the Qianlong Dynasty. Under the guidance of Zhang Zhao's calligraphy, the calligraphers intended to break through the cage of Dong Shu. In addition, the Emperor Qianlong's preference for Zhao Meng-hui made it possible to replace Dong's calligraphy with Zhao's calligraphy for a while. The calligrapher's method of learning began to change from a simple study to a study of Zhao. Then we followed up the calligraphy of Jin and Tang dynasties, boldly seeking for change, daring to innovate and having their own characteristics, forming a situation in which a hundred flowers blossomed in full bloom. In this period, the Qing government carried forward the Han nationality culture and attracted the Han literati to life, and at the same time, the Qing government carried forward the Han nationality culture, and at the same time attracted the Han literati. There was no slackening in their vigilance, suspicion and attack, the main means of which was the word prison. The literati and officials under the oppressive policy trembled, so the Jin Shi textual research came into being. Jinshi textual research has become a field in which scholars can escape the disaster of writing and express their feelings. In the Western Zhou Dynasty, the Jin Dynasty, the Qin and Han dynasties, the cliff statues of the Southern and Northern dynasties and the tablet tablets of the Tang Dynasty entered the life of literati and bureaucrats in large numbers. As to the influence of the different features of the style of calligraphy and the style of the French posts, it is refreshing. As a result, the style of the study of steles in and out of the government and in the opposition has flourished and eventually replaced the study of the placards, which was all the rage. In the late Qianlong period, the study of tablets gradually rose. For calligraphy in the Qing Dynasty, scholars pay more attention to the study of tablet studies, but less to the calligraphy study of the Qing Dynasty. In an objective view of the history of books in the Qing Dynasty, the position of calligraphy in the calligraphy of the Qing Dynasty is no different from that of the calligraphy of the tablet study. Because of the study of calligraphy in the Qing Dynasty, more emphasis was placed on the study of tablets. As a representative of the Qing Dynasty, Zhang Zhao received little attention. Zhang Zhao's creative practice in calligraphy roughly reflected the placards from the end of Kangxi to the Qianlong period. The Emperor Qianlong of the Qing Dynasty gave a very high appraisal of Zhangzhao's calligraphy: one person after Xi, To study such a representative figure of the times, to enrich the research results of calligraphy in the Qing Dynasty, In particular, Zhangzhao is of great significance to the study of the post studies in the middle period of Qing Dynasty. The author tries to discuss the influence of Zhang Zhao calligraphy on the post study of the middle Qing Dynasty as a direction. This paper starts with the influence of Zhang Zhao, a calligrapher of the middle Qing Dynasty, on the post study. On the basis of studying Dong Qichang's calligraphy, this paper tries to analyze Zhangzhao, on the basis of studying Dong Qichang's calligraphy, and, instead, following the various calligraphers of Jin and Tang dynasties, and integrating them, and boldly innovating in a cage filled with Dong Qichang's calligraphy style, and rushing out of the pervasiveness of Dong's calligraphy style. In the middle of the Qing Dynasty, the calligraphy world was unique, opening up a new phase of the Qing Dynasty's calligraphy study, which opened the prelude to the progress of calligraphy in the Qing Dynasty, and directly affected the later scholars such as Liu Yong, Wang Wenzhi, Weng Fanggang, and so on. In their continuous efforts to innovate practice, finally opened up a new situation of the Qing Dynasty.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J292.1

【共引文献】