清代颜真卿书法接受史研究.pdf

  内容摘要 颜真卿的书法是中国书法史上的一个特殊现象。它不属于传统的主导书坛的二 王书风一脉，风格也非清代崛起的碑派书法所能涵盖。颜书浑厚、质朴、苍茫大气、 生机勃勃、法度完备，同时兼具广阔的包容性与开放性。可以这么说，风格丰富而 复杂的颜书兼具碑、帖二派之所长，但绝非它们的附庸，而是独立于二派之外的颇 具启发性的书学典范。历代对颜书的接受情况各有不同，其中尤以清代颜真卿书法 的接受史最具典型性。 清代书法对于颜真卿的接受是与碑学、帖学的发展进程密不可分的。一方面， 颜书与二派之间相互影响而又独自为营。另一方面，清代学颜的书家众多，成就颇 高。他们的书法风格在有清一代是突出的，影响也是深远的，其丰富性绝非一个“碑 派”或是“帖派”可以定义。但正是基于碑学、帖学书法的交替发展，颜书兼具二 派之长的独特性才得以更进一步的发掘并发扬光大。颜真卿书法在清代这一书法格 局大变革时期充当了重要的角色。 本文通过对清代不同时期的书家对颜真卿书法接受情况的研究，解析颜书独特 的魅力，探讨时风与颜书接受的关系。通过归纳、总结他们学习颜真卿书法的方法 和角度，反思当前书法发展的现状，以期对其未来趋向提出一些有意义的建议。 关键词：书法；颜真卿；清代；接受 I      Abstract Yan Zhenqinq`s calligraphy is a unique phenomena of Chinese calligraphy history. It does not belong to the calligraphy styles of Wang Xizhi and Wang Xianzhi which were traditional and dominant in the past time. Meanwhile, it can’t be covered by BeiXue developed in the Qing dynasty. Yan`s calligraphy is vigorous and simple, boundless and strong, spunky and precise，exoteric and open. Basically, the style of Yan`calligraphy is colorful and complicated. It contains merits of both BeiPai and TiePai, but it is not affiliated to them. Yan`s calligraphy is a heuristic model that differs from the calligraphies of Wang Xizhi and Wang Xianzhi. The acceptances of Yan`s calligraphy were distinct in different ages. The acceptance research in the Qing Dynasty is the most typical one. The developments of BeiXue and TieXue are indispensible to the acceptance of Yan Zhenqinq`s calligraphy in the Qing dynasty. On one hand, Yan`s calligraphy interacted with these two genres because of the historical backgrounds of them, but they have their specific features. On the other hand, there ar