董其昌借径米芾上溯晋人学书途径研讨.pdfVIP

南京艺术学院 硕士学位论文 董其昌借径米芾上溯晋人学书途径研究 姓名：李文灵 申请学位级别：硕士 专业：美术学（书法） 指导教师：黄惇 南京艺术学院硕士学位论文 中文摘要 晋人书法笔法丰富、变化精微，历来被视为帖学的源头活水。然古今悬隔，后世学 书者追溯晋人，没有了口传手授、细察真迹的条件，加之书写条件的变化，对于晋人笔 法已不可实证。于是，借鉴去晋未远的先贤之经验而上溯晋人成为一条重要的学习途径， 米芾对二王学有心得，以“锋势备全”窥破二王笔法之妙而“直夺晋人之神”。董其昌 视米芾为重要的取法对象，从米芾处参得“无一实笔”与“无垂不缩、无往不收”的笔 法要领，其关捩为“以势为主”。董其昌视“以势为主”为“关捩子”，对晋人笔法有了 “自起自倒、自收自束”、“转左侧右”、“似奇反正”等超越常人的认识。 关键词：晋人笔法 米芾 董其昌 势 II 南京艺术学院硕士学位论文 Abstract Calligraphy in Jin Dynasty with its delicate stroke changes has always been the focus of copy studies. It is impossible for modern scholars, however, to study genuine Jin calligraphy through face-to-face teaching, and moreover the art of calligraphy changes through history. Therefore, it is viewed as an important way to study Jin calligraphy by studying the experience of the calligraphers near Jin Dynasty and then tracing back to Jin Dynasty. For example, Mi Fu finally learnt the spirit of Jin calligraphy by studying Wang Xizhi and Wang Xianzhi. Dong Qichang summarized an important principle of calligraphy after learning from Mi Fu, and he held that the focus of his art of calligraphy is Shi first. By regarding Shi-first principle as the focus, Dong Qichang reached many extraordinary opinions of the calligraphy in Jin Dynasty. Keywords: Stroke in Jin Dynasty; Mi Fu; Dong Qichang; Shi; III 南京艺术学院硕士学位论文 绪 论 一、问题的提出 本文拟从学书取法途径的角度思考与书法学习、创作相关的问题。 近些年从各种书法展览中可见取法晋人的作品很多，然亦是良莠不齐。章祖安先生 有感于