吴昌硕书法篆刻融合研究-美术学专业论文.docx

山东建筑大学颐士学位论文摘要诗、书、画、印是我国传统文化中重要的组成部分，在历史长河中它们各自有着清晰 的发展脉络，随着文明的不断发展，文人们发现并利用它们之间本有的内在联系，加以改 进和创新，逐渐将诗、书、画、印的关系变得更加密切，诗、书、画、印也成为了文人文 化素养必不可少的组成部分。以先秦诸子所谓“河图洛书’’为依据，唐代的张彦远提出了 “书画同源”说，而后“文人画”逐渐立于历史舞台，诗、书、画三者关系相融相渗；宋 代为印学发端，进而出现“文人篆刻”，并发展迅速，诗、书、画、印从此密不可分；由明 至清，金石学发展迅猛成风，同时伴随着文人书画、篆刻蓬勃兴盛，文人们开始注重在金 石中汲取艺术养分，学古蔚然成风，于书画创作中“以笔代刀”的探索不在少数，也有不 少致力于篆刻中“印外求印”，诸多艺术探索的实质皆离不开“融合”二字。吴昌硕是诗、书、画、印“四全的艺术大师，在“四全”的基础上，他的这几种艺 术形式均有鲜明独特的个人风貌和艺术魅力，曾风漫中国，以至海外，即使至今学吴之人 仍然不在少数。他之所以能在诗、书、画、印各方面都有很高的成就，与他所说的“贵能 深造求其通”是万万分不开的，他借鉴并发展了前人“印从书出”、“Ep；,I-求印”、“以书入 画”的创作理念，将诗、书、画、印融汇贯通，而能“自出胸臆”。最为突出的便是其书法 与篆刻的相融相生，他“以刀代笔”赋予篆刻浓浓的笔情墨韵，虽方寸小石，尽显其奔腾 雄健之笔势；他又“以笔代刀”下笔如铸铁刊石，金石之气偏铺纸上，从而达到“刀笔相 融，书印相生”的浑融之境。关键词：吴昌硕，融合，书法，篆刻，刀笔相融，书印相生万方数据山东建筑大学硕士学位论文Wu changshuo calligraphy seal cutting fusion researchABSTRACTPoetry,calligraphy，painting and seal representing an important part in Chinese traditional culture which has clear development threads respectively in Our history．With the continuous development of civilisation，literators found and used the inner link among which they improved and innovated．Gradually，relationship among poetry,calligraphy，painting and seal became more close，hence，they have become the essential part of literators’cultural competence．Based on the SO called”Lo Shu Square”created by philosophers in the pre Qin Dynasty, Zhang Yanyuan proposed”homology of calligraphy and painting”in Tang Dynasty,afterwards， gradually”literators began to paint”，the relationship among poetry,calligraphy and painting became more intermingled and integrated；sphragistics originated i11 the Song Dynasty,and then ”literators began to work on seal”，with its rapid development，poetry,calligraphy，painting and seal were inseparable；from Ming to Qing Dynasty,sphragistics developed rapidly，accompanied by prosperity of literators’painting，and carving．Literators began to pay aaention to learn the artnutrients from sphragistics．It has become common practice to learn from the ancient，a greatmany literators exploring ill calligraphy creat