近现代书法史上的碑帖结合——以沈曾植为例.pdfVIP

摘要 摘 要 放眼整个中国书法史，清末民初时期的书坛极具复杂性和多样性。盛行近千 年的传统帖学书法已被碑派书法完全取代，一时间出现 “三尺之童，十室之社， 莫不口北碑，写魏体”的现象。碑学书法欣欣向荣，至道光时期发展到鼎盛，却 未能逃脱物极必反的规律。由于当时崇碑抑帖风气严重，开始因矫枉过正而出现 了单调、草率、程式化等流弊。当时的有识之士提出重新认识帖学，甚至一代倡 碑者康有为在晚年也有企望碑帖结合之意向。这一结合并不是一味复辟“二王”， 也不是碑与帖的机械罗列和拼凑，而是将二者进行有机地、形而上地融合。沈曾 植应运而生，担起碑帖结合的重任，沈氏学书，由帖入碑，却未受时风影响，完 全摒弃帖学，他广取博收，求变犯险，苦心经营，最终水到渠成，以碑帖结合面 目自成一家。当然，与其同时代走碑帖结合道路的书家不在少数，但像沈曾植一 样能在碑学书法一统天下的大环境中仍保持客观、平和、清醒的碑帖观，又在书 法实践中自觉地进行碑帖结合，并取得成功的书法家是前所未有的，加之沈曾植 复古出新，学养咏之。因而，他对后世的影响具有特殊意义。碑学与帖学是两种 完全不同的书法史观，时至晚清，碑与帖都经历了极盛期，二者结合是书法史发 展的必然阶段，如今仍是方兴未艾。 关键词：沈曾植；碑帖结合；碑学；帖学；清末民初书坛 Ⅰ 万方数据 Abstract Abstract The entire China history of calligraphy, calligraphy is very complexity and diversity of the late Qing dynasty. Stone tablet calligraphy has completely replaced the prevalence of traditional calligraphy calligraphy nearly a thousand years. onetime the three feet of the child, ten rooms of the club, all export Tangbei, write Wei phenomenon. thriving, Daoguang period to develop the prosperous, but it couldnt escapefromtherule. Because atthat timethe ChongBeiYipost atmosphere seriously, hasty, stylized abuses due to overcorrect etc. When people with breadth of vision proposed arecognition model calligraphy, evenKangYouwei alsohas the intention of Bei combinate with post in his later years. This combination is not blindly kings restoration, nor Bei with post machinery list andput together, but the two organically, metaphysical fusion. Stele school calligraphy developed Shen Zengzhi emerge as the times require, taking responsibili