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北碑造像对赵之谦篆书风格形成的影响蠡探

时间:2019-01-04 19:48来源:毕业论文
“赵之谦的篆书初受邓石如影响,邓石如以隶入篆,而赵之谦的篆书是以造像法入篆,并且起笔均以方笔入,而收笔则微按而出锋,其间气机流宕,令人叫绝,清人小篆之巧,之谦实造

摘 要:赵之谦在书法艺术上的实践,是清代后期书法的典型写照,由于其多才多艺,在书法方面,其篆书、隶书、和楷、行书均有很高的造诣。“赵之谦的篆书初受邓石如影响,邓石如以隶入篆,而赵之谦的篆书是以造像法入篆,并且起笔均以方笔入,而收笔则微按而出锋,其间气机流宕,令人叫绝,清人小篆之巧,之谦实造其极。” “于是他抓住了北碑造像中最雄强霸悍的一面,竭力追求姿态活泼和气势飞动,并将这种实践扩大到篆书、隶书等体领域,在晚清书坛上独树一帜,为碑派书法开辟了一条新奇的风格途径。”32100
毕业论文关键词:赵之谦 碑意 篆书风格 影响
North stone statues on the influence of zhao zhiqian the seal character style ziyingdian agent
Abstract: zhao zhiqian on calligraphy art practice, is the typical reflection of the late qing dynasty calligraphy, due to its versatile, in calligraphy, seal character, official script, and the script and running script has high attainments. "At the beginning of zhao zhiqian's seal character affected by Deng Shiru Deng Shiru transferred into of, and the seal character based on imaging method into of zhao zhiqian, and pen all Israel pen into, while finishing in and out of the front, meantime jet flow down, amazing, qing qiao of seal script, the modesty of real made." [Huang Dun, Li Changji, ZhuangXiZu: the second edition of the calligraphy seal cutting, higher education press, 2007.7, P11,] "he grabbed the most XiongJiang the welding on the side of the north stone statues, pursue active attitude and flying, and this kind of practice and expand to the seal character, official script, and other areas of the body, unique in the history of Chinese gallery in late qing dynasty, for the tablet sent calligraphy has opened up a new style way." [liu: the volume in the qing dynasty, Chinese calligraphy, jiangsu education press, 2009, P18.]

源`自*六)维[论*文'网www.lwfree.cn


key words: zhao zhiqian Memorial meaning The seal character influences
“叔学书由颜鲁公入手,看他二、三十岁所书,笔力雄浑,结字宽博,且没有丝毫时俗学颜的圆熟习气。暗示出他对颜字的深湛功力。后来他又接受了包世臣的书学理论,遂皈依碑学,于北魏、六朝造像用力尤勤。这样他由平画宽结的颜字,一变为斜画紧结的北碑,清劲拔俗,面目一新。清代写颜字的人很多,但能出其樊籠者,不过伊秉綬、刘墉、何绍基、赵之谦数人而已。他们真正的到颜书的精髓,创造了各种不同风貌。赵之谦的艺术造诣是多方面的,单就其北魏书而论,在那端庄穠丽的字形上回荡着一股鬱勃之气,清艳而不显富贵,妖娆而不失骨髓,其品与芙蕖相似。这是他的书品,其实也正是他的人品,是他的艺术生命、灵气、风格之所在。”
一、北魏造像所体现出的碑意
随着清代碑学的兴盛,赵之谦在书法方面的实践过程中都体现着碑学思想。尽管他早期的楷书、行书师法于颜真卿,而篆、隶出自邓石如,然而他在接受碑学、服膺包世臣的“钩捺抵送,万毫齐力”之法之后,便转而全力学习北碑。作为一个碑派的代表书家,赵之谦在书法具体的实践上,其书初由平画宽结的颜字,变为斜画紧结的北魏书体,峻拔洒脱,他巧妙的将北碑的楷书用笔方笔与结字体势,同时还将这种独特的笔法运用到其篆书、隶书体的书写当中,下笔沉重有力,用墨厚重,使之碑意特点突出,他的书法、篆刻作品因受碑学书法的影响,画面追求金石趣味,大气磅礴,因此碑意的影响下别开生面。
康有为在其《广艺舟双辑》中说:“赵叔学北碑,亦自成家,但气体靡弱,今天下多言北碑,而尽为靡靡之音,则赵伪叔之罪也。” 赵之谦的书法在论文分析当中,可以看出他聚众家之长,其早期书法结体以颜真卿为主,其北魏书是以《始平公造像记》确立书法创作方法,发挥其夸张的特征,并且汲取《张猛龙碑》的精髓,可说是极具方笔之美。同时掌握《瘗鹤铭》结字的原则,到后期赵之谦用笔率性随意,字体宽绰有余,笔意大方。 北碑造像对赵之谦篆书风格形成的影响蠡探:http://www.lwfree.cn/yishu/20190104/28659.html
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