《华山碑》与清代碑学

【作者】 陈大利；

【导师】 黄惇；

【作者基本信息】 南京艺术学院 ， 美术学， 2011， 博士

【摘要】 论文以《华山碑》为研究个案,围绕《华山碑》在清代书法史上的传播与接受,分析清代师法汉碑的书学观念及书法实践,梳理《华山碑》在清代碑学发展中的重要影响,进而更加清晰地了解清代碑学发展的轨迹。论文首先分析清代之前对于《华山碑》的关注。指出:唐人因迷信蔡邕为“笔法之祖”而指认《华山碑》为蔡邕所书,却难寻实据;宋代金石学家对《华山碑》多有争论,注重文史考证;明人对汉碑中的笔法因蒙昧而多生误解,直至明末,始有汉隶笔法的觉醒。接着探讨《华山碑》在清初书坛产生的影响,以王弘撰对于《华山碑》的收藏及朱彝尊关于《华山碑》的品评为线索,解读《华山碑》在南北区域的扩大影响,以及清初书坛师法汉隶的普遍风气。然后再以金农和陆瓒为取法《华山碑》的案例,剖析《华山碑》笔法被接受的两种模式,凸显清代中期在师碑观念、创作实践上的重大突破。论文最后追踪《华山碑》在乾嘉以后的递藏、复制、考证、取法,观照其在碑学浪潮中的广泛接受与传播。论文主要观点:《华山碑》经著名文人、学者、书家共同推动,在有清一代最终成为法书体系中的新经典;通过探讨《华山碑》的接受与传播过程,可以洞悉书法取径“非名家碑刻”的碑学观念,在清代如何逐渐深入人心的,这在书法史上的意义至为重大。更多还原

【Abstract】 This thesis aims to study the case of the stele of mount Hua(华山碑). Based on the propagation and reception of the Stele of mount Hua in the calligraphy history of the Qing dynasty, the thesis analyses the calligraphy concepts and calligraphy practice that the Qing calligraphers imitated the stele in Han dynasty and discusses the logical relationship existed between the stele of mount Hua and the inscription in the Qing dynasty, thus more clearly finding out about the historical developing track of the Qing dynasty inscription.The main body of the thesis explores the problems from the following four parts. It firstly expounds people’s attention to the Stele of mount Hua before the Qing dynasty, which points out that owning to the blind worship that Cai Yong is the father of calligraphy, people in the Tang dynasty identified the stele of mount Hua had been written by Cai Yong(蔡邕), but they couldn’t find the authentic evidence. Inscriptions experts in Song dynasty emphasized historical textual research because of their controversy over the stele of mount Hua. Due to the obscuration of the writing technique in the tablets of Han dynasty, people in the Ming dynasty misunderstood more about it. The Han Li brushwork wasn’t aroused from it until the end of the Ming dynasty. It secondly discusses the influences that the Stele of mount Hua had on the calligraphy circles in the early Qing dynasty. Clued by Wang Hongzhuan’s (王弘撰)collection of the stele of mount Hua and Zhu Yi-zun’s (朱彝尊)comments on the the stele of mount Hua, the thesis unscrambles that t the stele of mount Hua expanded its influence in northern and southern areas and the trend that the calligraphy circles in the early Qing dynasty imitated the Han Li brushwork had become more and more popular.Based on the analysis of the Huashan Tablets’two accepted modes, respectively exemplified Jin Nong’s(金农) imitating mode and Lu Zan’s(陆瓒) imitating mode as different study cases, then it expounds breakthroughs in tablets-imitating concepts and creation practice in the middle of Qing dynasty.Finally it discusses the wide propagation and reception of the stele of mount Hua in the tablets studying sports after the Qianlong(乾隆)and Jiaqing(嘉庆)years.In the end, it draws a conclusion that the canonization of the stele of mount Hua in the calligraphy history of the Qing dynasty is not only the accidental coincidence but also a historical necessity and it has the significance of deconstructing the canonization and it reflects the concepts of calligraphy, not the famous inscriptions.更多还原