【作者】 蔡梦霞；

【导师】 薛永年；

【作者基本信息】 中央美术学院 ， 美术学， 2008， 博士

【摘要】 在元代书法复古运动的热潮之下，元代各书体都得到复兴，这在书法史上是非常独特的现象。以往对元代书法的研究，主要关注的是楷、行、草今体，较少讨论篆、隶古体，而在宋代篆、隶书法衰落的情况下，元代篆、隶书法的兴盛具有特别的原因和意义。本文以元代存世篆、隶作品为主要研究对象，通过对大量作品资料的收集、分类和对比，结合史料文献的记载，梳理、总结元代篆隶兴盛的特点，影响风格形成的因素及造成篆隶复兴的社会原因。本文的研究成果，首先是将宋元碑刻数量的比对、文献著录中善篆隶的元代书家、现存元代篆隶书法作品、元代独幅墨迹作品等列表统计，梳理、分析元代篆隶书法兴盛现象的形式特点及功用的不同，指出元代篆隶书法的兴盛是全方面的，从政府高官到平民百姓，社会各阶层人士都能善写篆隶，篆隶书法逐渐走向独立，进入文人艺术圈。其次是分析归结出元代代表书家及作品所呈现出篆隶书法的风格变化，从元代书家习书的角度来考虑当时篆隶的取法资源及鉴藏，注重寻找元代书家对传统的认识和取法，宋元文字学、金石学著作对元代篆隶书法的作用，进一步研究指出宋元金石学、文字学等丰富的收藏出版书既孕育和推动了元代篆隶书法的兴盛，也对篆隶板刻薄弱、了无生气的书法风格有一定影响。本文得出结论：元代篆隶书法普遍风行在社会各阶层，喜好篆隶的民众广泛，此时，元代不少书家有创新、突破的要求，并取得一些成果，但因篆隶可学资源的限制，并受书家自身对篆隶的看法、今体书法“经生体”趣味、书籍刻板书等影响，未能对唐宋的篆隶书风有大的突破，逐渐走向平庸规范，板结薄弱的书法风格特征。导致元代篆隶书法的复兴是由于篆隶书体自身的古意作用，元代民族文字多元化和文人重视小学的汉民族意识，普及篆隶书法来传承汉文化的要求及元代统治阶层对汉文化及书法的接受承认等各方面合力推动的。更多还原

【Abstract】 During the wake of learning ancient-styled calligraphy movement in Yuan dynasty,various calligraphic forms and styles are restored. This is a unique phenomenon inthe history of calligraphy. In the past, the studies on calligraphy of Yuan dynastyare mainly focused on current styles such as regular, running and cursive scriptsother than archaism such as seal and clerical script. Seal and clerical scripts havedeclined in Song dynasty, but in Yuan dynasty they thrive again with some unusualreasons and significance. This paper is based on the remnant seal and clerical scriptworks of Yuan dynasty, tries to classify, compare a great amount of works, andsummarize the features of the prosperity of seal script and clerical script worksin Yuan dynasty according to the existing collections by adopting the methodologyof historical documentations. This paper also analyzes the factors which impactedthe formation of styles and the social reasons of the renaissance of seal scriptand clerical script.First of all, this paper lists and summarizes the amount of stone tabletinscriptions of Song and Yuan dynasty, the calligraphers of Yuan dynasty who aregood at seal and clerical script according to the documents, the extant of seal andclerical script calligraphy works of Yuan dynasty, single roll calligraphy worksof Yuan dynasty, etc. The characters and functions of the prosperous of seal andclerical script calligraphy are sorted out and are analyzed. The prosperous of itis comprehensive. From the high-ranking officers to ordinary people, seal andclerical script calligraphy is popular in every social level. Seal and clericalscript calligraphy becomes independent and enters the circle of scholar art.Secondly, this paper analyzes and summarizes the changes of style emerged inthe seal and clerical script calligraphic works of the representative calligraphersin Yuan dynasty. From the viewpoint of calligraphy learning in Yuan dynasty, theresources used as references for seal and clerical script calligraphy, theevaluation and collection of it are considered. The cognition and utilization oftradition, and the impact on the seal and clerical script calligraphy given by thestudy of script and inscription of Song and Yuan dynasty are emphasized. Furtherresearch reveals, on the one hand, the abundant collection and publication of thestudy of inscription and script in Song and Yuan dynasty give birth and push to theprosperous seal and clerical script calligraphy in Yuan dynasty; on the other hand, it influences the rigid, weak, and tedious style of seal and clerical scriptcalligraphy.The conclusions of this paper are as follows. Seal and clerical scriptcalligraphy are popular in every social class and widely fond in Yuan dynasty. Thereare requirements of innovation and breakthrough at that time. But the restrictionof the resources of seal and clerical script, the calligraphers’ perspective toseal and clerical script, the impact of the taste of sutra clerk styTe in currentstyle calligraphy, and that of book engraving, make it impossible to breakthroughthe seal and clerical script styles of Tang and Song dynasties and the calligraphystyle become mediocre, normalized, rigid, and weak. The restoration of seal andclerical script in Yuan dynasty is because of the resultant force of the quaintfeature of it self, the pluralism of characters of the nationalities in Yuan dynasty,the scholars’ consciousness of Man nationality which emphasizes on literal study,the requirement of popularizing seal and clerical script calligraphy in order toinherit Han culture, and the acceptation and acknowledgement to Han culture and itscalligraphy of the governing classes of Yuan dynasty, etc.更多还原