北朝关中地区造像题记书法艺术研究

【作者】 岳红记；

【导师】 李青；

【作者基本信息】 西安美术学院 ， 美术学， 2011， 博士

【摘要】 北朝时期造像题记承载的信息量非常丰富、广泛,它不仅反映了当时社会政治、经济、文化等方面的内容,更重要的是体现了在不同宗教影响下复杂的民族关系,同时还具有很高的书法艺术价值。本课题在对北朝关中地区造像碑实物实际调研的基础上,综合运用艺术考古学、金石学、历史学、文献学、文字学、书法学、美术学等诸多学科知识与研究方法,以北魏、西魏、北周三个时期为序,分析了这三个朝代关中地区造像题记的书法艺术类型和风格,提出了以“平画宽结”为特征而形成的“长安书风”,其结体宽博,横平竖直,有着隶书遗法,书风疏朗纯厚,简朴超逸,更具有民间性和普遍性。北朝关中地区造像题记的书法发展过程,与我国北方民族的融合和发展紧密相关,造像题记书法从北魏早期的“以隶作楷”到“以楷作隶”,再到最后的规整、圆润、秀美,不仅是少数民族文化素质提高的表现,也是民族大融合和南北朝书法融合的表现,这种文化上的融合为隋代书法的统一和唐代书法的繁荣奠定了基础,准备了条件。可以说,没有这种融合,就不会有唐代书法的繁荣。另外,“魏碑体”书法特征的形成主要是以“斜画紧结”的“洛阳体”和以“平画宽结”的“长安书风”共同构成,二者相互影响,并各自吸收了南方书法的风格,在西魏时两地书风开始了本质上的交融,经过了北周,到隋代开始全面融合,并最终促成了中国书法在唐代的繁荣。更多还原

【Abstract】 The statue inscriptions in the Northern Dynasties have been carrying abundant information. It not only reflected the society, politics, economics and culture at that time but also importantly presented the complex national relationships under the influence of different religions. It has high value in calligraphy and art.This project analyzed the types and styles in art and calligraphy of the Northern Wei Dynasty, the Western Wei Dynasty and the Northern Zhou Dynasty in the central Shaanxi plain areas applying multidisciplinary knowledge and research methods in art archaeology, epigraphy, history, literature, philology, calligraphy and art on the basis of practical survey on the real statue steles of the Northern Dynasties in the central Shaanxi plain areas. The project advances " Chang’an calligraphy style" characterized as "ping hua kuan jie", which looks broad and strong and its horizontal stroke is evenly written from left to right and vertical stroke is straightly written from top to bottom; it has some similarity with official script that looks simple and pure and it is popular and general.The calligraphic development of statue inscription of the Northern Dynasties in the central Shaanxi plain is closely connected with the harmony and development of nationalities in the north of our country.Calligraphy of statue inscription is developed from "taking official script as regular script" to "taking regular script as official script", then it developed into being regular, neat, full and elegant. The development not only presents the increase in cultural quality of minor nationalities but also shows the national harmony and calligraphy of the South mixing together with the North. The Southern culture mixing together with the Northern culture laid solid foundation and did full preparation for the calligraphic unification of Sui Dynasty and the calligraphic prosperity of Tang Dynasty. In other words, without the mixture, there would be no the calligraphic prosperity of Tang Dynasty. Besides, the calligraphic style of Wei stele is formed primarily from "Luoyang style" and "Chang’an style" which are mutually affected and learn something from the Southern calligraphic style; the two styles begin essentially mixing together in Western Wei and mixed together comprehensively in Sui Dynasty, also promoted the calligraphic prosperity of Tang Dynasty.更多还原