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題 名 | 清代顏體發展與雅俗觀念之遞嬗=The Development of the Calligraphic School "Yan Ti" in the Qing Dynasty and Its Related Issues |
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作 者 | 陳欽忠; | 書刊名 | 興大人文學報 |
卷 期 | 33(上) 民92.06 |
頁 次 | 頁19-44 |
分類號 | 942.1 |
關鍵詞 | 顏真卿; 傅山; 錢灃; 何紹基; 翁同龢; Yan Zhen-Qing; Fu Shan; Qian Feng; He Shao-Ji; Weng Tong-He; |
語 文 | 中文(Chinese) |
中文摘要 | 清代顏體一系書家,前呼後應,卓然屹立於書壇,史料俱在,應為識者共見,惜乎前人慮不及此,今人著墨無多。有擬從顏真卿書法內涵中之人格因素與民間性格著眼,探究其與清代樸學學與廠派源流之深層聯繫。借由卷、軸以至對聯格式之變遷,研唐宋以迄清代書法雅俗權衝之移轉,如格自遺貌取神演為專工逼肖之緣由。因取清初傅山以次錢灃、何紹基、翁同龢四家為表率,分別解析其趨變適時,具體真卿之成就。以見清代顏體統系宛然,足與碑帖鼎足,應予獨立一門之書史定位。文分五節如左: 一、前言 二、顏體復興與顏體雅俗的權衡 三、從遺貌取神到專工逼肖 四、清代顏體名及其作品舉隅 五、結論 |
英文摘要 | It is in evidence that the calligraphers of the school “Yan Ti” were magnificent during the Qing dynasty, however, its related issues are always ignored. In view of this, the study is engaged in discovering the deep connections between the personality and folk characters of the calligraphic art of Yan Zhen-Qing and the full particulars of the scholarship “Pu Xue” and the school “Bei” at the Qing dynasty. By studying the writing form which came to a couple of scrolls and the discretion between he refined and the vulgar from the Tang-Song dynasty, this paper has tried to explain how could the performance of calligraphic art become setting much value on an excellent likeness instead of expressing the spirit. Finally, this paper takes the four calligraphers Fu Shan, Qian Feng, He Shao-Ji and Weng Tong-He as the paragons, in order to unfold specifically that the period achievements of the school “Yan Ti” at the Qing dynasty could be on the same level with the schools “Bei” and “Tie”, and should have its unique position in the history of calligraphy. |
本系統中英文摘要資訊取自各篇刊載內容。