頁籤選單縮合
題名 | 何紹基晚年書藝--變容與轉化之契機=The Art of Calligraphy of Ho Shao-Chi on His Latter Years--A Critical Point of Transformation |
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作者 | 李銘宗; |
期刊 | 藝術學報 |
出版日期 | 20041200 |
卷期 | 75 民93.12 |
頁次 | 頁23-38 |
分類號 | 942.099 |
語文 | chi |
關鍵詞 | 何紹基; 猿叟; 以隸變法; 篆分真草只一事; 迴腕法; Ho shao-chi; Yuan-sou; Diversifying calligraphy with li shu; Chuan; Li; Kai; Tsao must consider to have one things; A brush holding by turning wrist a circle; |
中文摘要 | 何紹基(1799~1873)是晚清碑、帖兼修,心手雙暢的重要書家。咸豐五年(一八五五)六月四川學政罷官以後,從咸豐六年(一八五六)六月至咸豐十年(一八六○)九月,在山東濼源書院期間,由於復官無望,轉而肆力書藝,發據《何紹基日記》,從咸豐八年(一八五八)十一月五日至咸豐九年(一八九五)五月十日,專心肆力漢碑,約莫六個月期間,即臨寫漢碑十六種。由於密集地臨寫兩漢各碑,使得筆法一變,展現全然不同的書美與魅力,這正是何書晚年筆法愈騰踔百變,變容與轉化的契機所在。 何氏勤苦功深的「漢碑專攻期」,始於咸豐六年(一八五六)五十八歲,至咸豐十一年(一八六一)主講長沙城南書院仍未間斷,其中對禮器、張遷兩碑用功尤深,各臨百通。直到同治二年(一八六三)七月嶺南之遊返長沙後,筋力漸衰,生徒較多,臨碑日課才告停息。 本文要在援引《何紹基日記》印證其「以隸變法」,就其蘊化軌跡略事敷演。何氏隸書作品六十年以前較罕見,就墨跡判別其筆法一變前後作品,大約以六十歲為重要分水嶺。而行草書的變容與轉化,約與隸書同步,隸筆的波拂變化,帶動行草的跌宕多姿,隸筆的線勢轉折,也蘊化行草的圓成多變。約而言之,何氏有三能:一能冶魯公平正筆調而奇正相生。二能融篆隸入行草體勢,而寓之以篆分真草只一事。三能運?腕法極其縱橫跌宕之力而險絕迭出。無論行草、隸、篆全以神遇,而不以形顯;一言以蔽之,工處在拙,妙處在生,勝人處在不穩,變中求常的特殊風貌。 |
英文摘要 | Ho Saho-chi(1799-1873何紹基), was an important calligrapher of late Qing Dynasty. He specialized in both Pei (碑)and Tieh(帖),writing a unattainable fulfillment through hand and his mind. After he resigned from his position as scholar and diplomat of Szechwan in 1855 (the fifth year of Hsien-Feng). Ho Shao-Chi transferred to Shantung province and taught at Lo-Yuan(濼源)Classical Academy. While feeling hopeless to political career, he devoted himself into the art of calligraphy. According to “the Daily of Ho Shao-Chi”, he complete practicing sixteen different style of Han Pei (漢碑) with six months during the year 1858 (the eighth year of Hsien-Feng) to 1859 (November, the ninth year of Hsien-Feng). Such concentration of study led to a tremendous change in his personal brush style which represented and accomplished a new direction of aesthetic and revealed charm of calligraphy power. That was a key point to the transformation and combination in Ho Shao-Chi’s calligraphy style in letter years. During the period of “Concentration on Han Pei”, which started from 1856, at the age of fifty eight, to 1861 when he was lecturing at the Cheng-Nan(城南)Classical Academy in Changsha(長沙)city, Ho Shao-Chi had never changed his devotion. Among all studies, he spent more time on Li-Chi Pei(禮器碑)and Chang-Chien Pei(張遷碑), both were practiced one hundred times. It was until July, of 1864 (the second year of Tung-Chih), when he returned from a trip to Ling-Nan(嶺南),Kwangtung province, he stopped these practices mainly because of physical exhausted from trip and too much teaching obligation. In order to prove Ho Shao-Chi’s approach on “Diversifying Calligraphy with Li Shu” (以隸變法), I depicted quotes from “the Daily of Ho Shao-Chi” in this article. It is intended to represented the changing process by tracing his ink expression. Because Li Shu(隸書)was rare to find in his work before the age of sixty. However this investigation of Ho’s ink work can identify how different styles emerged before and after that age, and the possible point of transformation could be very important in his career. With the help from practice on Li Shu, that also influenced his ability on handing Hsing Tsao(行草)at about the same time. His rendering of brush style of Li Shu expressed abundant of lines and lead to enrichment on Hsing Tsao. In brief, there are three characteristics that he held different from masters. First of all, he had developed a unique style differed from the tradition of the Master Yen Chen-Ching(顏真卿)in the Tang Dynasty, he gave a notice from a bold form which was shifting the history of calligraphy of art. Secondly, he absorbed from Chuan(篆),Li(隸),Kai(楷),Tsao(草)and refined them into his own style of uniqueness. Thirdly, his techniques of holding and moving brush pen was a manners which turning wrist a circle demonstrated a remarkable result on strength and rendering of lines. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。