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现代碑学起源于清代,包世臣的《艺舟双楫》、阮元的《南北书派论》、《北碑南帖论》把碑学抬升到主流位置,而康有为的《广艺舟双楫》则把碑学直接推至高潮。清代中期以后,尊碑抑帖已然成为当时书法界的主流和风气。清代碑学的盛行,不完全是因为碑的雄强、方刚,更多的是新文化运动思想崭现而形成的新学潮。碑学风是伴随着新文化运动的洗礼而独领风骚地登上了近现代书法历史舞台。
Modern Beihsue learned originated in the Qing Dynasty, Bao Shichen’s “Yi Zhou Shuangpi”, Ruan Yuan’s “North and South school theory”, “Bei Bei Nan Tielun” put Belem to the mainstream position, and Kang Youwei “art boat Double 楫 ”put the monument to the climax directly. Since the middle of the Qing Dynasty, respect for the tablet has become the mainstream of the calligraphy circles and customs. The popularity of the early Ming Dynasty’s sculptures is not entirely because of the magnificence of the inscriptions, Fang Gang, but more about the new tide of new-culture movement. The style of study of the Buddhist monuments boarded the stage of modern calligraphy history with the baptism of the New Culture Movement.