馬一浮書風(fēng)研究
發(fā)布時(shí)間：2018-08-27 11:33
【摘要】：馬一浮學(xué)貫中西,博古通今,他作品中郁郁芊芊的書卷氣,正是他文學(xué)涵養(yǎng)的自然流露。馬一浮品行高潔,無意于功名利祿,不為浮名所累,親自然遠(yuǎn)凡塵,他蕭散簡(jiǎn)遠(yuǎn)的書法風(fēng)格,正是他心性的自然流露。該文試圖從四個(gè)方面對(duì)馬一浮書風(fēng)進(jìn)行研究。首先,對(duì)馬一浮所處的時(shí)代背景,以及馬一浮的字外功對(duì)馬一浮書法產(chǎn)生的影響進(jìn)行梳理。馬一浮歷經(jīng)清朝、民國、新中國三個(gè)時(shí)期,年少時(shí)生活在清末,出于科舉考試以及日常書寫的需要,學(xué)習(xí)歐陽詢、褚遂良,有一定的楷書根基。進(jìn)入民國之后,民國的書壇存在兩種局面,前期書家以崇碑為主,大家競(jìng)相取法碑刻,隨著一味尊碑弊端的顯現(xiàn),一些有意識(shí)的書家開始主張碑帖融合。隨著中外交流的日益頻繁、書法教育、書法展覽、民國社團(tuán)的不斷出現(xiàn),書法開始走向社會(huì),書學(xué)觀念得到了更加廣泛的傳播。馬一浮既受到傳統(tǒng)教育的影響,又留學(xué)西方,豐富的學(xué)識(shí)、修養(yǎng),以及當(dāng)時(shí)書壇碑帖相融書學(xué)觀念,都為馬一浮走上碑帖相融的書學(xué)道路埋下了伏筆。其次,對(duì)馬一浮的書學(xué)淵源,以及早期胎息歐、褚,打下堅(jiān)實(shí)的楷書基礎(chǔ),中期廣泛取法,走上碑帖相融的道路,晚期反饋鐘、王,回歸帖學(xué)的書學(xué)實(shí)踐過程進(jìn)行分析,來對(duì)馬一浮書風(fēng)的形成與發(fā)展進(jìn)行梳理。通過對(duì)馬一浮書法作品的具體分析,分析他沉著的用筆、堅(jiān)緊的結(jié)體、疏朗的章法、以及閑雅超脫的氣韻,來重點(diǎn)研究馬一浮蕭散簡(jiǎn)遠(yuǎn)的書法風(fēng)格。馬一浮書法風(fēng)格的形成與他的書學(xué)觀念密不可分,該文將在第三部分進(jìn)行論述,通過對(duì)馬一浮有關(guān)書法的題跋、語錄的分析,來研究馬一浮所推崇的“依仁游藝”、“以禮樂喻書”、“儒佛道相參”、“拙入古,巧近俗”的書學(xué)觀念。第四,通過分析馬一浮碑帖相融的書學(xué)道路,以及字外功,來思考我們?cè)撊绾芜M(jìn)行書法實(shí)踐與創(chuàng)作。
[Abstract]:Ma Yi-fu studied the Chinese and Western, the ancient and modern, his works in the Yu Qianqian book, is his literary self-cultivation of natural reveal. Ma Fushi Gao Jie, no interest in fame and fortune, not by the name of the tired, pro-nature far from the world, his style of calligraphy Xiao scattered far, is his heart nature of the natural outpouring. This paper attempts to study Ma Yi Fu Shu style from four aspects. First of all, the background of Ma Yi-fu, and the influence of Ma Yi-fu 's external work on Ma Yi-fu calligraphy. Ma Yi-fu experienced three periods of Qing Dynasty, Republic of China and New China. He lived in the late Qing Dynasty when he was young. Due to the need of imperial examination and daily writing, he studied Ouyang Quan and Chu Suiliang, which had a certain foundation of regular script. After entering the Republic of China, there are two kinds of situations in the book world of the Republic of China. In the early stage, the calligraphers were mainly worshipping tablets, and they competed with each other to acquire the inscription. With the appearance of the disadvantages of blindly respecting the tablets, some conscious calligraphers began to advocate the amalgamation of the tablets. With the increasingly frequent exchanges between China and foreign countries, calligraphy education, calligraphy exhibition, the emergence of the Republic of China community, calligraphy began to go to society, the concept of calligraphy has been more widely spread. Ma Yifu was influenced by the traditional education, and studied in the West, the rich knowledge, self-cultivation, as well as the combination of calligraphy and calligraphy, all laid the foreshadowing for Ma Yifu to walk on the road of calligraphy. Secondly, the author analyzes the origin of Ma Yi-fu 's calligraphy, as well as the practical process of the book science of the early stage of Xi-ou, Ch'u, laying a solid foundation of regular script, taking a wide range of methods in the middle of the period, taking the road of integration of the tablets and placards, the late feedback bell, Wang, and returning to the study of calligraphy. To carve out the formation and development of a floating style of books. Through the concrete analysis of Ma Yi-fu 's calligraphy works, this paper analyzes his composed pen, firm knot, sparse rules, and elegant and transcendent charm to focus on the calligraphy style of Ma Yi-fu Xiao Sanjian. The formation of Ma Yifu's calligraphy style is inextricably related to his concept of calligraphy. In the third part, this article will discuss, through the analysis of the inscriptions and quotations of Ma Yifu's calligraphy, to study Ma Yifu's "Yi Ren Recreation", which is respected by Ma Yifu. The book of courtesy and music, the book of Confucianism and Buddhism, and the concept of calligraphy, which are clumsy into the ancient times, skillfully close to the vulgar. Fourthly, through the analysis of the book learning road of Ma Yi Fu tablet and its characters, we can think about how to practice and create calligraphy.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J292.1
本文編號(hào)：2207147
[Abstract]:Ma Yi-fu studied the Chinese and Western, the ancient and modern, his works in the Yu Qianqian book, is his literary self-cultivation of natural reveal. Ma Fushi Gao Jie, no interest in fame and fortune, not by the name of the tired, pro-nature far from the world, his style of calligraphy Xiao scattered far, is his heart nature of the natural outpouring. This paper attempts to study Ma Yi Fu Shu style from four aspects. First of all, the background of Ma Yi-fu, and the influence of Ma Yi-fu 's external work on Ma Yi-fu calligraphy. Ma Yi-fu experienced three periods of Qing Dynasty, Republic of China and New China. He lived in the late Qing Dynasty when he was young. Due to the need of imperial examination and daily writing, he studied Ouyang Quan and Chu Suiliang, which had a certain foundation of regular script. After entering the Republic of China, there are two kinds of situations in the book world of the Republic of China. In the early stage, the calligraphers were mainly worshipping tablets, and they competed with each other to acquire the inscription. With the appearance of the disadvantages of blindly respecting the tablets, some conscious calligraphers began to advocate the amalgamation of the tablets. With the increasingly frequent exchanges between China and foreign countries, calligraphy education, calligraphy exhibition, the emergence of the Republic of China community, calligraphy began to go to society, the concept of calligraphy has been more widely spread. Ma Yifu was influenced by the traditional education, and studied in the West, the rich knowledge, self-cultivation, as well as the combination of calligraphy and calligraphy, all laid the foreshadowing for Ma Yifu to walk on the road of calligraphy. Secondly, the author analyzes the origin of Ma Yi-fu 's calligraphy, as well as the practical process of the book science of the early stage of Xi-ou, Ch'u, laying a solid foundation of regular script, taking a wide range of methods in the middle of the period, taking the road of integration of the tablets and placards, the late feedback bell, Wang, and returning to the study of calligraphy. To carve out the formation and development of a floating style of books. Through the concrete analysis of Ma Yi-fu 's calligraphy works, this paper analyzes his composed pen, firm knot, sparse rules, and elegant and transcendent charm to focus on the calligraphy style of Ma Yi-fu Xiao Sanjian. The formation of Ma Yifu's calligraphy style is inextricably related to his concept of calligraphy. In the third part, this article will discuss, through the analysis of the inscriptions and quotations of Ma Yifu's calligraphy, to study Ma Yifu's "Yi Ren Recreation", which is respected by Ma Yifu. The book of courtesy and music, the book of Confucianism and Buddhism, and the concept of calligraphy, which are clumsy into the ancient times, skillfully close to the vulgar. Fourthly, through the analysis of the book learning road of Ma Yi Fu tablet and its characters, we can think about how to practice and create calligraphy.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J292.1
【參考文獻(xiàn)】
相關(guān)期刊論文 前5條
1 汪永江;;馬一浮書論思想芻議[J];中國書法;2015年01期
2 方愛龍;;一代儒宗馬一浮的書法藝術(shù)[J];書畫藝術(shù);2013年05期
3 燕凱;;書法與“六藝”[J];中國書法;2013年01期
4 沃興華;;論當(dāng)代中國的創(chuàng)新書風(fēng)[J];書畫藝術(shù);2008年01期
5 胡源;;馬一浮的書法理論與書法藝術(shù)[J];中國書法;2009年03期
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