本文選題：海派帖學(xué)　切入點(diǎn)：沈尹默　出處：《山東大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：20世紀(jì)之初的書法領(lǐng)域,仍舊延續(xù)著清代遺民的碑派思想。20世紀(jì)30年代以后,以沈尹默和潘伯鷹為代表的海派書家群體主張回歸二王一路的帖學(xué)道路,不把唐碑和魏碑對(duì)立起來(lái),不把碑和帖對(duì)立起來(lái),碑帖兼學(xué),形成了碑帖融合的帖學(xué)新派。這一群體以沈尹默為核心,以潘伯鷹為健將,他們大都是有著極高的文化素養(yǎng)的文人、詩(shī)人、教育家,他們重新審視書法經(jīng)典,又以筆法為中心討論傳統(tǒng)帖學(xué)的價(jià)值,并且著書立說(shuō),身體力行的致力于書法藝術(shù)的普及教育。以此形成的藝術(shù)思潮和新型格局給晚清以來(lái)的書壇呈現(xiàn)出一股新風(fēng)氣,復(fù)興帖學(xué)正統(tǒng),回歸晉唐。潘伯鷹與沈尹默亦師亦友,追隨沈尹默的書學(xué)思想,在沈尹默的指引下學(xué)習(xí)古代經(jīng)典碑帖,形成了獨(dú)立的書法史學(xué)觀點(diǎn)和書法創(chuàng)作風(fēng)格。二人在碑學(xué)環(huán)境下,書風(fēng)與書學(xué)主張一致,探求二人書法理論淵源,梳理二人書學(xué)思想、詩(shī)學(xué)思想,并結(jié)合二人在書法創(chuàng)作方面的關(guān)系,對(duì)綜合研究二人文人書法傳承和近代書法史都有重要意義。本文的研究主要分為四個(gè)部分:第一部分:沈尹默與潘伯鷹在碑學(xué)環(huán)境中的海派新風(fēng)。闡述晚清碑學(xué)環(huán)境,書家皆學(xué)碑而不學(xué)帖的原因,以其二人的書法理論著作以及身體力行的書法實(shí)踐確立了海派帖學(xué)的書法地位。對(duì)沈尹默與潘伯鷹的主要交游作探討,二人身份多樣,交游甚廣,旨在闡明外部社會(huì)環(huán)境與交友對(duì)其學(xué)問(wèn)的直接影響。第二部分:沈尹默對(duì)潘伯鷹書法理論的影響。沈尹默好古敏求謙以自牧,結(jié)合個(gè)人臨摹和創(chuàng)作經(jīng)驗(yàn)為基礎(chǔ)形成了鮮明的系統(tǒng)的書法史觀,潘伯鷹作為沈尹默書法理論的追隨者又直接師法自己的老師。以筆法為核心,以二王帖學(xué)一脈為正宗,以顏真卿《述張旭筆法十二意》為綱領(lǐng),找出二者書法理論源頭,并分析其二者書法理論的關(guān)系。第三部分:沈尹默與潘伯鷹書法實(shí)踐的關(guān)系。二者在取法上遍臨晉唐及宋元名家名帖,梳理其以二王為宗的雅正書風(fēng)的取法脈絡(luò)。參照其學(xué)唐而不卑唐、碑帖兼學(xué)、楷草并進(jìn)、博觀約取的學(xué)書方法論,從存世作品看二者書法的取法與風(fēng)格特點(diǎn)。以帖學(xué)為基,學(xué)碑以強(qiáng)骨力,分析沈尹默自身以及對(duì)潘伯鷹書法實(shí)踐的指引,由臨摹到創(chuàng)作的學(xué)書歷程。第四部分:沈尹默與潘伯鷹的文人生活。沈尹默同潘伯鷹都有著很高的文化素養(yǎng),是著名的文化學(xué)者,是民國(guó)時(shí)期古體詩(shī)創(chuàng)作的代表人物,且都有詩(shī)集傳世。文人交往中多有詩(shī)文唱和,內(nèi)容有家國(guó)憂患的思考也有書學(xué)主張的闡發(fā)。二人皆醉心宋詩(shī),從對(duì)前人的注釋和解讀中閃耀著個(gè)人鮮明的詩(shī)學(xué)主張,生于真情,其詩(shī)必工。二人寫詩(shī)作文的文人身份對(duì)其書法創(chuàng)作有著重要的影響,從雅、靜,清、文四個(gè)方面賞析二人書法的書卷氣。
[Abstract]:In the field of calligraphy at the beginning of 20th century, there was still a continuation of the monument thought of the people of the Qing Dynasty. After 30s of the 20th century, the group of Shanghai calligraphers, represented by Shen Yinmo and Pan Boying, advocated the way of returning to the two kings. Instead of antagonizing the Tang tablet and the Wei tablet, and not putting the tablet against the placard, the tablet and the placard are combined to form a new school of writing and learning. This group takes Shen Yinmo as the core and Pan Boying as the strong soldier. Most of them are literati, poets, educationalists with very high cultural qualities. They reexamine calligraphy classics, discuss the value of traditional writing and write books. The trend of thought and new pattern of art formed by this practice has given rise to a new atmosphere in the field of calligraphy since the late Qing Dynasty, reviving orthodoxy, returning to the Jin and Tang dynasties. Pan Boying and Shen Yinmo were also teachers and friends. Following Shen Yinmo's thought of calligraphy and learning ancient classical tablets under the guidance of Shen Yinmo, they formed an independent view of calligraphy history and style of calligraphy creation. In the environment of tablet study, the style of calligraphy was consistent with that of calligraphy. Exploring the origin of the calligraphy theory of the two, combing their thought of calligraphy and poetics, and combining the relationship between them in the aspect of calligraphy creation, This paper is mainly divided into four parts: the first part: the new style of Shanghai School of Shen Yinmo and Pan Boying in the environment of stele study. The reason why all calligraphers learn stele but not post, with their calligraphy theoretical works and calligraphy practice, established the calligraphy status of the Shanghai School of calligraphy. The main communication between Shen Yinmo and Pan Boying is discussed. The two men have various identities and have a wide range of friends. The second part: Shen Yinmo's influence on Pan Boying's calligraphy theory. On the basis of personal copying and creative experience, Pan Boying, as a follower of Shen Yinmo's calligraphy theory, directly taught his own teacher. On the basis of Yan Zhenqing's "describing Zhang Xu's 12 meaning" as its creed, we can find out the source of both calligraphy theories. The third part: the relationship between Shen Yinmo and Pan Boying's calligraphy practice. Combing the method of learning from the style of Yazheng calligraphy of the two kings, referring to its study of the Tang Dynasty but not the inferior Tang Dynasty, and referring to its methodology of learning books, referring to its study of the Tang Dynasty, the tablet and the study, the block and the grass, and the methodology of learning books, and looking at the acquisition methods and style characteristics of the two calligraphy from the works of the world, and based on the study of the subject matter. The study tablet with strong bone strength, analyzes Shen Yinmo itself and to Pan Boying calligraphy practice guidance, from copy to the creation study book process. 4th part: Shen Yinmo and Pan Boying's literati life. Shen Yinmo and Pan Boying both have the very high cultural accomplishment, Is a famous cultural scholar, is the representative figure of the ancient style poem creation in the Republic of China period, and all has the poetry collection to pass on. The literati contact has the poem and the article to sing, the content has the family country's worry ponder as well as the book science proposition elaboration. Both people are obsessed with the Song poetry, From the commentary and interpretation of the predecessors, there is a brilliant personal poetic proposition, born in the true feelings, its poetry must work. The literati status of the two people writing poetry composition has an important impact on his calligraphy creation, from elegant, quiet, Qing, Four aspects of the text appreciation of the two calligraphy scroll style.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J292.1

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