本文關(guān)鍵詞：鄭板橋書法藝術(shù)研究　出處：《山東師范大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

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【摘要】：鄭板橋（1693——1765），字克柔，號(hào)板橋，揚(yáng)州興化人，清代中期書畫家、文學(xué)家，活動(dòng)于清康熙到乾隆年間，康熙秀才、雍正舉人、乾隆進(jìn)士，以詩書畫“三絕”著稱于世，“揚(yáng)州八怪”代表人物之一。其書法變革意向鮮明，在繼承傳統(tǒng)的基礎(chǔ)上，吸取碑與帖的精華，側(cè)重取法金石碑板，對(duì)漢字字形進(jìn)行夸張、變形，找到了書畫同理的客觀規(guī)律和創(chuàng)作途徑，別樹一幟地創(chuàng)造出了前無古人、后啟來者的嶄新書體——“六分半書”。這種創(chuàng)格和變體，以隸楷行草四體相參，加入蘭竹筆意，特色鮮明，又稱“板橋體”。鄭板橋所處的時(shí)代，正是碑帖根本性轉(zhuǎn)換的迷茫與探索時(shí)期，帖學(xué)書風(fēng)發(fā)展到頂峰并出現(xiàn)窮途末路的征兆，碑學(xué)書風(fēng)開始萌芽。鄭板橋作為傳統(tǒng)書風(fēng)的反叛者，不肯隨波逐流附和帖學(xué)書風(fēng)，積極探索，大膽創(chuàng)新，成為近代碑學(xué)的先聲，對(duì)后世碑學(xué)理論和實(shí)踐產(chǎn)生重要影響。鄭板橋憑借其特有的藝術(shù)風(fēng)格，在中國(guó)書法史上留下了濃墨重彩的一筆。“六分半書”以其獨(dú)特性、創(chuàng)造性、思想性、時(shí)代性，給后世提供了一份極其豐富、珍貴的遺產(chǎn)。鄭板橋敢于超越時(shí)代的叛逆、創(chuàng)新精神是書法藝術(shù)的靈魂，，是中國(guó)書法幾千年來綿綿不斷發(fā)展演變的源頭活水。 本文第一章闡述了鄭板橋書風(fēng)形成的社會(huì)背景，即鄭板橋書風(fēng)形成的客觀原因，主要包括揚(yáng)州地區(qū)的社會(huì)文化背景和清初書風(fēng)。一方面，分析了雄厚的經(jīng)濟(jì)基礎(chǔ)、濃厚的文化氛圍、優(yōu)越的地理位置、廣泛的市民階層等因素，使揚(yáng)州在清代前中期發(fā)展成東南一帶文化藝術(shù)最為繁盛和活躍的地區(qū)，促進(jìn)了揚(yáng)州藝術(shù)市場(chǎng)的形成，書畫氛圍日益濃厚、書畫商品化傾向日益凸顯，為鄭板橋書法藝術(shù)風(fēng)格的形成奠定了社會(huì)基礎(chǔ)。另一方面，介紹了清初陳陳相因的帖學(xué)書法危機(jī)。 第二章論述了鄭板橋的書論美學(xué)思想和書風(fēng)特征。一方面，本章從散見于其詩詞、書信、題跋中，概括出其精辟、獨(dú)到的見解，涉及到鄭板橋創(chuàng)作、鑒賞、批評(píng)各個(gè)方面，即書法取法對(duì)象和審美取向的熔鑄古今、標(biāo)新立異，書法創(chuàng)作的獨(dú)抒性靈、師心自用，書法批評(píng)的人品書品、相得益彰，反映了板橋?qū)ㄋ囆g(shù)的深刻理解和敏銳領(lǐng)悟。另一方面，本章總結(jié)了板橋楷書、草書、隸書、六分半書的審美特征，對(duì)六分半書名稱的由來、主觀成因、藝術(shù)特征進(jìn)行了詳細(xì)論述。 第三章分析了鄭板橋書法與碑學(xué)興起的關(guān)系。清初，陳陳相因的帖學(xué)書法出現(xiàn)危機(jī)，揚(yáng)州，特殊的文化氛圍使大批學(xué)者和藝術(shù)家匯聚于此，在碑帖根本性轉(zhuǎn)換時(shí)期發(fā)揮了重要作用。而鄭板橋是碑帖根本性轉(zhuǎn)換、由前碑派興起到碑派發(fā)展時(shí)期，以碑破帖的先導(dǎo)和典型，是近代碑學(xué)的先聲，對(duì)碑學(xué)的實(shí)踐和理論產(chǎn)生了重要影響。實(shí)踐方面，鄧石如、伊秉綬、吳昌碩在篆、隸書法上，成就斐然，成為碑派書法的典范。理論方面，以阮元確立碑學(xué)理論為開端，經(jīng)過包世臣、康有為的大肆鼓吹、推波助瀾，碑學(xué)理論逐步完善。 第四章總結(jié)了鄭板橋書法的歷代評(píng)價(jià)、影響和其書法對(duì)當(dāng)下書壇的啟示。對(duì)于“六分半書”即“板橋體”的評(píng)價(jià)歷來眾說紛紜。鄭板橋書法在繼承與創(chuàng)新，文化滋養(yǎng)筆墨，詩書畫相互交融，對(duì)比、尚奇求怪與當(dāng)下展廳效應(yīng)下的視覺沖擊方面給當(dāng)下書壇以啟示。
[Abstract]:Zheng Banqiao (1693 - 1765), the word Rou, No. Yangzhou Banqiao, Xinghua, in the middle of Qing Dynasty painter, writer, active in the Qing emperor Kangxi to Qianlong, Kangxi Yong Zheng scholar, Juren, Jinshi Qianlong, in poetry and painting "Sanjue" known to the world, the "Eight Wonders of Yangzhou" is one of the representatives of the calligraphy. The distinctive change intention, on the basis of inheriting the tradition, absorb the essence of Bei with tie, the stone tablet on board, the Chinese characters font for exaggeration, deformation, and found similarly the objective law and the ways of creation, to set up a new banner created unprecedented and unrepeatable, new style - six and a half this book. "Chuangge and variants, with Li Kai cursive four coherent, adding orchid and bamboo styles, distinctive features, also known as the" bridge ". The era of Zheng Banqiao, it is about fundamental transformation of the confusion and exploration period, calligraphy book wind reached its peak and the emergence of the dead The end of the sign, calligraphy book wind began to sprout. Zheng Banqiao as a traditional book wind rebels refused to drift with calligraphy book style, active exploration, bold innovation, become the precursor of modern calligraphy, have an important impact on the theory and practice of calligraphy. Zheng Banqiao later with its unique artistic style in calligraphy, Chinese history has left a thick and heavy in colours. "The six half of the book" with its unique, creative, thinking of the times, to the later provides a rich, precious heritage. Zheng Banqiao dare to go beyond the age of rebellion, the spirit of innovation is the soul of the art of calligraphy, calligraphy is the springhead China for thousands of years of continual development and evolution.
The first chapter introduces the social background of the formation of Zheng Banqiao wind, objective reasons that Zheng Banqiao wind formed, mainly including the Yangzhou area social and cultural background and the Qing Dynasty calligraphy style. On the one hand, analyzes the strong economic foundation, strong cultural atmosphere, excellent geographical location, extensive public sectors and other factors, the Yangzhou in the middle of the Qing Dynasty developed into the most prosperous and active areas of the southeast of Arts and culture, promote the formation of Yangzhou art market, art atmosphere increasingly strong, and commercialization tendency has become increasingly prominent, laid the social foundation for the formation of Zheng Banqiao's calligraphy art style. On the other hand, the Qing Dynasty calligraphy calligraphy follow an old routine. The crisis.
The second chapter discusses Zheng Banqiao's calligraphy esthetics thought and the calligraphy style characteristics. On the one hand, this chapter reflected in his poems, letters, inscriptions, summarizes the brilliant insights, involves Zheng Banqiao creation, appreciation and criticism in all aspects, casting the object is ancient, calligraphy and aesthetic orientation new in order to be different. The calligraphy creation of lyric spirit, the character of calligraphy criticism not willing to listen to advice, shuppim, complement each other, reflect the bridge on the art of calligraphy, profound understanding and keen insight. On the other hand, this chapter summarizes the Banqiao regular script, cursive script, official script, aesthetic features of the six half of the book, the origin of the six half of the book, the name of the subjective causes and art features are discussed in detail.
The third chapter analyzes Zheng Banqiao's calligraphy and epigraphy. The rise of the early Qing Dynasty, the calligraphy calligraphy follow an old routine crisis, Yangzhou, the special cultural atmosphere to a large number of scholars and artists gathered here, play an important role in a fundamental transformation period. And Zheng Banqiao is the fundamental transformation of the rubbings, beipai rise to the monument school development period, to break the pilot and the typical post monument, is a precursor of modern calligraphy, has an important influence on the theory and practice of calligraphy. In practice, Deng Shiru, Yi bingshou, Wu Changshuo Zhuan, Li law, achievements, and become a model of tablet calligraphy. In theory, the establishment of the monument ruanyuan the theory of the beginning, after Bao Shichen, Kang Youwei trumpeted, fueled, calligraphy theory was gradually improved.
The fourth chapter summarizes the evaluation of the calligraphy of Zheng Banqiao, and the influence of the Enlightenment of calligraphy on contemporary calligraphers. For the six half of the book "or" evaluation board body ". Zheng Banqiao always Public opinions are divergent. calligraphy in the inheritance and innovation of culture, text, poetry and painting, contrast each other, still odd and the present Hall effect for blame the visual impact to the contemporary calligraphers with inspiration.

【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J292.1

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王岳川;龔鵬程;;文化書法與文人書法——關(guān)于當(dāng)代書法癥候的生態(tài)文化對(duì)話[J];文藝爭(zhēng)鳴;2010年04期

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