本文選題：張照　切入點：清代帖學　出處：《陜西師范大學》2015年碩士論文

【摘要】：清初書法為晚明書風之延續(xù),以徐渭、王鐸、傅山、倪元璐等書家,不拘于時局,堪為清初書壇之浪漫書家之代表�？滴鯇Χ洳郎匚臓栄诺臅ㄍ瞥鐐渲痢Ｖ燎〕�,書家在張照書法的引領下,有意突破董書的樊籠,加之乾隆皇帝對趙孟擐的喜好,書法上統領一時的董書逐漸有被趙書所取代之勢,書家的取法開始由單純的學董轉而學趙,進而追蹤晉唐諸書法大家,大膽求變,勇于創(chuàng)新,各具特色,形成了百花齊放的局面,清代帖學書法在這一時期達到鼎盛。清政府在弘揚漢族文化,籠絡漢族文人的同時,絲毫沒有懈怠對他們的警惕、猜忌和打擊,其主要手段就是文字獄。高壓政策下的文人士大夫們戰(zhàn)戰(zhàn)兢兢,于是金石考據學應運而生,金石考據學成為這一時士人們逃避文禍和抒發(fā)感情的領域,西周金文、秦漢刻石、南北朝摩崖造像和唐代碑版大量進入文人士大夫的生活,影響至于書風與法帖風格出現截然不同的面貌,令人耳目一新,由此,朝野內外學碑之風大盛,最終取代帖學,風靡一時。乾隆后期,碑學逐漸興起,帖學式微。對于清代書法,學界多關注于碑學的研究,對于帖學書法則較少涉及�？陀^的看待清代書史,帖學書法與碑學書法在書壇上的地位是不分伯仲的,由于有關清代書法的研究中,更多的則是側重于碑學,導致的結果則是帖學不能與碑學相媲美。而作為清代帖學書家的代表人物張照則更是很少受關注。張照于書法上的創(chuàng)作實踐大致反映了康熙末到乾隆時期的帖學書風轉變情況。清乾隆帝對張照書法給予了很高的評價：羲之后一人,舍照誰能若。對這樣一個具有時代代表意義的人物開展研究,對于豐富清代書法研究成果,尤其是張照對清中期帖學研究有重要的意義。而筆者試從張照書法對清中期帖學的影響作為方向來論述。本文以清中期帖學書法家張照對帖學的影響為出發(fā)點,試分析張照承前啟后,在學習董其昌書法的基礎之上,轉而又追蹤晉唐諸書家,并融會貫通,在被董其昌書風彌漫的樊籠里大膽革新,沖出董氏書風的彌漫,在清中期書壇上獨樹一幟,開辟了清代帖學的新局面,為清代帖學書法的進步揭開了序幕,直接影響到后來的劉墉、王文治、翁方綱等帖學書家,在他們不斷地的努力創(chuàng)新實踐下,最終開創(chuàng)了清代帖學的新局面。
[Abstract]:Calligraphy in the early Qing Dynasty was a continuation of the style of calligraphy in the late Ming Dynasty. Xu Wei, Wang Duo, Fu Shan, Ni Yuanlu and other calligraphers, regardless of the situation, were representatives of romantic calligraphers in the early Qing Dynasty. Kangxi worshipped Dong Qichang's gentle and gentle calligraphy to the Qianlong Dynasty. Under the guidance of Zhang Zhao's calligraphy, the calligraphers intended to break through the cage of Dong Shu. In addition, the Emperor Qianlong's preference for Zhao Meng-hui made it possible to replace Dong's calligraphy with Zhao's calligraphy for a while. The calligrapher's method of learning began to change from a simple study to a study of Zhao. Then we followed up the calligraphy of Jin and Tang dynasties, boldly seeking for change, daring to innovate and having their own characteristics, forming a situation in which a hundred flowers blossomed in full bloom. In this period, the Qing government carried forward the Han nationality culture and attracted the Han literati to life, and at the same time, the Qing government carried forward the Han nationality culture, and at the same time attracted the Han literati. There was no slackening in their vigilance, suspicion and attack, the main means of which was the word prison. The literati and officials under the oppressive policy trembled, so the Jin Shi textual research came into being. Jinshi textual research has become a field in which scholars can escape the disaster of writing and express their feelings. In the Western Zhou Dynasty, the Jin Dynasty, the Qin and Han dynasties, the cliff statues of the Southern and Northern dynasties and the tablet tablets of the Tang Dynasty entered the life of literati and bureaucrats in large numbers. As to the influence of the different features of the style of calligraphy and the style of the French posts, it is refreshing. As a result, the style of the study of steles in and out of the government and in the opposition has flourished and eventually replaced the study of the placards, which was all the rage. In the late Qianlong period, the study of tablets gradually rose. For calligraphy in the Qing Dynasty, scholars pay more attention to the study of tablet studies, but less to the calligraphy study of the Qing Dynasty. In an objective view of the history of books in the Qing Dynasty, the position of calligraphy in the calligraphy of the Qing Dynasty is no different from that of the calligraphy of the tablet study. Because of the study of calligraphy in the Qing Dynasty, more emphasis was placed on the study of tablets. As a representative of the Qing Dynasty, Zhang Zhao received little attention. Zhang Zhao's creative practice in calligraphy roughly reflected the placards from the end of Kangxi to the Qianlong period. The Emperor Qianlong of the Qing Dynasty gave a very high appraisal of Zhangzhao's calligraphy: one person after Xi, To study such a representative figure of the times, to enrich the research results of calligraphy in the Qing Dynasty, In particular, Zhangzhao is of great significance to the study of the post studies in the middle period of Qing Dynasty. The author tries to discuss the influence of Zhang Zhao calligraphy on the post study of the middle Qing Dynasty as a direction. This paper starts with the influence of Zhang Zhao, a calligrapher of the middle Qing Dynasty, on the post study. On the basis of studying Dong Qichang's calligraphy, this paper tries to analyze Zhangzhao, on the basis of studying Dong Qichang's calligraphy, and, instead, following the various calligraphers of Jin and Tang dynasties, and integrating them, and boldly innovating in a cage filled with Dong Qichang's calligraphy style, and rushing out of the pervasiveness of Dong's calligraphy style. In the middle of the Qing Dynasty, the calligraphy world was unique, opening up a new phase of the Qing Dynasty's calligraphy study, which opened the prelude to the progress of calligraphy in the Qing Dynasty, and directly affected the later scholars such as Liu Yong, Wang Wenzhi, Weng Fanggang, and so on. In their continuous efforts to innovate practice, finally opened up a new situation of the Qing Dynasty.
【學位授予單位】：陜西師范大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：J292.1

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