本文選題：唐隸 + 啟功先生��； 參考：《中國書法》2012年02期

【摘要】：正唐代是書法藝術(shù)集大成的時期,從魏晉的崇尚風(fēng)韻到唐人的追求法度,不但使極端工整的楷書和縱橫揮灑的草書奏出了歷史的最強音,而且在隸書創(chuàng)作上也打破了魏晉以來的沉寂局面,使隸書出現(xiàn)前所未有的繁榮。啟功先生說:"唐人用隸書體,是使用舊字體,但能在漢隸的基礎(chǔ)上開辟途徑,追求新效果,不能不說是一種創(chuàng)新"★。故唐代隸書有著不可忽視的歷史地位,而唐玄宗在隸書的發(fā)展上是有著重大貢獻的人物。書法藝術(shù)的發(fā)展,既需要傳統(tǒng)作為創(chuàng)造的憑借,又需要有所揚棄、有所改造和有所發(fā)展,否則就不會具
[Abstract]:The Tang Dynasty was a period of calligraphic art. From the advocacy of Wei Jin to the pursuit of the Tang Dynasty, it not only made the most strong regular script and the cursive script of the history, but also broke the silence of Wei Jin in the writing of official script, and made the official script appear unprecedented prosperity. Mr. Qi Gong said, "Tang man" The use of the book body is to use the old typeface, but to open up the way and to pursue new effects on the basis of the Han Li. It can not be said that it is a kind of innovation. Therefore, the official script of the Tang Dynasty has a historical position which can not be ignored, but Tang Xuanzong has a great contribution to the development of the official script. The development of calligraphy art needs both the tradition as the creation and the need. We must sublate, transform and develop, otherwise we will not have it.
【作者單位】： 劉海粟美術(shù)館;
【分類號】：J292.1

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