【摘要】：左宗棠有大量的書法作品存世有手札、楹聯(lián)、條幅等多種形式。從這些作品中可以看出左宗棠對篆、楷、行、草等書體都有研究。本文以研究左宗棠的書法藝術(shù)為主。首先從左宗棠的家庭狀況和治學(xué)歷程開始研究。左宗棠祖上世代都是以讀書考科舉的知識分子,古代的知識分子基本上是離不開讀書寫字。左宗棠從十二歲開始對書法產(chǎn)生興趣。從古代開始書法都是靠家傳為主,學(xué)習(xí)書法不僅可以考取功名,而且還能光耀家祖,同時(shí)學(xué)習(xí)書法在古代也是一種做人的標(biāo)準(zhǔn),這是古代大部分家傳書法所要達(dá)到的目標(biāo),如書法史上最有名的書法家父子王羲之和王獻(xiàn)之。研究左宗棠書風(fēng)形成的時(shí)代背景。將左宗棠放入到清代具體的社會文化環(huán)境背景中去研究,會發(fā)現(xiàn)左宗棠的書學(xué)思想受當(dāng)時(shí)清代的理學(xué)思想和碑學(xué)運(yùn)的影響。在清代提倡碑學(xué)運(yùn)動,將書法取法分為碑派書法和帖派書法。阮元在《南北書派論》和《北碑南帖論》推崇北碑,對南帖進(jìn)行批判。左宗棠也非常認(rèn)同阮元的《南北書派論》和《北碑南帖論》,并繼承阮元的碑學(xué)思想學(xué)習(xí)碑派書法。其次是分析左宗棠的書法作品,發(fā)現(xiàn)左宗棠學(xué)習(xí)書法是取法廣博的,其書風(fēng)是熔鑄諸家書風(fēng)的結(jié)果。具體結(jié)合左宗棠的多種書法作品分析,得出左宗棠的字如其人一樣耿直、剛烈。從作品分析還得出左宗棠的書法受何紹基和蘇東坡的影響。左宗棠與何紹基的書學(xué)之路基本是相同的,都是以篆隸融入行草書中,是碑帖相結(jié)合的書學(xué)思想。左宗棠學(xué)蘇東坡卻比蘇東坡要顯得清秀利索,從而可知左宗棠是在學(xué)蘇東坡的書卷氣,以自己的學(xué)識修養(yǎng)注入在自己的筆墨之中。他的經(jīng)世致用的思想是離不開湖湘文化的影響,所以他的書法也是為他的經(jīng)世致用服務(wù)的。在他的詩句中也可以看出左宗棠其中許多詩句是贈送給朋友的,有的詩句是向世人提倡經(jīng)世致用之學(xué),有的詩句體現(xiàn)了他反抗外侵的思想。最后,通過研究左宗棠書法藝術(shù)對現(xiàn)在書法專業(yè)的學(xué)者得到了很大的啟示。第一學(xué)習(xí)書法要注重對傳統(tǒng)技法的錘煉。第二需要要提高書法專業(yè)人的綜合素養(yǎng)�，F(xiàn)在書法創(chuàng)作都鼓勵自創(chuàng)詩詞楹聯(lián),所以學(xué)習(xí)書法不能只練字不增長學(xué)問。要增長學(xué)問,必須要多讀書,文史、哲都是書法文化的根基。從左宗棠注重書法實(shí)用性中也體會左宗棠具有崇高的精神境界。像左宗棠那樣,不只是為提高書法技法而學(xué)習(xí)書法,而是“汝果欲學(xué)詩,功夫在詩外”的方法加強(qiáng)本專業(yè)以外的素養(yǎng)。
[Abstract]:Zuo Zongtang has a large number of calligraphy works in various forms, such as handbooks, couplets, banners and so on. From these works can be seen that Zuo Zongtang to seal script, block letters, lines, grass and other books have been studied. This article focuses on the study of Zuo Zongtang's calligraphy art. First of all, Zuo Zongtang's family status and academic process began to study. Zuo Zongtang's ancestors were intellectuals who examined the imperial examination by reading and writing for generations, and the ancient intellectuals were basically inseparable from reading and writing. Zuo Zongtang began to take an interest in calligraphy at the age of twelve. Since ancient times, calligraphy has been mainly based on family history. Learning calligraphy can not only gain fame, but also shine on the ancestors. At the same time, learning calligraphy is also a kind of human standard in ancient times, which is the goal that most ancient family calligraphy should achieve. Such as the most famous calligrapher in the history of Wang Xizhi and Wang Xianzhi. To study the era background of Zuo Zongtang's book style formation. By putting Zuo Zongtang into the background of specific social and cultural environment in Qing Dynasty, it will be found that Zuo Zongtang's calligraphy thought was influenced by Neo-Confucianism thought and tablet movement in Qing Dynasty at that time. In Qing Dynasty, the movement of inscription was advocated, and calligraphy was divided into calligraphy of tablet school and calligraphy of post school. Nguyen Yuan praised the North tablet in the South-North Book School Theory and the North tablet South Tiet Theory, and criticized the South Post. Zuo Zongtang also very much agreed with Nguyen Yuan's "South-North Book School" and "North-North calligraphy School", and inherited Ruan Yuan's theory of tablet study to study tablet-school calligraphy. Secondly, by analyzing Zuo Zongtang's calligraphy works, it is found that Zuo Zongtang's study of calligraphy is extensive, and the style of calligraphy is the result of melting and casting all kinds of calligraphy styles. According to the analysis of Zuo Zongtang's various calligraphy works, Zuo Zongtang's characters are as straight and strong as his own. The analysis also shows that Zuo Zongtang's calligraphy is influenced by he Shaoji and Su Dongpo. Zuo Zongtang and he Shaoji's way of calligraphy is basically the same, both of them are combined with calligraphy thought of inscription and inscription. Zuo Zongtang to learn Su Dongpo is more elegant than Su Dongpo, so Zuo Zongtang is learning Su Dongpo's book spirit, with his own knowledge and cultivation injected into his pen and ink. His practical thought is inseparable from the influence of Huxiang culture, so his calligraphy is also for his practical use of the world. In his poems, we can also see that many of Zuo Zongtang's poems are given to his friends, some of them are to advocate the study of practical use of the world, and some of them reflect his thought of resisting the invasion of the outside world. Finally, through the study of Zuo Zongtang calligraphy art to the present calligraphy professional scholars get a lot of enlightenment. The first study of calligraphy should pay attention to the traditional techniques of hammering. The second need to improve the comprehensive literacy of calligraphy professionals. Calligraphy now encourages the creation of couplets and couplets, so learning calligraphy can not only practice characters without increasing knowledge. To grow learning, we must read more, literature and history, Zhe is the foundation of calligraphy culture. Zuo Zongtang also understands that Zuo Zongtang has a lofty spiritual realm in which he pays attention to the practicality of calligraphy. Like Zuo Zongtang, not only to improve calligraphy skills and learn calligraphy, but "Ruguo wants to learn poetry, kung fu outside poetry" method to strengthen the quality outside of this major.
【學(xué)位授予單位】：淮北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J292.1

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