發(fā)布時(shí)間：2019-04-09 14:45

【摘要】：隋代國祚短、存世書法作品不多,但銘石楷書較為突出,其成因涉及諸多方面。自魏晉始,政權(quán)頻繁更替,南北雙方對峙、相互滲透,書法經(jīng)歷了"洛陽體"~[1]興起、北朝后期復(fù)古、宗教影響等諸多階段及事件,不斷發(fā)展演變至隋代,形成面貌豐富的銘石楷書。正是由于經(jīng)歷了前期書法多樣化的融合,終于在隋代發(fā)展成以《龍藏寺碑》為典型的統(tǒng)合南北書風(fēng)的書法面貌。
[Abstract]:Sui Dynasty Guozuo short, the survival of calligraphy works are not many, but the inscription stone regular script is more prominent, its cause of formation involves many aspects. Since the beginning of the Wei and Jin dynasties, the regime has changed frequently, the North and the South have faced confrontation and permeated each other, calligraphy has experienced the rise of "Luoyang style" ~ [1], the later period of the Northern Dynasty retro, religious influence and many other stages and events, continued to evolve into the Sui Dynasty. The formation of a rich face of inscription stone regular books. As a result of the fusion of calligraphy diversity in the early stage, it was finally developed in the Sui Dynasty to integrate the style of calligraphy between the north and the south with Longzangsi Monument as the typical style of calligraphy.
【分類號】：J292.1

【相似文獻(xiàn)】

相關(guān)期刊論文 前9條

1 趙鐵信;;重刻龍藏寺碑記[J];合作經(jīng)濟(jì)與科技;2012年15期

2 謝安輝;隋人變古顯唐風(fēng)——淺論《龍藏寺碑》及其對當(dāng)今書法創(chuàng)作的意義[J];書畫藝術(shù);2000年04期

3 陸璐;;對《龍藏寺碑》與《雁塔圣教序》的探析[J];大眾文藝;2013年19期

4 虞曉勇;;婉麗遒媚 寬博洞達(dá)——隋《龍藏寺碑》書寫特征闡析[J];書法世界;2003年04期

5 ;翰墨丹青遍天涯[J];廣播歌選;2008年12期

6 曹洋;試論高二適書法活動的分期及特點(diǎn)[J];書畫藝術(shù);2005年02期

7 曹洋;試探高二適早期書法流變的成因[J];青少年書法;2005年02期

8 徐利明;;“適吾所適”的高二適[J];青少年書法;2010年24期

9 ;[J];;年期

相關(guān)重要報(bào)紙文章 前1條

1 孫洵;《龍藏寺碑》是隋楷正宗[N];中國藝術(shù)報(bào);2003年

，

本文編號：2455269