摘要
晚近词学批评的重要概念"涩"与书学有着深刻的渊源关系。汉魏时期书法创作有"涩"之一境,要求笔力遒劲,逆势而为,使书法线条呈现出厚重质感的书写效果,"涩"能治滑,并以迟涩飞动为高境。晚清以降受金石学影响碑学大盛,碑版书法家为追求书法创作的金石气,达到古奥残剥的美学效果,在用笔上极力求"涩",甚至出现所谓的"战掣笔"。词学与书学同起尚"涩"之风,缘于晚清文人的多重艺术身份,"涩"是特定社会历史情境下所产生的"时代情绪",体现了晚近士人自持、自重的文化操守。
The important concept of "Se"(obscure)of ci poetry in modern times has a deep relationship with calligraphy.In the Han and Wei Dynasties,calligraphy creation has the artistic conception of "Se",which requires writing with firm strokes against the trend,resulting in a thick and powerful writing effect."Se"can cure slippery,taking bridling strokes with elegance as the highest artistic conception.In the late Qing Dynasty,stone inscription study is in great prosperity due to the influence of epigraphy.The calligraphers,in the pursuit of the sense of epigraph in calligraphy creation (that are archaic and abstruse),wrote strokes for "Se", even with the "writing of trembling".Ci poetry and calligraphy are in favor of "Se"due to the multiple artistic identities of literati in late Qing Dynasty."Se"is the mood of times in specific historic scenarios,which reflects their cultural ethics of self-restraint and self-respect.
出处
《求是学刊》
CSSCI
北大核心
2018年第6期134-141,共8页
Seeking Truth
关键词
词论
书论
涩
碑学
ci theory
calligraphy theory
Se
stone inscription study
