北派书风与盛唐气象  

The North-style Calligraphy and Prosperity in Tang Dynasty

作　　者：王连富[1] 

机构地区：[1]绍兴文理学院兰亭书法艺术学院,浙江绍兴312045

出　　处：《绍兴文理学院学报》2009年第4期103-107,共5页Journal of Shaoxing University

摘　　要：北派书法作为一种社会文化现象,在初唐仍然具有一定的社会需求,这为盛唐书风巨变提供了由量变到质变的基础。盛唐以颜真卿为代表的书家们用新的审美观自觉或不自觉取法于北派书法,并将其法度化、儒雅化,创造出了恢弘壮美的盛唐书风。在此大背景下,进一步揭示了北派书法同代表"盛唐气象"的"颜体"之间的关系,从而认为:山东及其周边地区的石刻书法是"颜体"形成的最重要来源。The North- style Calligraphy, as a kind of social cultural phenomenon, had a certain social need in early Tang Dynasty, which lays the foundation of the change of the calligraphy style in Tang Dynasty from quantity to quality. The calligraphists in Tang were aware or not of learning from the north - style caligraphy represented by Yan Zhenqing with new tastes and created beautiful prosperous ＇Fang＇s callig- raphy style. Under the background, the paper further announces to public the relationship between the north - style calligraphy and Yan Zhenqing＇ Script. Based on this, the new conclusion is that the most important source of Yan Zhenqing＇ Script is the sculpture carving cal- ligraphy of Shandong and its peripheral region.

关 键 词：北派书法 盛唐气象 颜体 

分 类 号：J292.2[艺术—美术]