魏碑书法中的佛学意蕴探微——兼论清代碑学的误区  

An Analysis of Buddhist Implications in Tablet Calligraphy of Wei Dynasty:A Discussion on the Misconceptions of Tablet Calligraphy in Qing Dynasty

作　　者：兰浩[1] 

机构地区：[1]宁德师范学院艺术系,福建宁德352100

出　　处：《贵州大学学报（艺术版）》2014年第2期51-56,共6页Journal of Guizhou University Art Edition

摘　　要：以北魏为代表的魏碑书法历代为书法家所推崇,魏碑书风形成的根本动因是印度佛学思想,魏碑书法展示出佛学意蕴的出离心、度世心以及无粘滞心;魏碑书风不同于儒道思想影响下的秦汉篆隶,也有别于魏晋钟王书法;碑学和帖学的正确解读应放置于印度佛学和中华儒道不同的思想基础;清代碑学仅仅从形式美的角度解释魏碑书法而忽视其佛学意蕴,因此对碑学书法解释并不确切。The tablet calligraphy of Wei Dynasty represented by that of the Northern Wei Dynasty has always been highly advocated by generations of calligraphers. It is essentially motivated by Buddhist ideology as the tablet calligraphy of Wei Dynasty illustrates the supra - mundane - mind, Bodhi - mind and otherworldly mind. The style of Wei tablet calli-graphy is different from that of the seal character and official character in Qin and Han dynasties that are under the influ-ence of Confucianism and Taoism. It also differentiated itself from the calligraphy of ZHONG yao and WANG Xi - zhi in Wei and Jin dynasties. The correct interpretation of stele and calligraphy study should be put in the context of Indian Buddhism and different Chinese ideological backgrounds, such as, Confucianism. The stele study in Qing Dynasty is not an accurate, because it merely interpreted the stele and calligraphy in Wei Dynasty focusing on their formalistic beauty while ignored their Buddhist implications.

关 键 词：魏碑书法 佛学思想 出离心 度世心 无粘滞心 清代碑学误区 

分 类 号：J292.2[艺术—美术]