从《论书绝句》管窥启功的艺术主张——兼论其对“成刘翁铁”的品评  

Analyzing Qi Gong’s Artistic Principles from On the Quintessence of Calligraphy Along with His Evaluation of “Cheng Liu Weng Tie”

作　　者：刘心源 刘磊 LIU Xinyuan;LIU Lei(School of Art and Media,Beijing Normal University,Beijing 100875;School of Art,Shaoxing University,Shaoxing,Zhejiang 312044)

机构地区：[1]北京师范大学艺术与传媒学院,北京100875 [2]绍兴文理学院艺术学院,浙江绍兴312000

出　　处：《绍兴文理学院学报》2023年第12期116-120,共5页Journal of Shaoxing University

摘　　要：在《论书绝句》第十九首中,启功对活跃在清中期的成亲王、刘墉、翁方纲和铁保等四人的书法进行品评,其中不乏“刻舟求剑”“莫名其妙”等尖锐批评。师古不师今、师古不泥和崇尚自然是启功的重要书学观点,持此标准衡量,“成刘翁铁”的书作各有其相悖或相符之处,这或是启功对四位书家作此褒贬评价的重要原因。In the 19th poem of On the Quintessence of Calligraphy,Mr.Qi Gong makes such sharp critiques as“carving a boat for a sword”and“totally unintelligible”on the calligraphic works of the four prominent figures in the mid-Qing dynasty:Aisin Gioro Yongxing(nicknamed as Prince Cheng),Liu Yong,Weng Fanggang and Tie Bao.Mr.Qi advocates the important principles in calligraphy,such as“learning from the ancient without being limited by the present”and“revering the ancient without being constrained by it”.He emphasizes respect for and continuation of the calligraphic tradition of the ancient times while encouraging innovation and development,as well as appreciation for spontaneity and pursuit of authenticity.The works of“Cheng,Liu,Weng,and Tie”are sometimes contrary to and sometimes correspondent to his criteria,which may be the main reason for Mr.Qi Gong’s compliment and criticism of them.

关 键 词：启功 论书绝句 成刘翁铁 师古 

分 类 号：J292.26[艺术—美术]