清遗老书史形象演变论析  

Evolution of the Historical Image of Calligraphers in the Late Qing Dynasty and Republic of China Period

作　　者：张凯维 ZHANG Kaiwei(Lanting Calligraphy Art College,Shaoxing University,Shaoxing,Zhejiang 312000,China)

机构地区：[1]绍兴文理学院兰亭书法艺术学院,浙江绍兴312000

出　　处：《河北师范大学学报（哲学社会科学版）》2024年第3期146-156,共11页Journal of Hebei Normal University(Philosophy and Social Sciences)

摘　　要：20世纪的中国书法,同样面临着从传统到现代的转型,然而西方没有对应的参照物,使之并没有像绘画艺术一样成为争论的焦点,但“古今”“中西”的交汇碰撞促成了清遗老书史形象的生成及转变。因此,在百年来书法史的写作中,清遗老书家的形象不尽相同,存在由高尚到耻辱、由凸显到遮蔽、由进步到保守的变化,直至今日,学术界对清遗老书史形象的阐述仍有分歧。清遗老书史形象的生成及演变是政治、文化、经济多重领域互动下的产物,也是近代史观变革和发展的结果。In the 20th century,Chinese calligraphy underwent a transition from tradition to modernity,although this transformation didn’t garner the same attention in the West as painting did.Nonetheless,the confluence of“ancient and modern”and“Chinese and Western”elements influenced the generation and transformation of the historical image of the calligraphers in the Late Qing Dynasty(1636-1912)and the Republic of China(1902-1949)Period.Consequently,over the past century,interpretations of Qing Dynasty calligraphers have varied widely,ranging from noble to shameful,prominent to obscure,and progressive to conservative.Even today,there remain divergent perspectives in academic circles regarding the portrayal of these calligraphers.The evolution of their historical image is a complex interplay of political,cultural,and economic factors,reflecting changing views on modern history.

关 键 词：晚清民国 清遗老书家 书史形象 书法品评观念 

分 类 号：J292.27[艺术—美术]