社会转型视域下明代书法的内在演变  

The Internal Evolution of Ming Dynasty Calligraphy from the Perspective of Social Transformation

作　　者：陈宝良[1] CHEN Baoliang

机构地区：[1]西南大学历史文化学院,重庆400715

出　　处：《原生态民族文化学刊》2024年第6期33-46,153,154,共16页Journal of Ethnic Culture

摘　　要：若是将书法置诸社会转型的视域之下加以考察,揭示其各自阶段的艺术风格及其特点,显然更能凸显一种“活的”书法史。与社会转型及文化变迁相应,明代书法的内在演变可以析为以下三个阶段:一是程朱理学一统与馆阁体书法的盛行;二是“王学”崛起与文人书法的勃兴;三是晚明社会危机与书法史的转向。明代书法的演变,既与社会转型及文化变迁若合符节,却又有独特的内在变迁规律。If calligraphy is examined under the lens of social transformation,revealing the artistic styles and characteristics of each stage,it will undoubtedly highlight a"living"history of calligraphy.Corresponding to social transformation and cultural changes,the internal evolution of calligraphy in the Ming Dynasty can be divided into the following three stages:first,the dominance of Cheng-Zhu Neo-Confucianism and the prevalence of Guange-style calligraphy;second,the rise of'Wang Xue'(the Study of Wang Yangming)and the boom of literati calligraphy;and third,the late Ming social crisis and the turning point in the history of calligraphy.The evolution of calligraphy in the Ming Dynasty,while in harmony with social transformation and cultural changes,also has its unique internal patterns of change.

关 键 词：明代 社会转型 书法 内在理路 

分 类 号：J292[艺术—美术]