颜真卿书法美学思想探析  

Yan Zhenqing’s Thoughts of Calligraphy Aesthetics

作　　者：颜以琳 Yan Yilin

机构地区：[1]海南师范大学

出　　处：《中国美学研究》2024年第2期167-183,共17页

基　　金：国家社科基金重大项目“中国汉字书法美学理论体系构建研究”(22&ZD049);国家社科艺术学重点项目“中国书法美学通史(四卷本)”(21AF008)阶段性成果

摘　　要：颜真卿的书学观主要有:一、先实用后审美,“字大可久,不复课其工拙”;二、先传承后创新,“师授之外,须自得之”;三、用笔藏锋涩势,“学古钗脚,何如屋漏痕”等。文章通过梳理颜真卿相关传世文献,总结出颜真卿书学思想的核心内容。颜真卿以实用性为先之目的却引发了书法风格之变革,“不复课其工拙”和“自得”的书学观念成为引发宋人“尚意书风”的基石,堪称“功夫在书外”,他所提出的“屋漏痕”意象大大丰富了笔法之外延。Yan Zhenqing’s perspectives on calligraphy encompass several core ideas:firstly,practical function precedes aesthetics,as noted in Yan’s axiom,“A character that is large is enduring,beyond the scrutiny of its craftsmanship”;secondly,inheriting traditional methods is more important than innovation,as encapsulated in his principle,“Beyond what is taught by masters,one must achieve understanding on one’s own”;thirdly,the subtlety of brush techniques should be concealed,as illustrated by his metaphor,“Studying the ancient is like tracing the stains left by a leaking roof”.Through a comprehensive review of extant literature related to Yan Zhenqing,this article synthesizes his thoughts on the study of calligraphy.Yan prioritized practicality,which inadvertently promoted a transformation in calligraphic style.His concepts of“no longer scrutinizing craftsmanship”and“self-acquisition”laid the foundation for the Song dynasty’s preference for“expressive calligraphy”,epitomizing the idea that“the skill lies beyond the brushwork”.His metaphor of“the stains left by a leaking roof”significantly enriches the extension of brush techniques beyond their traditional boundaries.

关 键 词：颜真卿 书学观 技法理论 书法美学 

分 类 号：J292.1[艺术—美术]