陶渊明与中国书法

Tao Yuanming and Chinese Calligraphy

陶渊明作品成为重要书写对象是从北宋的苏轼开始的,他嗜书《归去来兮辞》,开启了同代及后人的书陶之风。元代赵孟继承苏轼把书陶艺术推向一个新的高潮,鲜于枢、俞和等书陶作品为其波澜,虽高风绝尘不如宋人,而遒媚风流自具特色。明代的书陶者以"吴门书派"祝允明、文征明、王宠和王穀祥等成就最高,董其昌宗尚平淡真率的书法理论明显受到了陶渊明影响。清代书法众体兼备,各体均有值得称道之作。行草如方以智,隶书如郑簠、高翔、何绍基,草书如傅山、朱耷等,足可辉映一代。陶诗的精、气、神无疑给书法家带来了特殊的陶家风貌。

It is since the Northern Song Dynasty that Tao Yuanming＇s works became an important object to be written. Su Shi was addicted to handwriting The Song of Return. He started the fashion of writing Tao＇s works in his dynasty. In the Yuan Dynasty, Zhao Mengfu followed Su to write Tao＇s works. He brought this art to a new climax. As the aftermath of Zhao, Xianyn Shu and Yu He also wrote Tao＇s works. Compared to the calligraphy of Song Dynasty, their writing is not as naturally elegant as that. However, it shows its own vigorous and channing style. In the Ming Dynasty, four calligraphers from the Wumen calligraphy school, Zhu Yunming, Wen Zhengming, Wang Chong and Wang Guxiang, were the best in handwriting Tao＇s works. Dong Qichang＇ was so affected by Tao that he advocated calligraphy being plain and straightforward. In the Qing Dynasty, excellent works emerged in all types of calligraphy, such as Fang Yizhi＇s running script, Zheng Fu, Gao Xiang and He Shaoji＇s official script, and Fu Shah and Zhu Da＇s cursive script. The essence and spirit of Tao＇s poems endowed calligraphers with special features.