碑学家笔法理论的体系建构——清代碑学建构的逻辑起点及其含义的最终生成

Construction of the Brushwork Theory System of Tablet Calligraphy Researchers——On the Logic Starting Point of Tablet Calligraphy Research in the Qing Dynasty and Ultimate Creation of Its Meaning

碑学研究是一个宏大的课题,关于碑学的界定、审美及其具体实践等方面的问题讨论已多,但关于碑学笔法理论的探讨却多局限于如涩笔、中锋、裹绞等某一个点的衍说,有的甚至批评碑派书家不懂笔法。其实,对碑学笔法理论的误解往往是由于批评者多以帖学的立场去审视碑学的笔法理论。清代以包世臣为核心的碑学家有意无意地建构了有别于帖学、体现出新的审美原则的碑学笔法系统,这些理论不仅是碑学建构的理论基点,而且使理论落实为具体的实践,以其独特的审美特征标志着碑学内涵的最终生成。在笔法理论的建构中,碑学家确立了自己的笔法原则和系统:用逆是为藏锋,藏锋方能中锋行笔,行笔时既要疾中有涩,以得雄厚自然,又要行中有留,留中有行,以绝呆板、轻滑。要得厚重,故铺毫而行,万毫齐力而得中实之妙,避免空怯。因铺毫易散锋,故而裹笔以得势。这些笔法原则与篆隶和北碑的审美特点是一致的。

Research on stone inscription is a grand task.Although there have been many discus-sions about such issues as the definition , aesthetic appreciation and practice of the study , investiga-tions into the brushwork theory system are often confined to the development of one certain point ,＆amp;nbsp;and some people even criticize epigraphic calligraphers for not knowing the technique of writing .Stone inscription researchers in the Qing Dynasty with Bao Shichen at the core have intentionally or unintentionally constructed a brushwork theory system that is different from model calligraphy and re -flects new aesthetic principles.These theories do not only serve as the basis of tablet calligraphy studies but also facilitate specific practice , marking the ultimate creation of its meaning with unique aesthetic characteristics.