20世纪80年代以来曾国藩书论研究述评

A Review of Study on Zeng Guofan's Calligraphy since 1980s

20世纪80年代以前,曾国藩书法研究成果较少。20世纪80至90年代,曾国藩书论研究者认为曾氏书法的大源为理学,他在书艺上强调功利性与艺术性、继承性与创新性的辩证统一。21世纪以来,学界基本一致认为曾氏书法的大源是道学,因之形成了曾氏书法阴阳美学说。继而展开曾氏书论研究并将曾氏书论成因向纵深推进,认为曾国藩书法思想与书法风格的形成与其家庭背景、湖湘文化等紧密相关。总体而言,近30年来的曾国藩书论研究方法相对单调,研究视角相对局限,曾国藩书论的当代价值转换研究尚处于空白。

Before 1980 Zeng Guofan＇s calligraphy research was blank because of ideology and so on. In twentieth Century 80 to 90 years, Zeng Guofan calligraphy researchers think Zeng calligraphy source for science, he stressed that in the calligraphy on the utilitarian and the artistry, the dialectical unity of inheritance and innovation. Since twenty-first Century, basic academics agree that Zeng＇s calligraphy Dayuan is Daoism, the formed Zeng Yin and Yang beauty of calligraphy theory. At the same time, Zeng＇s calligraphy research to advance in depth, that Zeng Guofan＇s calligraphy thought and the calligraphy style formation and its family background, Huxiang culture is closely related to. Overall, in the past 30 years the research methods of Zeng Guofan＇s Calligraphy were relatively humdrum, research perspective was relatively limited, the contemporary value of Zeng Guofan＇s calligraphy research is still in the blank. If the expansion of large vertical and horizontal Zeng Guofan calligraphy in human culture and the rich work, etc., and the cultural industry hook, the calligraphy value will be able to better explore and promote.