孙清彦书法新论

Revisiting Sun Qingyan's "XueShuZhiYan"

对《学书枝言碑》的研究,自然导向了其书法创作。孙清彦书法崇帖,有其治局目的和纠正民风野蛮的用意,也与其家学渊源有关。他传世的作品形式多样,书风因时空和心情的不同而多变化,但崇帖清雅是其基调。《赠刘帖》和丽而跳宕,有喜乐之气,《平安花信图跋文》的潇洒挺劲,《学书枝言碑》的书风"三变",《赠赵帖》的沉郁深厚,晚年《石竹谱序》的秀润精雅,还有那些摩崖、刻石、题匾、题额,众碑刻……笔情墨性,皆各有攸归。纵是同一手笔,而喜怒哀乐各有分数。原来战火蛮荒的滇、黔边地,并不缺少文化的源流,古老的书法艺术精神暗潮涌动、潜行而伏流。

The study on ＂XueShuZhiYan＂ leads to a broader survey of Sun Qingyan＇s Calligraphic work. Sun is particularly productive in ＂Tie＂, and hopes to use these works to educate and civilize people. While his works adopted different styles and vary depending on times and his moods, underlying the varieties is a shared basis of casual elegance. The notables are the happy ＂ZengLiu＂ Tie, the carefree ＂PingAnI-IuaXinTu＂, the variable ＂XueShuZhiYan＇, the heavy-headed ＂ZengZhao＂ Tie and his later ＂ShiZhuPuXu＂ that returned to simple elegance and beauty, among others. Sun＇s mastery of variety suggests that the once known as culturally underdeveloped Yunan and Guizhou were in fact well influenced by traditional spirits, as evidenced by the artistic surges of Calligraphy in Sun＇s works.