清代的碑、帖之争与书法谱系的变革

The Contradiction Between Inscription and Copybook and the Changes of Pedigree of Calligraphy in the Qing Dynasty

碑、帖之争是清代书法发展的显明特征,帖指的是王羲之以来的书法传统,碑则分为先秦秦汉篆隶书碑刻和以魏碑为主的北朝楷书碑刻两大类,帖派书法的延续、先秦秦汉碑刻篆隶书法的复兴、北朝碑刻书法的兴盛,三者相互交织、递进,共同构成清代书法发展的演进趋势。碑、帖之争拓展和变革了中国书法的谱系,使清代书法呈现出诸体兼备的繁荣局面,但碑派书法的兴起在某种程度上弱化了以情感抒发为根本的书法艺术创作旨趣,使清代书法在艺术境界上缺乏真正的突破。

The contradiction between inscription and copybook was the marked feature of calligraphy in the Qing Dynasty. The copybook refers to the tradition of calligraphy since Wang Xizhi, and inscription includes two categories： inscriptions with seal and official scripts of Zhuan and Liin pre-Qin, Qin and Han Dynasties, and inscriptions with standard scripts of Kai based on inscriptions of the Northern Dynasties. These were the trends of the calligraphy in the Qing Dynasty, which are the interactions among the continuation of the calligraphy of copybook, the revival of official script based on the inscriptions of pre-Qin, Qin and Han, and the thriving of calligraphy of the inscriptions of the Northern Dynasties. The contradiction between inscription and copybook extended and changed the pedigree of Chinese calligraphy. This made the calligraphy in Qing Dynasty show the prosperity with all of the types of scripts. Meanwhile, the rise of inscription study weakened the creation of calligraphy to a certain extent. These made the calligraphy in Qing Dynasty lack the real breakthroughs.