从《兰亭序》到《松风阁》:中国书法的东晋、北宋之变

From Preface to the Orchid Pavilion to Songfeng Pavilion:Chane of Chinese Calligraphy in the Eastern Jin and the Northern Song Dynasties

东晋王羲之《兰亭序》与北宋黄庭坚的《松风阁》两件经典行书的美学风格、时代背景、书家内心世界、创作动因等方面存在较大的区别。从晋书尚韵、宋书尚意的总体特征中可以探索二者的美学风格;王羲之、黄庭坚人生经历、出生背景、时代思想中也可以研究两件作品风格诞生的不同之处,但在书法笔法、结构、章法形式方面两件作品仍然保持一定的书法本质规律及稳定性。《兰亭序》和《松风阁》的多维角度比较,对于探索中国书法发展规律以及当代书法创作具备一定学术价值。

There is much difference in aesthetic styles, historical background, inner world of calligraphers, creation motivation, etc. between Preface to the Orchid Pavilion by Wang Xizhi in Eastern Jin Dynasty and Songfeng Pavillion by Huang Tingjian in Northern Song Dynasty. Their aesthetic styles can be explored from the general characteristics of Jin calligraphy’ s lasting charm and Song calligraphy’ s artistic conception, while the origin of their different styles can be studied from the two peoples’ life experiences, family backgrounds and ideas of their times. However, the two works remain the essence of calligraphy rules and stability from the perspectives of techniques, structures and compositions. Their multi-dimensional comparison has certain academic value for exploring the development and contemporary creation of Chinese calligraphy.