论“支离”审美品格在黄慎书法中的体现——以与傅山书法作对比赏析为例

On the Embodiment of “Fragment” Aesthetic in Huangshen's Calligraphy——A Contrast with the Appreciation of Fushan's Calligraphy

作为明末清初的遗民书家,傅山最早在他的"四宁四毋"书法美学理论中提出"支离"艺术审美品格。半个世纪以后,黄慎以其书法艺术的形式践行了这一审美特征。本文试图把黄慎和傅山的书法进行某种向度的比较,同时进一步分析黄慎如何通过"以画入书"来有效地改造其书法的用笔和章法,并结合他们的人生经历,最终论证黄慎书法中所蕴含的"支离"审美品格。

As an adherent calligrapher in late Ming and early Qing dynasties, Fushan first put forward ＂fragment＂ as an aesthetics of cal- ligraphy in his ＂Four-must and Four-must-not＂ aesthetic theory. It happens that there is a similar case half a century later, Huangshen implemented the aesthetic feature in his calligraphy. The paper attempts to compare Huangshen＇s and Fushan＇s calligraphy in a certain dimension, and further analyzes how Huangshen effectively improved his brush use and art of composition through ＂writing as draw- ing＂. Besides, the paper finally demonstrates the ＂fragment＂ aesthetics contained in Huangshen＇ s calligraphy based on his uafommate early life.