晚清尊碑抑帖下的状元书风:坚守干禄书与旁涉碑学

The Calligraphy Style of Number One Scholar in the late Qing Dynasty by Advocating Stele Calligraphy and Abandoning Copybooks:Adhering to the Ganlu Calligraphy and Stele Studies

晚清状元书法一方面呈现干禄书走上工整圆熟的极端,以陆润庠、刘春霖等人为代表,另一方面以翁同龢、徐郙、张謇为典型,呈现以碑改造帖的书法创作模式。清代状元在法帖方面的探索历程,展现了他们对于帖学与碑学交融的敏感性,与时俱进的创新精神,积极开拓帖学向更广阔的天地发展,是非常值得肯定的。他们推翻了清代专崇碑学和独尚赵董书风的固有观念,证明了晚清碑帖共进的书法发展历程,是清代帖学发展的重要支脉。

On the one hand,the calligraphy of the number one scholar in the late Qing Dynasty presents the extremes of Ganlu calligraphy’s smoothness and proficiency,represented by LU Runxiang,LIU Chunlin and others.On the other hand,with WENG Tonghe,XU Fu,and ZHANG Jian as typical examples who presents the calligraphy creation model of using steles calligraphy to remould copybooks.The number one scholar in the Qing Dynasty has their own exploration in the field of calligraphy,their sensitivity to the blending of calligraphy and stele studies,their innovative spirit of advancing with the times,and their active development of calligraphy to a broader world are very worthy of recognition.They overturned the Qing Dynasty’s inherent concept of advocating stele studies and ZHAO Dong’s calligraphy,and then proved that the development of calligraphy in the late Qing Dynasty was an important branch of the development of calligraphy in the Qing Dynasty.