民国书家对黄道周书法接受的同与异论析

Analysis on the Acceptance of Calligraphy of Huang Daozhou by calligraphers of the Republic of China

道周书法被后世广泛接受,尤其是在清末民国时期。民国时期各种书风蓬勃发展,对黄道周书法的尊崇主要体现在体势、用笔上,但同一时期的书家对黄道周的临写呈现出不同的面貌。邓散木遵循着传统路数临黄道周,沙孟海则是在一定基础上有选择的借鉴吸收,潘天寿是在遍临诸家的基础上专攻黄道周一家,而来楚生则是以黄道周为根基,然后上追魏晋古法。产生这种现象的原因,在于各家学书理念与方法上的不同。通过对民国书家所临写的《登岱诗卷》《榕坛问业》进行总结性、整体性的横向对比,可以探究产生不同风貌的具体原因。

Calligraphy by Huang Daozhou is widely accepted by later generations,especially from the end of Qing Dynasty to the period of the republic of China.Various calligraphy styles flourished during the Republic of China.The respect for the calligraphy of Huang Daozhou was mainly reflected in the shape of calligraphy and the use of brush,but the calligraphers of the same period showed different acceptance of the Huang Daozhou.Deng Sanmu used traditional way to study his calligraphy;Sha Menghai selectively absorbed his calligraphy;Pan Tianshou specialized in his on the basis of others;Lai Chusheng,based on the Huang Daozhou,traced back to the ancient methods of Wei and Jin dynasty.The reason for this phenomenon lies in the different concepts and methods of learning calligraphy.And a summary and overall horizontal comparison of Dengdai poetry and Rongtan Wenyewritten by calligraphers during the Republic of China help to explore the specific reasons for different styles.