沈曾植的碑派书风及其书法批评的再认识——以《沈曾植寐叟题跋》书法为例

On Shen Zengzhi’s Calligraphy Style of Stele School and His Calligraphy Criticism——A Case Study of the Inscription and Postscript of Meisu

沈曾植作为清末民初碑派书法的中坚,在碑体融合的书法创作道路上的贡献是很明显的。传统的沈曾植书学研究,对于沈氏题跋墨迹很少集中梳理、比对分析。通过新出版沈曾植的《寐叟题跋》墨迹的分析,结合其现存的作品,对其碑派书风的风格类型及渊源、书学思想形成原因进行再分析,进一步涉及沈氏书法批评方面,以求获得对沈曾植更为全面、客观的认知。勾勒沈曾植书风的类型、分期,寻找碑派书风在诸字体中的融通现象,理出其创作中碑帖派书风之间的关系,并从书法批评的角度重新认识沈氏碑派书法的价值与意义。

Shen Zengzhi, as the backbone of tablet calligraphy in the late Qing Dynasty and the early Republic of China, made an obvious contribution to the calligraphy creation of tablet integration. The traditional studies of Shen Zengzhi’s calligraphy seldom focused on combing, comparing and analyzing the ink of Shen’s inscriptions and postscripts. Through the analysis of the ink in the newly published Inscription and Postscript by Shen Zengzhi, combined with his existing works, this paper reanalyzes the style type and origin of his tablet calligraphy style and the causes of the formation of calligraphy thought, and further involves Shen’s calligraphy criticism so as to obtain a more comprehensive and objective understanding of Shen Zengzhi. This paper outlines the types and stages of Shen Zengzhi’s calligraphy style, looks for the integration of the calligraphy style of tablet school in various fonts, straightens out the relationship between the calligraphy style of tablet school in his creation, and reunderstands the value and significance of Shen’s tablet school calligraphy from the perspective of calligraphy criticism.