朱益藩书法的“旧”与“新”

The“Old”and“New”Elements in Zhu Yifan's Calligraphy

朱益藩的书法以往被认为是清末民国时期的“守旧派”,课题组认为朱氏书法有新旧之分,并非完全守旧。朱益藩书法中的“旧”指的是他的馆阁体书风,在那时激进的学碑的风气中,朱益藩书法显得温和冷静。民国后朱益藩借为内廷清理书画之机,得览深藏内府的历代名迹,为书法复归帖学带来了“新”的转型,也成为了那个时代的先行者。

Zhu Yifan's calligraphy was previously categorized into the“conservative school”in the late Qing Dynasty and the Republic of China.This paper believes that Zhu's calligraphy actually contains both conservative and pioneering elements.The conservative part in Zhu's calligraphy refers to the“Guangeti”style(The style was formed in the writing training of imperial examination and used to serve the court).With the rise of stele studies,Zhu's works appeared mild and reserved.After the Republic of China was established,Zhu took the opportunity of sorting out the calligraphic works and paintings for the imperial court and thus came to appreciate many celebrated works hidden in the imperial palace,which brought about a“new”transformation for calligraphy to return to the traditional style,and he became a pioneer of that era.