民国初期碑帖转换氛围中之沈尹默书艺

Shen Yinmo's calligraphy in the transition from stone inscription rubbings to copying models of handwriting

民国初期,特别是五四运动以降碑学帖学转换时,书法家沈尹默碑体作品占有重要地位。首先有关沈氏书法生平方面,笔者以"南沈北于"之说法建构当时书艺生态氛围。如民国初年雅集式的结社及展览机制的出现,烘托出沈氏书法风格论点。再则将本文论点核心集中在少数沈氏碑体篆书的作品。特别注重其当年临摹墓志碑帖文与其遗韵分析,依此并稍类比"北于"及两者时代共通点,企图佐证由碑转帖之过渡的主流发展。最后归结沈氏在中国现代书艺史上着重笔法与理论的帖学代表性,及其文化传承事业执着的艺术贡献。

In the early period of the Republic of China,Shen Yinmo's rubbings from stone inscriptions played an important role in the transition to copying models of handwriting.This paper first gives a brief introduction of Shen's life as a calligraphist,quoting the saying 'Shen in the south and Yu(Youren) in the north'. By analysing the characteristics of Shen's seal characters with stone inscription style and comparing them with Yu's works as well as the common points in that period,the author tries to prove that the transiton represented the general direction of calligraphy.The conclusion is that Shen stands as an important character in contemporary Chinese calligraphy history for his achievements in both theory and practice,and also for his dedication to Chinese cultural inheritance.