试论“摹印篆”与清代篆书“碑学”书学思潮的关系

先秦时期的大篆至秦以后小篆的广泛应用,为后来汉代的"摹印篆"奠定了基础。"摹印篆"为后来清代"碑学"的书学思潮提供了思路。本文通过对"摹印篆"历史及特点的分析,试述与清代"碑学"书学思潮之关系。

允符古初 津梁后生——邓石如书学与清代“碑学”理论关联考论

对于清代“碑学”而言,邓石如有开山之功,他上溯汉魏,走出了一条与“帖学”书法不同的道路。其书学对“帖学”的反动,对“碑学”书迹的选取,对书法线质的关注,对“尚质”书风的追求,成为清代“碑学”创作和理论生发的源头,邓石如书学特质通过技法和理论两个路径深入影响了后世碑学的发展,特别是从清代“碑学”理论三大家——阮元、包世臣、康有为的碑学理论构建,可以清晰看到邓石如的影响。

The Petrified Utopia： Monumental Propaganda, Architecture Parlante, and the Question about （De）Materialisation of Monuments

The article examines the idea of monumentality （following Evgeny Dobrenko＇s concept of ＂petrified utopia＂） in Polish Socialist literature especially by analyzing Lenin＇s ＂monumental propaganda＂ and its influence on literary thinking. Starting from some details about Lenin＇s vision and plan, the article will further present how the act of transposition of a monument into texts---the act of materialization monuments in literary signs--causes some kind of monumental spectrality or dematerialization and as a consequence, the disappearance of art in Rancieran sense in which the art disappears when it becomes transparent for itself. To prove this thesis, the article will analyze two main architectural examples： Tatlin＇s Monument to the Third International （as the great realization of Lenin＇s doctrine） and Polish Palace of Culture and Science which was the theme of many Polish Socialist poems. In conclusion, the article will also present some broader perspective of modem architectural utopias and their spectrality.

扬弃与融合——西北考古视阈下20世纪前期碑帖观寻绎

西北考古所获新材料数量巨大,主要包括汉晋简牍、楼兰残纸、敦煌写经及高昌墓砖等,是近代书法研究的巨大财富。本文以19世纪末至20世纪30年代的西北考古新材料为切入点,通过对清代“碑学”理论以来碑帖关系的整理,及对沈曾植、沙孟海、启功等人代表性书学理论的分析,旨在聚焦20世纪前期碑帖观念之转变,揭示以新出土材料为基础不断贴近中国书法史真相的进程。虽然,20世纪前期的书法新秩序并未健全,但却承载了从崇碑抑帖到碑帖互证、从刀笔之辨到回归墨迹的碑帖观转型,为20世纪后期书坛从碑帖融合到碑帖一贯开启先声。