北朝碑刻书法是祖国文化的一支奇花,它埋没了千余年,重又放出异彩,启迪着与代书家,作放射形的多向探索,创造出多样的风格,使书法艺术现代化、多元化。
摘要:昔人刻碑,一般都有碑额,碑额是一品碑刻的题额部分,这成为约定俗成的模式。在时下展览中,不难看到某些大篇幅的楷书或行书作品中,常在额头或起笔位置以篆隶题字,实际上可以看成是碑额发展的另一种形式。其实对于碑额来说,把握并不需要占用太多的时候,但字数太少,应用施展难度大,不容易为创作服务,因而常被人们所轻视。实际上,在历代遗留下来的数不清的碑刻墓志当中,各种风格的碑额多种多样,应当成为我们学书的必要的取法资源。碑额在一定程度上可以为我们创作提供一种“奇思”。由于东汉中期以来碑刻开始盛行,因此产生了大量书刻精美的碑额,其中以汉魏隋唐时段碑额最具文献与艺术研究价值。在这里我选择北朝时期的碑额书法为研究对象,集中考察该时段碑额的存世状况、书刻风格等问题,并就部分有代表性的碑额进行着重分析。
关键词: 北朝碑额 继承 发展
Abstract:In ancient times, the inscription on the tablet usually has the size of a tablet, and it has become an established pattern. In current exhibitions, some of the large regular script or writing works, often at the end of the sky or starting position with the seal script inscription, can actually be regarded as the development of the form of the inscription. For the inscription of a tablet, it does not take much time to master, but the number of words is too small, so it is difficult to make use of it. In fact, in the epitaph of countless inscriptions left over from various dynasties, there are various kinds of tablet inscriptions, which should be the necessary resources for the collection. To some extent, the inscription on the tablet can provide a "wonder" for creation. The amount of an inscription is a part of the amount of the inscription. As the inscriptions on the inscriptions of the Eastern Han Dynasty began to prevail, a large number of inscriptions were produced, among which the amount of the inscriptions in the Han, Wei, and the Sui and Tang Dynasties was the most valuable of literature and art. Here I choose the inscription calligraphy in the Northern Dynasties as the research object, focusing on the existing situation of the inscription of the inscription, the characteristics of the times, the style of the book and the style of the inscription of the inscription in the long period of time.
Keywords: Northern Dynasty inscription inherit development
目录
1.绪论..
第一章.北朝碑额的概述
1. 1.碑的产生与发展
2. 1.北朝碑刻
2. 2.风格多样,朴拙险峻之北朝碑额
2. 3.北朝代表性碑额书体梳理(篆/隶/楷)
3. 1.北朝碑额隶楷杂糅现象
第二章.从书体谈碑额的继承
1.1 北朝篆书碑额与汉代(东汉)篆书碑额之间的比较
1.2 北朝隶书碑额与汉代(东汉)隶书碑额之间的比较
1.3 北朝楷书碑额与汉代(东汉)楷书碑额之间的比较
2.1 北朝碑额与碑文之间的联系(篆/隶/楷)
第三章.从碑额发展看书体的演变
3.1 北朝碑刻书体衰亡
3.2 北朝碑额书法与(唐/宋/元/明)的碑额书法的比较
第四章.北朝碑额对后世书法风格的影响
1. 1.清代碑学名家对于碑学的推崇
2. 1 碑额取法
结论
参考文献
致谢
第一章 北朝碑额的概述
1. 1.碑的产生与发展
先秦已有“碑”,如《礼记。祭义》:“君牵....入庙门丽于碑。”《檀弓》:"公室视丰碑。”郑注:“丰碑,新大木为之,形如石碑,于棉前后四角树之,穿中于间,为鹿卢下棺以纬绕。” 这时的“碑”是木质的,与后来的石刻之“碑”有区别。而碑刻的文字始于东汉,碑阳正文上多有“碑额”,也称作“碑头”,多题“****之碑”。汉碑在碑额处有圆孔称“碑穿”,往往不在正中位置,盖先秦丽牲、下棺之遗制;唐碑额多有浮雕或文饰;汉碑多立于土上.唐碑又有“碑座”,亦称“碑趺”,刻石成龟形。清初时期上至宋明时拓本多拓正文,鲜少顾及碑阴、碑侧、碑额,而清中叶后金石学之风大盛,才有拓其文饰者,但是碑额文饰不易拓,必亲达碑下以见详情。