【摘要】：馬一浮學貫中西,博古通今,他作品中郁郁芊芊的書卷氣,正是他文學涵養(yǎng)的自然流露。馬一浮品行高潔,無意于功名利祿,不為浮名所累,親自然遠凡塵,他蕭散簡遠的書法風格,正是他心性的自然流露。該文試圖從四個方面對馬一浮書風進行研究。首先,對馬一浮所處的時代背景,以及馬一浮的字外功對馬一浮書法產生的影響進行梳理。馬一浮歷經清朝、民國、新中國三個時期,年少時生活在清末,出于科舉考試以及日常書寫的需要,學習歐陽詢、褚遂良,有一定的楷書根基。進入民國之后,民國的書壇存在兩種局面,前期書家以崇碑為主,大家競相取法碑刻,隨著一味尊碑弊端的顯現(xiàn),一些有意識的書家開始主張碑帖融合。隨著中外交流的日益頻繁、書法教育、書法展覽、民國社團的不斷出現(xiàn),書法開始走向社會,書學觀念得到了更加廣泛的傳播。馬一浮既受到傳統(tǒng)教育的影響,又留學西方,豐富的學識、修養(yǎng),以及當時書壇碑帖相融書學觀念,都為馬一浮走上碑帖相融的書學道路埋下了伏筆。其次,對馬一浮的書學淵源,以及早期胎息歐、褚,打下堅實的楷書基礎,中期廣泛取法,走上碑帖相融的道路,晚期反饋鐘、王,回歸帖學的書學實踐過程進行分析,來對馬一浮書風的形成與發(fā)展進行梳理。通過對馬一浮書法作品的具體分析,分析他沉著的用筆、堅緊的結體、疏朗的章法、以及閑雅超脫的氣韻,來重點研究馬一浮蕭散簡遠的書法風格。馬一浮書法風格的形成與他的書學觀念密不可分,該文將在第三部分進行論述,通過對馬一浮有關書法的題跋、語錄的分析,來研究馬一浮所推崇的“依仁游藝”、“以禮樂喻書”、“儒佛道相參”、“拙入古,巧近俗”的書學觀念。第四,通過分析馬一浮碑帖相融的書學道路,以及字外功,來思考我們該如何進行書法實踐與創(chuàng)作。
[Abstract]:Ma Yi-fu studied the Chinese and Western, the ancient and modern, his works in the Yu Qianqian book, is his literary self-cultivation of natural reveal. Ma Fushi Gao Jie, no interest in fame and fortune, not by the name of the tired, pro-nature far from the world, his style of calligraphy Xiao scattered far, is his heart nature of the natural outpouring. This paper attempts to study Ma Yi Fu Shu style from four aspects. First of all, the background of Ma Yi-fu, and the influence of Ma Yi-fu 's external work on Ma Yi-fu calligraphy. Ma Yi-fu experienced three periods of Qing Dynasty, Republic of China and New China. He lived in the late Qing Dynasty when he was young. Due to the need of imperial examination and daily writing, he studied Ouyang Quan and Chu Suiliang, which had a certain foundation of regular script. After entering the Republic of China, there are two kinds of situations in the book world of the Republic of China. In the early stage, the calligraphers were mainly worshipping tablets, and they competed with each other to acquire the inscription. With the appearance of the disadvantages of blindly respecting the tablets, some conscious calligraphers began to advocate the amalgamation of the tablets. With the increasingly frequent exchanges between China and foreign countries, calligraphy education, calligraphy exhibition, the emergence of the Republic of China community, calligraphy began to go to society, the concept of calligraphy has been more widely spread. Ma Yifu was influenced by the traditional education, and studied in the West, the rich knowledge, self-cultivation, as well as the combination of calligraphy and calligraphy, all laid the foreshadowing for Ma Yifu to walk on the road of calligraphy. Secondly, the author analyzes the origin of Ma Yi-fu 's calligraphy, as well as the practical process of the book science of the early stage of Xi-ou, Ch'u, laying a solid foundation of regular script, taking a wide range of methods in the middle of the period, taking the road of integration of the tablets and placards, the late feedback bell, Wang, and returning to the study of calligraphy. To carve out the formation and development of a floating style of books. Through the concrete analysis of Ma Yi-fu 's calligraphy works, this paper analyzes his composed pen, firm knot, sparse rules, and elegant and transcendent charm to focus on the calligraphy style of Ma Yi-fu Xiao Sanjian. The formation of Ma Yifu's calligraphy style is inextricably related to his concept of calligraphy. In the third part, this article will discuss, through the analysis of the inscriptions and quotations of Ma Yifu's calligraphy, to study Ma Yifu's "Yi Ren Recreation", which is respected by Ma Yifu. The book of courtesy and music, the book of Confucianism and Buddhism, and the concept of calligraphy, which are clumsy into the ancient times, skillfully close to the vulgar. Fourthly, through the analysis of the book learning road of Ma Yi Fu tablet and its characters, we can think about how to practice and create calligraphy.
【學位授予單位】：河北大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J292.1

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本文編號：2207147