【摘要】：乾嘉時(shí)期,嶺南書(shū)法有了長(zhǎng)足的發(fā)展,涌現(xiàn)出在全國(guó)知名度較高的書(shū)法家,其中馮敏昌就是此時(shí)期的廣東書(shū)法界的代表人物,與黎簡(jiǎn)、宋湘、吳榮光并稱(chēng)為“清中葉嶺南四大書(shū)家”。本文通過(guò)四大部分對(duì)馮敏昌的書(shū)法進(jìn)行研究,第一部分概述其生平行歷與交游及對(duì)其書(shū)法的影響。第二部分分析他的書(shū)法藝術(shù)風(fēng)格特點(diǎn)及學(xué)書(shū)經(jīng)歷,詳細(xì)闡述其書(shū)法風(fēng)格的來(lái)源,行書(shū)以晉為宗,師法二王;隸書(shū)潛心精研《華山碑》;楷書(shū)尤擅小楷,又為北碑之先導(dǎo)。第三部分對(duì)馮敏昌書(shū)法美學(xué)思想進(jìn)行論述,如“以筆作書(shū),第一執(zhí)法”的執(zhí)筆觀;主張書(shū)法、繪畫(huà)、詩(shī)歌風(fēng)格與人品統(tǒng)一的“書(shū)畫(huà)同源”觀;尤其是其最具特色的“手腕須和,筆頭須重,寧拙毋巧,寧蒼毋秀,寧樸毋華,寧用禿筆,毋用尖筆”的“四寧四毋”書(shū)法美學(xué)觀。第四部分探討馮敏昌的書(shū)法藝術(shù)成就及其在嶺南書(shū)法史上的地位和影響,雖然其書(shū)法作品風(fēng)格特點(diǎn)不夠顯著,但是其書(shū)法學(xué)美學(xué)觀對(duì)嶺南乃至全國(guó)影響重大,在碑學(xué)方面有超前的眼光,對(duì)嶺南書(shū)法家有引領(lǐng)先路的作用;在書(shū)法技法尤其執(zhí)筆法方面對(duì)嶺南筆法傳承影響深遠(yuǎn)。
[Abstract]:During the Qianjia period, Lingnan calligraphy made great progress, and there emerged calligraphers who were well known throughout the country. Feng Minchang was the representative figure of Guangdong calligraphy circles in this period, and Li Jian, Song Xiang, Wu Rongguang was called "the four great calligraphers of Lingnan in the middle of Qing Dynasty". In this paper, Feng Minchang's calligraphy is studied in four parts. The first part is an overview of his parallel calendar and interaction and its influence on his calligraphy. The second part analyzes the characteristics of his calligraphy art style and his learning experience, and expounds the origin of his calligraphy style in detail. The running script takes Jin as the Zong, the second king of the law; the official script is devoted to the study of "Hua Shan Stele"; the regular script is especially good at small block letters, and it is also the forerunner of the North Stele. The third part discusses Feng Minchang's aesthetic thought of calligraphy, such as "using pen as a book, first enforcing the law", advocating the unity of calligraphy, painting, poetic style and character. Especially its most characteristic "wrist beard and, the pen must be heavy, rather unskillful, rather than show, rather simple, prefer to use a pen, rather than a sharp pen" four Ning four "calligraphy aesthetic view. The fourth part discusses Feng Minchang's artistic achievement of calligraphy and its position and influence in the history of Lingnan calligraphy. Although the style of his calligraphy works is not remarkable enough, his aesthetic view of calligraphy has a great influence on Lingnan and even the whole country. In the aspect of tablet study, he has the foresight to the Lingnan calligrapher to lead the way; In calligraphy techniques, especially in the execution of the Lingnan stroke heritage far-reaching impact.
【學(xué)位授予單位】：暨南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J292.1

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