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悲鸿书名掩于其浩浩画名,这并不意味着悲鸿书法逊色于其绘画。徐悲鸿书法研究始终是学界徐悲鸿研究之弱项。在绘画上,悲鸿倡导写实主义,主张中西融合;在书法上,悲鸿推崇碑学,追随康有为,执弟子之礼,但其亦重帖学之精华,在碑帖同重中践履着他的书学革命。作为“五四”文化人之一员,作为纳西以兴中而以世界性的眼光拳拳坚守民族文化根底的艺术大师,悲鸿先生从大文化着眼,即从国家强盛而需文艺复兴的启蒙高度来对待艺术①,国民精神的革命是他改良中国画并进行书法实践的灵魂所在。因此在书法上悲鸿极力推崇碑学,当是他有意识的文化选择。
The title of Beihong covers its mighty name, which does not mean that Beihong’s calligraphy is inferior to the painting. Xu Beihong’s calligraphy research has always been the weakness of Xu Beihong’s study. On the painting, Beihong advocates realism and advocates the integration of Chinese and Western cultures. In calligraphy, Beihong respected the study of Buddhism, followed Kang Youwei and held discipleship, but it also emphasized the essence of study and praised him Book revolution. As a member of the “May Fourth” cultural people, as a masters of art in Naxi’s endeavor to cultivate a base of national culture with a global vision, Mr. Beihong focuses on the great culture, that is, from the strong state and the Renaissance Enlightenment highly treats art. The revolution of the national spirit is the soul of his practice of improving Chinese painting and calligraphy. Therefore, in calligraphy Bei Hung praises highly praised, when he is a conscious cultural choice.