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从曾熙留存于世的众多作品来看,偏于碑类居多,但曾熙并非是一个随大流的盲从者。他对碑学有深刻的反思,有自己的认识,如乙卯《一九一五》十一月三日题李瑞清册页的一段心得文字,这段文字针对阮元所提出来的“南帖北碑论”有一些质疑。简单地说,在曾熙看来,对于书法的认识,不能仅仅局限于单纯的地域划分,碑帖虽有风格差异,却又是同源共生的。从他的个人实践来看,亦无偏激之论、偏废之举,碑帖兼收并
Judging from the many works that Zeng Xi has survived, most of his works are classics, but Zeng Xi is not a blind follower of the mainstream. He had a profound reflection on tablet studies and his own understanding. For example, he wrote an experiential writing on Li Ruiqing’s album on November 3, 1918, Tie Bei theory "There are some questions. To put it simply, in the view of Zeng Xi, the understanding of calligraphy can not be confined to mere geographical division. Although there are differences in style, the inscriptions are homologous symbiosis. From his own personal point of view, there is no extreme theory