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清代是碑学发展的兴盛时期,能在以二王为道统的书学之外另辟蹊径,形成与之颉颃的书学体系,除了独特的审美观念,也离不开特有的技法手段。书法的技法表现无外乎笔法、字法、章法。而其中“笔法”是核心,是书法艺术审美主张呈现的灵魂所在,也是碑学之所以能够独立于帖学之外的重要因素。本文主要阐释碑学笔法在清代的形成以及在发展中的变化与走向。一、“碑学”的概念简述碑学有两个概念,一是,研究考订碑刻之源流、时代、体制、拓本以及文字内容的学科被称为碑学;二是,以北魏碑刻为宗法,与“帖学”对立而称的书学流派。这一概念形成较晚,是清代乾嘉时期,金石学盛行,阮
The Qing Dynasty is the prosperous period of the development of the study of Buddhism. It can open a new path beyond the calligraphy which takes the two kings as the Taoist system and form a book study system which is antagonistic to it. Apart from the unique aesthetic conception, it also can not be separated from the unique technical means. Calligraphy skills nothing less than stroke, lettering, chapter law. And “” “calligraphy ” is the core, which is the soul of the aesthetic advocacy of calligraphy art. It is also an important factor that the reason why the study of emperors can be independent of the post-calligraphy. This article mainly expounds the formation and development of the brushwork in the Qing Dynasty. First, the concept of “Tablet” Brief introduction There are two concepts of tablet: First, the study of the source of inscriptions inscriptions, the era, system, rubbish and text content of the discipline is called tablet; second, For the patriarchal clan, and The concept of the formation of the late Qing Dynasty is the era of Qian Jia, Jinshi Xue prevalence, Nguyen