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波士顿大学艺术史系助教白谦慎先生将于今年5月出版新书《傅山的世界:17世纪中国书法的变化》(哈佛大学东亚研究中心出版)。
现将该书介绍给大家。
For 1,300 years, Chinese calligraphy was based on the elegant art of Wang Xizhi (A.D. 303-361). But the seventeenth-century emergence of a style modeled on the rough, broken epigraphs of ancient bronzes and stone artifacts brought a revolution in calligraphic taste. By the eighteenth century, this led to the formation of the stele school of calligraphy, which continues to shape Chinese calligraphy today.
A dominant force in this school was the eminent calligrapher and art theorist Fu Shan (1607-1685). Because his work spans the late Ming-early Qing divide, it is an ideal prism through which to view the transformation in calligraphy.
Rather than seek a single explanation for the change in calligraphic taste, the author demonstrates and analyzes the heterogeneity of the cultural, social, and political processes behind it. Among other subjects, the book covers the late Ming interaction between high and low culture; the role of publishing; the Ming loyalist response to the Qing; and early Qing changes in intellectual discourse. In addition to the usual approach of art historians, it adopts the theoretical perspectives of such fields as material culture, print culture, and social and intellectual history.
后王羲之时代的1300年之间的书法,一直笼罩在他的典雅书风之下。但从17世纪开始,由于古代金石铭文的发掘重现,给书法的审美趋向带来了巨大的变化。到了18世纪,这种变化引起了碑学的兴起,并一直影响到当代中国书法的形态。
杰出的书法家和理论家傅山是这场书风大变局中的一员主将。他和他的作品处于明清之纪的动荡中,是透视书法大变局的一个极好个案。
本书作者没有去为书法的变化寻求一种单一的解释,他分析了隐藏在书法的变化之后有关的文化、社会、政治等种种变革。另一方面,本书涉及到晚明时代高层和低层文化之间的互动、出版业在文化中的作用、晚明遗民对清庭的态度以及清初的知识分子政策等等课题。在写作上,本书不仅采用了一般书法史的写作方式,还吸收了诸如文化物质史、印刷史、社会和知识分子史等许多领域的观点和方法。(圆悟 译)
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