法书鉴藏与复古书风：元代奎章阁书家群体研究.pdf

中文摘要 至南宋末，书坛因尚意书风的笔法自由化而积弊难返，书法的审美标准已严 重偏离古典传统审美风格的轨道。奎章阁书家群体认同元初赵孟頫预设的书法最 高审美理想——“晋韵”书风，他们不仅在书法实践上以回归书法古典传统为己 任，还通过频繁的法书鉴藏活动在书学思想层面上对这种复古实践作了理论支 撑。 本文以复古书风和法书鉴藏为研究视角，将元中期的奎章阁书家作为一个群 体进行整体考察，一方面深入研究该群体在回归中国书法古典传统的实践过程中 对时代“复古书风”的解读，及其书法实践中的保守性与创造性；另一方面，以 法书鉴赏品评为主线，重点分析法书鉴藏对该群体书学观形成的影响及其书学退 化史观的新变。最终探讨在时代文艺复古思潮的宏观视野下，书法与绘画、诗文 之间的互通性，以及该群体在回归书法古典传统上的实践努力与理论渊源对现代 书坛的启示。 关键词：元代；奎章阁书家；复古书风；法书鉴藏；古典传统 I Abstract Abstract AAbbssttrraacctt It is difficult for the calligraphy word itself to return back to the former aesthetic standard of classical tradition which has deviated severely in the later Southern Sung Dynasty due to the skill liberalism of using the brush for the prevailing of Yi. The Calligrapher Group of Kuizhang Pavilion all approve of the JINYUN calligraphic style which is presupposed and regarded as the best aesthetic standard of calligraphy by Zhao Meng-fu. Not only do they take the recurring course of the classical tradition calligraphic style in practice as their own mission, also they support the retro practice theoretically by means of holding calligraphic appreciation and collection activities frequently onthe calligraphic ideology aspect. From the perspective of the retro calligraphic style and the calligraphic appreciation and collection, this dissertation has a comprehensive study on the calligrapher group of Kuizhang Pavilion during the Mid-Yuan Dynasty. On one hand, the dissertation presentsan intensive study on the interpretation of the contemporaryretro calligraphic style which is affected by these calligraphers during the practical recurrence of the classical tradition calligraphic style, and reveals the conservatism and creativity of calligraphy in practice. On the other hand, leading by the appreciation of