颜真卿是唐代著名书法家,他的品格和书法都得到后人极高的赞誉。颜真卿在二王妍 美书风之外开创了一种新的审美体系,影响深远。清代学颜的书家众多,也取得很高的成 就。本文是清代颜真卿书法接受研究,力求正确理解清人对颜真卿书法的接受状况和原因。 颜真卿人书俱佳,人格因素对各个朝代颜真卿书法的接受状况都有影响。书法接受活 动与所处时代的审美标准息息相关,清代是碑学与帖学并行发展的时代,在这个审美观念 发生碰撞和转变的历史阶段,清人??出了许多独特的书法观念,这些观念都对颜真卿书法 的接受产生影响。本文通过对清人“四宁四毋”、“书分南北”、“以篆隶为本”的书法观念 的分析和解读,寻找清人书法观与颜书接受的内在联系,从而正确认识颜书在清代的接受 状况及原因。 清人对于颜真卿书法的接受与碑学发展的进程密不可分。清前期学术风气转变之际访 求碑刻带来书法审美标准的转变,傅山??出的“四宁四毋”的书法批评观影响到越来越多 的人关注和欣赏颜真卿书法中古拙、刚劲、直率的特质。清中期阮元??出“书分南北”的 观念,指出南、北两派均为正宗,颜真卿书法出于北派,继承了中原古法。“以篆隶为本” 的书法观是清代碑学兴起的思想基础,清人十分注重用字的规范与准确、崇尚篆隶字体中 蕴含的古法和精神气骨,颜真卿书法符合义理、有“篆籀气”,因此在清代很受推崇。

Yan Zhenqing is a famous calligrapher of the Tang Dynasty. His character and calligraphy have been highly praised by descendants. Different from the beautiful calligraphy style of Wang Xizhi and Wang Xianzhi, Yan Zhenqing created a new aesthetic system, which has a far-reaching influence. There are many calligraphers who learned from Yan Zhenqing’s work in the Qing dynasty, and most of them have achieved great success. This paper is a study on the acceptance of Yan Zhenqing's calligraphy in the Qing Dynasty, and the purpose of it is to correctly understand the acceptant conditions and reasons of Yan Zhenqing’s calligraphy by people of the Qing Dynasty. Yan Zhenqing was not only a great calligrapher, but a man of moral integrity. The character factor had an influence on the acceptance of Yan Zhenqing's calligraphy in different dynasties. The Qing Dynasty was an era of parallel development of Epigraphic Calligraphy and traditional calligraphy of Tie style. In the historical stage of the collision and transformation of this aesthetic concept, the people of Qing Dynasty proposed many unique calligraphy concepts, all of which influenced the acceptance of Yan Zhenqing's calligraphy. By analyzing and interpreting the calligraphy concepts of the Qing dynasty “Si Ning Si Wu”, “Calligraphy was divided into the North and South schools”, and “Calligraphy was based on official script and seal script”, this paper is trying to find the internal connection between the calligraphy view of the Qing Dynasty and the acceptance of Yan’s calligraphy style, so as to correctly understand the acceptant conditions and reasons of Yan Zhenqing’s calligraphy by people of the Qing Dynasty. The acceptance of Yan Zhenqing’s calligraphy in the Qing Dynasty is inseparable from the development of the epigraphic calligraphy. During the transformation of the academic atmosphere in the early Qing Dynasty, the aesthetic standard had changed because of the people’s seeking of steles. At that time, more and more people affected by Fu Shan’s criticism of “Si Ning Si Wu”, so they were attracted by Yan Zhenqing’s calligraphy, especially the unadorned, strong and straightforward characteristics inside. In the middle of the Qing Dynasty, Ruan Yuan put forward the concept of “Calligraphy is divided into the North and South schools”, and he pointed out that 4 both the South and the North were authentic. Yan Zhenqing's calligraphy originated from the Northern School and inherited the ancient method of the Central Plains.“Calligraphy was based on the official script and seal character” is the ideological foundation of the arisen of the Stele of the Qing Dynasty. The people of the Qing Dynasty focused on the standardization and accuracy of the words very much, and admired the traditional methods and the spirit of the official script and the seal script. Yan Zhenqing’s calligraphy was considered as full of archaic rhyme, so it was highly accepted in the Qing Dynasty.