【作者】 王健；

【导师】 刘宗超；

【作者基本信息】 河北大学 ， 艺术硕士（专业学位）， 2021， 硕士

【摘要】 本文围绕欧阳通书法在历史上的接受展开,通过梳理欧阳通书法接受链条,揭示不同时期的不同书家接受欧阳通书法的异同,并探寻其原因,为我们的书法实践提供有益的参照。第一章围绕欧阳通书法在当代之前的接受展开。唐至清中期以前,欧阳通书法的接受呈现边缘化的状态。清代中期,帖学衰弱,碑学兴起,书法观念巨变,随着《道因法师碑》碑学价值被发掘,欧阳通书法又开始得到关注和推崇。在域外,日本的古写经作品《金刚场陀罗尼经》极具欧阳通书法的特征,说明当时的日本也有人接受学习欧阳通的书法。第二章围绕欧阳通书法在当代的接受展开,书法在当代进入了展厅时代,展览成为主要的书法活动方式,在四年一次的全国书法篆刻展中,唐楷遇冷,入展率极低,这损害了书法生态系统的完整性,违背了“根植传统”、“多样包容”的宗旨,随着唐楷回归的呼声逐年增多,在2019年第十二届全国书法篆刻展中,取法欧阳通的多件作品入展,成为唐楷回归的急先锋。此外,在其他的多项书展中,取法欧阳通的楷书作品也频频入展,欧阳通风格的楷书创作成为当前的热点。第三章围绕书法实践的经验方法展开,在当代,书法的学习应以理性为先导,重视书法知识体系的构建,才能在书法之路上走的更加久远。更多还原

【Abstract】 This article focuses on the historical acceptance of Ouyangtong’s calligraphy,combs the chain of Ouyangtong’s calligraphy acceptance,reveals the similarities and differences in the acceptance of Ouyangtong’s calligraphy by different calligraphers in different periods,and explores the reasons,so as to provide a useful reference for our calligraphy practice.The first part focuses on the acceptance of Ouyang Tong’s calligraphy in ancient times.Before the Tang to the mid-Qing period,the acceptance of Ouyang Tong’s calligraphy was gradually marginalized.In the middle of the Qing Dynasty,calligraphy declined,stele studies rose,and the concept of calligraphy changed drastically.With the discovery of the stele value of "Tao Yin Master Stele",Ouyang Tong’s calligraphy began to receive attention and admiration again.Outside the territory,the ancient Japanese scripture writing "Vajrasana Dharani Sutra" has the characteristics of Ouyang Tong’s calligraphy,which shows that some people in Japan at that time also accepted the study of Ouyang Tong’s calligraphy.The second chapter focuses on the acceptance of Ouyang Tong’s calligraphy in contemporary times.Calligraphy has entered the exhibition hall era in contemporary times,and exhibition has become the main way of calligraphy activities.In the national calligraphy and seal cutting exhibition held every four years,Tang Kai was cold,and the participation rate was extremely low.This harmed the integrity of the calligraphy ecology and violated the principle of "inclusiveness and inclusiveness".As Tang Kai’s calls for return increased year by year,In the 12 th National Calligraphy and Seal Cutting Exhibition in 2019,many works by Ouyang Tong from France were included in the exhibition,becoming the vanguard of Tang Kai’s return.In addition,in many other book fairs,regular script works taken from Ouyang Tong are also frequently exhibited,and the creation of regular script in Ouyang Tong style has become a current hot spot.The third chapter focuses on the empirical methods of calligraphy practice.In the contemporary era,the learning of calligraphy should be guided by reason and pay attention to the construction of calligraphy knowledge system in order to go further on the road of calligraphy.更多还原