顏真卿與盛中唐書法風(fēng)格的轉(zhuǎn)變

1、1學(xué)校代碼： 10270 分類號(hào)： B835 學(xué)號(hào)： 122201247碩 士 學(xué) 位 論 文顏真卿與盛中唐書法風(fēng)格的轉(zhuǎn)變學(xué) 院 ： 哲 學(xué) 學(xué) 院專 業(yè) ： 美 學(xué) 專 業(yè)研 究 方 向 ： 藝 術(shù) 美 學(xué)研究生姓名： 尉 珊 珊指 導(dǎo) 教 師 ： 崔 宜 明完 成 日 期 ： 2 0 1 5 . 3 . 13AbstractAs we all know, during the Tang dynasty, due to the gre

2、at national power, theeconomic development ,cultural prosperity and the open mind easing, coupled withthe close exchanges between countries, literature and art achieved an unprecedentedprosperity ,which created a good po

3、litical, economic and cultural environment for TangDynasty calligraphy. The social life, cultural fashion and aesthetic evolution of the TangDynasty, had a profound influence on the change and transition of the Tang Dyna

4、stycalligraphy. The aesthetic idea in the Tang dynasty went through four stages,includingthe early Tang, the flourishing Tang ,the mid Tang and the later Tang Dynasty.Theaesthetic orientation of each stage varies,but alt

5、ernate with each other,closely related;showed a progressive and dynamic alternate change and transition.The art of calligraphywas influenced by it, so does its dynamic transition.In addition,the art of calligraphyhas its

6、 own inherent law.In conclusion,it is the result of interaction between internal andexternal causes.Research on Tang Dynasty calligraphy style changes must adhere to theprinciple that combining theory with practice. On t

7、he one hand,we need pay attentionto the research on the theory of Tang dynasty calligraphy,calligraphy and poetry, as wellas later generations of literary criticism on Tang dynasty calligraphy.On the otherhand,we need to

8、 take into account of the reality of so many masters of calligraphy andtheir works in the Tang dynasty,thus just choosing the most representative work whichwas recognized by the historical and far-reaching book to have a

9、 typical research ontheir work and themselves.These two complement each other and reflect the differentperiods of the Tang dynasty calligraphy styles and aesthetic and cultural landscapes.The Tang Dynasty produced a host

10、 of great calligraphers and the prosperity ofcalligraphy theory.Throughout the history of the calligraphy in the Tang Dynasty. Wecan easily find that in different historical periods of the Tang Dynasty ,there werediffere

11、nt styles of calligraphy art. And calligraphy art style changed from“Elegant” stylein the early Tang Dynasty’s to“Magnificent”style in the middle of the Tang Dynasty’s .The framework of this article consists of five chap

12、ters. The first chapter discussed themeaning and characteristics of Chinese aesthetics “Elegant” style and “Magnificent”style. The second chapter mainly analysed the early period of Tang Dynasty’s uniformcharacter of the