| Liang Yan,one of the representative calligrapher in Qianlong period of Qing Dynasty,its book style vigorous xiongyi,showed a school of its own in the practice of tianxian yan in Qing Dynasty.The reputation spread in liang’s book history is also not to mention more,such as "Three Liang yan one king" "North and South two liang" "no liang does not marry" etc.These titles are the affirmation and praise for Liang’s calligraphy.Such achievement of Liang’s calligraphy also led to more systematic and in-depth study of Liang’s yan calligraphy in China,but these papers were mostly analyzed from the source of liang’s calligraphy style and the philosophy of calligraphy,while ignoring the thought of inscription in Liang’s calligraphy view and practice.Later generations’ study of Liang yan’s thought of stele was more attributed to liang yan’s instruction of deng Shiru’s style of stele,rather than the direct reflection of liang’s thought of stele,so this paper takes Liang yan as the scholar in qing dynasty to explore his view of calligraphy and stele thought in calligraphy creation.And the reason for Liang yan’s thought of tablet science and its significance and enlightenment to the development of calligraphy in later generations.This paper is divided into five chapters,chapter one origin Liang Yan man and calligraphy,is the Liang Yan personal career and book origin a brief overview of the wind,the significance of this chapter is to make readers to shoka Liang yan build up a basic understanding of life,understand the follow-up paper also convenient to Liang Yan stone inscription rubbings thoughts to explore its’ s age and background.The second chapter,origin of Stone tablet Thought and Liang Yan era,the meaning of this chapter lies in the explanation of the difference between the concept of "stone tablet thought" and the concept of "stone tablet thought";the concept of "stone tablet thought" originated from Ruan Yuan and Kang Youwei;the relationship between Liang Yan era and the era of stone tablet thought;This prevents the reader from misreading the concept of "tablet science" before Liang Yan’s era.The embodiment of the third chapter Liang Yan stone inscription rubbings thought > is the key chapter of this article,divided into four parts,the first three parts are Liang yan direct embodiment of stone inscription rubbings thought,respectively from Liang Yang calligraphy aesthetic,determining the calligraphy,fusion and fell three Angle analysis to prove its view on calligraphy and calligraphy contained in the practice of aesthetic and determining the inscriptions,stone inscription rubbings The fourth part is the indirect embodiment of Liang Yan’s thought from Liang Yan’s influence on Deng Shiru,the poet of tablet school in qing Dynasty.The fourth chapter,the reason for Liang Yan’s thought of tablet science,is to demonstrate why Liang Yan had the thought of tablet science.This chapter explains the reason for Liang’s thought of tablet science from three aspects.The first part explains the cause of Liang’s opigraphic thought from the economic aspect;the second part explains the cause of Liang’s opigraphic thought from the cultural aspect;the third part explains the cause of Liang’s opigraphic thought from the personal aspect.The fifth chapter,liang Yan thought research enlightenment,is the significance and enlightenment of this paper for the development of contemporary calligraphy,this chapter is divided into two parts.The first part draws a conclusion from the above research,namely Liang Yan has aesthetic tolerance and harmony without diversity spirit,and expends harmony without diversity spirit has positive and profound significance to the artistic development from the perspective of artistic development.The second part discusses liang Yan’s concept of inscription fusion,first explains the meaning of inscription fusion and the background of the era,and then summarizes the methods from Liang Yan’s concept of inscription fusion to give suggestions for the fusion of inscription in contemporary calligraphy. |
