艺术社会学语境下清代颜真卿书法接受现象探析 = Analysis on the Accepting Phenomenon of Yan Zhenqing Calligraphy in the Context of Art Sociology

다국어 초록 (Multilingual Abstract)

The phenomenon that a school of calligraphists in Qin dynasty accepted Yan Zhenqing’s calligraphy widely is a dynamic process of artistic self-discipline and heteronomy which produced by Yan Zhengqing ,the subject and the society and culture of Qin dynasty. The style of seal characters and the acceptance of the unsophisticated style in Bei Qi’s tablets are the gene of epigraphy in Yan Zhenqing’s handwriting. The upright character of both handwriting and morality are the factors of habitude that Yan Zhenqing’s handwriting was widely accepted in Qin dynasty. In addition, the admiration of Yan’s handwriting in Qin dynasty is also affected by the communication with epigraphy and calligraphy and the independent choice made by a school of calligraphists in Qin dynasty because of politics and culture.

다국어 초록 (Multilingual Abstract)

清代“文字狱”使得这一时期文人将研究领域转向金石考据，“乾嘉之风”使得传统帖学以“二王”为代表的书法审美范式受到了碑学的冲击，并出现了群体书家师法颜真卿书法的现象。本文基于阿诺德·豪泽尔的艺术社会学理论，以清代书家群体对颜真卿书法的推崇这一现象为论点，从艺术与社会的互动关系角度探讨清代书坛这一现象。碑学帖学转换、碑学地位提升是颜真卿书法在清代广被接受的影响因素之一，而颜真卿书法中碑与帖的基因同样也影响着清代书坛书家群体的选择。

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