|Title:||碑與帖的交會－錢泳《攀雲閣帖》在清代書史中的意義||Authors:||盧慧紋||Keywords:||錢泳、攀雲閣帖、金石學、碑學、帖學、漢碑大觀 (Qian Yong, Model Calligraphy of Panyunge (Panyunge tie), jinshixue, beixue, tiexue, Grand Collection of Han Steles (Hanbei daguan))||Issue Date:||Sep-2011||Journal Issue:||31||Start page/Pages:||205-276+324||Source:||國立臺灣大學美術史研究集刊||Abstract:||
Model Calligraphy of Panyunge (Panyunge tie), completed in 1818 by the calligrapher Qian Yong (1759-1844), was the first compilation of model calligraphy that featured exclusively ancient works of Han dynasty steles (dated from the second to the early third centuries). It marked a turning point in the history of Chinese calligraphy where ancient stone inscriptions became canonical models. Up to that time, for nearly 1500 years, works by the fourth-century calligrapher Wang Xizhi (303-361) and his followers dominated what were considered classics and worthy models in Chinese calligraphy. As antiquarianism and antiquarian studies (jinshixue) came in vogue in the 18th century, ancient bronze vessels and stone carvings turned into sought-after items. Vast numbers of them were unearthed, recorded, reproduced, and studied. Model Calligraphy of Panyunge epitomizes the efforts of scholars and calligraphers of the 19th century in organizing and making sense of these newly discovered materials. Its appearance blurred the line between the traditions of “stele” (bei or beixue) and “model calligraphy” (tie or tiexue), the popular pair of concepts in discourses of Qing calligraphy. Model Calligraphy of Panyunge was later commercially reprinted as the Grand Collection of Han Steles (Hanbei daguan) in the early 20th century, gaining an even wider circulation and exerting greater impacts. This paper investigates the production, distribution, and impacts of Model Calligraphy of Panyunge, hoping to offer new insights into the great changes in calligraphy during the Qing period.
|Appears in Collections:||藝術史研究所|
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