2007-08-012024-05-17https://scholars.lib.ntu.edu.tw/handle/123456789/686841摘要：本計劃以錢泳(1759-1844)摹刻的《漢碑大觀》作為研究主題，探討嘉慶、道光時期書家如何統整乾嘉金石學者積極訪碑、考碑、校碑的成果，使其成為有系統且易於入手的書法學習典範。《漢碑大觀》原名《攀雲閣帖》，完成於嘉慶二十三年(1818)，內刻有書法家錢泳臨漢碑五十餘種，字跡清晰，檢閱便利，以為初學者的典範。錢泳如何選擇、詮釋、呈現這些風格多樣、尺寸相異、殘損程度不同的漢碑？此刻帖的出現模糊了「碑」與「帖」的區別，在提倡學習古碑篆隸的「碑學」上有什麼意義？又有什麼影響？本計劃將對《漢碑大觀》的刊刻、內容與流布作深入的研究，並欲藉此進一步廓清清中期碑學發展的複雜樣貌。<br> Abstract: The proposed project focuses on “The Grand Collection of Han Steles” compiled by Qian Yong (1759-1844) to explore how calligraphers in the early 19th century organized the vast knowledge of Han steles, newly obtained in the second half of the 18th century, into an accessible system. Originally titled “Calligraphic Models of the Pavilion of Reaching Clouds,” this collection, completed in 1818, included sections of calligraphy taken from 51 Han steles. The calligrapher Qian Yong carefully imitated the calligraphic styles of these steles, and asked his two sons to carve his writing into stone. The final result, printed and mounted in the form of a book, offered clear and organized models for calligraphy students. How did Qian Yong select, understood, and presented these steles so different in style, size, and condition? The appearance of “Calligraphic Models of the Pavilion of Reaching Clouds” blurred the line between “bei” (steles) and “tie” (model calligraphy), the popular pair of contrasting models and concepts in many discussions of Qing calligraphy. What did it mean, and how did it change the way in which later generations of calligraphers studied stele calligraphy? This project will investigate the production and distribution of “Calligraphic Models of the Pavilion of Reaching Clouds” for the first time, hoping to offer new insights into the development of calligraphy in the mid-Qing period.錢泳碑學漢碑大觀攀雲閣帖書法典範Qian Yongstudies of stelePanyunge Model Bookcalligraphic canons