论桂林摩崖石刻研究对“八桂书风”构建的历史价值
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摘要
梳理解析桂林摩崖石刻上的传统书法资源,探究桂林摩崖石刻的研究对“八桂书风”构建的历史价值,这应是研究者目前最为直接的现实问题。
本文梳理部分唐宋历史遗存及相关文化信息,意在以孕育“形成一派地域书法风格”的氛围,使“八桂书风”的打造“背靠到一面历史的厚墙”。
唐宋时桂林本土书家在孕育、萌生、成长着的同时,使这块广袤红土地上充溢着浓厚文化气氛,并使书法艺术得以争奇斗艳,熠熠生辉的是“或迁谪之经从,宦游之侨寓”的旅桂书家及其人虽未至桂林,然有辗转遗存于桂林书迹的书者,和张九龄、李商隐、周敦颐、程颢、程颐、赵师恕、徐梦莘、梁安世等诗人文学家画家们。在他们“三股势力”诗文唱和的余韵里,书画挥写的墨彩中,桂林本土涌现出一大批令人青眼相加的文人,如曹邺、赵观文、王世则、欧阳辟、毛自知等。在这些本土文人熠熠生辉的同时,本土书家们也逐渐成长起来。
打造“八桂书风”文化品牌,探讨广西地域性的书法艺术,探索不同于其他地域的书法风格,使其与“漓江画派”、“文学桂军”等一起成为广西文化艺术的又一品牌,在广西书法界业已形成共识。
所谓“八桂书风”,潘琦先生《八桂书风初探》指出,即研究探讨八桂书法家书法艺术的风格、风范、风度等方面,是一个地域性书法家群体的概念。所谓“八桂书风”即生活和工作在广西的书法家,在从事书法艺术创作实践中,受广西自然环境、人文环境、生活环境的影响,受地域文化和民族文化的熏陶,形成了一种对书法艺术追求的目标一致、书法审美的心理相通、书法理念相似、价值观念相同的书法艺术风格,称之为“八桂书风”。这一创新提法,具有重要的文化价值和现实意义
在桂林书法历史上特点鲜明、显著,有较强代表性的唐宋时期桂林摩崖石刻书法遗迹、书者,其数量之巨、水平之高实为唐宋书法运动具体而微的缩影。故桂林传统书法资源当为桂林书法、广西书法发展之本,创造之根。认识其对打造“八桂书风”重大的资源性意义,探求其对当下打造“八桂书风”书法理论及创作的资源化转化的方式、途径,探寻其对“八桂书风”构建的意义与价值,乃是重中之重的基础性工作。
唐宋时桂林甚至广西整个文化气氛是外向性,有较强的文化开放性,书法发展尤著。这于“八桂书风”的打造尤有启示价值。
数量庞大之旅桂书家、书迹作者群而综观唐宋桂林或广西书法发展,最显著、最突出的特色乃为强烈的文化开放性,甚至整个文化氛围都是外向性的。
唐宋旅桂书家及遗桂书作因其无序的社会流向而逐渐为桂地本土书法传统的有机部分,现在的八桂书家们有序和向心运动,走出去汲纳他人以为己有,造就着正在运行着的“八桂书风”。
一个地区历史文化的形成、发展绝不可孤立、封闭,它必须与周边、外来文化不断地接触、融合。必须有一种阔大的包容性与开放性,接纳外来文化精英,增其营养,不断发展壮大,并茁壮成长。这或许是桂林摩崖书法发展启示于“八桂书风”的构建最有意义的价值观念。衡量一个地区书法是否繁盛不仅体现在其张开胸怀,包容汲取融会区外书法者的长处,更主要的是能够输出自己的书法艺术。这也应是书法开放性观念的应有之意。
At present, the status on Guilin Cliff research at home and abroad can be slightly summarized as follows: The basic research such as Collected, cataloged, Search Series stone inscriptions. The comprehensive study. The Project, applied research .The Guilin Cliff research had a richer foundation at a certain degree. The Guilin cliff face carved stone, however, and relations the calligraphy art researcher and the research results is actually extremely rare. It also continued to be initiative in the initial stage, let alone the deep research of the structure and the system of Guilin Cliff. In particular ,the research on the relations between the Guilin Cliff carving and creating a“Baguishufeng”are almost vacancies.
The pond is like a mirror, because it has the source of flowing water. Combing and analysing the traditional calligraphy resources of Guilin Cliff and the study on“Baguishufeng”historical value are the researchers' present most immediate reality.
In order to foster“formed a geographical calligraphy style”atmosphere, to make the building of“BaGuiShuFeng”“back to the history source”, this essay combs some work of the history and related cultural information of the Tang and Song dynasties .
While Guilin local calligraphers during the Tang and Song gave birth, initiate and grow to make this piece of the vast expanse of red earth imbued with a rich cultural atmosphere. What makes the art of calligraphy contests and brilliant is the calligraphers who moves exiles it to pass through from Guilin and the government official living abroad, such as Zhang Jiuling, Li Shangyin, Zhou Dunyi, Cheng Hao, Cheng Yi, Zhao Shishu, Xu Mengxin, and Liang Anshi ect..In their lasting rhythm“three forces”of Poems and Singing, the calligraphy and painting scrolls written , Guilin foster large numbers of local artists of the literati, such as Cao Ye, Zhao Guanwen, Wang Shize, Ouyang Pi, Mao Zizhi and so on. during this glorious period, while the local literati, local calligraphers have gradually grown up.
To create“Baguishufeng”cultural brand and explore the Guangxi regional art of calligraphy, to explore the calligraphy style different from other regions, to make the“Lijiang River school of painting”and“Literature Guangxi”become another culture and the arts of Guangxi brand. The consensus has been formed in Guangxi calligraphy circle.
Mr. Pan Qi, points out in his work“the originali exploration of‘Baguishufeng’”, The so-called“Baguishufeng”that the study was to investigate Bagui calligrapher ,calligraphy style, style, grace, etc., it is a regional calligrapher group concept , that is , the calligraphers living and working in Guangxi, engaged in the practice of calligraphy art influenced by Guangxi natural environment, human environment and living environment, influenced by the local culture and national culture , forming a kind of art of calligraphy to pursue the same objectives and the psychological similarities aesthetic calligraphy, calligraphy and philosophy is similar to the values of the same art of calligraphy style, called“Baguishufeng”.
The idea of“Baguishufeng”is put forward after suming up Guangxi calligraphy, drawing conclusions and refining. This innovative formulation has important cultural value and practical significance.
The Tang and Song Dynasties Calligraphy remains on Guilin Cliff with distinct characteristics, significantly and strong representation in the Guilin calligraphy history are rich and great, it is the miniature of Tang and Song Dynasties calligraphy movement. Guilin traditional calligraphy resources , thus, are the calligraphy development of the Guangxi. It is the most important basic work to recognize these great significance in the resources of creating“Baguishufeng”, to explore its way nowdays to create“Baguishufeng”calligraphy theory and creative transformation of of resources, approaches, to explore its meaning and value of construction of“Baguishufeng”.
During Tang and Song Dynasties , the culture atmosphere of Guilin and even Guangxi is export-oriented, it had a strong culture of open. Especially embodied in the development of calligraphy.
There are many calligraphy author in Tang Dynasty who were influnced by Guilin culture, such as Chu Sui-liang, Yuan Jie, Zheng Shuqi, HanFangming, Li Bo,Yuan Hui etc. Even though some people had not been to Guilin, but their calligraphy was there in Guilin. for example Li Yi, Yan Zhenqing, Han Qiushi, Liang Yangbing, Liu zongyuan etc. there were also some activities of the calligrapher and left part monuments in other parts of Guangxi, such as Shen Chuanshi. That thing of Song Dynasty is more prosperous,than that of Tang Dynasty. There were some calligraphers who had been to Guilin named Liu Kai, Wu Yi, Guan Qi, Zeng Bu, Huang Tingjian, Mi Fu, Wang Fan, Sun Di, Li Zi, Fan Chengda, Zhang Xiao xiang, Zhu Xiyan,Chen Dang, Fang Xinru, Ke Dengdi, Chen Kongshuo etc. There were some people who had not been to Guilin, but their calligraphy was remained in Guilin. There were so Many calligraphers like this and their work also had high qualities. Such as Shi Yannian, Cai Jing, Mi Youren, Zhao Ji, Zhao Gou, Lu You, Fang Shiyao, Liu Shenji and so on. There were some calligraphers who moves exiles it to pass through from Guilin and the government official living abroad, these famous artists are Du Shuyuan, SiMa Guang, Su Shi, Shi Wei etc.. Above all, by the large number of calligraphers listed above who had been to Guilin and by the works those calligraphers left , we know that the most significantly and prominent feature of Guangxi or Guilin calligraphy development since Tang and Song Dynasty is her strong culture of openness---her entire culture atmosphere is opened.
Those calligraphers who had been to Guilin in Tang and Song Dynasty and their remained works was coming to become an importment part Local territory calligraphy tradition Chinese cinnamon of brigade book family and the organic part of local calligraphy tradition in Guilin because of the different society flow direction.“Baguishufeng”nowadays are working orderly and in the same direction. They went out to absorb other people's strengths, They are bringing up the running modern“Baguishufeng”
The sea accepts all kinds of river , has rong to be indeed big. The formation and development of a regional history and culture, must not be isolated and closed. It must, unceasingly, get in touch and fuse with the periphery and outside culture . It must have a big broad kind of containing nature and the opening to the outside world, come to admit outside culture on this account outstanding person. In order to increase nutrition , grow largely, and be maturing well. This probably is that Guilin cliff the enlightenment that the precipice calligraphy develops. This probably is the most meaningful values that Guilin cliff enlightens the calligraphy develops to“eight, groundless Chinese cinnamon book”structure.
Measures of whether an area of calligraphy flourished not only in its open minded, tolerant calligraphy lessons findings derived from outside the region's strengths, but also more important to be able to export their own art of calligraphy. This is what the concept of open-ended calligraphy should mean.
本文梳理部分唐宋历史遗存及相关文化信息,意在以孕育“形成一派地域书法风格”的氛围,使“八桂书风”的打造“背靠到一面历史的厚墙”。
唐宋时桂林本土书家在孕育、萌生、成长着的同时,使这块广袤红土地上充溢着浓厚文化气氛,并使书法艺术得以争奇斗艳,熠熠生辉的是“或迁谪之经从,宦游之侨寓”的旅桂书家及其人虽未至桂林,然有辗转遗存于桂林书迹的书者,和张九龄、李商隐、周敦颐、程颢、程颐、赵师恕、徐梦莘、梁安世等诗人文学家画家们。在他们“三股势力”诗文唱和的余韵里,书画挥写的墨彩中,桂林本土涌现出一大批令人青眼相加的文人,如曹邺、赵观文、王世则、欧阳辟、毛自知等。在这些本土文人熠熠生辉的同时,本土书家们也逐渐成长起来。
打造“八桂书风”文化品牌,探讨广西地域性的书法艺术,探索不同于其他地域的书法风格,使其与“漓江画派”、“文学桂军”等一起成为广西文化艺术的又一品牌,在广西书法界业已形成共识。
所谓“八桂书风”,潘琦先生《八桂书风初探》指出,即研究探讨八桂书法家书法艺术的风格、风范、风度等方面,是一个地域性书法家群体的概念。所谓“八桂书风”即生活和工作在广西的书法家,在从事书法艺术创作实践中,受广西自然环境、人文环境、生活环境的影响,受地域文化和民族文化的熏陶,形成了一种对书法艺术追求的目标一致、书法审美的心理相通、书法理念相似、价值观念相同的书法艺术风格,称之为“八桂书风”。这一创新提法,具有重要的文化价值和现实意义
在桂林书法历史上特点鲜明、显著,有较强代表性的唐宋时期桂林摩崖石刻书法遗迹、书者,其数量之巨、水平之高实为唐宋书法运动具体而微的缩影。故桂林传统书法资源当为桂林书法、广西书法发展之本,创造之根。认识其对打造“八桂书风”重大的资源性意义,探求其对当下打造“八桂书风”书法理论及创作的资源化转化的方式、途径,探寻其对“八桂书风”构建的意义与价值,乃是重中之重的基础性工作。
唐宋时桂林甚至广西整个文化气氛是外向性,有较强的文化开放性,书法发展尤著。这于“八桂书风”的打造尤有启示价值。
数量庞大之旅桂书家、书迹作者群而综观唐宋桂林或广西书法发展,最显著、最突出的特色乃为强烈的文化开放性,甚至整个文化氛围都是外向性的。
唐宋旅桂书家及遗桂书作因其无序的社会流向而逐渐为桂地本土书法传统的有机部分,现在的八桂书家们有序和向心运动,走出去汲纳他人以为己有,造就着正在运行着的“八桂书风”。
一个地区历史文化的形成、发展绝不可孤立、封闭,它必须与周边、外来文化不断地接触、融合。必须有一种阔大的包容性与开放性,接纳外来文化精英,增其营养,不断发展壮大,并茁壮成长。这或许是桂林摩崖书法发展启示于“八桂书风”的构建最有意义的价值观念。衡量一个地区书法是否繁盛不仅体现在其张开胸怀,包容汲取融会区外书法者的长处,更主要的是能够输出自己的书法艺术。这也应是书法开放性观念的应有之意。
At present, the status on Guilin Cliff research at home and abroad can be slightly summarized as follows: The basic research such as Collected, cataloged, Search Series stone inscriptions. The comprehensive study. The Project, applied research .The Guilin Cliff research had a richer foundation at a certain degree. The Guilin cliff face carved stone, however, and relations the calligraphy art researcher and the research results is actually extremely rare. It also continued to be initiative in the initial stage, let alone the deep research of the structure and the system of Guilin Cliff. In particular ,the research on the relations between the Guilin Cliff carving and creating a“Baguishufeng”are almost vacancies.
The pond is like a mirror, because it has the source of flowing water. Combing and analysing the traditional calligraphy resources of Guilin Cliff and the study on“Baguishufeng”historical value are the researchers' present most immediate reality.
In order to foster“formed a geographical calligraphy style”atmosphere, to make the building of“BaGuiShuFeng”“back to the history source”, this essay combs some work of the history and related cultural information of the Tang and Song dynasties .
While Guilin local calligraphers during the Tang and Song gave birth, initiate and grow to make this piece of the vast expanse of red earth imbued with a rich cultural atmosphere. What makes the art of calligraphy contests and brilliant is the calligraphers who moves exiles it to pass through from Guilin and the government official living abroad, such as Zhang Jiuling, Li Shangyin, Zhou Dunyi, Cheng Hao, Cheng Yi, Zhao Shishu, Xu Mengxin, and Liang Anshi ect..In their lasting rhythm“three forces”of Poems and Singing, the calligraphy and painting scrolls written , Guilin foster large numbers of local artists of the literati, such as Cao Ye, Zhao Guanwen, Wang Shize, Ouyang Pi, Mao Zizhi and so on. during this glorious period, while the local literati, local calligraphers have gradually grown up.
To create“Baguishufeng”cultural brand and explore the Guangxi regional art of calligraphy, to explore the calligraphy style different from other regions, to make the“Lijiang River school of painting”and“Literature Guangxi”become another culture and the arts of Guangxi brand. The consensus has been formed in Guangxi calligraphy circle.
Mr. Pan Qi, points out in his work“the originali exploration of‘Baguishufeng’”, The so-called“Baguishufeng”that the study was to investigate Bagui calligrapher ,calligraphy style, style, grace, etc., it is a regional calligrapher group concept , that is , the calligraphers living and working in Guangxi, engaged in the practice of calligraphy art influenced by Guangxi natural environment, human environment and living environment, influenced by the local culture and national culture , forming a kind of art of calligraphy to pursue the same objectives and the psychological similarities aesthetic calligraphy, calligraphy and philosophy is similar to the values of the same art of calligraphy style, called“Baguishufeng”.
The idea of“Baguishufeng”is put forward after suming up Guangxi calligraphy, drawing conclusions and refining. This innovative formulation has important cultural value and practical significance.
The Tang and Song Dynasties Calligraphy remains on Guilin Cliff with distinct characteristics, significantly and strong representation in the Guilin calligraphy history are rich and great, it is the miniature of Tang and Song Dynasties calligraphy movement. Guilin traditional calligraphy resources , thus, are the calligraphy development of the Guangxi. It is the most important basic work to recognize these great significance in the resources of creating“Baguishufeng”, to explore its way nowdays to create“Baguishufeng”calligraphy theory and creative transformation of of resources, approaches, to explore its meaning and value of construction of“Baguishufeng”.
During Tang and Song Dynasties , the culture atmosphere of Guilin and even Guangxi is export-oriented, it had a strong culture of open. Especially embodied in the development of calligraphy.
There are many calligraphy author in Tang Dynasty who were influnced by Guilin culture, such as Chu Sui-liang, Yuan Jie, Zheng Shuqi, HanFangming, Li Bo,Yuan Hui etc. Even though some people had not been to Guilin, but their calligraphy was there in Guilin. for example Li Yi, Yan Zhenqing, Han Qiushi, Liang Yangbing, Liu zongyuan etc. there were also some activities of the calligrapher and left part monuments in other parts of Guangxi, such as Shen Chuanshi. That thing of Song Dynasty is more prosperous,than that of Tang Dynasty. There were some calligraphers who had been to Guilin named Liu Kai, Wu Yi, Guan Qi, Zeng Bu, Huang Tingjian, Mi Fu, Wang Fan, Sun Di, Li Zi, Fan Chengda, Zhang Xiao xiang, Zhu Xiyan,Chen Dang, Fang Xinru, Ke Dengdi, Chen Kongshuo etc. There were some people who had not been to Guilin, but their calligraphy was remained in Guilin. There were so Many calligraphers like this and their work also had high qualities. Such as Shi Yannian, Cai Jing, Mi Youren, Zhao Ji, Zhao Gou, Lu You, Fang Shiyao, Liu Shenji and so on. There were some calligraphers who moves exiles it to pass through from Guilin and the government official living abroad, these famous artists are Du Shuyuan, SiMa Guang, Su Shi, Shi Wei etc.. Above all, by the large number of calligraphers listed above who had been to Guilin and by the works those calligraphers left , we know that the most significantly and prominent feature of Guangxi or Guilin calligraphy development since Tang and Song Dynasty is her strong culture of openness---her entire culture atmosphere is opened.
Those calligraphers who had been to Guilin in Tang and Song Dynasty and their remained works was coming to become an importment part Local territory calligraphy tradition Chinese cinnamon of brigade book family and the organic part of local calligraphy tradition in Guilin because of the different society flow direction.“Baguishufeng”nowadays are working orderly and in the same direction. They went out to absorb other people's strengths, They are bringing up the running modern“Baguishufeng”
The sea accepts all kinds of river , has rong to be indeed big. The formation and development of a regional history and culture, must not be isolated and closed. It must, unceasingly, get in touch and fuse with the periphery and outside culture . It must have a big broad kind of containing nature and the opening to the outside world, come to admit outside culture on this account outstanding person. In order to increase nutrition , grow largely, and be maturing well. This probably is that Guilin cliff the enlightenment that the precipice calligraphy develops. This probably is the most meaningful values that Guilin cliff enlightens the calligraphy develops to“eight, groundless Chinese cinnamon book”structure.
Measures of whether an area of calligraphy flourished not only in its open minded, tolerant calligraphy lessons findings derived from outside the region's strengths, but also more important to be able to export their own art of calligraphy. This is what the concept of open-ended calligraphy should mean.
引文
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[5]李时亮(生卒年不详),祖籍河南仪封,落籍广西博白人,字端夫,北宋嘉祐二年(1057)登“榜眼及第”,熙宁间任桂州录事参军,后移知廉州(广西合浦),元丰元年(1078)知全州。其工诗文,善书法,精于楷、行草。熙宁八年(1075)游桂林南溪山白龙洞,题诗刻石洞壁,书法遒劲雅丽,藏露自如,虚实得宜,体势舒展而宽博闲雅。
[6]李振堂(生卒年不详),广西融水县人,贡生,善书法。宋嘉熙二年(1238)二月书宋理宗封梁忠祐侯、吴显祐侯敕文,刻于融水县老君洞,并摹刻陈希夷草书“寿”字于老君洞。
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[19]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):91.
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[21]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):91.
[22]周俊杰.当代书法复兴运动中的河南书坛---改革开放30年的河南书坛[J].中州大学学报,2009,26(1):13.
[23]周俊杰.当代书法复兴运动中的河南书坛---改革开放30年的河南书坛[J].中州大学学报,2009,26(1):13-14.
[24]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):91.
[25]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):91.
[26]黎东明.当代中国书法现代性的艺术表达机制[J].广西师范大学学报(哲学社会科学版),2004,40(3):60-65 .
[27]艾略特,李赋宁(译).艾略特文学论文集[M].南昌:百花洲文艺出版社,1994.
[28]周俊杰.当代书法复兴运动中的河南书坛---改革开放30年的河南书坛[J].中州大学学报,2009,26(1):13.
[29]石锋.“八桂书风”的创作观念与技术取向[J].南方文坛,2008,125(4):95-96.
[30]石锋.“八桂书风”的创作观念与技术取向[J].南方文坛,2008,125(4):95-96.
[31]刘德宏.关于“八桂书风”的思考[J].南方文坛,2008,125(4):97-98.
[1]张益桂.广西石刻人名录[M].桂林:漓江出版社,2008.
[2]桂林市文物管理委员会.桂林石刻[M].(内部资料)1981.
[3]王镛.中国书法简史[M].北京:高等教育出版社,2004.
[4]洪再新.中国美术史[M].杭州:中国美术学院出版社,2000.
[5]邱振中.书法[M].北京:北京师范大学出版社,2009.
[6]曹意强.艺术史的视野[G].杭州:中国美术学院,2007.
[7]沃兴华.插图本中国书法史[M].上海:上海古籍出版社,2001.
[8]沃兴华.碑版书法[M].上海:上海人民出版社,2005.
[9]桂林市文物管理委员会.桂林石刻[M].(内部选编)
[10]刘玲双.桂林石刻[M].北京:中央文献出版社,2006.
[11]陈传席.中国山水画史[M].天津:天津人民美术出版社,2001.
[12]古干.现代派书法三步[M].北京:中国人民大学出版社,1992.
[13]邱振中.书写与观照[M].北京:中国人民大学出版社,2005.
[14]中央美术学院美术史系中国美术史教研室.中国美术简史[M].北京:中国青年出版社,2002.
[15]邱振中.当代书法创作:理想与批评[M].北京:中国人民大学出版社,2007.
[16]邱振中.中国书法:167个练习[M].北京:中国人民大学出版社,2005.
[17]黎东明.秦汉篆书[M].北京:北京图书馆出版社,1999.
[18]邱振中.神居何所[M].北京:中国人民大学出版社,2005.
[19]陈大中.当代书法创作模式与流派研究[M].北京:荣宝斋出版社,2005.
[20]邱振中.书法的形态与阐释[M].北京:中国人民大学出版社,2005.
[21]华人德.中国书法史·两汉卷[M].南京:江苏教育出版社,2002.
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[23]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):9O-92.
[24]石锋.“八桂书风”的创作观念与技术取向[J].南方文坛,2008,125(4):93-96.
[25]刘德宏.关于“八桂书风”的思考[J].南方文坛,2008,125(4):96-98.
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[27]黎东明.当代中国书法现代性的艺术表达机制[J].广西师范大学学报(哲学社会科学版),2004,40(3):60-65.
[2]张益桂.广西石刻人名录[M].桂林:漓江出版社,2008:2.
[3]马宗霍.书林藻鉴书林纪事.北京:文物出版社,1984.
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[5]李时亮(生卒年不详),祖籍河南仪封,落籍广西博白人,字端夫,北宋嘉祐二年(1057)登“榜眼及第”,熙宁间任桂州录事参军,后移知廉州(广西合浦),元丰元年(1078)知全州。其工诗文,善书法,精于楷、行草。熙宁八年(1075)游桂林南溪山白龙洞,题诗刻石洞壁,书法遒劲雅丽,藏露自如,虚实得宜,体势舒展而宽博闲雅。
[6]李振堂(生卒年不详),广西融水县人,贡生,善书法。宋嘉熙二年(1238)二月书宋理宗封梁忠祐侯、吴显祐侯敕文,刻于融水县老君洞,并摹刻陈希夷草书“寿”字于老君洞。
[7]潘琦.“八桂书风”初探[J].南方文坛,2008,125(4):88.
[8]潘琦.“八桂书风”初探[J].南方文坛,2008,125(4):88-89.
[9]石锋.“八桂书风”的创作观念与技术取向[J].南方文坛,2008,125(4):93-96.
[10]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):9O-92.
[11]刘德宏.关于“八桂书风”的思考[J].南方文坛,2008,125(4):98.
[12]石锋.“八桂书风”的创作观念与技术取向[J].南方文坛,2008,125(4):95.
[13]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):9O.
[14]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):9O.
[15]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):92.
[16]石锋.“八桂书风”的创作观念与技术取向[J].南方文坛,2008,125(4):95.
[17]石锋.“八桂书风”的创作观念与技术取向[J].南方文坛,2008,125(4):95.
[18]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):91.
[19]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):91.
[20]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):91.
[21]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):91.
[22]周俊杰.当代书法复兴运动中的河南书坛---改革开放30年的河南书坛[J].中州大学学报,2009,26(1):13.
[23]周俊杰.当代书法复兴运动中的河南书坛---改革开放30年的河南书坛[J].中州大学学报,2009,26(1):13-14.
[24]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):91.
[25]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):91.
[26]黎东明.当代中国书法现代性的艺术表达机制[J].广西师范大学学报(哲学社会科学版),2004,40(3):60-65 .
[27]艾略特,李赋宁(译).艾略特文学论文集[M].南昌:百花洲文艺出版社,1994.
[28]周俊杰.当代书法复兴运动中的河南书坛---改革开放30年的河南书坛[J].中州大学学报,2009,26(1):13.
[29]石锋.“八桂书风”的创作观念与技术取向[J].南方文坛,2008,125(4):95-96.
[30]石锋.“八桂书风”的创作观念与技术取向[J].南方文坛,2008,125(4):95-96.
[31]刘德宏.关于“八桂书风”的思考[J].南方文坛,2008,125(4):97-98.
[1]张益桂.广西石刻人名录[M].桂林:漓江出版社,2008.
[2]桂林市文物管理委员会.桂林石刻[M].(内部资料)1981.
[3]王镛.中国书法简史[M].北京:高等教育出版社,2004.
[4]洪再新.中国美术史[M].杭州:中国美术学院出版社,2000.
[5]邱振中.书法[M].北京:北京师范大学出版社,2009.
[6]曹意强.艺术史的视野[G].杭州:中国美术学院,2007.
[7]沃兴华.插图本中国书法史[M].上海:上海古籍出版社,2001.
[8]沃兴华.碑版书法[M].上海:上海人民出版社,2005.
[9]桂林市文物管理委员会.桂林石刻[M].(内部选编)
[10]刘玲双.桂林石刻[M].北京:中央文献出版社,2006.
[11]陈传席.中国山水画史[M].天津:天津人民美术出版社,2001.
[12]古干.现代派书法三步[M].北京:中国人民大学出版社,1992.
[13]邱振中.书写与观照[M].北京:中国人民大学出版社,2005.
[14]中央美术学院美术史系中国美术史教研室.中国美术简史[M].北京:中国青年出版社,2002.
[15]邱振中.当代书法创作:理想与批评[M].北京:中国人民大学出版社,2007.
[16]邱振中.中国书法:167个练习[M].北京:中国人民大学出版社,2005.
[17]黎东明.秦汉篆书[M].北京:北京图书馆出版社,1999.
[18]邱振中.神居何所[M].北京:中国人民大学出版社,2005.
[19]陈大中.当代书法创作模式与流派研究[M].北京:荣宝斋出版社,2005.
[20]邱振中.书法的形态与阐释[M].北京:中国人民大学出版社,2005.
[21]华人德.中国书法史·两汉卷[M].南京:江苏教育出版社,2002.
[22]潘琦.“八桂书风”初探[J].南方文坛,2008,125(4):88-89.
[23]黎东明.“八桂书风”与书法传统重建论纲[J].南方文坛,2008,125(4):9O-92.
[24]石锋.“八桂书风”的创作观念与技术取向[J].南方文坛,2008,125(4):93-96.
[25]刘德宏.关于“八桂书风”的思考[J].南方文坛,2008,125(4):96-98.
[26]周俊杰.当代书法复兴运动中的河南书坛---改革开放30年的河南书坛[J].中州大学学报,2009,26(1):13-17.
[27]黎东明.当代中国书法现代性的艺术表达机制[J].广西师范大学学报(哲学社会科学版),2004,40(3):60-65.
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