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摘要 ：晋·王羲之《题卫夫人笔阵图》 ：“每作一波，常三过折笔。” 在书法创作中，从一点、一画、一字、一行到篇章，都贯穿着“一波三磔”的原理。《宣和书谱·太上内景神经》卷五：“然其一波三磔笔之势，亦自不苟。”“一波三磔”原意是指写字的笔法曲折多变现比喻文章的结构起伏曲折。“一波三磔”微观上讲指的就是在写平捺的时候我们要经历三次的笔锋的转换。从宏观上说就是要求我们在书法创作的过程中，要讲求变化。古代文人对于“一波三磔”用笔最显著的就是北宋著名的书法艺术家黄庭坚。在他的作品中，我们可以清晰的感受到“一波三磔”用笔的特点。此外还有汉隶大部分是对“一波三磔”的展现。汉隶的特征为：取横势，突出横画，横平竖直．其结构类型类似于沙孟海先生总结的平画宽结类。给人以雄放洒脱，浑厚深沉之感。鉴于此，本文旨在从“一波三磔”的书法用笔浅析汉隶的体势美，理清波磔发展的脉络。56611
毕业论文关键词:汉隶 波磔 体势
Abstract：Jin Wang Xizhi "question": "Mrs. pen array each wave, often three fold over the pen." In calligraphy creation, from a "point", a painting, a word, a line oftext, the principle runs through the "wave of the three zhe". "And," book andinterior nerve volume five: "the wave of the three zhe pen trend, also fromcarelessness." "Wave of the three zhe" is intended to refer to the writing stylemore twists and turns of the winding ups and downs realizable structure of metaphor. "Convert a three on the" micro sense refers to when writing flatstrokes of the us to experience the three strokes. From a macro that is requiredin our process of calligraphy and painting, to emphasize the changes. Ancient scholars for "the most significant wave of the three zhe" pen is the famouscalligraphy artist Huang Tingjian. In his works, we can clearly feel the "features a three on the" pen. In addition, Han majority is to "show the wave of the threezhe". Han Li feature: take the potential, prominent horizontal strokes, vertical and horizontal. The structure of the type similar to Mr Sha Menghai concludes drawswide node type. Give a person with powerful and easy, rich deep feeling. In view of this, this paper from the "body beauty of calligraphy on the wave of three"before, clear wave on the development venation.
Keywords:zhe wave potential
目录
绪论 5
1 波磔对于隶书的发展 5
1.1 秦文隶变——秦隶中“一波三磔”初见倪端 5
1.2 波磔的基本形成 6
1.3 波磔逐渐向楷书笔画的转变 7
2 代表隶书中波磔的表现形态 8
2.1《曹全碑》 8
2.2 《张迁碑》 8
2.3 《乙瑛碑》 9
3 清代复兴时期的隶书对汉隶中波磔的变革 10
3.1 两汉时期的隶书与清代复兴时期的隶书笔法的异同 11
3.1.1 典型隶书特点与清代初期隶书复古思想 11
3.1.2 “空间—笔画”与追求大汉气象 12
结论 15
注释