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双语推荐：草书

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书家个人风格是其内在品格修养和书学思想的体现。傅山是中国书法史上独具魅力的草书大家,其重自然、崇自由,尊个性、斥奴性,爱民众、反专制,近古雅、避恶俗,重直率、轻安排的思想内涵和美学追求,是其草书风格形成的重要因素。其书学思想的核心,是对字中之"天"的独创性认识,也是其一生积学磨练的理论结晶。
Calligraphers''style reflects his inherent character of cultivation and his understanding of calligra-phy .Fu Shan is one cursive scripts in the history of Chinese calligraphy with his unique charm.His emphasis on nature, worship on freedom, respect for individuality are important elements in his works.He denounced the servility, loving people, anti-authoritarian, almost quaint, avoidance of vulgarity, ideological content and aes-thetic heavy blunt, neglect of arrangement.The core of his thought on calligraphy is his original understanding of the concept of"heaven", which is also the crystal of his life.

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本文从中国历史进程的角度来阐释书体、书风的发展、演变，将书体发展史分为甲骨文金文篆籀时代、秦篆、汉隶、章草和草书时代、行、草、真的创新时代、真、行、草复兴竞秀时代、各种书体复兴巩固的时代五个时期，为书法学习、研究提供新的文化视角。
This thesis will illustrate the development and changes of Calligraphy style from the perspective of the development of Chinese history, which will provide a new cultural perspective for calligraphy study. The history of Calligraphy style can be divided into 5 periods:the period of Oracle, Bronze script and seal script;the period of li calligraphy in Qin Dynasty, li calligraphy in Han Dynasty, ancient cursive script, and new cursive script;the period of the innovation of Semi-cursive, cursive, and regular script;the period of the flourishing of Semi-cursive, cursive, and regular script;and the period of the renaissance and restoration of Semi-cursive, cursive, and regular script.

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当代中国书法由实用性转向艺术性,由于人们审美需求品位的不断求变,各种书法赛事、展览的评审也倾向于追求展厅效应。因此,当代草书创作的审美取向,也表现为追求作品的整体视觉效果,即视觉冲击力,主要体现在抒发情性、我心写我草,重视形式、适度增强形式感,布局空间、章法强化对比度,心仪万象、态势生动多变等方面。
People’s aesthetic orientation in contemporary calligraphy has turned from practicality to art-istry. As people’s aesthetic demand grade changes, various kinds of calligraphy competition and exhibition also tend to pursue the hall effect. So the aesthetic orientation of contemporary cursive writing pursues the overall vi-sual effect of the work (namely the visual impact),mainly reflecting the expression of one’s emotion, attach-ing great importance to the form, moderately enhancing the sense of form, the layout space, the art of composi-tion to strengthen contrast, vivid and changeable posture, etc.

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在书法艺术发展史上,学术界公认的书体为五大类:篆书、隶书、楷书、行书和草书。其中楷书又被称为真书或正书。自古以来,楷书、真书和正书的概念在书法史上被频繁提及,三者所指向的具体书法作品和词义内涵存在着某种差异,但在引证时通常又被画上等号。实际上,三个概念出现的时间不同,指向的具体内涵也有所不同,三者之间存在着很多联系。
Chinese calligraphic styles can be generally classified into five categories , namely, the seal script, the offcial script, the regular script, the running script and the cursive script, of which the offcial script is also known as Zhenshu or Zhengshu. With reference to calligraphic works and comments on these works in different historical periods, the paper aims to analyze their origins via the three concepts '' emerging time and specific implications. It is concluded that despite many similarities, the offcial script, Zhenshu and Zhengshu neither present the same meaning nor indicat equal connotation from the perspective of calligraphic research.

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通过对浙南摩崖石刻的整体考察和研析,结合碑派风格摩崖和代表书家,探究清至民国中期碑学形成的基因及其发展历程状况:清初人士为了避触文网,渐开金石学气候及碑学序幕之一角。从嘉庆开始,金石学大盛而致碑学兴、帖学衰。以阮元为核心的金石书法家对浙南摩崖石刻碑派书法之大兴做出了开山贡献,他们的躬行实践印证了清代碑派书法首先是从秦汉篆隶书体的复兴开始的普遍观点。而道光、咸丰直至清末,浙南无一段草书摩崖的现象,则是"篆隶振兴,草法澌灭"的最好注脚。民国初、中期碑帖结合、章草复兴为书史亮点,其体现在浙南摩崖石刻中的独特价值和带给我们的启迪作用影响深远。
This paper investigates the motivations and the development of stele calligraphy based on an overall analysis of the cliff inscriptions of the period from Qing dynasty to the middle of the Republic of China in South Zhejiang,the styles of epigraphic calligraphy and the representative calligraphers. The official taboos and literary inquisition of the early Qing dynasty gave rise to epigraphy and epigraphic calligraphy. From Jiaqing period of Qing dynasty,epigraphy greatly flourished and this in turn resulted in the thriving epigraphic calligraphy and declining paper calligraphy. The epigraphic calligraphers with Ruan Yuan as the leading figure made a pioneering contribution to the rise of the epigraphic calligraphy of the cliff inscriptions in South Zhejiang. Their practice can verify a widely accepted viewpoint that the epigraphic calligraphy of Qing dynasty started from the revival of seal script and clerical script current in Qin and Han Dynasty,whereas the fact that there

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纵观古今，深谙历史的人都明白日本文化之本源，很大程度上是从中华民族文化精髓演变而来。自秦时徐福出海至琉球国，再到三国时王经于日本传教，后至五胡乱华时期大量工匠东渡重洋，远赴日本劳务，使之日本文化在绳文时代进步迅速。这一时期在日本兴起的汉礼，至今仍可在日本文化传统中得以体现。时至唐朝末年，通过长期不断的学习、吸纳中国文化与传统，日本发明了自有文字——平假名、片假名，即由汉字草书及部首组成的日本早期文字。在这一时期进入日语的汉字词，多追随古代汉语的原意沿用至今。由此，可以说日语中的汉字词基本上都是从中国古代汉语中借鉴而去，日语与汉语虽各自分属于不同的语系，但两国语言中的汉字词如上所述，根本就是同宗且同源的。然而，随着中国部分汉字的古释义于现代汉语领域中逐渐被弱化或淘汰，日语初学者若用现代汉语的释义去学习、或是猜测，武断地望文生义，恐将造成误用之果。本文通过考察中国古文字的诞生与变迁史，从历史的角度探讨中日古文字的演变情况，分析了日本对传入中国汉字的吸收与再创造，并基于此展开了对日语汉字与中国汉字词义关联互译的探讨，以期对日语语言学习与文字领域研究有所助益。
Throughout history, people with a profound knowledge of history all know that Japanese culture is evolved from the cul-tural essence of the Chinese nation to a great extent. From Xu Fu''s navigation to Liuqiu in the Qin period, to Wang Jing''s mis-sionary work in Japan during the Three Kingdoms period, and then to the period when the five nomadic nations invaded China, many craftsmen travelledl eastward on the sea to work in Japan, resulting in the rapid progress of Japanese culture in the Sheng-wen period when the Chinese etiquette rose in Japan, which is still reflected in Japanese cultural tradition even in today. Up un-til late Tang Dynasty, through long-term and continuous learning and absorption of Chinese culture and tradition, Japanese invent-ed their own characters—hiraganas and katakanas, which are early Japanese characters constituted by Chinese cursive hand-writing and radicals. Chinese chaacters, introduced into Japanese in this period, are still in use today wi

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