2018年7月31日 星期二

Lucas Cranach, the Elder/ the Younger


The final decision in favor of the Norton Simon Museum represents a landmark ending to a complicated lawsuit that lasted over a decade.

Lucas Cranach, the Elder/ the Younger


Many of the paintings in our collection depict saints, who can be identified by symbols artists used to represent them. In this work by Lucas Cranach the Elder, Saint Genevieve holds the candle which she mysteriously relit: http://bit.ly/1FEn6yA

Lucas Cranach the Younger died ‪#‎onthisday‬ in 1568. Here’s his woodcut of Martin Luther http://ow.ly/Hq0PT

Lucas Cranach the Younger died #onthisday in 1568. Here’s his woodcut of Martin Luther http://ow.ly/Hq0PT
Lucas Cranach the Younger was born ‪#‎onthisday‬ in 1515. Here’s his print of Martin Luther http://ow.ly/CdMGt
Tune in to Monday’s BBC Radio 4 ‪#‎MemoriesOfANation‬ episode at 09.45 to hear more about Luther http://ow.ly/CgmpQ

Lucas Cranach the Younger was born #onthisday in 1515. Here’s his print of Martin Luther http://ow.ly/CdMGt

Tune in to Monday’s BBC Radio 4 #MemoriesOfANation episode at 09.45 to hear more about Luther http://ow.ly/CgmpQ

Britannica Concise Encyclopedia: Lucas Cranach, the Elder

(born 1472, Cranach, bishopric of Bamberg — died Oct. 16, 1553, Weimar, Saxe-Weimar) German painter and printmaker. He took his name from the town of his birth. Little is known about his early life or training. In Vienna (c. 1501 – 04) he painted some notable portraits and landscapes characteristic of the Danube school. From 1505 to 1550 he was court painter in Wittenberg, where he achieved great success and wealth painting portraits, mythological subjects, and altarpieces for Protestant and Catholic churches. He attracted so many young artists to Wittenberg that the town became an art centre. A friend of Martin Luther, Cranach became known as the chief pictorial propagandist of the Protestant cause in Germany. He produced numerous engravings and more than 100 woodcuts, notably for the first German edition of the New Testament (1522). After his death, his style was perpetuated by his son, Lucas the Younger (1515 – 86).


Wikipedia article "Lucas Cranach the Elder".


From the Fringe | 18.02.2008

Naked "Venus" Gets Free Ride in London

Venus has gone nude for more than 450 years. And prudish public officials could not convince her to cover up on the London Underground.

Topless would've been okay, officials for Transport of London said. But the poster for an upcoming Lucas Cranach the Elder exhibition at the Royal Academy of Arts in London went too far. The German master's "Venus Standing in a Landscape" depicts an unclothed, golden-haired woman cocking her hips behind a transparent veil.
Transport officials demanded the bottom half of the picture be cropped before it could go up in the London Underground. The advertisement was originally nixed for going against a rule prohibiting pictures which depict "men, women or children in a sexual manner, or display nude or semi-nude figures in an overtly sexual context."
Museum officials expressed shock that the "Venus" painting, completed in 1532, could be seen as problematic.
"We wouldn't have put a poster design forward if we thought it was offensive," academy spokeswoman Jennifer Francis said.
Decision reversed
John Whittingdale, an influential legislator, described the original ban as "absolutely bonkers."
On Saturday, Feb. 16 transportation officials admitted they had made a mistake and reversed their decision.
The exhibition on the German artist's work is scheduled to open March 8 at the Royal Academy of Arts in London. "Venus" is one of 70 works of Lucas Cranach the Elder which will be displayed in London.
DW staff (th)

2018年7月30日 星期一

Magic Realism: Art in Weimar Germany 1919–33




'Magic Realism: Art in Weimar Germany 1919–33' opens today at TateModern – one of our exhibition highlights of the week: https://www.apollo-magazine.com/…/magic-realism-art-in-wei…/

2018年7月29日 星期日

László "Moholy Nagy: Experiment In Totality" By Sibyl Moholy-Nagy

包豪斯理想 Bauhaus ldeal

Evolution in Art:As Illustrated by the Life-Histor...

此書,Experiment in Totality by Sibyl Moholy-Nagy ( Oct. 1969 第二版)感人 (這本的全文見Full text of "Moholy Nagy Experiment In Totality"
它是Walter Gropius (1883-1969) 的愛將 László  Moholy- Nagy (1895-1946)的  (第2任)夫人Sibyl Moholy-Nagy (1903-1971)寫其先生在德國包浩斯和芝加哥設立設計學院的創作回憶錄。
值得一讀 。 László "Moholy Nagy認為,人動手起來 ,可影響其心靈和感情。

"Moholy Nagy: Experiment In Totality"  的 卷首真言(motto), 乃取自 Alice in Wonderland 首章一句:

"And she tried to fancy what the flame of a candle looks like after the candle is blown out, for she could not remember ever having seen such a thing."



Moholy Nagy 1946.11.24 臨終的話 ,匈牙利語
Aludni
要睡了....




From Wikipedia, the free encyclopedia
Sibyl Moholy-Nagy (October 29, 1903 – January 8, 1971) was an architectural and art historian. Originally a German citizen, she accompanied her husband, the Hungarian Bauhaus artist László Moholy-Nagy, in his move to the United States. She is the author of one of the most important and influential[by whom?] studies of his work, Moholy-Nagy: Experiment in Totality, plus several other books on architectural history.

Biography[edit]

Sibylle Pietzsch was born in Dresden on October 29, 1903 to architect Martin Pietzsch (Deutscher Werkbund) and Fanny Clauss Pietzsch. After attending the University of Dresden, she became an actress, performing in several films. She eventually became a scriptwriter, and in the late 1920s, met Bauhaus-trained artist and photographer László Moholy-Nagy (1895–1946) while working on a film script. They were married in 1932. They had two daughters, Hattula (born 1933), and Claudia (1936–1971). After residing together in Germany for over a year and a half, they left due to the rise of Nazism. In 1934, they settled in Amsterdam, and then London for two years.
In 1937, the family emigrated to the United States, settling in Chicago. Here, Moholy-Nagy assisted her husband in opening and the New Bauhaus, in October 1937. Moholy-Nagy also helped her husband and the New Bauhaus staff to run the school until its closure in 1938. Moholy-Nagy also helped her husband run the Chicago Institute of Design for several years. Her first, and only published novel, Children's Children, appeared in 1945.
After her husband's death in November, 1946, Moholy-Nagy decided she would become an architectural historian and teacher. Her first book, a biography on her husband, Moholy-Nagy: Experiment in Totality, established her as an academic. In 1951, after holding teaching positions in Chicago and San Francisco respectively, she got a job as associate professor of architecture history at the Pratt Institute inNew York City. She taught courses on such subjects as urban history and design. She retired from being a full professor in 1969, and became a visiting professor at Columbia University until her death.
Throughout the 1950s and 1960s, Moholy-Nagy had a fulfilling career as an architecture critic, maintaining professional relationships with such figures as Walter GropiusPhilip Johnson, and Carlos Raul Villanueva (whom she would undertake an extensive study of his work). One her most important books, Matrix of Man: An Illustrated History of Urban Environment, appeared in 1968. She also made numerous contributions to architecture magazines, such as Architectural Forum and Progressive Architecture. She was also one of the first critics to study post-War Latin American architecture in-depth.
She died in New York City on January 8, 1971.

Bibliography[edit]

  • Paine, Judith, "Sibyl Moholy-Nagy: A Complete Life." Archives of American Art Journal 15:4 (1975), 11–16.
  • Sibyl Moholy-Nagy, Moholy-Nagy: Experiment in Totality. Cambridge, Mass.: MIT Press, 1969.

Selected publications[edit]

  • Children's Children (writing as S.D. Peech). New York: H. Bittner, 1945
  • Moholy-Nagy: Experiment in Totality. New York: Harper Brothers, 1950. (Rev. Ed., MIT Press, 1969)
  • Paul Klee: Pedagogical Sketchbook (Introduction and translations). New York: Praeger, 1953 (rev. 1968)
  • Native Genius In Anonymous Architecture. New York: Horizon Press, 1957.
  • Carlos Raul Villanueva and the Architecture of Venezuela. New York: Praeger, 1964.
  • Matrix of Man: An Illustrated History of Urban Environment. Preager, 1968
  • The Architecture of Paul Rudolph. (Introduction). Praeger, 1970



The Prolific Career of an Early Bauhaus Innovator: Laszlo Moholy-Nagy

  • 09:30 - 29 J




“The Siesta”, a large oil painting based on Jean-Francois Millet’s “La Sieste.”










 Jean-Francois Millet’s “La Sieste"
http://lusile17.centerblog.net/13895-peintre-celebre-jean-francois-millet

Peintre célèbre - Jean Francois Millet



Although best known for his feverishly colored landscapes, Vincent Van Gogh (1853 – 1890) preferred to paint people. Paying for models was a challenge to the impoverished painter, as he would constantly complain in letters to his only lifelong friend, his brother Theo. One painting featuring not just one but two people is “The Siesta”, a large oil painting based on Jean-Francois Millet’s “La Sieste.”






Le saviez-vous ?
Le musée d’Orsay est gratuit pour les 18-25 ans*, y compris les expositions temporaires.
----------
Did you know ?
The Musée d'Orsay is free for 18-25 year olds*, including temporary exhibitions.
* ressortissants ou résidents de longue durée d'un pays de l’Union européenne // citizens or long-term residents of an EU member state ?⠀
Photo : © Musée d'Orsay / Eric Jouvenaux

Pierre Bonnard 1867~1947





 【藝術家介紹】-皮耶‧波納爾(Pierre Bonnard 1867~1947)
 
波納爾從小就熱愛繪畫,尤其喜愛室內畫,是「那比派」(Nabis)的繪畫大師,畫面講究均衡、協調,不受限於物體原來的形色。其畫作風格以色彩聞名,被譽為20世紀最偉大的色彩畫家之一。波納爾早期深受高更和日本浮世繪影響,1905年後,更實踐印象派豐富色彩活潑的畫法,發展出揉合色彩、強調光線的獨特風格。
 
仔細觀察波納爾的畫作會發現,他時常以自身角度觀察周遭環境,表達生活感受。房間裡觸目所及的物件都是他的繪畫素材,例如用窗戶拓展畫面空間,透過光線引領觀者延伸視線,將有限天地鋪展成心中的開闊宇宙。
 

他說:「自然的美不一定就是繪畫的美。自然以其主題為我們設下陷阱。」波納爾畫靜物,會先讓花朵枯萎再開始作畫,他說:「這樣它們會有更多的存在,掌控並淩駕物體色彩和法則而具有自己的色彩,自己的法則。」看著枯萎的花朵,憑藉自己的想像力,完成一幅美麗的畫作,此時畫中的形與色彩都是自己所掌握及詮釋。
 
據說波納爾的模特兒都是他的愛妻瑪爾泰,兩人情感濃厚,是工作夥伴也是生活相互扶持的精神伴侶! 同時也是他藝術創作的來源。波納爾一生大約替瑪爾泰繪製了四百幅肖像畫作,每一幅都飽含著對妻子濃濃的愛意。
 
--
「裸:泰德美術館典藏大展」這次特別展出波納爾繪製愛妻系列作品,波納爾作品展出至九月初!要把握好時間來高美館欣賞波納爾的專情。
 
波納爾作品
展出至九月初
快趁暑假期間來欣賞
浴缸
浴缸中的裸女
浴女(從背後看)
高雄市立美術館
藝術博物館

2018年7月28日 星期六

Klimt By Frank Whitford 1990



オーストリアを代表する画家クリムト。旧約聖書の女性を官能的に描いた代表作が来日することが決まりました
オーストリアを代表する画家グスタフ・クリムト(1862~1918)の作品を紹介する「クリムト展 ウィーンと日本…
















https://thamesandhudson.com/klimt-9780500202463

Klimt

Frank Whitford


Gustav Klimt’s work brilliantly negotiates the borders between the traditional and the modern, the figurative and non-figurative. His subtly erotic portraits, richly patterned landscapes and enigmatic allegorical compositions are at once sensuous and refined, while his extravagant, ornamental style verges on abstraction.


Obliged to go his own way when he was denied public commissions, Klimt became the leader of the modernists in Vienna, perhaps the greatest portraitist of his age, a landscape painter of dazzling originality and, above all, the creator of extraordinary decorative schemes. Frank Whitford examines the artist’s work against the background of his time – the tragic final years of the Austro-Hungarian Empire.

In the light shed by political and cultural history, Klimt’s paintings and personality emerge with new clarity.引



此書遠流有翻譯本《克林姆》 ( Klimt By Frank Whitford 1990),1994年,雖然出處沒,有幾處可能翻譯錯誤,不過有簡單索引,還是很有幫助 (本書中,主要的維也納文化人都提到、引用了),譬如說,重要的評論家/記者Karl Kraus (April 28, 1874 – June 12, 1936)卡爾·克勞斯,本書翻譯成"克羅斯",有6處出處。



同家出版社2005年相關作品

Gustav Klimt - Thames & Hudson

https://thamesandhudson.com/klimt-drawings-watercolours-9780500238264

Nov 14, 2005 - There can be no doubt about Klimt's greatness as a draughtsman. Remarkable above all is the intensely sensual mood that he establishes in his limpid, fluid drawings and watercolours. Rainer Metzger brings together hundreds of Klimt's works on paper in a w.

傅山(1607-1684):嗜奇如此。白謙慎《傅山的世界——十七世紀中國書法的嬗變》、《傅山的交往和應酬—— 藝術社會史的一項個案研究》



民初大詞人況周頤說掌故:眉盧叢話(全編本) 》況周頤原著;蔡登山主編,台北:秀威,2016
二二七:傅山奇遇
北齊所刻佛經,文字勁偉,.......相傳陽曲傅青主晚隱於醫,一日,走平定山中為人視疾,失足墜崖穴,僕夫驚哭。青主徬徨四顧,見有風峪,中通天光,石柱林立,數之得一百二十六,則高齊時佛經也。摩挲視之,終日而出,欣然忘食,其嗜奇如此。


白謙慎,一九五五年生於天津,祖籍福建安溪,在上海長大。一九八二年畢業於北京大學國際政治系後,留校任教。一九九○年獲美國羅格斯大學比較政治碩士,一九九六年獲耶魯大學藝術史博士。一九九七年至今任教於波士頓大學藝術史系。主要著作有《傅山的世界——十七世紀中國書法的嬗變》、《傅山的交往和應酬—— 藝術社會史的一項個案研究》、《與古為徒和娟娟發屋——關於書法經典問題的思考》。


講座預告 | 白謙慎教授談“語言文字的視覺遊戲-從傅山的 ‘奇’說起”
觀看傅山書畫展,我們被其中的“奇”所震撼。無論是繪畫中出人意表的構圖設色,還是書法中奇肆的用筆和費人猜測的怪異之字,傅山的作品總能留給我們種種懸念。白謙慎教授將介紹中國視覺文化中悠久的語言文字遊戲傳統,將傅山的“奇”放到一個更大的歷史文化脈絡中去理解。
________________________________________
語言文字的視覺遊戲——從傅山的“奇”說起
主講人: 白謙慎講座時間:2016年12月13日(週二)上午9:30-11:30講座地點:北京畫院美術館五層報告廳


明末清初之際,地處山西腹地的太原府陽曲縣(今太原市),出了一位博藝多才、重氣節、有思想、有抱負的著名人物。他的事跡生平,不見于正史記載,.... 傅山(1607——1684年),字青竹,後改青主,別號頗多,諸如公它、公之它、朱衣道人、石道人、嗇廬、僑黃、僑松等等,不一而足。先世居大同,後徙于忻州,逮至其曾祖傅朝宣移居太原陽曲(今太原北郊)西村。
傅山世出官宦書香之家,家學淵源,先祖連續七八代有治諸子或《左傳》、《漢書》,卓然成家者。15歲補博士 弟子員,2O歲試高等廩餼。後就讀于三立書院,受到山西提學袁繼鹹的指導和教誨,是袁氏頗為青睞的弟子之一。
袁繼鹹,是明末海內鹹知的鯁直之臣,提學山西時,以“立法嚴而用意寬”的精神宗旨,整頓三立書院學風,不拘一格,選拔人才。他 極重于文章、氣節的教育,對傅山影響頗深,傅山亦以學業精湛、重節氣得意于袁氏門下。袁繼鹹曾在朝為兵部侍郎,因為官清廉,為人耿直,敢于直言,得罪權貴 魏忠賢之流,被貶為山西提學。崇禎九年(1636年),魏忠賢死黨山西巡按禦史張孫振,捏造罪名誣告袁繼鹹,陷其京師獄中,傅山為袁鳴不平,.....袁繼鹹得雪之日,魏忠賢的走卒——張孫振,亦以誣陷罪受到謫戍的懲罰。這次鬥爭的勝利,震動全國,傅山得到了崇高的榮譽和讚揚,名 揚京師乃至全國。
明亡傅山聞訊寫下“哭國書難著,依親命茍逃”的悲痛詩句。為表示對清廷剃發的反抗,他拜壽陽五峰山道土郭靜中為師,出家為 道,道號“真山”。因身著紅色道袍,遂自號“朱衣道人”,別號“石道人”。朱衣者,朱姓之衣,暗含對亡明的懷念;石道者,如石之堅,意示決不向清朝屈服。 可見,傅山出家並非出自本心,而是藉此作為自己忠君愛國、抗清復明的寄托和掩護。
順治十一年(1654年)三月十五日從河南武安五汲鎮起義......傅山被捕......以“傅山的確誣報,相應釋宥”的判語,將他釋放。
傅山出獄後,大約在順治十四至十六年間,曾南下江淮察看了解反清形勢。他的“太原人作太原僑” 的詩句,正是這種痛苦心情的寫照。康熙二年(1663年),參加南明政權的昆山顧炎武尋訪英雄豪傑,來太原找到傅山,兩人抗清志趣相投,結為同志,自此過 從甚密。他們商定組織票號,作為反清的經濟機構。以後傅山又先後與申涵光、孫奇逢、李因篤、屈大筠以及王顯祚、閻若璩等堅持反清立場的名人和學者,多有交 往。尤其是曾在山東領導起義的閻爾梅也來太原與傅山會晤,並與傅山結為“歲寒之盟”。王顯祚見傅山常住土窯,特為他買了一所房院,即今太原傅家巷四號院。
清康熙十七年(1678)頒詔天下,令三品以 上官員推薦“學行兼優、文詞卓越之人”,“聯將親試錄用”。給事中李宗孔、劉沛先推薦傅山應博學宏詞試。傅山稱病推辭,陽曲知縣戴夢熊奉命促駕,強行將傅 山招往北京。至北京後,傅山繼續稱病,臥床不起。清廷宰相馮溥並一幹滿漢大員隆重禮遇,多次拜望誘勸,傅山靠坐床頭淡然處之。他既以病而拒絕參加考試,又 在皇帝思準免試,授封“內閣中書’”之職時仍不叩頭謝恩。康熙皇帝面對傅山如此之舉並不惱怒,反而表示要“優禮處士”,詔令“傅山文學素著,念其年邁,特 授內閣中書,著地方官存問。”
傅山由京返並後,地方諸官聞訊都去拜望,並以內閣中書稱呼。對此,傅山低頭閉目不語不應,泰然處之。陽曲知縣戴氏奉命在他家門 首懸挂“鳳閣蒲輪”的額匾,傅山凜然拒絕,毫不客氣。他仍自稱為民,避居鄉間,同官府若水火,表現了自己“尚志高風,介然如石”的品格和氣節。
他讚揚新精神,被明朝統治者視作洪水猛獸的李贄學術思想和劉辰翁、楊慎、鐘星等節高和寡之士的文風。對明末的政治腐敗,官 場齷齪,是有清醒的認識。清軍入關明王朝滅亡後,傅山一反清初一般學者以經學為中心的研究范圍,而是獨辟研究子學的途徑。
傅山的詩賦主張詩文應該“生于氣節”,以是否有利于 國家和民族為衡量標準。傅山一生著述多散失,只存書名和篇名,僅《霜紅龕集》和《兩漢人名韻》兩部留存。
在詩、文、書、畫諸方面,傅山皆善學妙用,造詣頗深。其知識領域之廣、成就之大,在清初諸儒中,無出其右者。傅山的書法被時人 尊為“清初第一寫家”。他書出顏真卿,並總結出“寧拙毋巧,寧醜毋媚,寧支離毋輕滑,于直率毋安排”的經驗。他的畫也達到了很高的藝術境界,所畫山水、 梅、蘭、竹等,均精妙,被列人逸品之列。《畫徵錄》就說:“傅青主畫山水,皴擦不多,丘壑磊珂,以骨勝,墨竹也有氣。”他的字畫均滲透自己品格孤高和崇高 的氣節,流溢著愛國主義的氣息,在中國古典書畫藝術中,博得後人的高度讚賞。
傅山在醫學上,也有著巨大的成就。他內科、婦科、兒科、外科,科科均有很高的技術,而尤以婦科為最。其醫著《傅氏女科》、《青 囊秘訣》,至今流傳于世,造福于人。傅山極重醫德,對待病人不講貧富,一視同仁,在相同情況下,則優先貧人。對于那些前來求醫的闊佬或名聲不好的官吏,則 婉詞謝絕。對此他解釋為:““好人害好病,自有好醫與好藥,高爽者不能治;胡人害胡病,自有胡醫與胡藥,正經者不能治。”

康熙二十三年(1684年)初,傅山的愛子傅眉忽逝,年愈古稀進入風燭殘年的傅山悲痛異常,再也經受不得如此打擊,不久則撒手人寰,與世長辭,時年77歲。
Fu Shan's World: The Transformation of Chinese Calligraphy in the Seventeenth Century (Harvard East Asian Monographs)




Fu Shan's World: The Transformation of Chinese Calligraphy in the Seventeenth Century (Harvard East Asian Monographs)

Qianshen Bai (著) For 1,300 years, Chinese calligraphy was based on the elegant art of Wang Xizhi (A.D. 303-361). But the seventeenth-century emergence of a style modeled on the rough, broken epigraphs of ancient bronzes and stone artifacts brought a revolution in calligraphic taste. By the eighteenth century, this led to the formation of the stele school of calligraphy, which continues to shape Chinese calligraphy today.
A dominant force in this school was the eminent calligrapher and art theorist Fu Shan (1607-1685). Because his work spans the late Ming-early Qing divide, it is an ideal prism through which to view the transformation in calligraphy.
Rather than seek a single explanation for the change in calligraphic taste, the author demonstrates and analyzes the heterogeneity of the cultural, social, and political processes behind it. Among other subjects, the book covers the late Ming interaction between high and low culture; the role of publishing; the Ming loyalist response to the Qing; and early Qing changes in intellectual discourse. In addition to the usual approach of art historians, it adopts the theoretical perspectives of such fields as material culture, print culture, and social and intellectual history.



大力擴充之後


傅山的世界-十七世紀中國書法的嬗變


作者
白謙慎
ISBN
7108023342
頁數
352
開本
16開
封面形式
簡裝本
出版社
三聯書店
出版日期
2006



17 世紀是中國書法史由帖學轉進為碑學的關鍵時期,而傅山是其中的代表性人物。不同於以往治書法史的學者,本書作者白謙慎並不孤立地探討傅山的書法,而是將之 置於整個時代的文化架構中,藉曲學術思想、物質文化、印刷文化之發展史的角度,由經歷了明清易代之痛的遺民情結的角度。來觀察、詮釋傅山的生活,以及由之 生發的學術觀念與藝術創作。在試圖重新勾勒傅山的生活經驗之際,作者不僅對中國書法史的這個轉折,也對17世紀的中國文化世界,提供了全新的觀照。凡有興 趣于明清易代之際中國社會之各側面的讀者,此書亦為必讀的作品。   

此書英文、中文繁體字版甫出,即引起海內外學術界的熱切關注,被評為“迄今為止研究單個藝術家的最優秀的著作之一”。hc案:敘述 旁支過多 還是有些印文沒考據出處  

《傅山的世界》就是從傅山入 手,去探討這一時期書法之演變的。所以確切地說,這不是一本傅山的評傳;傅山的書法,作者只當作一幅折枝畫看,他要做的,是循著折枝的倚斜之勢,于畫幅之 外,去討尋它所來自的花叢以及生長的土壤。這是一本以傅山為透視點的“十七世紀書法的演變史”,或以書法為透視點的“十七世紀文化史”。“傅山的世界”, 可說是一個與實相符的名字。

 內容簡介  

17 世紀是中國書法史由帖學轉進為碑學的關鍵時期,而傅山是其中的代表性人物。不同於以往治書法史的學者,本書作者白謙慎並不孤立地探討傅山的書法,而是將之 置於整個時代的文化架構中,藉曲學術思想、物質文化、印刷文化之發展史的角度,由經歷了明清易代之痛的遺民情結的角度。來觀察、詮釋傅山的生活,以及由之 生發的學術觀念與藝術創作。在試圖重新勾勒傅山的生活經驗之際,作者不僅對中國書法史的這個轉折,也對17世紀的中國文化世界,提供了全新的觀照。凡有興 趣于明清易代之際中國社會之各側面的讀者,此書亦為必讀的作品。

此書英文、中文繁體字版甫出,即引起海內外學術界的熱切關注,被評為“迄今為止研究單個藝術家的最優秀的著作之一”。

《傅山的世界》就是從傅山入手,去探討這一時期書法之演變的。所以確切地說,這不是一本傅山的評傳;傅山的書法,作者只當作一幅折枝畫看,他要做的,是循 著折枝的倚斜之勢,于畫幅之外,去討尋它所來自的花叢以及生長的土壤。這是一本以傅山為透視點的“十七世紀書法的演變史”,或以書法為透視點的“十七世紀 文化史”。“傅山的世界”,可說是一個與實相符的名字。

 本書目錄  


總序
謝辭
致中文讀者
導言
第一章 晚明文化和傅山的早年生活
晚明:一個多元的時代
尚“奇”的晚明美學
董其昌和晚明書家
古代經典權威的式微
文人篆刻對書法的影響
日益緊迫深重的危機感
傅山在明代的生活
第二章 清代初年傅山的生活和書法
動亂的年代
傅山同仕清漢官的關係
歷史記憶的典藏
顏真卿的感召力
支離和醜拙
晚明文化生活的遺響
第三章 學術風氣的轉變和傅山對金石書法的提倡
1660—1670年代山西的學術圈
學術的新趨勢
學術思潮對書法的影響
清初的訪碑活動
碑學思想的萌芽
打破唐楷圖式
南方的回應
第四章 文化景觀的改變和草書
傅山的晚年生活
博學鴻儒特科考試
傅山的行草與草書
結語
圖版目錄
主要參考文獻


 作者介紹  

白 謙慎。1978年考入北京大學國際政治係,1982年畢業後留校任教。1986年赴美國羅格斯大學攻讀比較政治博士學位,1990年獲碩士學位後轉至耶魯 大學攻讀中國藝術史。1996年獲博士學位。1995—1997年任教于西密執安大學藝術系。1997年至今任教于波士頓大學藝術史係,2004年獲終身 教授職位。 主要著作有《傅山的世界:十七世紀中國書法的嬗變》(哈佛大學亞洲中心,2003年),《天倪——王方宇、沈慧藏八大山人書畫》(與張子寧等合作。佛利爾 美術館,2003年),《傅山的交往和應酬——藝術社會史的一項個案研究》(上海書畫出版社,2003年),《與古為徒和娟娟髮屋——關於書法經典問題的 思考》(湖北美術出版社,2003年)。《蘭亭論集》(與華人德合編。蘇州大學出版社,2000年)。


2007
紀念傅山誕辰400周年 中華傅山園是為紀念傅山先生誕辰400周年而建造的。進入園中,沿著牌樓、明鏡台、傅公祠、狀元橋、真山堂、洞庭院一路走去,我們將追隨傅山先生的足跡,領略傅山先生在


Rothschild Wesley 新增了 2 new photos 。
傅山(1607-1684),字青主又字石道人、朱衣道人另有真山、石人等別名,祖籍忻府區頓村,生於明萬歷三十五年(1607),卒於康熙二十三年(1684)。十五歲中秀才,是明末清初一位很有氣節的社會活動家,他誓不降清,被稱為“明朝遺民”,同時也是一位博學多藝的著名學者、詩人、醫學家、書法家和畫家。在學術上他與黃宗羲、顧炎武、王夫之、顏元、李顒齊名,被梁啟超推為清初六大宗師。
傅山的書法,真、草、隸、篆無所不能,碑板簡牘皆妙。在書法上傅山提出:“寧拙毋巧、寧醜毋媚、寧支離毋輕滑、寧直率毋安排”的“四寧四毋”說。他的書法雄健豪放、蒼老奇詭,尤以草書為最,他的連綿大草,堅蒼渾穆、豪邁不羈、瀟灑奇逸、行雲流水、一氣呵成,盡顯大一代書法大家的風範,把草書推向極致。
哲學作品:
《霜紅龕集》
醫學作品:
《女科》是臨床實用價值頗高的中醫婦科典籍之一,很常為後代醫師臨證所應用。
《青囊秘決》
《男科》
武學作品:
《傅氏拳譜》
書法作品:
《傅青主先生草稿真跡》。