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趙宧光《寒山帚談》「書學格調說」之研究 = From the Theory of Chao I-Kuang's Han Shan Zhou Tan-A Study on the Structures and Styles of Chinese Calligrapgy

林中元 國立臺南大學 國語文學系碩士班 民106[2017

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  • Title:
    趙宧光《寒山帚談》「書學格調說」之研究 = From the Theory of Chao I-Kuang's Han Shan Zhou Tan-A Study on the Structures and Styles of Chinese Calligrapgy
  • Author: 林中元
  • 國立臺南大學 國語文學系碩士班
  • Subjects: 書學格調論 《寒山帚談》 草篆 趙宧光 晚明書法; StructuresandStylesofChineseCalligraphy cursivesealscript ChaoI-Kuang calligraphyinlateMing
  • Description: 趙宧光(1559-1625)，字水臣，號凡夫，為晚明書法家、文字學家，其以「草篆」傳世，為近幾年研究明清篆書不可漏缺之人物，特別是其提出之「書學格調論」更於書論中獨樹一格。本研究之目的即在於對《寒山帚談》做深入的剖析，並以此一窺趙宧光之「書學格調論」。本文共分七章： 第一章「緒論」，說明本文研究方向及研究目的、研究方法，同時對於前行研究進行回顧，同時探討《寒山帚談》版本流傳及《寒山帚談》成書問題。 第二章「趙宧光之生平與時代背景」，分析趙宧光所處之晚明背景、書學風氣，同時針對趙宧光家世、生平、與吳門及時人的交遊探討。 第三章「《寒山帚談》『書學格調說』之發端與釋義」，釐清「書學格調說」與《寒山帚談》「詩學格調說」之差異，並剖析「書學格調說」之「格」與「調」之意涵。 第四章「《寒山帚談》格調說之『格』論」，探討「格」與結構之建立方法，同時釐清趙宧光「用筆為上」論之建立與應用，此外，釐清趙宧光所稱之「破體」所指意涵亦為本章重點。 第五章「《寒山帚談》格調說之『調』論」，從「清雅」敘述趙宧光「調」之建立與執筆方法，並分析趙宧光「調」與「風格」之關係，以及其兩種「品第論」之意涵。 第六章「《寒山帚談》『格調說』於書篆學習之運用」，敘述趙宧光之學書方法，並由「書學格調說」探討其選材方法及原因，此外亦從《寒山帚談》分析其篆刻論及影響。 第七章「結語」，綜述本文之研究心得、成果，同時指出未來可繼續研究之方向 關鍵字：趙宧光、草篆、《寒山帚談》、書學格調論、晚明書法.
    Chao I-Kuang(1559-1625) who styled himself as Shui-Chen and Fan-Fu is a calligrapher and an etymologist in late Ming. His “cursive seal script” is handed down for generations. You won’t miss Chao I-Kuang if you want to study the seal script of the Ming and Qing Dynasties. Particularly, his theory of the “Structures and Styles of Chinese Calligraphy” takes a distinctive course of his own. The purpose of my study is to do in-depth analysis of “Han Shan Zhou Tan”, and dissect Chao I-Kuang’s theory of the “Structures and Styles of Chinese Calligraphy”. This paper is divided into seven chapters: Chapter1, "Introduction". Explain the research direction, research purpose and research methods. I also retrospect the previous research, and explore the spread version of "Han Shan Zhou Tan". Furthermore I talk about how it was bound to become a book. Chapter2, "A brief account and the time background of Chao I-Kuang’s life." Analysis the background and calligraphy atmosphere in late Ming. At the same time I discuss Chao I-Kuang’s birth, life and the friendship with the people in faction Wu. Chapter3, "The origin and interpretation of the “Structures and Styles of Chinese Calligraphy” in "Han Shan Zhou Tan ". To clarify the difference between “Structures and Styles of Chinese Calligraphy” and "Structures and Styles of Chinese Poetry" in "Han Shan Zhou Tan ". Dissect the meaning of “Structures” and “Styles” in the theory of “Structures and Styles of Chinese Calligraphy”. Chapter4, the “Structures” in "Han Shan Zhou Tan ". To explore the "Structures" and how it is established. At the same time clarify the establishment and application of Chao I-Kuang’s theory “the Movement of Writing “. In addition, it is pointed out that the meaning of "broken the traditional type" mentioned by Chao I-Kuang is also the focus of this chapter. Chapter5, the “Styles” in "Han Shan Zhou Tan ". From the "elegant" talk about the est
  • Publisher: 碩士論文--國立臺南大學國語文學系碩士班.105學年度
  • Creation Date: 民106[2017
  • Format: x,267面 : 圖,表 ; 30公分..
  • Language: Chinese
  • Source: NUTN ALEPH
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