黃庭堅草書藝術研究

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題名:
黃庭堅草書藝術研究
著者: 杜建忠; Tu, Chien-chung
黃宗義; Zong-yi Huang; 國語文學系碩士班
主題: 尚意; 草書藝術; 黃庭堅; Art Of Cursive style; Huang Ting-Jian; Shang Yi
描述: 黃庭堅與蔡襄、蘇軾、米芾號稱為「宋朝四大家」，後世對其四人書藝評價之順序，雖有不一，但其褒貶之爭議最大者，應屬黃庭堅。他延續唐朝張旭、懷素狂草一脈的書風，融入五代楊凝式的風格，開啟了全新的草書面貌，後世書家欲脫離鍾繇、二王一脈體系，無不或多或少汲取黃庭堅書風，在其風格上另覓新創途徑，然後開展出個人風格，足知黃庭堅影響後世書風至鉅，在書法史上居有重要地位。研究中發現，1.現今收藏於北京故宮博物院的〈老杜浣花溪圖引〉，疑似模仿晚年書風之偽作，本文未將其列入研究範圍；2.北宋尚意書風之興起，其源頭似乎可上溯至盛唐的孫過庭《書譜》，而唐代張懷瓘提出「逸品」之論點，以及北宋黃休復《益州名畫錄》中提出「逸格」在神、妙、能三格之上之論述，二者雖均屬畫論，然其品格等級之分類，對尚意書風之推動，應有推波助瀾之效。若對黃庭堅草書作品的風格沒有研究，是無法了解其特殊性，文中以「時間性大於空間性」、「穿插」、「錯落、讓位」、「強烈的節奏感」、「字型姿態萬千」及「中軸線變幻莫一」等六個項次來作分析。由於黃庭堅經過荔枝灘時，因看到船夫划槳撥水動作後，對書藝創作產生靈感；而其評價在南宋至明初時期，呈現褒貶不一的情形，在明代中後期浪漫主義興起後，對北宋書風的接受性已大幅地提高，到了清代以後，對黃庭堅之評判亦較為客觀、公允。
Huang Ting-Jian, Tsai Xiang, Su Shi, and Mi Fu were called “Four MasterCalligraphers in the Sung Dynasty”. Although the evaluation from the posterity for theirrespective calligraphy art differed, the most controversy over judgment passing fell in HuangTing-Jian. Adopting Cursive Script, the calligraphy style of Zhang Xu and Huai Su in theTang Dynasty, he integrated the style of Yang Ning-Shi in the Five-Dynasties and eventuallyushered in a whole new aspect of the Cursive Style. When the posterior calligraphers wantedto depart from the system of Zhong Yao and the Two Wangs, Wang Xi-Zhi and WangXian-Zhi, they absorbed the calligraphy style of Huang Ting-Jian to some extent, searched fornew ways, and carved out their own styles. Therefore, Huang Ting-Jian influenced calligraphystyles of posterity a lot and his importance in calligraphy history is noticeable.This study found: 1. “Lao Du Wan Hua Xi Tu Yin” collected in Beijing Palace Museumwas suspected imitating the calligraphy style at his old age, which was not included in thestudy; 2. The calligraphy style of Shang Yi in the Northern Song Dynasty seemed to originatefrom “Shu Pu” of Sun Guo-Ting in the Tang Dynasty. The issues of “Yi Pin” addressed byZhang Huai-Guan and “Yi Ge”, the three Ge in Shen, Miao and Neng, addressed in “Yi ZhouMing Hua Lu” by Huang Xiu-Fu both belong to painting theories. The classification ofcharacter levels benefited promoting the calligraphy style of Shang Yi.Without understanding the Cursive style of Huang Ting-Jian’s works, the particularitycannot be known. The study analyzed according to six items: “Timeliness is superior tocapacity”, “Interweave”, “Random and abdicate”, “Strong sense of rhythm”, “Variouspostures of characters”, and “Ever changing mid-axis”. It addressed that Huang Ting-Jian’screating calligraphy art was inspired by the movements of boatmen’s rowing when he passed by Li Zhi Tan. The evaluation over him was not superior during the southern Song Dynastyand the early Ming Dynasty. In the mid to late Ming Dynasty, the rising romanticism broughtin the acceptance of the calligraphy style in the northern Song Dynasty. Till the Ching Dynasty,the evaluation over Huang Ting-Jian was more objective and fairer.
碩士
建立日期: 2012
格式: 121 bytes
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語言: 中文
識別號: http://nutnr.lib.nutn.edu.tw/handle/987654321/1061
資源來源: NUTN IR

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黃庭堅草書藝術研究

杜建忠; Tu, Chien-chung 黃宗義; Zong-yi Huang; 國語文學系碩士班 2012

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