以翰墨為佛事—南宋書家張即之研究

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題名:
以翰墨為佛事—南宋書家張即之研究
著者: 嚴崑晉; Chin, Yen-kun
黃宗義; Huang-Zong Yi; 國語文學系碩士班
主題: 張即之; 書法; 寫經; calligraphy; sutra transcription; Zhang Jizhi
描述: 南宋書家張即之承父恩蔭授官，然於五十一歲提早致仕，里居三十年，自適園池之樂。面對南宋末年如此動盪腐敗的世局，既無能為力又不願同流合污，藉由多次書寫屈原〈九歌〉與杜甫詩，將心中孤悶、憂國憂世的心情，寄託於翰墨之中。又由於對佛法虔誠的信仰，一生書寫大量佛教經典，以翰墨為佛事，以寫經為日課，作為對佛法的修持，期望藉由寫經能使自己執情不作，迥脫根塵。南宋書家張即之承傳張孝祥家學，又取法唐宋諸賢而自成一家，其筆力剛強、斬釘截鐵、粗細互作、古拙雋逸等書藝特色，使其享譽當世，即使敵對的金國，亦重購其字蹟。尤其寫經之作更勝出於隋唐人寫經，開啟獨具個人藝術風格的新頁。由於其以楷書為創作的主要表現型式，有別於以行草書為主體的北宋四大家，故能獨樹一幟，承接唐楷重法度的書風，在有宋一代書壇上具有重大的意義。張即之書蹟於後代，隨著書壇主流對象不同而有兩極化的評價，然後世仍有不少學宗其書者，其書蹟亦因禪僧流傳至日本，而為日本書壇所寶愛。
Inherited a government position from his father and deceased at the early age of fifty-one, Southern Song calligrapher Zhang Jizhi had lived in his hometown for thirty years and enjoyed a cozy life of traveling, raising trees and fish. Facing the corrupt and dangerous political environment in the late Southern Song Dynasty he was neither capable to change nor wanting to comply. For several times, he transcribed the “Nine Songs” of Qu Yuan and the poems of Du Fu to express the mood of loneliness and worries by his calligraphy works. And out of his piety in Buddhism, he devoted himself into transcribing Buddhism sutras all his life, to use calligraphy techniques as means of Buddhism cultivation and circulation. Through writing out sutras as his daily works, he expected the transcribing of sutras can exclude him from covet of the land of the living. The Southern Song calligrapher, Zhang Jizhi learnt his calligraphy from his uncle Zhang Xiaoxiang, and also the great calligraphers of Tang, Song dynasty, and created his own style of calligraphy. Zhang’s style can be characterized by his powerful brush stroke, so mighty that it seemed to cut through nails and iron, and the variety of thick and thin strokes to create an ancient and delicate flavor. He was so well known by his calligraphy works at his time, that even the opposing country of the Southern Song, the Jing Dynasty would willing to pay high prices to buy his works. Especially his sutra transcription works are even better than the works done previously by Sui and Tang calligraphers. He created a new personal artistic style in sutra transcription. And the use of kai shu as his primary creation style is different from the four great calligraphers of the Northern Song, made him outstand from the others and directly inherited from the method of Tang Kai Shu, thus shaped his profound status in the calligraphy society of Song Dynasty. In the following generations, as the main current of calligraphy society changed, Zhang’s calligraphy induced extreme evaluations. Despite of this, there were still numerous who followed his path of calligraphy. His works were spread through out Japan and were highly treasured by the calligraphy society.
碩士
建立日期: 2011
格式: 121 bytes
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語言: 中文
識別號: http://nutnr.lib.nutn.edu.tw/handle/987654321/1042
資源來源: NUTN IR

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以翰墨為佛事—南宋書家張即之研究

嚴崑晉; Chin, Yen-kun 黃宗義; Huang-Zong Yi; 國語文學系碩士班 2011

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