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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 傅申 | |
dc.contributor.author | Ling-Kuang Fang | en |
dc.contributor.author | 方令光 | zh_TW |
dc.date.accessioned | 2021-05-13T08:37:29Z | - |
dc.date.available | 2016-08-24 | |
dc.date.available | 2021-05-13T08:37:29Z | - |
dc.date.copyright | 2016-08-24 | |
dc.date.issued | 2016 | |
dc.date.submitted | 2016-07-28 | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/3846 | - |
dc.description.abstract | 有唐一代,楷書名家輩出,其中又以顏真卿(709-785)創立的「顏體」最為後人稱道。千百年來,顏體被視為唐楷發展的最高峰,對中國書法史投下了廣大、深刻的影響。然而,唐代的書法評論家既不重視顏體,也不認為顏真卿是偉大的書法家,這樣的現象實在令人疑惑。本文根據以上的觀察展開研究,結論如下:
1. 顏真卿傳世楷書作品只有10件是真蹟,如《王琳墓誌》、《多寶塔碑》、《顏勤禮碑》等;其餘都是後人仿造的偽作,如《八關齋碑》、《顏氏家廟碑》、《麻姑仙壇記》等。另有2件誤植顏氏名下,即《自書告身》、《竹山堂連句》。 2. 按真蹟所見,顏真卿的楷書風格有3個發展階段:(1)學習褚遂良(596-658)《雁塔聖教序》的風格,代表作為《王琳墓誌》。(2) 學習盛唐「官楷」,發展出前期顏體風格,以《多寶塔碑》為代表,表現其干祿之心。(3) 在前期顏體中加入篆書的筆法和字樣,發展出後期顏體風格,以《顏勤禮碑》為代表作。 3. 顏體楷書是以儒家經世致用的文藝理念為根基,具有強烈的政治性格。正是為了在政治工作上有更傑出的表現,顏真卿努力學習盛唐官楷的字樣和書法風格,創發了前期顏體;為了落實「文質彬彬、書以合道」的理想,他又援篆入楷,發展出後期顏體風格。 4. 觀察顏體成立和發展的過程,可以發現政治力量的干預和唐代士人的干祿心態才是推動唐楷發展的關鍵因素。正因顏體繼承了盛唐官楷的實用、功利主義,不強調楷書的抒情性和表現性,於是不得到傳統派評論家的青睞。直到後期顏體表現出復古的筆法和風格,又配合《干祿字書碑》的流行,才使顏真卿在晚唐時期逐漸被納入筆法傳承的譜系,並成就顏體經世致用的價值。 5. 尤於顏真卿名下的楷書作品含有大量偽作,以致後人看不清顏體的真面目。很多人誤認顏體有「燕尾」的筆法,又說顏體的風格多變,發展的過程反反覆覆,並美其名為「一碑一面目」。事實上,就大多數偽作出現的時間而言,宋代堪稱關鍵。換言之,宋人對顏體碑帖的臨仿、詮解、評價深深地影響了後人;宋人對顏體的想像引發了後人的誤讀,也映射出唐、宋兩代的書法思潮有了明顯的轉變。 | zh_TW |
dc.description.abstract | Of regular script calligraphy styles from the Tang Dynasty, the style of
Yan Zhen-qing (709-785) became one of the most highly regarded styles by later scholars. For centuries, ' Yan style ' was seen as a climax of Tang Dynasty regular script, and his work has had a wide and profound effect on Chinese calligraphy ever since. However, Tang Dynasty calligraphy critics did not place much value on Yan style, and they did not think of Yan Zhen-qing as a great calligrapher. This phenomenon is difficult to understand. The main aim of this paper is to further investigate the above-mentioned observation of Yan's lack of popularity in the Tang dynasty. The conclusions are as follows: 1. There are only ten extant genuine works of Yan Zhen-qing's regular script calligraphy, including Wang-lin Mu Zhi 'Wang Lin's Epitaph', Duo-bao-ta Bei 'Prabhutaratna Pagoda Stele',Yan Qin-li Bei ' Stele for Yan Qin-li' and others. All other works are either copies or forgeries of his works, such as Ba Guan Zhai Bei 'Stele for The Eight Precepts', Yan Shi Jia Miua Bei 'Yan Family Temple Stele', Ma-gu Xian Tan Ji 'Record of the Altar of the Immortal of Mount Ma-gu' and others. There are also two works that are falsely attributed to Yan, including Zi Shu Gao Shen 'Self-Written Announcement of Office' and Chu Shan Tang Lian Ju 'Poems Written at Bamboo Hill Library'. 2. From Yan Zhen-qing's genuine works, one can see that his regular script style underwent three developmental stages. The first stage was learning from the style of Chu Sui-Liang's (586-658) work Yan-ta Sheng Jiao Xu 'Wild Goose Tower Saint Teaches Forward' as most representatively demonstrated in his work 'Wang Lin's Epitaph'. In the second phase, he studied High Tang's officially regular script, developing the earlier Yan style as represented by works like 'Prabhutaratna Pagoda Stele'. In the third phase, he developed a later Yan style by adding the seal script brush method and character form, which is best exemplified in his work 'Stele for Yan Qin-li' and Ganlu Zishu Bei ' Stele for Collection of Model Written Characters'. 3. The Confucian concept of statecraft is the foundational artistic concept behind Yan style, and this style has a strong political meaning. It was in order to have an outstanding contribution to statecraft that Yan Zhen-qing diligently studied High Tang's officially regular script (including character forms and calligraphic style) and established the early Yan style. After that, he incorporated the brush technique of seal script into regular script and developed the later Yan style in order to manifest the concepts of 'form-content unity' and 'calligraphy and Dao as one'. 4. When observing Yan's process of developing and establishing his style, one can see that the intervention of political forces and Tang Dynasty scholars' ambition for official posts were key factors in the pushing forward the evolution of regular script. It was precisely because Yan style inherited the pragmatism and utilitarianism of the standard regular script tradition of the Tang Dynasty and did not emphasize the lyrical expression and emotiveness of regular script that traditional critics did not look upon his works favorably. It was not until Yan style expressed a 'fugu' (returning to the ancients) brush technique and style and was able to conform with the popular 'Collection of Model Written Characters' that Yan Zhen-qing's became accepted in the canon of late-Tang calligraphy. 5. The large number of forged works attributed to Yan Zhen-qing has led later scholars to not understand Yan's true style. Many people falsely attribute the 'swallow's tail' calligraphic technique (in which the end of 'Na' stroke of the character splits in two) to Yan's work or say that his works were constantly in flux, constantly moving back and forth in his developmental process. They even praised him for having every stele's style differ from others. | en |
dc.description.provenance | Made available in DSpace on 2021-05-13T08:37:29Z (GMT). No. of bitstreams: 1 ntu-105-D94141001-1.pdf: 25430853 bytes, checksum: dfb1b84f5103447446b9121e76070bf9 (MD5) Previous issue date: 2016 | en |
dc.description.tableofcontents | 緒 論 1
一、研究回顧 3 1. 關於顏體的淵源 4 2. 關於顏體的真實面貌與發展過程 7 3. 關於顏真卿在書史上扮演的角色 9 二、研究範圍 12 1. 貼近唐人的視野 12 2. 顏體楷書對歷代中國書法社會具有更普遍的影響力 13 三、研究方法 15 1. 鑑別顏真卿楷書碑帖的真偽和優劣 15 2. 考察顏氏楷書的淵源、發展與變化 15 3. 重建顏體誕生和演變的歷史情境 15 4. 分析唐人如何看待顏體 16 第一章 真蹟辨疑 17 一、《顏勤禮碑》是764-765年的真蹟 18 1. 從出土地與同出文物看《顏勤禮碑》的真偽 18 2. 從作偽的心態看《顏勤禮碑》的真偽 21 3. 從文字內容和碑面狀態看《顏勤禮碑》的真偽 23 4.《全唐文》和《顏魯公集》的「意改」、「誤改」 25 5. 從書法風格看《顏勤禮碑》的時代與真偽 28 6.《顏勤禮碑》的年代 31 二、《東方朔畫贊碑》的宋拓未剜本 36 三、《大唐中興頌》的殘拓本、傳模補足本、翻刻本 42 1. 李本、袁本、全幅本都出自湖南摩崖 44 2. 孫本也是翻刻本,不是現存摩崖拓本 45 3. 李本是劣質的傳模補足本 48 4. 袁本是優質殘拓本 50 第二章 後人仿作 53 一、769年李秀巖仿刻《臧懷恪碑》 54 1. 顏真卿書《臧懷恪碑》的時間 54 2. 李秀巖「補勒」《臧懷恪碑》的方式 55 3. 傳世《臧懷恪碑》的書法和其它顏碑大異其趣 57 二、778年仿刻的《宋璟碑》 59 1. 現存《宋璟碑》的碑文正確無誤 60 2.「哈佛本」優於「北京本」,應是道光(1821-1850)晚期拓本 61 3. 仿刻《宋璟碑》的原因和證據 64 三、《八關齋》先後由晚唐人崔倬及北宋人仿刻 70 1. 《八關齋》重立諸說 71 2. 一個石幢,兩種風格 73 3. 851年崔倬仿刻第 1、2、6、7、8面 78 4. 北宋人仿刻第3、4、5面 82 四、約1060年代仿刻的《顏氏家廟碑》 85 1.《顏氏家廟碑》重立諸說 86 2. 內文有誤證明現存《顏氏家廟碑》是北宋人仿刻 87 五、北宋人仿刻的大字《麻姑仙壇記》 91 1.「陶齋藏宋拓本」是《大麻姑》最佳拓本 92 2.「陶齋藏宋拓本」也不是顏書真蹟 100 六、《小麻姑》是北宋人仿刻《大麻姑》 108 1.《小麻姑》拓本皆非顏真卿筆跡 110 2.《小麻姑》並未忠實縮臨《大麻姑》 115 七、《李玄靖碑》是宋人仿刻 122 1. 張廷濟藏本優於李宗翰藏本 124 2. 張廷濟藏本也不是顏真卿筆跡 128 第三章 僞托顏真卿名下的作品 133 一、東京藏《少師告身》是晚唐至五代時期按原頒告身製作的雙鉤廓填本133 1. 顏真卿不會破壞制度自書告身 136 2. 雙鉤廓填的東京本 140 3. 東京本中的俗體字樣不符合顏真卿用字的觀念和習慣 144 4. 東京本的書法風格異於顏真卿 147 5. 顏氏家族握有多通唐代原頒告身 155 6. 東京本及其底本的內容、格式無誤 158 7. 東京本的底本很可能就是唐代胥吏抄寫的原頒告身 160 8. 蔡襄題跋模糊其詞 163 9. 東京本是晚唐或五代的雙鉤廓填本,而且是忠義本的祖本 165 二、《竹山堂連句》是北宋人仿顏體碑刻的雙鉤廓填本 169 1.《連句冊》是雙鉤廓填本 170 2.《連句冊》的底本非顏真卿自書 178 3.《連句冊》的底本可能是北宋人仿顏體書的碑刻 181 三、碑帖鑑別小結 182 1. 顏書真蹟 183 2. 後人臨刻的作品 184 3. 偽托顏真卿名下的作品 184 第四章 顏真卿楷體書藝的發展與淵源 189 一、舊說檢討 189 1. 受許多偽作的誤導 189 2. 忽略了可靠、紀年的真蹟 189 二、顏真卿楷體書藝的發展階段 195 1. 第一期特點 195 2. 第二期特點 197 3. 第三期特點 198 三、顏真卿的書學淵源 207 1. 早年學褚遂良 207 2. 早期顏體源自盛唐「官楷」 210 3. 晚期顏體得益於行書、篆書 224 第五章 唐代視野中的顏體 235 一、顏體與顏真卿的「變法」 232 1. 顏真卿的「干祿之心」 236 2.「干祿之心」與早期顏體的變法 239 3. 「經世之書」與晚期顏體的變法 243 (1) 文質彬彬、書以合道 244 (2) 文質之辨與復古思想 248 (3) 從復古思想到晚期顏體 251 二、從唐代傳統派書論看顏體 256 1. 墨豬、棱角、耀俗 257 2. 千紙一類,一字萬同 264 三、中晚唐視野下的顏體與顏真卿 272 1. 唐人以書干祿的心態 273 2. 中晚唐流行的筆訣和筆法傳授譜系 274 3.《干祿字書碑》與經世致用的理想 281 結 論 285 參考文獻 287 圖 版 317 | |
dc.language.iso | zh-TW | |
dc.title | 干祿之心、經世之書:顏真卿(709-785)楷書考論 | zh_TW |
dc.title | Calligraphy of Political Ambitions and Statecraft :
A Study on Yan Zhen-qing's Regular Script Style | en |
dc.type | Thesis | |
dc.date.schoolyear | 104-2 | |
dc.description.degree | 博士 | |
dc.contributor.oralexamcommittee | 陳弱水,陳葆真,盧慧紋,邱添生 | |
dc.subject.keyword | 顏真卿,顏體,官楷,干祿,經世致用,多寶塔碑,顏勤禮碑, | zh_TW |
dc.subject.keyword | Yan Zhen-qing,Yan style,political ambitions,statecraft,Ganlu Zishu Bei,Yan Qin-li Bei, | en |
dc.relation.page | 336 | |
dc.identifier.doi | 10.6342/NTU201601394 | |
dc.rights.note | 同意授權(全球公開) | |
dc.date.accepted | 2016-07-28 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 藝術史研究所 | zh_TW |
顯示於系所單位: | 藝術史研究所 |
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