書法結構研究-行草書法之新思維

Date
2007
Authors
陳炫明
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Abstract
我國書法淵源甚早,相傳太古時代伏羲氏,觀象於天觀法於地,作八卦以垂憲。神農氏藉結繩以記事,已具文字之雛形。黃帝史官倉頡見鳥獸之跡文理可別,初造書契,其後形聲相益,文字孳乳浸多。見於史冊者有甲骨、鐘鼎、秦篆、漢隸、行草,以至後世之楷書。字體之演進至唐可謂備矣。就風格而言,先秦、兩漢古文字書體遒勁簡質,至魏晉則尚韻、唐尚法、宋尚意、元明尚態、 清人尚樸、近代則趨向多元融合。至其用途亦隨時代之需要而變遷,秦用之於刻石,漢之用於墓誌,南帖北碑,名目繁多,其內容或游揚德業或褒讚成功。非僅徒求記事以充生活之應用而已。而實用之餘,兼求形體之美,所謂踵事增華,變本加厲,形則窮極變化之奇,神則博采飄逸之趣。 而後再嬗變為有意識地藉以表現書者之心靈情思和創作理念。而於今日,書法藝術可以純粹是透過書寫文字以表現畫面造形結構的一種視覺藝術創作。不同時代背景與風尚,各有其異趣之書法神采;而個人之學養認知與創作理念有別,亦復具特色與書風。然而必經臨摹、研習,而後融合出新的書法研創歷程,使他又能跨越字體與時代風尚之界藩,呈現出一脈相傳而又各有所長的傳承精神,也是其極具特色的藝術特質。 本文分五章,第一章緒論:介紹研究動機、目的、內容、範圍及方法。第二章:引述古代文獻,探討書法由象形表意-意象審美生發過程,行草書法之發軔及演進,台灣、日本、大陸現代書法新思維之啟示。第三章:學理依據-書法內在風神之審美意蘊及外在結構美的意涵。第四章:創作思維與實踐-個人書法創作之繪畫性表現意象,作者書法創作品解析。第五章:結論。
The Chinese Calligraphy originated very early. It was handed down from generation to generation that in the prehistorical period, the Fu Hsis observed the phenomenon from the Heaven and the regulations from the Earth, using Ba Gua as laws. After the Sen Ruens recorded things by knotting the rope, the characters had their embryonic forms. Cheng Chi, the Yellow Emperor’s historical official, found that the lines of the birds and beasts were distinctive, so he created characters first, and then the sounds formed. Gradually, there were more and more characters created. In Historical Volumes are Oracle Bone, Zhong Ding, the Qin Seal -style, the Han Clerical-style, Running-style, and even the Model-style characters. We can say that the development of the styles of characters had been completed in the Tan Dynasty. As for the styles, the ancient characters in the early Qin and the Hans were strong and simple; the Wei and the Jin Dynasties focused more on rhymes. The Tan Dynasty liked regulations, while the Song Dynasty preferred conception. The Yan& Ming Dynasties advocated deportment, but the Ching liked plain. In modern times, the characters tended to a multiple blend. The usages also changed with the need of the era. In the Qin Dynasty, people used the characters to carve the stone, but in the Han, they used the characters on the gravestone. Therefore, no matter how it was, Manuscript in the south or Inscription in the north, there was a great variety. And the key purpose was to praise, not only to keep records. They were practical andbeautiful. And because more and more characters were created, people intended to make them splendid. We learned the forms were changeable and the appearances were elegant. Later, it became the way that the calligraphers consciously expressed their feelings and the concepts of creation. Nowadays, the art of calligraphy can express a visual creation simply from the characters. Different backgrounds and styles show different tastes. And because of the differences between a person’s knowledge and creative ideas, the characters have their own characteristics and styles. However, one must first imitate and study, and then they can blend a new course of calligraphic study. Thus, it can exceed the boundary of the type and the era. We can say the peculiarities of art are a passing-down spirit that derived from the same origin. There are five chapters in this article. Chapter I : to introduce motivation, purpose, content, scope and methods. Chapter II: to quote from the ancient documents and research the origin and the progress of running-script style; the revelation of modern calligraphy in Taiwan, Japan, Mainland China. Chapter III: The Basis of Learning --- the significance of the internal aesthetics, the meaning of external structure about calligraphy. Chapter IV: Creation Concepts and Practice--- expressive intention of calligraphic painting and the analysis of the calligraphers’ creations. Chapter V: Conclusion.
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書法, 視覺藝術, 尚意, 一次性書寫, 繪畫性書寫, Chinese Calligraphy, Vision Creation, Conception, Unrepeated Character, Calligraphic Painting
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