中国佛门书家之流变

发布时间：2018-03-13 12:08

本文选题：中国　切入点：佛门　出处：《中央美术学院》2004年硕士论文　论文类型：学位论文

【摘要】：《中国佛门书家之流变》一文以佛教和艺术的发展史作为纵线，并与同期主流书法的交织对比作为横线，从四个部分——即魏晋、隋时期；唐、五代时期；宋、元时期；明、清时期来探讨佛门书法的流变史，得出僧人书法按照恪守古法和变通创新的两条并行共存线索之结论。具体每时期之特点见诸以下各个章节。魏晋、隋部分，从以实用目的为开始的传播文字到赋予宗教情感审美的写经、刻经书法，直至以智永和敬脱所开创的古法与创新两条脉络的奠定，说明这一时期佛门书法与主流发展大体一致的特点。同时也强调了这一时期佛门书法、书家的影响和作用，如刻经书法的视觉意义；智永、智果所论《永字八法》及《心成颂》对字形结构法的总结，为促进楷书成熟作出的贡献等等。唐、五代部分，突出佛教发展的鼎盛阶段，在禅宗的特殊价值取向影响下，佛门书家在创作上和理论上表现出的卓越才情和不凡建树，以及与当时主流审美——“尚法”不同的特征。重点强调以怀素为代表的狂草书家对宋“尚意”书风的发端作用。宋、元部分，从士大夫文人禅悦风气的盛行和僧人普遍士大夫化的事实出发，，阐述佛门与主流书法之间的互相影响渗透关系以及佛门释子对“尚意”含义的别解和发挥。明、清部分，站在历史和宗教因素的角度，分析佛门书法泛受时风浸染，为世俗风气所左右的成因。同时也叙述明、清不同于其它时期的特色，如兼善书画僧人，由绘画或碑版的启发，进而形成对书法笔、墨及形式上的突破成就。
[Abstract]:"the Evolution of Chinese Buddhist calligraphers" takes the history of the development of Buddhism and art as the vertical line, and the intertwined contrast with the mainstream calligraphy of the same period as the horizontal line, from four parts: Wei Jin, Sui Dynasty, Tang Dynasty, five dynasties period, Song Dynasty, Yuan Dynasty, Ming Dynasty, This paper discusses the evolution history of Buddhist calligraphy in the Qing Dynasty, and draws the conclusion that monk calligraphy has two parallel coexisting clues according to the adherence to ancient law and innovation. The characteristics of each period can be found in the following chapters. In the Wei and Jin dynasties, the Sui Dynasty, from the spreading of words for practical purposes to the writing of the scriptures that endow the religious emotion with aesthetic appreciation, to the calligraphy of the scriptures, and to the establishment of the ancient method and innovation initiated by Zhiyonghe. It also emphasizes the influence and function of Buddhism calligraphy and calligraphers in this period, such as the visual meaning of scripture calligraphy; Zhiguo's "eight methods of everlasting characters" and "Song of the Heart" summarize the method of font structure, and contribute to the maturation of regular script, and so on. The Tang Dynasty and the five dynasties highlighted the peak stage of the development of Buddhism. Under the influence of the special value orientation of the Zen sect, Buddhist calligraphers showed outstanding talent and extraordinary achievements in creation and theory. And different characteristics from the mainstream aesthetic at that time-"Shang Fa". The emphasis is placed on the original role of the hysterical calligraphers, represented by Huaisu, to the style of "Shang Yi" in Song Dynasty. In the Song and Yuan dynasties, based on the prevailing culture of Zen and pleasure among literati and literati and the fact that monks are generally literati, this paper expounds the mutual influence and permeation between Buddhism and mainstream calligraphy, as well as the interpretation and exertion of the meaning of "still meaning" by Buddhist scholars. In the Ming and Qing dynasties, from the perspective of historical and religious factors, this paper analyzes the causes of Buddhism calligraphy being influenced by the prevailing customs and customs. At the same time, it also describes the characteristics of the Qing Dynasty, which are different from other periods, such as Buddhist monks who are also good at calligraphy and painting. Inspired by paintings or tablets, a breakthrough in calligraphy, ink and form is formed.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：J292.1

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