欧阳询书史形象建构论

发布时间：2018-04-18 13:21

  本文选题：欧阳询 + 形象建构　； 参考：《西安美术学院》2017年博士论文

【摘要】：欧阳询的书史形象,是欧阳询在中国书法史上所建构的整体的艺术形象。他通过自己的书法专论,阐释了这种形象;通过自己传世的书法作品,展示了这种形象。对这种书史形象,后世的书论史和书法美学史仅介绍其某些书论观点,书史著作和专题论文仅介绍其某些艺术特点和一般成就。本篇学位论文则结合其书论与书艺,总结和概括其书史形象的整体特点,分析其书史形象整体特点的形成原因和展现层面。作为一位活跃在隋唐之际的书法家,欧阳询在中国书法史上的地位是承前启后的。他植根于自己的地域文化、家族文化和师道文化,立足于自南北朝经历隋代而至初唐中国书法艺术的发展趋向,承续了隋代南北兼容的书法意趣,通过自己的书法创作实践和书论研究,对于书法艺术的美学特质、创作规律、艺术风格及鉴赏标准,都做了深入的阐释,并在其创作实践中具体体现了南北兼容的美学追求,从而开启了唐代尚意重法的一代新风,并对此后中国书法的创作实践和理论研究,都产生了重大影响。欧阳询书史形象的这种建构,绝不仅是后人所直接概括和平面介绍的那些零碎的几个点和面,而有着严密的内在逻辑联系:与南北朝以后中国书史演变的大背景和自隋代开启的书风流变,与书家独特的人生经历都息息相关,而集中展现在书家的创作实践和书论研究的诸多层面。这些层面,都紧紧围绕着“重法尚意”这一美学核心,从而建构起他的书史形象。本篇学位论文对欧阳询书史形象建构的研究,既汲取中国古代哲学偏重于实践理性的特点,宏观把握自南北朝至隋唐之际文化和书法演进的大背景,微观分析欧阳询历仕三朝的人生经历,以纵向分析“为什么”,即其书史形象建构的主客观原因;又在考释其存世书作和书论的基础上,从本体论、文本论、建构论、比较论、风格论五个方面,横向分析其“是什么”,即其书史形象在具体展现时,所紧紧围绕的兼容南北和尚意重法这个核心;再从影响论层面纵向探讨“怎么样”,即其书史形象的历史价值及对后世的影响。这种纵与横的结合,宏观与微观的兼顾,更有利于揭示出欧阳询书史形象中美学思想的独特性。兼容南北、重法尚意,既是对欧阳询植根于时代书法文化走向和基于个人艺术实践、艺术思想精髓所建构的书史形象的科学揭示,也是对中国传统文化“中和为美”的审美情趣的另一种表述。
[Abstract]:Ouyang inquiry's image of book history is the whole artistic image constructed by Ouyang inquiry in the history of Chinese calligraphy.He interprets this image through his calligraphy monographs and displays it through his own calligraphy works.To this kind of book history image, the later generation's book theory history and calligraphy esthetics history only introduce some of its book theory viewpoint, the book history work and the monographs only introduce some of its artistic characteristics and general achievement.This thesis combined with its book theory and art summarizes and generalizes the overall characteristics of the image of the history of the book and analyzes the formation of the overall characteristics of the image of the book history and the level of display.As an active calligrapher in the Sui and Tang dynasties, Ouyang inquiry's position in the history of Chinese calligraphy is a link between the past and the future.He rooted in his own regional culture, family culture and teacher culture, based on the development trend of Chinese calligraphy art from the Sui Dynasty to the early Tang Dynasty in the Southern and Northern dynasties, and continued the calligraphy spirit of the Sui Dynasty, which was compatible with the North and the South.Through his own calligraphy creation practice and the book theory research, has made the thorough explanation to the calligraphy art esthetics characteristic, the creation rule, the artistic style and the appreciation standard, and has embodied the North and South compatible esthetics pursue in its creation practice,It opened a new style of the Tang Dynasty, and had a great influence on the creation practice and theoretical research of Chinese calligraphy since then.This kind of image construction of Ouyang inquiry book history is not only a few points and faces that are directly summarized and introduced by later generations.And there is a close internal logical connection: the background of the evolution of the history of Chinese books after the Southern and Northern dynasties and the changes in the style of the books opened since the Sui Dynasty are closely related to the unique life experience of the calligraphers.But concentrated in the calligrapher's creation practice and the book theory research many aspects.These levels are closely centered around the aesthetic core of "stressing the law and still meaning", thus constructing his image of the history of the book.This dissertation studies the image construction of Ouyang inquiry book history, which not only draws on the characteristics of Chinese ancient philosophy, but also grasps the background of culture and calligraphy evolution from the Southern and Northern dynasties to the Sui and Tang dynasties, from the time of the Southern and Northern dynasties to the Sui and Tang dynasties.Microcosmic analysis of the life experience of the three dynasties of Ouyang inquiry, and the longitudinal analysis of "why", that is, the subjective and objective reasons for the construction of the image of his book history, and, on the basis of textual research, ontology, text theory, constructivism and comparison theory,In the five aspects of stylistic theory, it analyzes horizontally its "what is", that is, the core of the book's historical image, which is closely related to the compatibility of the north and south monks with the idea of emphasizing the method, and then discusses "how" vertically from the perspective of influence theory.That is, the historical value of the historical image of his book and its influence on later generations.This combination of vertical and horizontal, macro and micro, is more conducive to reveal the unique aesthetic thought in the image of Ouyang inquiry book history.It is not only a scientific revelation of the image of book history that Ouyang inquiry is rooted in the trend of calligraphy culture of the times and based on individual art practice, but also based on the essence of art thought.It is also another expression of aesthetic interest of Chinese traditional culture and beauty.
【学位授予单位】：西安美术学院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J292.1
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本文编号：1768542