绵延与积淀

发布时间：2018-05-07 09:20

本文选题：书论 + 美学思想　；参考：《首都师范大学》2002年博士论文

【摘要】： 本文旨在通过对中国书论的梳理，来论证中国书论中的美学思想发展的历程。随着书法艺术的进一步深入，人们对于书法的批评，对于书本身个性的认识也不断的深化，就形成了书论。中国书论自诞生起已有着两千年的历史，在发展的过程中，书论伴随着当时的学问、哲学思想、宗教信仰等文化而发展，和文论、诗论、画论、乐论共同组成了中国人对于本民族艺术认识的宏构，成为了中国文化的重要部分，体现了中国人的人文精神。书论作为每个时代书法艺术的总结和概括，来源于实践，足创作实践的理论升华，反过来又对创作实践起到指导作用。根据汉代书论的实际，我认为中国书论在汉代已经从原来的自发状态走向自觉的状态，可以说中国书论的美学思想从萌芽孕育，到了东晋就初步确立了。中国书论的美学思想自觉确立是从东汉时代开始，其标志是有书法论著的集中出现。汉代是中国书法艺术逐渐包含着实用而走向审美的阶段，据史籍记载，汉代人的书写实践呈现出“争工笔札，彬彬乎极一时之盛”的局面，这种实践风气为书论的产生奠定了良好的基础，于是在东汉末年，终于出现了成批的书论著作。汉代又是文字学所谓“隶变”的时期，汉字在汉代转向了今文时代，隶书是解散篆书而成，章草是解散隶书而成，书体众多，但具发展却又同一性，汉代人对于众多的书体的研究，同样也是其书论内容的一个方面。如果东汉书论家的出现，标志了中国书论中美学思想的自觉形成，那么魏晋六朝时期的书论家的书写批评，则标志着中国书论中美学思想的进一步确立和发展。此时的书论在沿着传统的方向前进的同时，也出现了新的方向，那就是书史和法度的初步建构。隋唐初期的书论，就是承前启后，为美学体系的成熟和繁荣起到了销垫作用。盛府以后，书论的发展全面进入繁盛，出现大批的有分量的书论家和书论著作，这些书论家在吸收了前人的成就后，，全面开创了属于自己时代的文化批评，在继承了前人的批评范畴后，又建立了新的批评话语。晚唐时代，书的批评逐渐衰落，但是晚府五代人的创作出现了新的转向，昭示着宋代创作的方向。这种创作实践上的成就，反过来又为书法的批评提供了基础，说明中国书论又进入了另一个新时代。元明的书论是在复古的旗帜下的进步，到明代中后期，由于文人重视自我个性，加上以帖为根据的创作实践的没落，昭示着书论的转型，这种转型不仅是批评对象、方法、范畴和标准的变化，更是中国书论中的美学思想的进一步发展和丰富。基于对于中国书论发展的这种认识，我把中国书论中的美学思想整个发展过程分为：书论中美学思想的自觉与形式确立，美学思想的走向成热与发展和美学思想的通变与深入三个阶段，力图从书论发展的内部来论证美学思想走向体系化的历程。
[Abstract]:The purpose of this paper is to demonstrate the course of the development of aesthetic thought in Chinese Book Theory by combing the Chinese book theory. With the further deepening of the calligraphy art, the criticism of calligraphy and the deepening of the understanding of the character of the book itself have formed the book theory. The theory of Chinese books has been developed for two thousand years since the birth of the Chinese calligraphy theory. In the course of the course, the book theory developed with the culture of learning, philosophy, religion and other cultures at that time. The theory of literature, poetry, painting and music together formed a macro structure of Chinese people's understanding of the art of the nation, which became an important part of Chinese culture and embodied the humanistic spirit of the Chinese people. According to the practice of the book theory of the Han Dynasty, I think that the Chinese book theory has gone from the original spontaneous state to the state of consciousness in the Han Dynasty. It can be said that the aesthetic thought of the Chinese book theory was conceived from the bud and was initially established in the Eastern Jin Dynasty.
The aesthetic thought of Chinese book theory was established consciously from the time of the Eastern Han Dynasty and its symbol was the centralization of the works of calligraphy. The Han Dynasty was a stage in which Chinese calligraphic art gradually contained a practical and aesthetic stage. According to historical records, the writing practice of the Han Dynasty showed a situation of "the writing of struggle and the extreme prosperity of the moment". Qi laid a good foundation for the creation of the book theory, so in the last year of the Han Dynasty, there was a lot of book theory. The Han Dynasty was the period of the so-called "official script" in the Han Dynasty. The Chinese characters turned to the age of the Chinese language in the Han Dynasty. The script was disbanded and the script was disbanded. The study of numerous books is also an aspect of his book theory.
If the appearance of the calligraphers in the Eastern Han Dynasty marks the formation of the Chinese academic thought of the Chinese Book Theory, the writing criticism of the calligraphers in the Wei, Jin and Six Dynasties marks the further establishment and development of the Chinese Book Theory in the Chinese book theory. At this time, the book theory also has a new direction along the traditional direction, and that is the history of the book. In the early period of the Sui and Tang Dynasties, the book theory of the Sui and Tang Dynasties was the beginning and the beginning, which played a role in the maturity and prosperity of the aesthetic system. After the Sheng Fu, the development of the book theory entered into a full scale, and a large number of book writers and Book theories appeared. After absorbing the achievements of the predecessors, these books pioneered their own times. In the late Tang Dynasty, the criticism of the book gradually declined, but the creation of the five generations in the late palace showed a new direction, which showed the direction of the Song Dynasty. The achievements of this creative practice provided a basis for the calligraphy criticism and explained the Chinese book. The theory of calligraphy has entered another new era. The book theory of yuan and Ming is a progress under the banner of retro. To the middle and late Ming Dynasty, due to the importance of the literati's attention to self personality and the decline of the creative practice based on the calligraphy, the transformation of the Book Theory is demonstrated, which is not only the change of the criticism object, the method, the category and the standard, but also the beauty of the Chinese book theory. The further development and enrichment of learning ideas.
Based on this understanding of the development of Chinese Book Theory, I divide the whole process of the development of aesthetic thought in Chinese Book Theory into three stages: the consciousness and form of the theory of Sino-American studies in the book theory, the development of aesthetic thought and the change and depth of aesthetic thought. A systematized course.

【学位授予单位】：首都师范大学
【学位级别】：博士
【学位授予年份】：2002
【分类号】：J292.1

【引证文献】