中国古代毛笔研究

发布时间：2018-08-25 20:20

【摘要】：本文对魏晋以来古代毛笔形制的流变、制笔的材料、风格流派、笔工作了详细的研究；同时对于毛笔与书法风格的关系作了深入的探讨。结合书法史，考述了历史上典型的毛笔形制以及种类，指出缠纸有心笔为魏晋时期的主要形制，分析了鸡距笔的重要特征。文章指出宋代以后毛笔的制作发生了重大改变，无心散卓成为主要的形制，这是一种技术的进步，它的兴盛为宋代的写意书风提供了客观的工具因素。文章还对于枣心笔、羊毫笔、狸毛笔、鼠须笔等重要的种类作了详细的考述。在梁同书《笔之料》的基础上，对于制笔的材料作了描述与整理；并指出“仲秋取毫”说法的不妥，补充论述了“南兔毫短而软”的观点。参考现代的制笔技术，重点以散卓法为例，文章结合文献对毛笔制作工序如择毫、熟毫、衬胎、剔毫等关键步骤作了较为详细的描述，并对毛笔的四德“尖、齐、圆、健”作了深入的分析。本文主要讨论宣笔、湖笔等重要派别，并对一些存在争议的问题作了探讨。文章对韩愈《毛颖传》之中山一地作了考辨，指出中山当为唐代宣城的溧水；并指出地理、物产、工巧等因素为宣笔兴盛的主要原因。湖笔的兴盛与宣笔的衰落以及湖州的地理、人文等有重要的联系。元、明、清三代湖笔既有传承也有发展，文章在前人研究的基础上补充论述三代湖笔的异同。湘笔也是历史上重要的流派，影响较大。制作主体——笔工也是本文研究的重要部分。文章在前人研究的基础上增补唐代以前笔工13人、宋代42人、元代9人、明代22人、清代40人。毛笔与书法风格的关系研究是本文的落脚点。毛笔的形制对书法风格有重要的影响。在有心短锋笔盛行的时代，“颜筋“变为“柳骨”，与柳公权对工具的改变有密切的关联。对于毛笔的形制，苏轼守旧，黄庭坚喜新；这种差异无疑对于他们个性书风的形成具有直接影响。不同材料的毛笔就会产生不同的书写效果。陈献章、今释等利用茅笔创造出拙大的书风，影响至今。特殊类型毛笔往往为个性书家所喜爱。秃笔常常用来表现拙朴圆浑的书风。书家通过烧毫或束毫的手段来表现玉箸篆的瘦硬风格应当是符合情理的事情。
[Abstract]:This paper makes a detailed study on the evolution of the ancient brush form, the materials, styles and works of the brush since the Wei and Jin dynasties, and probes into the relationship between the brush and the style of calligraphy. Combined with the history of calligraphy, this paper discusses the typical style and types of brush in history, points out that the wrapped paper pen is the main form of the Wei and Jin dynasties, and analyses the important characteristics of the chicken pen. The paper points out that the making of brush has changed greatly since the Song Dynasty, and unintentionally Sanzhuo has become the main form system, which is a kind of technical progress, and its prosperity provides an objective tool factor for the style of freehand brushwork in the Song Dynasty. Some important types such as jujube heart pen, goat pen, cat brush, mouse hair pen and so on are discussed in detail. On the basis of Liang Tong's book "Materials of Pen", this paper describes and arranges the materials of pen making, and points out the inappropriateness of the theory of "Zhongqiu taking every word", and gives a supplementary discussion on the viewpoint that "Nantui is very short but soft". Referring to the modern pen making technology and taking the Sanzhuo method as an example, the paper gives a detailed description of the key steps of the brush making process such as selection, familiar, lining, tick and so on, and gives a more detailed description of the four virtues of the brush, such as "sharp, uniform and round". Jian makes an in-depth analysis. This paper mainly discusses some important schools, such as Xuan Pen and Hu Pen, and discusses some controversial issues. This paper makes a textual research on Zhongshan of Han Yu, points out that Zhongshan should be the Lishui of Xuancheng in Tang Dynasty, and points out that geography, product and workmanship are the main reasons for the prosperity of Xuan pen. The prosperity of Lake pen and the decline of Xuan pen, as well as the geography of Huzhou, humanities and so on have important relations. In Yuan, Ming and Qing dynasties, there were both inheritance and development of the three generations of Lake pen. The article discussed the similarities and differences of the three generations of Huhu pen on the basis of previous studies. Xiang pen is also an important school in history, which has a great influence. The main body of production-pen work is also an important part of this study. On the basis of previous studies, this paper adds 13 pen workers before Tang Dynasty, 42 in Song Dynasty, 9 in Yuan Dynasty, 22 in Ming Dynasty and 40 in Qing Dynasty. The relationship between brush and calligraphy style is the foothold of this paper. The shape of the brush has an important influence on the style of calligraphy. In the age of "short pen with heart", Yan Jin changed into "Liu Gu", which was closely related to Liu Gongquan's change of tools. For the style of brush, Su Shi conserved the old style, Huang Tingjian liked the new style, and this kind of difference undoubtedly had direct influence on the formation of their individual style of writing. Brushes of different materials produce different writing effects. Chen Xianzhang, such as the use of brush to create a big book style, influence so far. Special types of brushes are often loved by individual calligraphers. The bald pen is often used to express the simple and round style of the book. It should be reasonable for the calligrapher to express the thin and hard style of Yujianzhuan by means of burning or straining.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2012
【分类号】：TS951.11;J292.11

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