儒者黄道周的书学研究

发布时间：2018-06-01 12:15

本文选题：黄道周 + 书学　；参考：《西南大学》2017年硕士论文

【摘要】：明末是一个动荡的时期,也是我国思想史上的高峰之一。黄道周是一个以继承道统为己任的学者,他以气节闻名于世,可以说这是一个探讨中国儒者与书法关系的最佳人选。黄道周在儒学次第当中将“书法”排位至“七八乘”,不把书艺视作要务,只是在无心之下成就了“书名”。论文主体除绪论、结论外分作三章。第一章主要记述黄道周的立德问政、立言著述和书艺大概。即对黄道周进行“三栖”式阐释。政治上,他是正直敢诤的忠臣,又是宁死不屈的抗清民族英雄、爱国主义者;学术上,他是晚明儒学大家,学富五车,博闻广识,对当时和后世都有巨大影响,在宋明理学史上占有一席之地;艺术上,尤其是书法方面,他的小楷取法钟繇,又极具个人风格,行草书独树一帜,奇险含蓄,名重于时且对后世影响深远。第二章基于黄道周书论,研究其中反映的儒家思想。黄道周对人品书品极为重视,并以儒者风骨为基础提出“遒媚加浑深”的审美观念。而书法的非功利意识和创新意识,是其书艺态度的呈现。可以说,黄道周的书法是服务于他自身的,他借助书法寄托情感或者弘扬纲常节义思想。第三章分两部分,其一是通过心理学的书法认知研究,析探黄道周与其他儒者的书学相通之处。书法作为文人的基础技能,学习过程必须有一个书家典范作为取法的对象。在贵古贱今的“尚古”心理与典范追求的观念下,黄道周越过唐法宋意与王字的妍美,选择既典范、又深具拙趣的钟繇作为学习的对象,是此部分选取研究的“共同”的书法认知起点。书法学习,乃至个人、时代书风的形成,都离不开临与摹的工夫,回到源头来说,实际上就是效法的书家或者法帖对学习者的影响。临和摹的学习,最终的结果都是将字迹的形象和结构准确的存入我们的记忆,事后需要凭借对字的原始记忆重新写成书法作品。从这个角度分析,只要是学习者对于临摹的对象是相同的,就有机会出现类似的字形与笔意,或者相似的书学态度。其二则为析探黄道周的书法作品,主要以《孝经》《张溥墓志铭》及其行草书为对象。以黄道周的儒者身份作为基础,剖析其行草书作品与小楷作品,以及有类似身份的其他圣人或者学者的书法作品,意图更直白地呈现出属于其儒学履践的书艺。
[Abstract]:The late Ming Dynasty was a turbulent period and one of the peaks in the history of Chinese ideology. Huang Dao-Zhou is a scholar who inherits Taoism, he is famous for his integrity, and it is the best person to discuss the relationship between Chinese Confucianists and calligraphy. In the second place of Confucianism, Huang Daozhou ranked calligraphy as "seven or eight times" and did not regard the art of calligraphy as an important task, but unwittingly achieved the title of the book. The main body of the thesis is divided into three chapters except introduction and conclusion. The first chapter mainly describes the politics of Huang Dao Zhou's Li de, Li Yan's writings and the book art. Namely, the zodiac week for the "three-perch" type of interpretation. Politically, he was a loyal and upright minister, a hero of the Qing nationality and a patriot who would rather die than give up. Academically, he was a scholar of Confucianism in the late Ming Dynasty, who was rich and knowledgeable, and had a great influence on the time and future generations. In the history of Song Ming's Neo-Confucianism, his art, especially in calligraphy, his style is very personal, the cursive writing is unique, the name is more important than the time and has a profound influence on later generations. The second chapter is based on the Zhoushu theory, which reflects the Confucian thought. Huang Daozhou attached great importance to the character of books, and put forward the aesthetic concept of "Qiu Mei Jia Huo Shen" on the basis of Confucianism. And the non-utilitarian consciousness and innovation consciousness of calligraphy are the presentation of its art attitude. It can be said that the calligraphy of Huang Dao Zhou serves himself. The third chapter is divided into two parts, one is through the psychology of calligraphy cognitive research, to explore the similarities between Huang Dao Zhou and other Confucianism. Calligraphy as the basic skill of literati, the learning process must have a calligrapher model as the object of learning. Under the concept of "Shang Gu" psychology and the pursuit of the model, Huang Dao-Zhou chose Zhong you, who was both a model and a deeply clumsy one, as the object of study, over the meaning of Tang Dynasty, law and song and the beauty of Wang Zi. This part of the selection of the study of the "common" calligraphy cognitive starting point. Calligraphy learning, even individuals, the formation of the style of the times, are inseparable from the work of the immediate and copying, back to the source, in fact, is the influence of copycat calligraphers or posts on learners. The final result of the study of Pro Hari is to accurately store the image and structure of the handwriting in our memory, and it is necessary to rewrite the calligraphy works with the original memory of the word afterwards. From this point of view, as long as learners are the same for copying objects, there is a chance of similar glyph and pen meaning, or similar book-learning attitude. The second is the analysis of Huang Dao-Zhou 's calligraphy works, mainly taking the Book of filial piety, Zhang Pu's epitaph and his cursive calligraphy as objects. On the basis of the Confucian identity of Huang Dao Zhou, this paper analyzes his works of cursive calligraphy and his works of Xiao Kai, as well as the calligraphy works of other saints or scholars with similar identities, with the intention of presenting more plainly the calligraphy art belonging to his Confucianism.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J292.1

【参考文献】