由《艺舟双楫》、《广艺舟双楫》论19世纪书学思想嬗变

发布时间：2018-07-17 22:22

【摘要】：19世纪是中国社会的转型期,此时西方文明登陆中国,两种不同的文化碰撞在一起,使中国儒家文化产生了危机。19世纪的儒士阶层,作为中国文化核心力量,对这种危机感知格外强烈。包世臣和康有为,是这一阶层中相当有代表性的人物,他们笃信儒学,学有所思,积极寄望于自己的身份和知识能够有所作为。嘉、道以后,学术风尚潜移默换,经世思潮勃兴,道、咸以后,今文经学兴起,包世臣忧心社会,游学南北,与时风互为陶染,是当时引领潮流人物之一。康有为熟读儒家典籍,少年老成,性格狂怪,特别信奉今文经学,上书,办报,变法,以致流亡,复辟。他们的社会活动和学术活动打上了鲜明的时代印记。书法是中国文化的一个重要支系。它在古代农耕文明和儒教礼仪文化中生成,现在这种母体文化在19世纪出现精神危机,尤其是咸、同之后,这种危机更加突出。包世臣、康有为,作为儒家知识分子,他们一方面在政治和学术上,遵从儒家价值观念,追求所谓的经世致用；一方面又在闲暇落寞时寄情书法。因为这种身份的特殊性和模糊性,他们往往把书法研究,纳入到礼仪文化或道统领域内。本文将首先讨论儒学对《艺舟双楫》、《广艺舟双楫》写作的影响,以此来探讨儒学的同质和异化。其次,根据《艺舟双楫》、《广艺舟双楫》的理论重心,从书法史的建构和解构这个层面,讨论包世臣、康有为的书法史史学观念。复次,根据《艺舟双楫》、《广艺舟双楫》的文本,从古代书论的模糊性和人格化的批评方式,非自觉性和形而下两个层面,来探讨书法批评的传承和裂变,考察19世纪书法批评的特征和发展变化。再次,从厚古薄今,感觉的陈述和意志力的申诉,有限的想像和无限的想像三个方面,来讨论书法美学思想的特性。文章通过这一系列的分析讨论,探讨书法学统和儒学道统的关系,探讨《艺舟双楫》、《广艺舟双楫》的学术理论,在此基础上探讨19世纪书法学术思想的嬗变。
[Abstract]:The 19th century was the transition period of Chinese society. At this time, the western civilization landed in China, and the two different cultures collided together, which made the Confucian culture of China come into crisis. The Confucian stratum in the 19th century was regarded as the core force of Chinese culture. The perception of this crisis is particularly strong. Bao Shichen and Kang Youwei are quite representative figures in this class. They believe in Confucianism, have ideas, and actively hope that their identity and knowledge can make a difference. After Jia, Tao, academic fashion changed quietly, the trend of thought flourished, Tao, salty, the rise of modern literature and classics, Bao Shi-chen worried about the society, travel north and south, and the time wind to become Tao dye, is one of the leading trend at that time. Kang Youwei is familiar with Confucian books, mature, crazy personality, especially believe in modern classics, books, newspapers, reform, so that exile, reinstatement. Their social and academic activities have marked the times. Calligraphy is an important branch of Chinese culture. It was formed in ancient farming civilization and Confucian etiquette culture. Now this kind of mother culture appeared spiritual crisis in the 19th century, especially salty. Later, this crisis became more prominent. Bao Shichen, Kang Youwei, as Confucian intellectuals, on the one hand, followed the Confucian values in politics and academia, and pursued the so-called "practical application"; on the other hand, they sent their feelings to calligraphy when their leisure time was lonely. Because of the particularity and fuzziness of this identity, they often put the study of calligraphy into the field of ceremonial culture or orthodoxy. This paper will first discuss the influence of Confucianism on the writing of "Yizhou Shuangji" and "Guangyi Shuangji" so as to discuss the homogeneity and alienation of Confucianism. Secondly, according to the theoretical focus of "Yi Zhou Shuang Ji" and "Guang Yi Zhou Shuang Ji", from the aspect of construction and deconstruction of calligraphic history, this paper discusses Bao Shichen and Kang Youwei's conception of calligraphic history historiography. Again and again, according to the texts of "Yizhou Shuangji", "Guangyi Shuangji", and from the fuzziness and personification of the ancient book theory, as well as from the two levels of non-self-consciousness and formality, to discuss the inheritance and fission of calligraphy criticism. To investigate the characteristics and development of calligraphy criticism in the 19 th century. Thirdly, this paper discusses the characteristics of calligraphy aesthetics from three aspects: the representation of feeling and the appeal of willpower, the limited imagination and the infinite imagination. Through this series of analysis and discussion, this paper probes into the relationship between calligraphy and Confucianism, discusses the academic theory of "Yi Zhou Shuang Ji" and "Guang Yi Zhou Shuang Ji", and on this basis probes into the evolution of calligraphy academic thought in the 19th century.
【学位授予单位】：中央美术学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J292.1

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