20世纪大陆地区甲骨文书法实践状况研究

发布时间：2018-10-05 17:44

【摘要】：这是一个专题史研究。本文从解析各个时期对甲骨文范本的认识状况入手，结合对甲骨文书家书作的汇评，系统研究了整个20世纪的甲骨文书法实践状况。本文认为，整个20世纪的甲骨文书法实践主要可以分为前后两个时期，这种分野是由解读甲骨文原始文本的角度和参与艺术家的不同出发点造成的。第一部分为上编，核心是罗振玉(第一章)和董作宾(第二章)。1921年罗振玉撰《集殷虚文字楹帖》的出版，宣告了甲骨文书法创作的开始。罗振玉对于甲骨文书写具有奠基之功。他对于集联和书写的实践对后世产生了深远的影响，他的学生和拥护者为数众多。但是他也明显因为处于研究的草创期而留下很多遗憾。董作宾和罗振玉一样，首先是一个古文字学家，但是他是具有现代意味的学者，他能够使用较为新颖的研究方法去展开探索。他对甲骨文书法的摹写和提倡要观察原片的学习方法在甲骨文研究取得深入后具有积极的意义。此外，把一些与罗、董年代相近的书家(例如叶玉森、丁仁、丁佛言、简经纶等)也进行了排比叙述和分析，以突出他们在实践时的整体历史氛围。第三章则是时代稍后的容庚、商承祚及郭沫若等。第二部分为下编。转折点是胡小石、潘天寿、陆维钊等人，突出特征是以较为纯粹的书画艺术立场介入甲骨文书法实践。他们对于甲骨文字的书写显然与上编书家有很大的不同，他们在尊重甲骨文字构形的前提下，着眼于艺术化的阐发，构成了对甲骨文文本的新一种解读，开启了写意的风气。在其内部(第四章)，1978年又是一个重要的分水岭，此后的实践才真正形成了与前不同的新格局。 1980年以后的全国书法展览又给书坛带来新变革提供了运作机制上的深刻影响。通过展览产生的书家很重视对笔法的研习，，他们对书法的格式、章法、笔墨都有新的要求，书法的发展呈现出多元发展的状况。甲骨文的书写也从字形、笔法、章法等方面有了不同的进步。要之，百年甲骨文书法的实践是一个多条线索同时发展的复杂的过程，本文希望能得出一个有借鉴价值的描述和阐释。
[Abstract]:This is a special historical study. Based on the analysis of the understanding of oracle bone inscriptions in different periods and the review of oracle calligraphers' works, this paper systematically studies the practice of oracle bone inscriptions in the whole 20th century. This paper holds that the practice of oracle bone inscriptions in the whole 20th century can be divided into two periods, which are caused by the angle of interpreting the original texts of oracle bone inscriptions and the different starting points of participating artists. In the first part, Luo Zhenyu (chapter one) and Dong Zuobin (chapter two). Luo Zhenyu has laid the foundation for oracle writing. His practice of association and writing has had a profound impact on later generations, with a large number of students and supporters. But he also apparently left a lot of regrets because he was in the early stages of his research. Dong Zuobin, like Luo Zhenyu, is first of all a paleographer, but he is a scholar with a modern sense, and he can use more novel research methods to explore. His imitation of oracle bone inscriptions and his suggestion to observe the learning methods of original films have positive significance after the further study of oracle bone inscriptions. In addition, some writers similar to Luo and Dong were compared and analyzed (such as Ye Yusen, Ding Ren, Ding Foyan, Jian Jinglun, etc.) in order to highlight their overall historical atmosphere in practice. The third chapter is later Rong Geng, Shang Chengzuo and Guo Moruo. The second part is the next part. The turning point is Hu Xiaoshi, Pan Tianshou, Lu Weizhao and others. Their writing of oracle bone inscriptions is obviously very different from that of the upper calligraphers. On the premise of respecting the configuration of oracle-bone characters and focusing on artistic interpretation, they constitute a new interpretation of oracle-bone texts and open the atmosphere of freehand brushwork. In its interior (Chapter 4), 1978 was another important watershed, and the practice since then has really formed a new pattern different from the previous one. Since 1980, the national calligraphy exhibition has brought a profound influence on the operation mechanism of the calligraphy world. Through the exhibition, the calligraphers attach great importance to the study of calligraphy, they have new requirements for the format, composition and ink of calligraphy, and the development of calligraphy presents a pluralistic development. The writing of oracle bone inscriptions has also made different progress in the aspects of glyph, brushwork, composition and so on. To sum up, the practice of the hundred years oracle bone inscription calligraphy is a complex process of the development of many clues at the same time. This paper hopes to draw a description and explanation with reference value.
【学位授予单位】：首都师范大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J292

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