本文關(guān)鍵詞：居延漢簡(jiǎn)字體風(fēng)格研究　出處：《河北師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

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【摘要】：1963年，啟功先生的《古代字體論稿》正式出版，這標(biāo)志著漢字字體學(xué)初步建立,開(kāi)始了漢字字體學(xué)的理論和實(shí)踐研究。2000年，“啟功《古代字體論稿》漢字字體學(xué)術(shù)研討會(huì)”召開(kāi)，漢字字體學(xué)正式建立并且重新得到學(xué)者們的關(guān)注。王寧先生讀了《古代字體論稿》之后，對(duì)啟功先生的字體理論進(jìn)行了具體的說(shuō)明。她概括啟功先生的字體理論為四個(gè)方面：“字體的漸變性”、“字體風(fēng)格形成的原因及其多樣性”、“字體名實(shí)之間的不對(duì)應(yīng)性”、“字體風(fēng)格描寫(xiě)的可操作性”①。她還總結(jié)出“筆勢(shì)”、“筆態(tài)”、“筆意”、“結(jié)字”、“轉(zhuǎn)折”、“行氣”②等六個(gè)字體風(fēng)格的重要屬性。 20世紀(jì)30年代，居延漢簡(jiǎn)出土以后，得到世界各國(guó)學(xué)者的廣泛關(guān)注和研究。居延漢簡(jiǎn)文字可以說(shuō)是體現(xiàn)了從小篆到隸書(shū)、草書(shū)、行書(shū)、楷書(shū)等字體的重要的文字過(guò)渡時(shí)期。因此，居延漢簡(jiǎn)對(duì)我們研究隸變基本完成后的文字結(jié)構(gòu)、字體構(gòu)成和字體風(fēng)格具有重要價(jià)值。本文試以啟功先生和王寧先生的字體理論為基礎(chǔ)，結(jié)合書(shū)法學(xué)的研究的出發(fā)點(diǎn)和研究成果，對(duì)居延漢簡(jiǎn)文字的字體風(fēng)格和成因進(jìn)行系統(tǒng)性的分析和研究。借鑒書(shū)法學(xué)的研究?jī)?nèi)容，如書(shū)寫(xiě)工具、載體、運(yùn)筆、行氣、章法、藝術(shù)追求等等，將一些明確的書(shū)法術(shù)語(yǔ)應(yīng)用到漢字字體學(xué)的研究中。因?yàn)闈h字字體學(xué)在這領(lǐng)域的研究還不夠，描寫(xiě)字體風(fēng)格的術(shù)語(yǔ)也相對(duì)缺乏。我們從行筆、結(jié)字、筆意三個(gè)方面分析和描寫(xiě)居延漢簡(jiǎn)的字體風(fēng)格。在動(dòng)態(tài)的書(shū)寫(xiě)中觀察文字的筆勢(shì)、筆態(tài)，我們可以看到蠶頭雁尾的橫畫(huà)，生動(dòng)的波挑，明顯的方折，，以及不少圓轉(zhuǎn)的筆畫(huà)，這是由于字的草書(shū)化、快速化而形成的。偶爾會(huì)有一些非常長(zhǎng)的粗肥垂筆出現(xiàn)在居延漢簡(jiǎn)中。文字整體呈現(xiàn)出率意，自然，粗放，灑脫的風(fēng)格。至于筆意、重心、擺布、布白、體勢(shì)、行氣等方面也有獨(dú)特的風(fēng)格。文章分析了居延漢簡(jiǎn)文字的書(shū)寫(xiě)時(shí)代、書(shū)寫(xiě)地域、書(shū)寫(xiě)者、書(shū)寫(xiě)的用途、書(shū)寫(xiě)的工具和書(shū)寫(xiě)的載體等等。采用對(duì)比的研究方法，將不同的時(shí)代、地域、作書(shū)者、書(shū)寫(xiě)工具、書(shū)寫(xiě)載體的文字材料進(jìn)行對(duì)比，研究居延漢簡(jiǎn)在這些因素影響下形成的獨(dú)特的豐富的字體風(fēng)格。 總之，通過(guò)研究字體風(fēng)格的各種屬性，總結(jié)出的居延漢簡(jiǎn)文字的字體風(fēng)格具有多樣性，自由、粗率、豪放的特點(diǎn)尤為突出。無(wú)論是在中國(guó)漢字史還是書(shū)法史上，居延漢簡(jiǎn)文字都寫(xiě)成了璀璨的輝煌的一頁(yè)。
[Abstract]:In 1963, the official publication of Mr. Qi Gong's draft of Ancient fonts, which marked the initial establishment of Chinese font science, began the theoretical and practical study of Chinese character font. 2000. The academic Symposium of Qi Gong on Ancient fonts and Chinese characters was held, and the study of Chinese characters was formally established and received the attention of scholars. After Mr. Wang Ning read the manuscript on Ancient fonts. This paper gives a concrete explanation of Qi Gong's font theory. She generalizes the font theory of Mr. Qi Gong in four aspects: "the gradual variation of font", "the reasons for the formation of font style and its diversity". She also summed up "style", "pen state", "pen meaning", "completion", "turning point". Key attributes of six font styles, such as "line qi" 2. In 1930s, after the unearthed bamboo slips of Juyan Han Dynasty, the scholars all over the world paid close attention to them. The characters of the bamboo slips of Juyan Han Dynasty can be said to embody the characters from Xiaozhuan to official script, cursive script and running script. Therefore, Juyan Han Bamboo slips have studied the basic structure of the script after the completion of the scribe transformation. Font composition and font style are of great value. This paper is based on the font theory of Mr. Qi Gong and Wang Ning, combined with the starting point and research results of calligraphy. This paper makes a systematic analysis and research on the font style and the causes of the characters in Juyan's Han bamboo slips, and draws lessons from the research contents of calligraphy, such as writing tools, carriers, carrying pen, line of spirit, formality, artistic pursuit, and so on. Some definite calligraphy terms are applied to the study of Chinese character font science. Because the study of Chinese character font science in this field is not enough, the term describing font style is also relatively lacking. In the dynamic writing, we can see the horizontal painting of silkworm head and goose tail, vivid wave pick, obvious square fold. As well as a lot of round strokes, this is due to the cursive character, rapid formation. Occasionally there will be some very long thick vertical pen appears in Juyan Han slips. The text as a whole shows the rate of meaning, natural, extensive. Free and easy style. As for the pen, center of gravity, manipulation, white cloth, body, line, and other aspects of the unique style. This article analyzes the writing era, writing area, writers, writing purposes of Juyan Han bamboo slips. The tools of writing and the carrier of writing and so on. By using comparative research methods, the text materials of different times, regions, book makers, writing tools and writing carriers are compared. This paper studies the unique rich font style formed by the influence of these factors. In a word, by studying the various attributes of the font style, the font style of the text of the Juyan Chinese slips is diversified, free and coarse. Both in the history of Chinese characters and in the history of calligraphy, Juyan's Chinese bamboo slips have become a brilliant page.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：H123

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