本文選題：兩漢書法藝術(shù) + 書法美學(xué)思想�。� 參考：《四川師范大學(xué)》2017年碩士論文

【摘要】：兩漢時期是中國歷史上政治統(tǒng)一、經(jīng)濟(jì)繁榮、文化昌盛的一個鼎盛時代。就書法藝術(shù)的發(fā)展?fàn)顩r看,漢代上承先秦,下啟魏晉,其時,篆書、隸書、行書、草書,各種書體并行發(fā)展;書法載體多種多樣,包括簡牘、刻石、碑碣等,乃是中國書法藝術(shù)史上一個具有承前啟后的重要階段。本文則擬以之為研究對象,從兩漢書法藝術(shù)發(fā)展與興盛原因、書家的書學(xué)理論和簡牘、刻石等書寫載體上文字的演化、流變等幾個方面著手,由美學(xué)視域切入,對其進(jìn)行考察、分析和解讀,從中展現(xiàn)漢代書法藝術(shù)的發(fā)展演變、書法藝術(shù)教育和著名書家的書法美學(xué)思想、揭示簡牘和刻石書法藝術(shù)的審美特征,以期深刻而全面地了解漢代書法藝術(shù)�；诖�,本文研究主要分為以下幾部分內(nèi)容:第一部分緒論,主要從選題的意義、研究思路與目的、前人研究成果綜述等方面展開論述。第二部分,分析兩漢書法藝術(shù)興盛的原因,從漢代書法教育的興盛、書法家的推動和書學(xué)理論的形成以及文字形體結(jié)構(gòu)的確立三方面探究書法藝術(shù)在漢代成為一種自覺審美追求的背景。必須首先整體地把握漢代書法藝術(shù)的發(fā)展脈絡(luò),如此才能更好地探究漢代書法藝術(shù)的美學(xué)精神。第三部分,較為詳細(xì)地對漢代著名書家及書法美學(xué)思想進(jìn)行考察,特別是對崔瑗、蔡邕和趙壹三位對書法藝術(shù)具有重大貢獻(xiàn)的書法家進(jìn)行詳細(xì)分析,闡述他們書學(xué)理論當(dāng)中所蘊含的美學(xué)思想,從而加強(qiáng)對漢代書法藝術(shù)美學(xué)層面的認(rèn)識。第四部分,主要內(nèi)容是探尋漢代簡牘書體的變化和發(fā)展,從漢代簡牘入手,并參考相關(guān)的其它文字資料,除力爭對字體源流有更深入、更清晰地認(rèn)識外,還探討簡牘書法所蘊含的深刻審美價值,及其對中國當(dāng)代書法創(chuàng)作所產(chǎn)生的不可低估的影響作用。第五部分,從漢代刻石深入,通過舉例對出土材料進(jìn)行鑒賞和審美解讀。由古文字向今文字的轉(zhuǎn)變是一個漫長的演進(jìn)過程,東漢時期,碑碣云起,兩漢石刻為后人追尋這種轉(zhuǎn)變提供了珍貴的實物資料。試圖從漢字與書法藝術(shù)的雙重角度對兩漢石刻隸書的形體變化加以研究。在詳盡分析漢碑字樣的基礎(chǔ)上,一方面探究漢碑興起的社會文化背景,另一方面剖析漢字發(fā)展演變的規(guī)律,揭示體現(xiàn)刻石書法藝術(shù)的審美特征根本所在。
[Abstract]:The Han Dynasty was a period of political unity, economic prosperity and cultural prosperity in Chinese history. As far as the development of calligraphy art is concerned, in the Han Dynasty, the upper and lower Qin dynasties, the lower Wei and Jin dynasties, at that time, the seal script, official script, running script, cursive script and various types of calligraphy developed in parallel, and there were a variety of calligraphy carriers, including bamboo slips, stone inscriptions, stele tablets, etc. It is an important stage in the history of Chinese calligraphy. This article is intended to take it as the research object, from the two Han Dynasty calligraphy art development and the prosperous reason, the calligrapher's calligraphy theory and the bamboo slips, the writing carrier on the writing carrier evolution, the rheology, and so on, from the esthetics field of view, carries on the investigation to it. This paper analyzes and interprets the development and evolution of calligraphy art in Han Dynasty, calligraphy art education and famous calligrapher's aesthetic thought, and reveals the aesthetic characteristics of bamboo slips and stone engraving calligraphy art, in order to deeply and comprehensively understand the calligraphy art of Han Dynasty. Based on this, this paper is divided into the following parts: the first part is the introduction, mainly from the significance of the topic, research ideas and purposes, previous research results summary and so on. The second part analyzes the reasons why calligraphy art flourished in the Han Dynasty, from the rise of calligraphy education in the Han Dynasty. The promotion of calligraphers, the formation of the theory of calligraphy and the establishment of the form and structure of characters to explore the background of calligraphy art became a conscious aesthetic pursuit in the Han Dynasty. In order to explore the aesthetic spirit of calligraphy art in Han Dynasty, we must grasp the development of calligraphy art as a whole. In the third part, the famous calligraphers and calligraphy aesthetics in Han Dynasty are investigated in detail, especially the three calligraphers, Cui Yuan, Cai Yong and Zhao Yi, who have made great contributions to the calligraphy art. This paper expounds the aesthetic thought contained in their calligraphy theory, so as to strengthen the understanding of the aesthetic level of calligraphy art in the Han Dynasty. In the fourth part, the main content is to explore the changes and development of the calligraphy style of the bamboo slips in the Han Dynasty, starting with the bamboo slips of the Han Dynasty, and referring to other relevant text materials, in addition to striving to have a deeper and clearer understanding of the source and flow of the fonts, It also discusses the profound aesthetic value of the calligraphy of the bamboo slips and its influence on contemporary Chinese calligraphy. The fifth part, from the Han Dynasty stone-engraving depth, through examples to unearthed material appreciation and aesthetic interpretation. The transformation from ancient characters to modern characters is a long evolutionary process. During the Eastern Han Dynasty, stone inscriptions in the Han Dynasty provided precious material for future generations to pursue this kind of change. This paper attempts to study the changes of the form of stone engraving official script in Han Dynasty from the angle of Chinese characters and calligraphy art. On the basis of detailed analysis of the words and characters in Han Dynasty, on the one hand, it probes into the social and cultural background of the rise of Han tablets, on the other hand, analyzes the law of the development and evolution of Chinese characters, and reveals the basic aesthetic characteristics of the art of engraving stone calligraphy.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J292.1

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 何鑫;;論秦漢時期的書法教育形式[J];咸陽師范學(xué)院學(xué)報;2009年05期

2 甕子杰;;漢代隸書產(chǎn)生的原因[J];南都學(xué)壇;2006年02期

3 吳照義;王琪;;漢代草書與簡化字[J];南昌高專學(xué)報;2005年06期

4 盛詩瀾;從簡帛書看隸變的歷程[J];書畫藝術(shù);2004年05期

5 程志強(qiáng);古代隸書的發(fā)展與鼎盛時期[J];西南民族大學(xué)學(xué)報(人文社科版);2004年09期

6 李中原;隸書流變及審美特色[J];深圳大學(xué)學(xué)報(人文社會科學(xué)版);2004年02期

7 凌士欣;漢代碑額篆書藝術(shù)鑒賞[J];美術(shù)向?qū)?1996年05期

8 殷偉仁;隸書之源非小篆[J];江海學(xué)刊;1995年03期

9 李志平;漢代書法藝術(shù)的成就及其貢獻(xiàn)[J];內(nèi)蒙古師大學(xué)報(哲學(xué)社會科學(xué)版);1992年02期

10 徐森玉;;西漢石刻文字初探[J];文物;1964年05期

相關(guān)博士學(xué)位論文 前2條

1 賀文榮;中國古代書法教育的結(jié)構(gòu)與形態(tài)研究[D];浙江大學(xué);2007年

2 劉鳳山;隸變研究[D];首都師范大學(xué);2006年

相關(guān)碩士學(xué)位論文 前1條

1 楊振梅;東漢經(jīng)學(xué)世家述論[D];曲阜師范大學(xué);2006年

，

本文編號：1886204