| 摘要: | 書法是中華文化的瑰寶，散發著無窮的藝術魅力，在傳統的美術品類裡，實有著很重要的位置。書法源自文字，隨著文明進展由實用功能轉進藝術情趣。在形式與內容高度統一之中，書者以一管之筆，表現出宇宙觀、人生觀、生命哲學，這在世界的藝術殿堂裡具有相當的特殊性，它具體呈顯了漢文化的美學特質，也表現了無盡的心象世界。所以漢字書法被形容為「無言的詩，無行的舞，無圖的畫，無聲的樂」。
書法是藝術的哲學，更具有豐富的美學思想。歷代書法名家正是以其敏銳的心，觀其形、思其理、練其技，以獨特的生命情感去駕馭筆墨，締造高妙深閎的書法藝術，創造各種不同的美感風貌，同時也開展出廣闊生動的藝術天地，許多傳世名跡至今仍熠熠生輝
，令人吟詠讚嘆。
本論文以書法《心經》為題，由形而上的理論研析至形而下實務創作，探賾索隱，然《心經》傳世名品甚多，為避免論述過於寬泛，本論文以王羲之、虞世南、歐陽詢、蘇軾、趙孟頫、文徵明、董其昌、何紹基、溥儒的書法論述、心經書蹟、書法藝術及影響等，進行系統性的探討。全文共分五章，第一章緒論，敘明研究動機與目的，研究範圍與方法，名詞定義﹕究竟涅槃、《心經》和《心經》法書。第二章為《心經》般若於美學思想之影響，內容含括《心經》內容與出處，《心經》釋經題「般若」, 和《心經》般若的美學思想及文藝哲思。第三章《心經》名家法書名作舉隅。以名家之生平事蹟與書法理論、書寫淵源、書風發展、書體特色、創作樣貌、藝術成就帶給後世之影響，依次作出論述。第四章為筆者《心經》書法創作作品之分析與解說。第五章結論，包含研究心得回顧和後續發展前瞻。
Calligraphy is a treasure of Chinese culture, which exudes infinite artistic charm and has a very significant position in traditional art category. Calligraphy is derived from Chinese characters and has changed from practical functions to artistic temperament and interest with the progress of civilization. In the high degree of unity between form and content, the calligraphers use a single brush to show their world view, outlook on life, and philosophy of life, which is quite special and peculiar in the art palace among the world, and it also presents the aesthetic characteristics of Chinese culture specifically, as well as the endless world of mental images. Thus, Chinese calligraphy is described as "poem without words, dance without lines, painting without pictures, and music without sounds."
Calligraphy is the philosophy of art with rich aesthetic thoughts. The masters of calligraphers in past dynasties used their keen heart to observe the shape of Chinese characters in varied styles of calligraphy, think about the written principle and rationality, and practice skills with their unique life emotions to control the brush and ink, and eventually create a sophisticated and profound art of calligraphy with a variety of different aesthetic styles. And they develop a vast and vivid art world at the same time, that many masterpieces have been passed down and are still shining, admired by later generations.
This thesis takes the calligraphy of Maha Prajna Paramita Heart Sutra (henceforth abbreviated as “Heart Sutra” in the following) as the topic, and the author will explore the profound and hidden meaning and delight behind the calligraphy from metaphysical theoretical analysis to physical practical creation. However, a lot of distinguished art pieces of calligraphy of Heart Sutra have been handed down nowadays. In order to avoid overly broad discussion, the author will focus on the calligraphy treatise, the script of Heart Sutra, the art of calligraphy created and influenced by Wang Xizhi, Yu Shinan, Ouyang Xun, Su Shi, Zhao Mengfu Wen Zhengming, Dong Cichang, He Shaoji and Puru
carrying out a systematic discussion then.
The full text is divided into five chapters. The first chapter is the introduction, which clarifies the research motive and purpose, the research scope and methods, and the definition and meaning of terms, such as Nirvana, Heart Sutra, and the model calligraphy of Heart Sutra. Next, the second chapter is about the influence of Prajna, the Buddha's wisdom, in Heart Sutra on aesthetic thoughts, including the content and origin of Heart Sutra, the interpretation of Prajna in Heart Sutra, and the aesthetic thoughts and literary philosophies of Heart Sutra. As for the third chapter, it will give readers a glimpse of the renowned model calligraphy of Heart Sutra. It discusses the life and calligraphy theory of the masters of calligraphers mentioned above, as well as their writing Origin and background, development of calligraphy style, characteristics of calligraphy font in different calligraphy categories, attitude and manner at the time of creation, and artistic achievements and influence on posterity. And the fourth chapter is the analysis and explanation of the author's Heart Sutra calligraphy works.
The last chapter is conclusi-on conclusion, including research experience review and follow-up development prospects. |
