| 摘要: | 思想與藝術的關係可以從哲學或藝術理論得到啟發。本研究所關注的是中國書法，研究的對象是六朝時期的書論與莊子思想。中國書法歷經數千年涵融於中國文化中，是思想、社會、政治、經濟、教育、審美觀、價值觀的綜合因素所形成。中國書法的特色是以文字為表現，並且有工具使用上的限制，不過這些限制反而成為中國書法的特色。書法從甲骨文發展至今，書法形式、風格的變化代代不同，書家的思想與作品的相互影響，漸漸地改變了書法鑑賞的角度，鑑賞從技術上的欣賞提升為精神上的探索，更進一步成為書家品格的象徵。
書法作為研究對象，必須關注到當時的時代背景及文化思想：書法藝術的思想延伸是書論；當時的主要思潮是道家思想。特別是莊子思想，為中國藝術的主要思想架構之一。六朝書論的內容除了反映六朝時期的藝術思想，也顯示出受到當時盛行的道家思想影響，產生了不同於其他時代的審美觀。「莊子」思想影響了六朝的藝術創作與藝術理論，其中有許多概念、語彙都成為書論裡的思想基礎，不但可以代表藝術創作與鑑賞過程中所達到的層次，在藝術發展的突破與方向也產生深刻的影響。六朝是一個政治混亂、但藝術成就燦爛的時代，藉由莊子思想與六朝書論的探討，希望能一窺中國美學的內涵。在「書法」研究的各個層面都有研究者辛苦地耕耘，本文就思想的角度切入，以中國哲學與書法美學為重心，加以探討其中相互影響的地方。
Philosophical or artistic theories can shed new light on the relationship between idea and art. This research deals with Chinese calligraphy, with a focus on calligraphic theories of the Six Dynasties and on the philosophy of Chuang Tzu.
Steeped in thousands of years of Chinese culture, Chinese calligraphy is an amalgamation of philosophy, society, politics, economy, education, aesthetics, and values. Chinese calligraphy can only be couched in Chinese characters, and there are inviolable restrictions on the use of tools. However, these limitations have been successfully turned into distinguishing features of Chinese calligraphy. Form and style have changed from generation to generation throughout the development of calligraphy, from the days of Oracle Bones to the present. In a addition, the interplay of idea and artwork has gradually changed the perspective of calligraphic appreciation: from the simple admiration of technical skills to the level of spiritual explorations, Eventually, calligraphy has become an epitome of the calligrapher’s personality.
While studying calligraphy, the researcher cannot afford to ignore the historical period or the cultural background. Calligraphy, as an art, is guided by calligraphic theories. The prevailing philosophy of the Six Dynasties was Daoist, especially Chuang Tzu’s philosophy, which provided a prime framework for Chinese aesthetics.In addition to reflecting the aesthetics of the times, calligraphic theories of the Six Dynasties were also influenced by Daoism, resulting in an aesthetic quite distinct from that of other periods. Many concepts and terms from Chuang Tzu provided an ideological foundation for calligraphic theories of the Six Dynasties. These concepts and terms have since been used to demarcate different levels of artistic creation and appreciation. Even more importantly, they have had a profound impact on delivering artistic breakthroughs and pointing out new directions for artistic development.
The Six Dynasties is an era of messy politics but brilliant artistic achievements. Through this exploration of the philosophy of Chuang Tzu and the calligraphic theories of the Six Dynasties, I hope to gain some insight on Chinese aesthetics. The field of calligraphic research has been plied through and through by indefatigable researchers. With this paper, I propose to attack the field from the perspective of ideology, centering on Chinese philosophy and calligraphic aesthetics, with a focus on their interplay. |
