| 摘要: | 蘇軾為人及其書法學問自成系統，在史學研究所方面較少人研究，尤其是以其仕宦生涯的分段來看蘇軾思想的變化對其書法的影響更是鮮少人做研究，因此，要全面認識和評價蘇軾書法的地位和成就，就不能不探討其書法受時代背景和自身努力以及人生遭遇對於個人創作的影響。本論文以「蘇軾及其書學」為題，旨在全面深入地探討蘇軾的書法學問及其創作，先是考查蘇軾個人的家學背景淵源；其次整理其書論；再者分析其作品之內容，並述及對韓國書法的影響；最後闡發其成就與價值。全文凡分七章：
第一章「緒論」，說明研究動機、研究範圍、相關文獻、研究目的、研究方法、文獻研究法等步驟。
第二章「蘇軾的時代、生平與交遊」，凡分四節，第一節「時代背景」，分別從政治文化、社會經濟、帝王提倡文學思潮等背景，探討影響蘇軾書法尚意書風形成的外在客觀因素；第二節「蘇軾生平」，分別從蘇軾生平簡介、生平四階段來看蘇軾書法的變化。第三節「蘇軾家世」，分別從蘇軾家族、父母兄弟和家庭探討蘇軾之為人和家庭生活；第四節「交遊情況」，透過蘇軾交友的情形來認識蘇軾這個人，約略有歐陽修、陳希亮與其子陳慥、友人、佛門子弟、學生—蘇門六君子等。
第三章「蘇軾書學的師承」，凡分三節，探討蘇軾臨摹古人及「不踐古人」的精神，並述及所受前賢書法的影響，計有第一節「魏晉的書法」，鍾繇、王羲之、王獻之，以及第二節「唐代的書法」，虞世南、褚遂良、李邕、顏真卿、柳公權；第三節「五代書法」楊凝式，以此探討蘇軾書法書風的形成。
第四章「蘇軾書學的思想淵源」，共分三節，介紹蘇軾書法中的哲學觀，包括有第一節儒家思想；第二節 佛禪思想、禮佛參禪的過程和佛禪書法；第三節道家思想，探討蘇軾安貧樂道的豁達思想與老莊思想的蛻變，綜合整理出蘇軾尚意書法所受到的儒、佛禪、道的影響。
第五章「蘇軾學書歷程」，本節研討蘇軾在受到貶謫時前後不同書風的變化，有第一節黃州以前─晉韻唐法，闡述東晉書風之影響、及早期之書作風格；第二節黃州時期心隨境遷的變化、及一變古法；第三節黃州以後至惠州時期成熟的韻味、書隨大小真行，皆有嫵媚可喜之處；第四節儋州以後介紹蘇軾晚年書風特色及其著作、第五節說明蘇軾對朝鮮之影響；第六節為書法作品賞析。
第六章「蘇軾之書論」，蘇軾並沒有完整的書論，因此就蘇軾在各文章、題跋中整理出蘇軾對書法的理論，包括有第一節說明人品「心正則筆正」的重要性、以及書如其人概念；第二節闡述讀書萬卷始通神的理念；第三節整理出書法備於正書；以及第四節 尚意書風的完形，說明出新意於法度之中、書出無意於佳乃佳爾的概念；第五節以蘇軾對於書法文房四寶的觀點，說明蘇軾對用筆、執筆及筆、墨、紙、硯的看法和運用；第六節提出蘇軾之戲墨觀，將蘇軾對尚意書風的意念提出其特點。
第七章「結論」，綜括研究成果，以呈現蘇軾書法理論及其尚意書風的創作研究成果與價值；並預擬蘇軾書法研究未來進一步的期望。
Su Shi (1037-1101) was a writer, poet, artist, calligrapher, and statesman of the Song Dynasty. He was a very unique individual with a distinctive style in calligraphy. Very few people have studied his calligraphy, especially how his professional career influenced the evolution of his thoughts and philosophies on calligraphy. Therefore, this dissertation attempts to demonstrate and define Su Shi’s calligraphy in three parts. First, Su Shi’s personal and professional life is examined to understand the foundation for shaping his beliefs on calligraphy; second, Su Shi’s books and comments are sorted and analyzed to gain an in-depth understanding of Su Shi’s thoughts and beliefs; third, Su Shi’s calligraphic arts are studied and the influence of his work to Korean calligraphy is discussed. Lastly, Su Shi’s achievements and values are illustrated.
Chapter 1, the preface, explains the motivation behind this study, the scope of research, relevant references, goal, and methods utilized for research.
Chapter 2 is divided into four parts. The first part examines the political and socio-economic state of Su Shi’s time and the literature style encouraged by the ruling government to explore the socio-cultural influence to his calligraphy. The second part reviews his life stages to discuss the changes of his calligraphy influenced by his professional life. The third and fourth parts explain how his personal life shaped his work by discussing his family, parents and brothers, and how his friends and acquaintances impacted his character and work.
Chapter 3 is divided into three parts to discuss his principle of repeatedly re-creating past famous calligraphers’ work to develop one’s own style, and to illustrate their influence on his work. The first part is on the calligraphy of Wei of the Jin Dynasty; the second part is the calligraphy of the Tang Dynasty; and the third part is the calligraphy of the Wudai period. Chapter 4 introduces how Su Shi’s philosophy on his calligraphy was established and adapted from the exploration on Confucianism, Buddhism, and Taoism.
Chapter 5 compares and discusses the shift of his calligraphic style before and after the exiles. Chapter 6 examines how Su Shi applied his theory to his calligraphy. Lastly, Chapter 7 illustrates Su Shi’s theory behind his calligraphy, achievements and the values of his work, and proposes the next steps for further exploration of this research. |
