臺靜農來臺後書藝研究; The research of Tai Jinq-nong’s calligraphy after he moved to Taiwan

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题名:	臺靜農來臺後書藝研究;The research of Tai Jinq-nong’s calligraphy after he moved to Taiwan
作者:	郭晉銓;Chin-chuan Kuo
贡献者:	中國文學研究所
关键词:	臺靜農;融碑於帖;頓挫;沉鬱;Convergence;pause and transition;melancholy;Tai Jinq-nong
日期:	2011-07-18
上传时间:	2012-01-05 14:02:43 (UTC+8)
摘要:	本文以《臺靜農來臺後書藝研究》為題，旨在呈現臺靜農書藝的典範性與特殊性。除了緒論與結論之外，本文以〈臺靜農沉鬱之心〉、〈臺靜農頓挫之筆〉、〈臺靜農書藝特殊性〉三章作為主要架構。所謂的「沉鬱之心」，乃臺靜農內心深處的憤懣、鬱結。早年因為共黨嫌疑的三次入獄，讓他的前半生顛沛流離，戰後來到臺灣，時局的動亂與高壓，讓他不得不收起銳利的文筆，以低調的姿態執教於校園，然而內心的憤懣、鬱結，除了以隱喻的方式出現在部分詩文、論文中，潛心書藝才是遣懷的主要方式。要表現「沉鬱」的情感，婉約、妍美、流麗的線條是無法詮釋的，唯有動盪、跌宕的「頓挫」技法，才能宣洩心中鬱結，「頓挫」筆勢是臺靜農書法相當明顯的特徵，儘管許多書家們為了展現「金石味」也同樣會用「頓挫」來表現，但臺靜農卻融合各種書體，以至於篆刻的線條風格，將「頓挫」筆勢的變化性極致發揮，擴張書法藝術的「力量感」與「立體感」，因此本文以「頓挫之筆」來作為闡述臺靜農書藝線條。透過臺靜農對碑帖的臨摹、篆刻藝術的融入以及畫梅的筆勢，凸顯其書藝線條的特徵，以「頓挫」為主軸，說明臺靜農行草藝術的表現，確立臺靜農書藝「融碑於帖」的新典範。 The topic of this study is “the research of Tai Jinq-nong’s calligraphy after he moved to Taiwan”. The purpose of the study is to reflect the uniqueness and characteristics of Tai Jinq-nong’s calligraphy. In addition to the introduction and the conclusion, this study is mainly built with three chapters: Tai Jinq-nong’s heart of melancholy, Tai Jinq-nong’s pause and transition in writing, and Tai Jinq-nong’s specific characteristics in writing. The “heart of melancholy” is about Tai Jinq-nong’s resentment and disconsolation. Tai Jinq-nong was imprisoned three times because he was a suspected communist; those experiences brought him a destitute and vagrant early life. At the time when he moved to Taiwan after the war, the environment was extremely unstable and the society was intensely controlled. Due to this political situation, he had to restrain his incisive writing style and work in school to keep a low profile. However, the resentment and disconsolation inside could not only be displayed through the use of metaphor in his poems and papers, but also, most significantly, through his calligraphy. To present the emotion “melancholy”, it is not something that can be fully expressed by using subtle, beautiful, fluent lines; it can only be interpreted through the turbulent and flowing that are created by the pause and transition technique. The pause and transition technique in writing is a distinct characteristic of Tai Jinq-nong. Even though many calligraphers would also use the pause and transition technique to indicate the style of engraving, Tai Jinq-nong was the one who was able to combine varied scripts and skills of calligraphy which form into a style of seal cutting within lines. His style of calligraphy fully brings out the variational characteristic in the pause and transition technique, also expands the sense of strength and vividness. Therefore, this study uses “pause and transition in calligraphy” to elaborate Tai Jinq-nong’s style of writing. Based on Tai Jinq-nong’s imitation of stone rubbings, dedication of seal cutting, and his momentum of plum blossoms drawing, his specific characteristic in writing and lines stands out sharply: with the focus of “pause and transition”, they demonstrate Tai Jinq-nong’s artistic manner in calligraphy.
显示于类别:	[中國文學研究所] 博碩士論文

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