本文選題：先秦 + 篆書�。� 參考：《廣西師范大學(xué)》2011年碩士論文

【摘要】：人類歷史進(jìn)程中始終貫穿著人類理性精神的積淀以及對形式秩序的向往與建構(gòu)。中國書法在形式秩序方面的發(fā)展進(jìn)程在早期的發(fā)展階段中,與人類社會的歷史發(fā)展進(jìn)程有著極為相似的同步性。書法藝術(shù)作為人類文化精神的外化顯現(xiàn)形式,隨著人類理性精神的提高以及對形式秩序認(rèn)識的逐步提升,在形式秩序方面也逐步發(fā)展成熟。 本文以形式秩序的發(fā)展演變?yōu)橹骶�,以商、西周、秦各時代的歷史文化為背景,通過對從商代甲骨文、西周金文、秦刻石等篆書藝術(shù)的歷史發(fā)展軌跡進(jìn)行考察,論證篆書藝術(shù)發(fā)展過程中始終貫穿著書法形式秩序的建構(gòu)歷程,揭示對書法形式秩序研究的價值與意義。本文具體分四個章節(jié)進(jìn)行論述：第一章,線條樣式的確定。提出以線代面、以直代曲的觀點(diǎn),對仿形線條樣式進(jìn)行具體論述；運(yùn)用篆引的發(fā)現(xiàn)與成熟對準(zhǔn)仿形線條樣式進(jìn)行論證,提出肥筆的消亡、銳筆的消退、書寫特性的確立的觀點(diǎn)進(jìn)行具體論述；提出幾何抽象式線條樣式的觀點(diǎn)對圖案化仿形線條樣式進(jìn)行具體論述。最終論證中國書法藝術(shù)的核心表現(xiàn)形式——線條樣式的發(fā)現(xiàn)與發(fā)展過程以及書寫性線條樣式的秩序化過程。第二章,字形結(jié)構(gòu)的秩序建構(gòu)。提出圖畫式仿形、符號化簡化、同字異形的觀點(diǎn)對甲骨文階段進(jìn)行具體論述;提出字形的規(guī)范化、符號化對金文階段大篆典范的建立進(jìn)行論證；運(yùn)用文字結(jié)構(gòu)的規(guī)范統(tǒng)一、字形結(jié)構(gòu)的幾何式抽象對秦刻石文字階段進(jìn)行論證。第三章,構(gòu)形空間的秩序建構(gòu)。提出形體大小較大差異、構(gòu)形空間的不穩(wěn)定性、構(gòu)形的抽象性與形象性共存的觀點(diǎn)對甲骨文階段進(jìn)行具體論證；提出文字大小的逐步統(tǒng)一、文字形體空間的規(guī)范、文字象形特征的逐漸消退觀點(diǎn)進(jìn)行具體論證；提出垂直重心的建立、對稱與均衡的形式法則、上緊下松的構(gòu)形圖式、預(yù)成圖式的建立的觀點(diǎn)進(jìn)行具體論證。第四章,章法秩序的建構(gòu)。提出隨形布勢、多塊面的篇章、自上而下、縱向成列的觀點(diǎn)對甲骨文階段章法進(jìn)行具體論證；提出預(yù)置空間、下行而左、縱向垂直、橫向行列的觀點(diǎn)對金文階段章法進(jìn)行具體論證；提出整體空間的靜態(tài)的平衡感與抽象的幾何裝飾性特征構(gòu)成整飭簡潔的平衡圖式論證秦刻石章法秩序典范的建立。最后得出結(jié)論,篆書藝術(shù)的發(fā)展歷程始終貫穿著形式秩序的建構(gòu)的歷程,為書法史研究提供一個新的視角。以期拋磚引玉,希望引起更多專家學(xué)者對書法形式秩序研究產(chǎn)生興趣并推進(jìn)對中國書法史的進(jìn)一步研究。
[Abstract]:In the course of human history, the accumulation of human rational spirit and the yearning and construction of formal order are always running through. The development process of Chinese calligraphy in formal order in the early stage of development, and the historical development process of human society has a very similar synchronism. Calligraphy as the manifestation of human cultural spirit, with the improvement of human rational spirit and the gradual improvement of understanding of the formal order, the formal order has gradually developed and matured. Taking the evolution of formal order as the main line, taking the historical culture of Shang, Western Zhou and Qin dynasties as the background, this paper makes an investigation of the historical development track of the seal script art of Shang Dynasty, Western Zhou Dynasty, Jin Dynasty and Qin Dynasty. In the process of development of seal script art, the course of construction of calligraphy form order is always running through, and the value and significance of the study of calligraphy form order are revealed. This article is divided into four chapters: the first chapter, the determination of line style. In this paper, the author puts forward a concrete discussion on the copying line style from the viewpoint of line replacing plane and straight substitution, and proves the pattern of copying line by using the discovery and maturity of seal character quotation, and puts forward the death of fat pen and the extinction of sharp pen. The viewpoint of the establishment of writing characteristics is discussed in detail, and the view of geometric abstract line style is put forward. Finally, it demonstrates the discovery and development process of line style and the order process of writing line style, which is the core expression form of Chinese calligraphy art. The second chapter, the order construction of the glyph structure. This paper puts forward the view of picture-style copying, symbolization simplification, the same character heteromorphism, discusses the oracle bone writing stage concretely, puts forward the standardization of the glyph, the symbolization of the establishment of the model of the big seal character in the Jin Dynasty, and applies the standard unity of the character structure, The geometric abstraction of the font structure demonstrates the stage of the stone engraving in the Qin Dynasty. Chapter three, the order construction of configuration space. The author puts forward the viewpoints of great difference of shape size, instability of configuration space, coexistence of abstractness and visualization of configuration to the stage of oracle bone inscription, the gradual unification of character size, the standard of character form space, The idea of gradual regression of the pictographic features of characters is discussed in detail, and the establishment of vertical center of gravity, the formal rules of symmetry and equilibrium, the conformation schema of top compactness and the looseness of upper and lower forms, and the establishment of preformed schemata are put forward to demonstrate concretely. The fourth chapter, the construction of the order. This paper puts forward the viewpoint of following shape distribution, multi-facet chapters, top-down, vertical sequence to demonstrate the oracle bone structure, and puts forward the preset space, downlink and left, vertical, vertical and vertical. From the view of horizontal column and column, this paper demonstrates concretely the formative method of Jin Wen, and puts forward that the static balance feeling of the whole space and the abstract geometric decorative feature constitute the balance schema of neat and succinct to demonstrate the establishment of the order model of the Qin stone engraving method. Finally, the author draws a conclusion that the development course of seal script art runs through the course of the construction of formal order, which provides a new angle of view for the study of calligraphy history. It is hoped that more experts and scholars will be interested in the study of the formal order of calligraphy and promote the further study of the history of Chinese calligraphy.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J292.31

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