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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/105590

    Title: 張照書法學研究
    Other Titles: A study on the calligraphy of Chang Chao
    Authors: 張智菁;Chang, Chih-Ching
    Contributors: 淡江大學中國文學系碩士在職專班
    崔成宗;Tsui, Cheng-Tsong
    Keywords: 張照;書法;館閣體;帖學派;碑學派;Chang Chao;calligraphy;Guanget;epigraphy;hardwood calligraphy
    Date: 2015
    Issue Date: 2016-01-22 14:59:59 (UTC+8)
    Abstract: 張照是清朝康雍乾盛世著名的藝術家,在書法、繪畫、詩歌、音樂、戲劇等諸多領域均有傑出的表現,尤其書法一項,在康、雍、乾三代均受到帝王的重視,成為帝王書法的代言人,其書法造詣幾為一時之冠。但清朝中葉以後,碑學派興起,張照慢慢被湮沒在歷史中,今人多不識張照,研究張照的學位論文也較為罕見,因此本研究主要探討張照在書法學上的成就,張照其他方面的才華及造詣於本研究中均暫不論述。
    Chang Chao was an artist with quite reputation in the Great Prosperity during the reigns of Emperor KangXi, YongZheng, and QianLong of Qing dynasty. He was remarkable in various fields such as calligraphy, painting, poetry, music, drama, etc. His distinguishing calligraphy was valued by the three emperors as the image of emperors’ calligraphy. However, as the rise of epigraphy in the middle period of Qing, Chang Chao had been forgotten and few people heard about him ever since. Whereas seldom diploma theses focus on Chang Chao, the present study discusses the achievement of Chang Chao in calligraphy regardless of his genius and attainment in other fields.
    Chang Chao had revealed his talent in calligraphy since his teens. As he started his official career, he was admired by Emperor KangXi for his calligraphy and became emperor’s courtier. Chapter two introduces Chang Chao’s life and career and his fulfilment of work.
    Chapter three discusses Chang Chao’s learning process and theory in calligraphy. He was a follower and practitioner in “practicing calligraphy after paper-based model work” and argued a paper-based master sheet was better than an epigraph-based when practicing. Furthermore, he believed laying foundation was the first step in practicing calligraphy by which the “Thousand Character Classic” was the best role model. Then one had to practice hard to success. The romantic charm was the most important characteristic in either imitating a model work or creating one’s own work. Additionally, one’s self cultivation and knowledge, both essential in practicing calligraphy, would be accumulated and integrated as one’s insight and subsequently the realization of philosophy of nature.
    Chapter four focused on Chang Chao’s achievement in calligraphy and appraisal received from the three emperors and other calligraphers. Except for Emperor QianLong’s words “No one could be comparable to Wang Xizhi except for Chang Chao”, most of calligraphers also admired Chang Chao quite much.
    As the rise of epigraphy in the middle period of Qing, Chang Chao was recognized as a Guangeti calligrapher due to his ghostwriting for Emperor QianLong. He was denounced by calligraphers worshipped epigraph-based practicing since his stand for practicing calligraphy after paper-based model work. Chapter five concentrated on the changing of Chang Chao’s historical position in different periods.
    The present study discussed the achievement and theory addressed by Chang Chao in calligraphy. His experience serves as a reference for us in practicing calligraphy and understanding the Guangeti calligraphy. It is suggested knowing more about other Guangeti calligraphers like Chang Chao, seeing their masterpieces, appreciating them fairly, and revising their historical position.
    Appears in Collections:[中國文學學系暨研究所] 學位論文

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