| 摘要: | 中國書法形象論，為中國書法理論的發端，崛起於漢魏，發展至兩晉。其原初乃由實際體驗加以歸納，故多以類比思維摹擬自然物象的形態與創作形式的闗係，進而體現了中國書法理論思想中的自然宇宙觀。故本文乃擬以「書法形象論」統括此時期，提取自然形象以為創作靈感，並以之呈顯其創作目的與方法的書法理論。本文擬分為五章，第一章〈導論〉。第二章至第四章為本文主題，第二章〈書法形象論思想的發軔與成形〉，為書法形象論思想來源的探討。共分三部份：一、釐清書法形象論與象形字的造字法則。並由文字創生神話，聯繫書法理論乃以《易經》學思想為其根源。二、乃是對魏晉時期士的自覺意識與新思潮作探討，並說明此時期文藝新觀念與書法形象論思想的交互影響。三、則緣以《易》學思想為書法形象論根源的立論，探討書法形象論興起之漢末魏晉時期的《易》思想與其影響。第三章〈書法形象論理論分析〉，則針對漢魏兩晉時期書法形象論的文本作分析，以闡明書法形象論自身發展的脈絡。第四章〈書法形象論之美學思想〉，結合魏晉玄學思想背景，試圖探討書法形象論的理論結構，將其定位為書法藝術形上學的地位。並分析書法形象論之美學思想––「意」；審美理想––「和」；及審美意識––「勢」。第五章〈結論〉，總結全文。以書法形象論提出的目的，正為當時最具藝術性的草書取得符合於儒學思想的地位。故其藉由《易》象，從而使書法躍身為體道之藝。而此一透過形象摹擬而來的藝術體驗，在魏晉玄學思想對生存本質的探求，與形上學討論的深化影響下，也成為回返有無玄同道體的方式。而書法形象論更在魏晉「言意之辨」的思辨方法下，象徵了書法藝術表現整全世界的藝術真理。故其書法藝術的形上學思想於斯建立，而中國書法的藝術自覺亦由是開顯。
Image Theories of Chinese Calligraphy represents the starting point of calligraphy theory, evolving from the Han–Wei dynasties through to Two–Jin dynasties. By capturing their experiences of nature in calligraphy, practitioners discovered they might express a more profound sense of universal meaning. This dissertation explores that period, and the way in which nature inspired calligraphers to write and develop calligraphy as an art.
This dissertation is presented in five chapters:
The first is the introduction. The second to fourth chapters are the main body of the dissertation.
The second chapter, “the emergence of Image Theories of Chinese Calligraphy”, we discuss the sources of the theory. This chapter contains three parts:
1) to distinguish the rules of Image Theories of Chinese Calligraphy from the rules for construction of pictograms as used in the Chinese language; 2) the emergence of a distinctly individualistic school of thought among scholars of the Han–Wei dynasties, and the mutual influences which began to occur between the fields of calligraphy and other arts; 3) to present an original theory, namely, that Image Theories of Chinese Calligraphy is based on “YI4”（易） thinking as it existed at the end of the Han–Wei and Two–Jin dynasties and that its development was influenced by it during that period.
The third chapter, “the theoretical analysis of Image Theories of Chinese Calligraphy” is a review of the literature, with a focus on the evolution and development of Image Theories of Chinese Calligraphy.
The fourth chapter “the aesthetic ideology of Image Theories of Chinese Calligraphy”, we explore the construction of Image Theories of Chinese Calligraphy as it relates to the concurrent emergence of Wei–Jin dynasties metaphysical philosophy; from this basis, we may develop. The Metaphysics of Calligraphic Arts from within the broader context of calligraphy Image Theories of Chinese Calligraphy. We also analyze the central thinking of aesthetic thought in Image Theories of Chinese Calligraphy , which is: 1) “YI4”（意） – attainment of aesthetic perfection; 2) “HE2”（和） – aesthetic awareness; 3) “SHI4”（勢） – artistic skill.
The fifth chapter is the conclusion, namely, that Image Theories of Chinese Calligraphy establishes the status of Cursive script within Confucian thought. Through the philosophy of “YI4”（易） calligraphy becomes an art through which the artist experiences “DAO4”（道）. During the Wei–Jin dynasties, the study of Wei–Jin Metaphysical philosophy was seeking the truth of existence; against this backdrop, those calligraphers who drew their inspiration from nature were deeply influenced by the discussion of Wei–Jin Metaphysics. Calligraphy thus becomes a way to experience “DAO4”（道）.
During the Wei–Jin dynasties, by incorporating the tenets of “YAN2 YI4 ZHI1 BIAN4”（「言意之辨」）, Image Theories of Chinese Calligraphy became the route to artistic and symbolic expression of the full depth and dimension of the world. “The Metaphysics of Calligraphic Arts” flows from these precepts, and presents the calligrapher with a new consciousness of his craft as art. |
