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唐代書法文化的東傳－以空海、最澄為中心=The Spread of Tang Calligraphy Culture in East Asia: A Study Centered on the Japanese Monks Kūkai and Saichō |
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| 著者 |
史睿 (著)=Shi, Rui (au.)
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| 掲載誌 |
敦煌學=Studies on Tun-huang
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| 巻号 | n.36 |
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| 出版年月日 | 2020.08.01 |
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| ページ | 79 - 103 |
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| 出版者 | 南華大學敦煌學研究中心 |
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| 出版サイト |
https://nhdh.nhu.edu.tw/Web/Index
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| 出版地 | 嘉義縣, 臺灣 [Chia-i hsien, Taiwan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| キーワード | 法書文獻=texts on calligraphy; 筆法=brushwork; 書論=theory of calligraphy; 刻帖=engraved copies of model-letters; 空海=Kūkai; 最澄=Saichō |
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| 抄録 | 書法作為一種漢字的造型藝術，在東亞漢字文化圈具有重大的影響，唐代書法文獻早在飛鳥時代就已傳入日本，佛教與書法一直具有非常密切的關係。空海、最澄入唐求法的九世紀初期正是唐代毛筆製作技藝更新、執筆法發展的時期，纏紙筆、散卓筆互相交替，同類毛筆中也會對應不同書體、不同字徑製作成不同筆形，書法樣式因為毛筆筆形的多樣性而日益豐富，為書寫的豐富性提供了足夠的物質條件。空海、最澄真實地記錄了這一過程，並將反映新書論、新技法的書法文獻傳入日本，並利用這些文獻為自己佛教宗派的創立助力。另外，由於空海和最澄入唐的際遇不同，空海隨大使進入長安，故獲得系列重要高等級法書作品，從書家韓方明習得最新書學理論與技法，而最澄僅在浙東求法，所得並無墨蹟，皆為石刻法帖拓本，由此可見唐代不同地域書法文化的差異。唐代書法文獻的東傳勾勒了東亞書籍之路的綫路，也彰顯了由書法關聯的從大唐皇帝、書法名家、入唐僧人到日本天皇之間的人際關係網絡。
Being calligraphy the artistic expression of Chinese characters, and being the literacy of East Asia based on Chinese characters, Chinese calligraphy has exerted great influence upon the cultures of East Asian. Texts on calligraphy dating from the Tang Dynasty (618-907) did circulate in Japan as early as the Asuka Period (593-710), not to mention the tight relationship between Chinese calligraphy and Buddhism. When the two Japanese monks Kūkai (774-835) and Saichō (767-822) at the beginning of the ninth century went to China in search of dharma, this was a period in which both the production techniques and the hold methods of the handwriting brush were experiencing new changes and developments. For instance, both wrapped-kernel (chanzhi) and loose-kernel (sanzhuo) brushes were used alternatively, and also within brushes of the same typology the need to write characters in different scripts and in different sizes led to the creation of brushes in different shapes. Consequently, calligraphic forms were greatly enriched by such variety of brushes, benefiting from the fact that the possibilities of formal richness in handwriting were provided with material support. Not only did Kūkai and Saichō record this transition, but at the same time they also spread the texts on calligraphy that discussed these new theories and addition, it should be said that Kūkai and Saichō arrived in China in different circumstances: Kūkai went to Chang’an in the company of the Japanese ambassador, he was thus able to collect valuable calligraphic specimens, and was also taught by Han Fanming the most recent theories and techniques of calligraphy; Saichō, on the other hand, searched dharma only in the eastern Zhejiang region, so he did not acquire any autograph but only ink rubbings of stone inscriptions and engraved copies of model-letters, which is also evidence that during the Tang the milieu of calligraphy differed noticeably from region to region. The transmission of texts on calligraphy to East Asia marks the journey of the book from China to East Asia, and, at the same time, manifests the network of human relations that connected, on the basis of the appreciation of calligraphy, Tang emperors and calligraphers with Japanese monks and emperors. |
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| 目次 | 一、空海傳自唐朝的筆法與書論 83
（一）空海所傳唐筆與筆法新考 83
（二）空海進獻唐朝書蹟新考 90
二、最澄傳自唐朝的刻帖 92
（一）最澄《書法目錄》刻帖品目考 92
1.《開元神武皇帝書法》（鶺鴒） 93
2.《安西内出碑》 94
3.王羲之《十八帖》 96
（二）唐代刻帖的著錄與實物流傳 96
三、結語 98
主要參考文獻 100 |
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| ISSN | 10159339 (P) |
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| ヒット数 | 137 |
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| 作成日 | 2022.04.15 |
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