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夏荊山書法藝術探討=Exploring Xia Jing Shan's Calligraphy Art |
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| Author |
陳孟誼 (著)=Cheng, Meng-yi (au.)
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| Source |
夏荊山藝術論衡=Journal of Xia Jing Shan's Art
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| Volume | n.7 |
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| Date | 2019.03 |
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| Pages | 113 - 134 |
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| Publisher | 財團法人夏荊山文化藝術基金會 |
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| Publisher Url |
http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者為國立臺灣藝術大學書畫藝術學系博士生 |
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| Keyword | 夏荊山=Xia Jing Shan; 書法=Calligraphy; 顫筆=trembling brush; 鶴銘=Eulogy for Burying a Crane |
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| Abstract | 夏荊山居士畢生從事佛教藝術，其書法內容多為其對於佛經之書寫、佛理的體悟與世人之勸戒，形成社會中導正向善的力量，加上多年旅居臺灣、美國、日本與大陸地區，更令其書畫藝術形成廣大影響。
本文針對夏荊山居士書法藝術進行研究，首先透過《夏荊山中國佛像畫集》中所呈現之畫作題款書法，逐步整理其不同書體表現樣貌與歷年發展變化，再回到其書法作品中，探討分析其書法特徵，接下來從章法布局、用字結構與用筆筆觸等面向加以探索比較，發現其具有顫筆表現。本文最後也試圖從〈瘞鶴銘〉刻石為軸線，探討宋代黃庭堅一波三折筆法、清代何紹基回腕執筆到清末民初曾熙、李瑞清、張大千等人不同方式經營顫筆之表現，以勾勒出夏荊山居士的書法顫筆之淵源與脈絡。
Buddhist art is Xia Jing Shan’s lifelong mission, and his calligraphic works are also predominantly on Buddhist scriptures, insights he has attained on Buddhist studies, or cautionary words for people, and his efforts have become an energy that guides society towards a path of positivity and benevolence. Having lived extensively in Taiwan, the United States, Japan, and China, the impact that Xia has formed through his oeuvre is wide and profound.
The focus of this paper is on Xia’s calligraphic works, and begins by examining the inscriptions on his paintings recorded in the book, Complete Collection of Buddhist Art by Xia Jing Shan（Xia Jing Shan zhongguo foxiang huaji）, which is followed by step-by-step organization of the various scripts used by Xia and also changes he has developed throughout the years. The focus then returns back to his calligraphic works to look into their notable features. From comparing and contrasting their various compositions, structures, and brushworks, it is observed that the technique, “trembling brush”, is employed by Xia. Lastly, the paper attempts to reference the inscription on the historical stone carving, Eulogy for Burying a Crane, to examine various interpretations of the “trembling brush” by different artists in history, including the wave-like features by Song dynasty artist Huang Ting-Jian; twisting wristwork demonstrated by Qing dynasty artist Ho Shao-Chi; and styles by other artists from the late Qing dynasty to the early Republican period, such as Tzeng Shi, Li Rui-Qing, and Chang Dai-Chien. The study is then applied to illustrate the origin and to contextualize the use of the “trembling brush” in Xia’s calligraphic oeuvre. |
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| Table of contents | 一、 前言 115
二、夏荊山居士生平簡述 115
三、 夏荊山書法表現特色 116
（一）畫作題跋書法 116
（一）單純書法作品 119
1.章法布局 119
2.用字結構 121
3.用筆筆觸 121
四、 從〈瘞鶴銘〉來看顫筆的發展脈絡 122
（一）關於〈瘞鶴銘〉清中期之前的論述 123
（二）臨習〈瘞鶴銘〉書家之表現 124
五、 結論 127
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| ISSN | 24126233 (P) |
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| Hits | 494 |
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| Created date | 2019.05.21 |
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| Modified date | 2020.06.15 |
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