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唐代墓誌書法研究=A Study on Calligraphy of Epitaphs in the Tang Dynasty |
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魏猷恩 (著)=Wei, Yu-en (au.)
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| Date | 2020 |
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| Pages | 566 |
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| Publisher | 逢甲大學 |
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| Publisher Url |
https://www.fcu.edu.tw/
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| Location | 臺中市, 臺灣 [Taichung shih, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 中文=Chinese |
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| Degree | doctor |
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| Institution | 逢甲大學 |
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| Department | 中國文學系 |
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| Advisor | 宋建華 李郁周 |
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| Publication year | 108 |
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| Keyword | 唐代=Tang Dynasty; 墓誌=Epitaph; 書法=Calligraphy; 刻工=Carvers; 寫經=Transcribing Classic Books in Buddhism or Daoism; 書待詔=“Shu-Dai-Zhao”; 書手=“Shu-Shou” |
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| Abstract | 墓誌是古代紀念亡者的石刻禮器，隨棺槨埋入壙中。目前統計的出土墓誌，以唐代數量居冠。墓誌除了記載誌主的譜系、生卒、行事之外，也涉及當時的社會百態，因此，唐代墓誌自然成為研究唐代史事的第一手材料。
近年來古代墓葬的考古資料豐富，這些出土實物與紀錄，往往是最有力的史料證據，佐以傳統文獻，兩相對照，更能清晰地理出墓誌的起源與發展。驗後得知，墓誌在兩晉、十六國時期逐漸成型，到了南北朝時期才確立了形制。之後，隋唐繼承此制，並普及到各界，成為喪葬的必需品。
唐代是中國古代的盛世，國富力強，文化燦爛，書法藝術更在書史稱冠。由於制度與風氣使然，唐代書學鼎盛，人才濟濟，名錄於冊者，為歷朝之冠，故史稱唐人無不善書。而當中引領風騷、實具影響力者，蓋有四類身分，即掌權的君主和皇親；執行公務的官宦和士子；信奉佛道的僧侶道士與信眾；以書藝見召和抄錄文案的書待詔及書手。這四類人物是決定唐代書法走向的關鍵。
歷來墓誌書法的研究方法，往往以傳統書史為經，再採幾方風格相近的墓誌，以之為緯，作為書史的旁證。本文一改慣例，廣採唐代墓誌4495方為樣本，製作資料庫，用來篩選分析唐代書法的書體、書風、書者、時代性、地域性等問題，以求證、補充書史的記載。
習慣上，將墓誌書法風格的問題歸因於書者，但卻常忽略刻工也是墓誌書法的關鍵因素。書者先負責書丹，刻工才照稿接續奏刀鑿刻。書作能否忠實呈現，往往取決於刻工的技巧，所以俗稱鑿刻為二次創作。唐人亦關注此問題，官方透過管理制度，民間則賴家學傳承，多方培養人才，以應廣大的石刻需求。查考墓誌發現，唐代刻工也多有兼善書法，甚至能文者，此亦可作為唐代書法鼎盛的證據之一。
The epitaph is a ritual tool of stone inscription in ancient times done to remember a person who has died, buried with the coffin. So far, the statistics show that the Tang Dynasty has the most unearthed epitaphs. The epitaph does not only record the genealogy, birth, death, and behavior of the owner, but also the social state of the society. Therefore, the epitaph of the Tang Dynasty naturally becomes the first-hand material to study the historical events of the Tang Dynasty.
In recent years, archeological data of ancient tombs have been abundant. These unearthed objects and records are often the most powerful evidence of historical data. By comparing and contrasting them with the traditional documents, the origin and development of epitaphs can be clearly identified. It was learned after the inspection that the epitaphs gradually took shape during the Jin Dynasty and Sixteen Kingdoms Periods, and the formation was not established until the Northern and Southern Dynasties. Later, the Sui and Tang Dynasties inherited this system and it became popular—it became a necessity for funerals.
The Tang Dynasty was the heyday of ancient China. It was wealthy and strong. Its culture was splendid. Also, the art of calligraphy was crowned in history. Due to the system and ethos of the Tang Dynasty, the calligraphy of the Dynasty was flourishing, and there were abundant talented calligraphers. It had the most calligraphers recorded in the history of calligraphy. Therefore, the history tells us that all people of the Tang Dynasty were good at calligraphy without exception.
Among them, the leading and influential calligraphers could be divided into four types of people: monarchs and royal relatives in power; officials and scholars who perform official duties; monks and believers of Buddhism; “Shu-Dai-Zhao,” those who were summoned by emperors because of their talents in calligraphy, and “Shu-Shoum,” those who were transcribing documents for emperors. These four types of people were the key factors that determined the trend of calligraphy in the Tang Dynasty.
The research methods of the calligraphy of epitaph often take the traditional history of calligraphy as a longitude, and then adopt several epitaphs with similar styles as the latitude, as indirect evidence of the history of calligraphy. This article does not follow the convention: I adopt epitaph 4495 of the Tang Dynasty as a sample and make a database to sift and analyze the style, author of calligraphy in the Tang Dynasty and the manifestations of the calligraphy of its era and region, etc. These help to seek confirmation and supplement to the history of calligraphy.
People get used to attributing the problem of calligraphy style of epitaphs to the writer, but often overlook the fact that carvers are also the key factors that influence the manifestation of the calligraphy of epitaphs. The calligrapher was in charge of “Shu-Dan” first, and then the carvers continued with knives. Whether a book could be presented faithfully depends on the skill of carvers, so it was commonly known that chiseling is the second creation. The Tang people were also concerned about this issue. Officials used the management system, while folks relied on family traditions to cultivate talents to meet |
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| Table of contents | 目次
書名
學位考試合格證明書
誌謝 Ⅰ
中文摘要 Ⅲ
英文摘要 Ⅴ
目錄 Ⅶ
第一章 緒論 1
第一節 研究動機與問題提出 1
第二節 研究回顧與思考 2
第三節 研究範圍與限制 8
第四節 研究方法與展開 9
第二章 墓誌的發展及唐人使用的實況 11
第一節 墓誌的起源與發展 11
一、傳統文獻說法 11
二、出土資料見證 15
第二節 唐人使用墓誌的實況 53
一、開元禮與墓誌所見的唐代喪葬禮俗 53
二、唐代喪葬禮俗的意義探究 67
第三節 唐代墓誌的形制與製作 69
一、唐代墓誌的形制 69
二、唐代墓誌的製作 75
小結 77
第三章 影響唐代墓誌書法的關鍵人物 79
第一節 君主與皇室 79
第二節 官宦與士子 82
第三節 僧侶、道士與寫經眾 90
一、僧侶與寫經眾 90
二、道士與寫經眾 106
第四節 書待詔與書手 128
一、書待詔 128
二、書手 140
小結 145
第四章 唐代墓誌書法分析 147
第一節 唐代墓誌的書體分析 147
一、為數最多的楷書墓誌 147
二、寫入碑誌的唐代行書 161
三、豐美的唐代隸書 165
四、唐代墓誌書體的地域分析 172
第二節 唐代墓誌的書風分析 174
一、唐代楷書墓誌書風分析 174
二、唐代楷書墓誌書風的時代分析 175
三、唐代行書墓誌書風統計 177
四、唐代行書墓誌的時代分析 177
五、唐代行書墓誌文字排列的時代分析 178
六、唐代隸書墓誌的書風分析 178
七、唐代隸書墓誌書風的時代分析 179
八、唐代楷書墓誌的地域分析 179
第三節 唐代楷書墓誌書風舉例 181
一、王羲之書風 181
二、北碑書風 187
三、褚遂良書風 190
四、歐陽詢書風 194
五、顏真卿書風 199
第四節 唐代行書墓誌書風舉例 205
第五節 唐代隸書墓誌書風舉例 215
第六節 唐代墓誌書者之分析 222
一、唐代墓誌書者題署之分析 222
二、唐代墓誌書者身分之分析 224
小結 231
第五章 墓誌書法的加工者—刻工 233
第一節 唐代石刻刻工勒名之由來 233
第二節 刻工的身分與傳承 238
第三節 唐代石刻刻工制度 240
一、唐代官署石刻刻工 241
二、唐代民間石刻刻工 252
第四節 唐代墓誌的刻工題署分析 253
一、刻工題署的比例分析 254
二、刻工的題署形式分析 254
三、官署刻工題署官職的時機 256
四、刻工署名位置的意義 257
五、刻工題署籍貫的意義 258
六、由撰者、書者、刻工所組的團隊及與誌主關係之例 .260
第五節 唐代墓誌的刻工工法分析 261
一、疑刻工不只一人之例 261
二、由二位以上刻工合力完成的原因及其工法 262
小結 265
第六章 結論 267
一、墓誌的發展與唐人使用的實況 267
二、影響唐代墓誌書法的關鍵人物 268
三、唐代墓誌書法分析 269
四、墓誌書法的加工者—刻工 272
參考文獻 275
附錄
附圖一 趙知儉墓誌 299
附圖二 趙弘慎及妻張氏合祔墓誌 300
附圖三 王仁行及妻郭氏合祔墓誌 301
附表一 唐代墓誌刻工一覽表 302
附表二 唐代「疑刻工不只一人」墓誌 311
附表三 唐代的隸書碑刻 313
附表四 唐代隸書墓誌 314
附表五 唐代墓誌書者題署一覽表 317
附表六 唐代墓誌書法一覽表 383
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| Hits | 315 |
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| Created date | 2022.09.29 |
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| Modified date | 2023.01.17 |
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