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論潘之淙《書法離鈎》的書法美學中心思想=On the Thesis of Pan Zhicong's Shufa ligou (Calligraphy Aesthetics) |
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詹杭倫 (著)=Zhan, Hang-lun (au.)
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| Source |
嶺南學報 （復刊）=Lingnan Journal of Chinese Studies （reissue）
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| Volume | v.14 |
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| Date | 2021.11.01 |
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| Pages | 223 - 237 |
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| Publisher | 嶺南大學中文系 |
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| Publisher Url |
https://www.ln.edu.hk/chi/
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| Location | Hong Kong [香港] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Keyword | 潘之淙=Pan Zhicong; 書法離鈎=Shufa ligou (Calligraphy Off the Hook); 書法=Calligraphy; 美學=Aesthetics; 禪學=Zen Buddhism |
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| Abstract | 明代學者潘之淙《書法離鈎》一書所表述的書法美學中心思想是“取法”與“離法”之間的辯證關係，潘之淙所描述的書法家從“得鈎”、“吞鈎”到“離鈎”的過程，展示出藝術修養的三段式規律：即立志取法→精通法則→離開法則，最後到達無法而法的高妙境地。這與禪學修養的三段式規律是密切相通的。
Ming-dynasty scholar Pan Zhicong's Shufa ligou (Calligraphy Off the Hook) emphasizes the dialectical relationship between qufa (acquire the rules) and lifa (desert the rules). Pan describes a caligrapher's three-step process from degou (on the hook), to tungou (master the hook), and to ligou (off the hook), which demonstrates the three phases of his artistic accomplishment: from adopt, to master, and to desert the rules and finally achieve the highest form of artistic freedom. This is closely related to the three stages of Zen Buddhist cultivation. |
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| Table of contents | 摘要 223
一、取法與離法 224
取法 224
離法 225
取法與離法之間的辯證關係 225
二、“ 離鈎 ”思想溯源與比較 226
離鈎文獻 226
三、書法家從” 得鈎 “到” 離鈎 “的修煉實例 230
張旭 230
懷素 231
顏真卿 231
四、潘之淙對後世的影響舉隅 232
倪後瞻 232
鄭燮 233
劉熙載 234
結論 235
Abstract 236
徵引書目 237 |
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| ISSN | 27884376 (P) |
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| Hits | 38 |
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| Created date | 2022.11.07 |
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| Modified date | 2022.11.07 |
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