【作者】 张函；

【导师】 张金梁；

【作者基本信息】 吉林大学 ， 历史文献学， 2014， 博士

【摘要】 “书品”与“书学”、“书法”、“书家”共同被看作是组成古代书法理论体系的四项基本内容。“书学”主要阐释了古代书法的构成原理；“书法”主要研究古代书法的技法内容；“书家”主要研究古代善书者的艺术成就；“书品”则揭示了古代书法秩序的建立以及在这个秩序中，书家、作品、读者三个方面所承担的历史角色。可以说“书品”既是对书法历史的综合性研究，也是对书法发展的前瞻性引导。本文着重研究了“书品”理论结构的内容和原理，并分别以书法的本体、辞干、生成、风格、鉴评为对象作出阐释。第一章研究了“书品”理论在各个时期的发展形态，总结出“书品”理论的类型、立品方式、发展特点、品与评的区别以及传统《易》、儒、道思想对于“书品”理论的影响。第二章制定“书品”理论中书法本体内涵的三个层次，即美教、文情、书道。美教指美化教育功能，是书法的社会性内涵；文情指表达情感，是书法的艺术性内涵；书道指超越书法本身，是书家凭借书写进入了生命境界。第三章分析了主要辞干的精神属性和艺术修养。在精神属性中，神、气、骨、德作为构成书法品格特点的基础内容，塑造着书家个性及作品质量。在艺术修养中天然、工夫成为“书品”最为古老而又稳定的命题，影响着书家的书法艺术成就。第四章分析了书法艺术的生成过程。书论家凭借自身对于书法艺术的经验、感悟去描述书法艺术的产生与表现，指出了兴感、意象、灵感、构思以及心理特征等极为微妙的现象。第五章针对作品，“书品”理论不仅勾勒了风格的历史形成过程，而且总结出艺术品格、理想追求、历史烙印三种风格表现内容。其目的在于通过作品的风格客观揭示人与书的关系以及古代书法艺术史的发展历程。第六章立足于欣赏者的角度去鉴评古代的书家、书作。不仅解释了“书品”的性质，也解释着鉴评的过程、标准，并客观检验了鉴评者所持有的态度与修养。更多还原

【Abstract】 "Calligraphy criticism" and "CalligraphyTheory"、"Calligraphy techniques"、"Calligraphers" seen as a common theoretical system consisting of four ancientcalligraphy basic content.“Calligraphy theory” explains the main principles of theancient calligraphy constituted；"Calligraphy Techniques" explains the main contentsof the ancient techniques of calligraphy；"Calligraphers" focuses on those ancientartistic achievement。"Calligraphy criticism" is revealed to establish order in theancient calligraphy，and Calligrapher, works, readers are undertake the historicalrole。You can say,"calligraphy criticism" is both a comprehensive summary of thehistory of calligraphy, and is also the forward-looking guidance for the developmentof calligraphy. This paper analyzes the content and principles theory ofthe"Calligraphy Criticism" structure, Respectively calligraphy noumenon, the mainbody, build, style, view objects as an explanation.The first chapter introduces the "calligraphy criticism" theory of developmentpatterns in each period.Conclusion the type of the "Calligraphy Criticism"、the way toestablish the "Calligraphy Criticism"、development characteristics、the differencebetween evaluation and Criticism。 As well as the impact of 《Zhouyi》、Confucianism、the Taoist。The second chapter points out the three levels of "Calligraphy Criticism"theory:calligraphy body connotation that beautify education, Literarytemperament,calligraphy truth. Beautify the education is beautification function ofeducation, is the social connotation of calligraphy. Literary temperament is theemotion, Is the art of calligraphy. Calligraphy truth is beyond the calligraphy itself,iscalligrapher in writing into life.The third chapter analyzes the main spirit and artistic attribute of the words andexpressions. In the spiritual attribute, god, gas, bones, as the foundation of thestructure character of calligraphy features content, shape the calligraphers personalityand quality of work. In the artistic attribute, natural, afterwards became "hu" is themost ancient and the stability of the proposition, affects the calligrapher calligraphyart achievement. The Four chapter analysis of the generation process of calligraphy. Calligrapheron their own experience of the Chinese calligraphy and feeling to to describe thegeneration of calligraphy. Points out the phenomenons such as interest、intention、inspiration、conception、psychological characteristics.The fifth chapter aim at calligraphy artwork."Calligraphy Criticism" not onlypoints out the calligraphy formation process,and come to the conclusion that the styleof art、ideal pursue、historical imprints. The purpose is to through the style of workobjective to reveal the relationship between people and calligraphy and thedevelopment process of ancient calligraphy art.The sixth chapter is based on the perspective of appreciation to guide a review ofthe ancient calligraphers and the artworks. Not only explains the nature of the "Calligraphy Criticism ", also explain the process of evaluation、standard, andobjective test as the attitude held by the critics and self-cultivation.更多还原