王铎书法的形式与空间研究

【作者】 黄一鸣；

【导师】 王冬龄；

【作者基本信息】 中国美术学院 ， 书法理论与创作， 2008， 博士

【摘要】 当今书坛「形式」与「张力」是书法表现的主轴,然而在17世纪的王铎(1592—1652),已然表现的淋漓尽致。王铎是中国书法史上开拓风格、创造形式美感的巨匠,他以独特的书风和书学成就,确立了中国书法艺术发展史上的特殊地位,从王铎作品单字结体、章法布局、空间留白所产生的形式美感,在今天看来仍然新颖有创见,值得充分去研究与分析。王铎在书坛的影响已是全面性,研究王铎的资料也非常多,然而在市面上所见有关纯粹研究形式与空间的部份,仍是少数而且还是零散的。有鉴于此,笔者花相当的时间,就坊间所见的王铎数据,作全盘的探索与分析,希冀能从作品的演变发展,及展现的不同形式(包括正文、款识、条幅、手卷),依照作者完成作品之时间前后,作出详尽的分析与说明。笔者的研究从外在形式与内在运动形式为主要的分类,将王铎惯用的形式法则提出说明,然后根据不同形式,再探讨空间与视觉的表现。王铎究竟有甚么创见?这些创举在今天现代书法逐渐被重视的同时提供了那些启发?这些都是本文关切的问题。《王铎书法的形式与空间研究》将分五个章节叙述。在第一章叙述研究动机、目的,及采用的研究方法及研究的内容作出说明。第二章简要的说明晚明书风、王铎书学与美感,为的是凸显环境与王铎的学习背景。第三、四章将是本文叙述的重点,包括:线条运用、结体特征、章法构成……。其中将特别就王铎扭曲、变形、变调与动势所产生的视觉变化,深度、聚焦、时空交错、空间维度的扩充等等表现,提出王铎在处理看似变化多端的形式构成中,有秩序的铺陈关系,体会形式大师在感性与理性中的处理能力。最后一章,将以现代书法的角度,来探讨王铎对这个时代产生了甚么启发作用。并就现代书法的发展趋势与如何衔接传统书法等的藉鉴,提出新的思考方向。笔者最后提出「古典线性现代脉络主义」,这是考量时代变迁的需要,以及民族性与中国人传统性格下向前推进的思维方式。谈书法的传统与现代,是要凸显中国书法本质中就具有丰富的现代元素,问题是应该如何扩充加强其广度与深度;以中国精深文化为本,以现代人的现代生活面临的节奏与视觉习惯为辅,作出现代人能接受,而且既精且广的书法形式,这种形式其实就是符合“文质兼备”的社会需要。总的来说,《王铎书法的形式与空间研究》希冀能就王铎书法的形式、视觉、空间、情性、美学,理出一个头绪,俾利学者取资,是本文研究的目的。更多还原

【Abstract】 In the present Chinese calligraphy circle, "form" and "tensility" remain as the central points of concern in accomplishing and performing calligraphy. In fact, Wang Duo (1592 - 1652) had already overwhelmingly displayed all this in his works in the 17th Century.Wang Duo is considered to be a great master in pioneering and creating elaborate esthetic styles and forms in the history of Chinese calligraphy. With the achievements in his unique mannerisms and in the studies of calligraphy, he managed to secure a special status in the development of this art. From the structure of individual characters, to the assembly of words, and his composition of spatial patterns, where special attention had been paid to the layouts and the retaining and utilizing of "empty space," Wang Duo produced an artistic and aesthetic atmosphere in his works which are considered to be "novel" and "contemporary" even by today’s standard. Therefore, it is well worth our full effort in carrying out an extensive study, research and analysis on his works.Wang Duo’s influence on the calligraphy world is regarded as comprehensive. Research material on him and his works is quite plentiful. However, researches pertaining to the studies of "form" and "spatial arrangement" are scarce and scattered. As a consequence, the author has devoted a lot of time in collecting and examining all the available information and endeavored to present a thorough and exhaustive analysis and explanation of Wang Duo’s work, commencing with the developmental changes in all of Wang Duo’s works, to the exhibition and unfolding of the formation of different styles and compositions (including those in main text, inscriptions and signatures, hanging scrolls, and hand scrolls) that he employed, in accordance to the period before and after the actual recorded time of each of his completed works. The author’s major research classification is based on the "external forms," and the "internal usage and quality of lines" in Wang Duo’s works. The author also ventures to demonstrate and explain the habitual employment of rules and regulations governing the usage of various models in Wang Duo’s calligraphy. Consequently, according to these different forms, the author re-examines the spatial and visual concepts which Wang Duo had applied in his works. What kind of innovative perceptions does Wang Duo possess? As his pioneer works are gradually being acknowledged and accepted by the present day calligraphy circle, the author wants to, at the same time, examine the kinds of enlightenment and inspiration Wang Duo has affected. These are the major questions of concern being discussed in this research.There are five chapters in this research. In the first chapter, the motives, goals, and the different research methodologies and techniques used and together with the content of this research are discussed and explicated. In the second chapter, the author briefly outlines the different important styles and atmosphere affecting the calligraphy circle in the late Ming Dynasty and discusses about Wang Duo’s own calligraphy philosophy and esthetic sense, in order to emphasize and display the environment and the background of Wang Duo’s learning process. In the third and fourth chapters, which are considered as the major focus of this study, there are elaborate discussions on Wang Duo’s utilization of lines, the characteristics of formation, and the construction of spatial patterns and compositions. Amongst these, there will be a special discussion on Wang Duo’s unique ability to initiate perceptual and visual changes, create and transform illusions in depth and focus, and instigate the interlocking of time and spatial dimensional expansion by the utilization of crooked, curved and distorted lines of characters and space, and the employment of variations in tempo and transposition. The author also discusses about Wang Duo’s capability of maneuvering what appears to be "constantly changing in many ways" in his format constructions, yet producing a relationship which allows the display of his layouts to appear in an orderly effective manner. From there viewers can comprehend the master’s ability to cope with both the perceptual and rational elements in his works.In the last chapter, the author attempts to, from the modern calligraphy perspective, examine and discuss Wang Duo’s inspirational effect on today’s calligraphy. Furthermore, by investigating the developmental tendency in today’s calligraphy, and probing into the problems associating with the continuation of traditional calligraphy, the author conveys a direction for new trends and future developments. Finally, the author proposes a "Classical Linear Modernism" concept, which is based on the highlighting and displaying of the elemental and exuberant expressive nature of Chinese calligraphy, and at the same time, makes inquiries into the possibilities of expanding and strengthening the scope and profundity of Chinese calligraphy. Moreover, by using the enriched Chinese culture as a foundational source, and applying the rhythm and visual habits associating with the modern day living as a complement, the author attempts to design an exquisite and extensive form of calligraphy which is readily accepted by the modern day people. This kind of configuration actually conforms to what the present day society needs and is "in possession of both form and cultural elements."In conclusion, in "A Study of Wang Duo’s Calligraphy Forms and Spatial Patterns," the author, after having examined Wang Duo’s different calligraphy formats, his sense of vision, and his employment of spatial concept, temperament and esthetics, strives to organize and present these material in some logical order and thus enabling these information to be easily accessible and retrievable by students and scholars. This can be considered as the major purpose of this study.更多还原