【作者】 张恒奎；

【导师】 丛文俊；

【作者基本信息】 吉林大学 ， 历史文献学， 2008， 博士

【摘要】 草書體既是文字的形體也是書法的樣式，在我國文字系統中具有重要地位。在草書體的形成與演變研究尚顯薄弱的情況下,本文以此為題,採用文獻與出土材料、傳世作品相結合的方法,從書法、形體、書家以及觀念入手,對草書體進行全面研究。就分期而言,戰國至西漢初期為草書體的形成階段,西漢中期至東晉南朝為草書體的演變階段,唐代以後為草書體的風格化階段。就形態而言,戰國文字、隸草是草书体形成的基础,古草、章草、今草、稿草、狂草是草書體的不同形態。在三個階段與七種形態之間存在相互的對應關係。具體而言,草書體的形成與演變過程就是以使轉部件取代點畫部件的過程,也就是從四方結構向流轉結構的轉化過程。符號化是草書體形成與演變的基本特點。連帶是符號化的主要推動力量，其中逆連的作用尤其重要。它既是形體也是方向符號。使轉是草書符號的基礎構件,交叉使轉與非交叉使轉的組合是草書形體的基本結構方式。草書的筆法的直接與簡便決定了它在筆法演變中的基礎作用。總的來看，約定俗成在草書體的形成階段起到重要作用,書家在草書體的演變階段起到重要作用。因為草書家的參與,書法藝術在東漢走向自覺,以書家為代表的草書傳統就此形成。唐代之後,以王羲之為代表的東晉書法成為正、草兩體的正統,在經歷狂草對這一正統的短暫衝擊之後，中和之美也成為草書審美與評價的基本標準?疚闹攸c在探討草書體形成與演變的動力、途徑及其結果,注重考察不同因素之間的相互關係,力求克服草書研究中的片面与主观，以冀在草書形成與演變的規律上有所發現。更多还原

【Abstract】 Our research on the formation and the evolution of the cursive scripts includes the formation and evolution of the stages and patterns, calligraphy and physical laws, written in cursive scripts in the process of the formation and evolution of the role and so on. Taking full advantage of excavated material and handed-down documents ,our paper gives a deeper study. on the above-mentioned issues.Our article can be divided into eight chapters.Chapter One is a brief introduction. First of all, we define the concept of cursive,and then recall the academic study of cursive formation and evolution in modern times and discuss their lacks. Based on this, we put forward its research ideas and methods. Finally,we briefly summarize the focus of the research..Chapter II, we first study Qin Dynasty and Han Dynasty’s cursive ccripts,and then conclude that the script at this period has the physical appearance of the cursive scripts,and define the concept of clerical script and so on. Finally,we analyze the view "Cursive thrived in Han Dynasty ".In the third chapter, first of all through the Annals,we first point out that the time when the cursive is formed should be Emperor Xuan Period of Han Dynasty, and the cursive script has been formed at the time of Emperor Wu., we finally explore the cursive scripts and the art of calligraphy relationship between the conscious,and show that the advanced nature of cursive scripts in the aesthetic and emotional expression.Chapter IV,we inspect the cursive script in the early and late Eastern Han Dynasty and analyze its tyding up and normalization work.We also study the reduction of allogeneic words of Zhang cursive, symbols division of regular script and so on. At the end, we sum up and analyze the traditional script of Du Du, Cui Yuan and Zhang Zhi ,and make it clear that they are the earliest form of traditional calligraphers.In Chapter V, we first inspect the cursive script’s adjustment during Three Countries Dynasty and Western Jin Dynasty,and declare that the change of Zhang cursive has already begun in this period, rather than the Eastern Jin Dynasty period, and the revised draft of the script was named Primary cursive. Finally, we discuss the differences between the south calligraphy and the north calligraphy as represented by Huang Xiang of the South and as represented by Wei Guan and Suo Jing of the North. In Chapter VI, we first study the improvement of cursive scripts in the Eastern Jin Dynasty and Southern Dynasty ,and point out differences between Wang Xizhi and Wang Xianzhi . And then we show what reason has has changed the script.At last we take a look at the status of Wang Xizhi and Wang Xianzhi, and point out the positive and negative effects t of Wang Xizhi’s calligraphy sageIn Chapter VII, we first inspect the cursive script’s breakthrough in Tang Dynasty, finding that Kuangcao calligraphy style has broken through the traditional square structure. Finally we inspect Zhang Xu,Huai Su and their relations to the tradition,and analyze the the reason why tradition repels them.更多还原