【作者】 陈海良；

【导师】 尉天池；

【作者基本信息】 中国艺术研究院 ， 美术学， 2009， 博士

【摘要】 在中国书法史上，前人对书法的功用、笔法、艺术精神以及鉴赏书法的审美规范等都作了很多阐述。然笔墨相连、一体共生。在创作中，书家在强调笔法、章法以及情感在作品中重要性的同时是非常讲究墨法的，尤其是元以来，书家通过墨法的表现力来彰显作品的意韵。但墨法在实践中的强调并非就上升到理论的层面。而且，前人对墨法的理论研究也较为琐碎、杂乱，也没有一个体系。为此，本文试从理论和实践两条线索对前人的墨法进行研究，努力还原一种真实的书法墨法变迁史。首先从文献上出发，对前人在墨法上的理性描述及与之相关的一些诸如笔法、章法等的论述进行梳理。结果发现：前人对墨法的见解大多偏向于感悟式的描述，缺乏系统性，更没有论及与之相对应的文化与历史背景；而且，因立场、视角的不同，墨法的见解也更为驳杂，甚至矛盾，墨法的阐释还处于多元并存及互相争辩的状态之中。不仅如此，这与实践中的墨法运用也存在很大出入。其次，为真实地反映出前人的墨法运用状况，通过对上博、故宫博物院等十几家博物馆的大量真迹的考辨，发现前人对墨法的描述与实践中的表现确实不相对应，尤其是明清时期。然后，再通过理论与实践两条线索的相互证伪，我们发现：从墨法的功用上讲，墨法大致可分为实用和审美两个层面。然因实用性墨法的形式较为单一，艺术性不高，所以，书法墨法的丰富表现主要集中在以审美为主的范围之中。为此，对墨法的研究也主要以审美领域的艺术性墨法为对象。根据墨法的表现形式和审美取向以及墨法所反映的情感因素等，这种以审美为主的墨法表现主要以“中和”型墨法为始基，随着思想观念、情感因素等影响，逐渐分化出“墨趣”型和综合型墨法。尤其是综合型墨法是中国书法墨法运用的高峰，各种纷繁的墨法变化趋于一个“和谐”的有序状态，共存于一个完整的构图之中，画意迭出，和而不同。它以王铎、林散之为代表，他们向我们展示了一个纷繁有序的“六彩”世界。为更好地揭示墨法的发展规律，还对各种墨法形态进行了类比分析，它不仅为墨法类型的划分提供了有力依据，也揭示出各种墨法形态的形成及内在联系。最后，本文还论述了墨法与书写工具、材料等外在因素之间的相互关系。因此，本文通过对书法墨法演变的梳理、分类及形式分析，虽不能囊括所有的墨法表现，对墨法发展的规律也还有不够完善的地方，但寄希望本文能对中国书法的创作，尤其是对墨法运用提供理论上的见解，为当今书法创作语言的不断丰富提供一个实践性的参考。更多还原

【Abstract】 During the history of calligraphy,ancient artists expatiated a lot about thefunction of calligraphy,the skill of using brush pen,the spirit of art and the rules ofappreciate calligraphy.Brush pen and Mo are connected as one.Artist emphasized theskill of using brush pen,the overall arrangement of works and the expression ofemotion.And at the same time,they paid much attention to the use of Mo.Especiallyafter the Yuan Dynasty,artists tried to use Mo to express aura of their own works.But artists’ experimentation didn’t promote to the level of theoretical study.So thethesis studied the Mo from practical aspect and theoretical aspect to revert the historyof Mo’s transformation.As far as theoretical aspect concerned,the thesis focused on ancient artists’description with gnosis.It was a window for us to find the art of Mo and the pointview of Mo of ancient times.Through combing the history,we found that ancientartists lacked systematicness during studying the art of Mo.And this kind of studyignored the background of culture and history.Out of different position andviewpoint,different artist had different opinion.This made the phenomena as follows:the concept of Mo is versatile and incompatible.Furthermore,the theory of Mo hadgap with the practical use of Mo.In order to find the truth of the skill of using Mo ofancient artists,the author discovered original editions collected by importantmuseums of China to reveal that the big gap between theoretical level and practicallevel,especially in the Ming and Qing Dynasty.Through validating,we found that theform of MO can be classed in category of theory and practice.But the practical skill of Mo’s form is not versatile,so its value is comparativelylow.Logically,the abundant form of art of Mo focuses on the category of aesthetics.The object of Mo focuses on art of Mo.This kind of taste was based on Zhonghe skillof Mo.Along with the change of concept and sensibility,it divided into Zhonghe,Moqu and Zonghe skill of Mo.Zonghe skill of Mo was the climax of chinese skill ofMo.Different kinds of skill took on a harmonious look after the appearance ofZonghe Skill of Mo.WangDuo and LinSanZhi,who was the important character ofZonghe skill of Mo,led us into a wonderful world of six color.The study provided astandard to class the form of skill of Mo.It revealed how different kinds of skill ofMo came into being.At the same time,it helped us to understand the inner connectionof each other.In the last part,the thesis discussed about mutual relationship among skill of Mo,writing tools and external factors.So through combing,classing and analyzing the skill of Mo,the thesis tried itbest to provide theoretical support to calligraphy,especially to the practice of skill ofMo.It also can widen and renew the view of language use of calligraphy.更多还原