【作者】 陈成波；

【导师】 张传旭；

【作者基本信息】 山东大学 ， 美术学， 2010， 硕士

【摘要】 曾国藩是中国近代史上著名的政治家、军事家和外交家,同时又是中国儒家文化的集大成者和洋务运动的开山人物,其书法也有相当的造诣,有大量相关的书法论述见于书信和日记之中,并且有大批墨迹传世。本文通过对曾国藩思想根源的探究,以此为突破口来研究曾国藩书法,将曾国藩书法放到大的社会背景、思想史背景、文化史背景中去观照,对曾国藩书法在中国近代书法史上的位置作客观而恰当的评价——曾国藩可以称得上是晚清帖学书法的改良者。晚清书法格局表现为：一方面,魏晋以来的二王帖学书法历经宋、元、明、清,逐渐偏离了帖学书法的道统,已经是日薄西山,行将朽木了。另一方面,乾嘉以来,出于考据学的需要,大量来自地下以及穷乡僻壤、边陲远关的书法资料层出不穷,经过阮元、包世臣、康有为等人的倡导,终于酝酿形成了一股被称作是“碑学”的书法热潮,大大冲击了宋元以来的帖学传统。曾国藩一生浸淫在中国传统文化之中,深受传统儒家思想影响,毕生以“修身、齐家、治国、平天下”为最终极的追求目标,不停止地探寻儒家思想的真谛,在实践过程中形成了独具个性的“理学经世思想”。以“卫道”为最根本的出发点,从本阶级的利益出发,极力维护现有的封建政治制度和伦理秩序,思想上倾向于保守而不是破坏。曾国藩从儒家卫道思想根源出发,认为书法首先是实用性的,是“成教化,助人伦”的工具,是维护封建统治秩序的工具,在文艺思想上秉承儒家“致中和”、“致中庸”的审美标准：一方面表现为维护帖学传统,维护书法的秩序,矫正宋元明以来的帖学偏离书统的现象,从帖学内部出发,吸收唐代的楷书的法度、秩序、力量、气势,形成一种以阳刚为主,刚柔相济的书法风格；另一方面则表现为对法度和秩序的过分依恋,导致了艺术性和创造力的不足,始终不能摆脱“馆阁体”的影响,没有形成对晚清帖学书法的超越。但是,这并不是说曾国藩书法在书法史上没有意义,恰恰相反,曾国藩书法思想在整个书法史上具有重大的意义：一,秉承传统儒家文化思想,以儒家思想为体,书法为用。将书法作为一种手段和方式来教化民众,达到太平和合的理想境界,达到维护封建统治秩序的目的。二,曾国藩书法思想以阳刚为主,刚柔相济,使他们合二为一,达到统一、和谐、自然,达到儒家审美理想的“致中庸”、“致中和”境界。赋予了书法辩证观更深刻的内容,丰富了中国传统书法辩证思想。三,“寓沉雄于静穆之中”、“合雄奇于淡远之中”的书法风格,反映了曾国藩对传统帖学书法的迷恋,对恢复魏晋书法道统的信心和决心。四,以曾国藩书法状态为视角考察晚清书坛,可以看到：晚清时代上层官僚书法和“馆阁体”,仍然在社会中占据主流位置,各种书法风格并存、并行的现实状况,从而澄清晚清书法史中对晚清书坛“碑学一统天下”的偏颇描述。另外,本文并不是单纯就书法论书法,注重在社会大的文化史和思想史的背景下宏观分析曾国藩书法现象,从思想根源上寻找答案。首先认清曾国藩思想渊源,然后进一步将曾国藩书法放在整个中国书法史背景中观照,对曾国藩书法思想和书法风格作全面探究,在把握曾国藩理学经世思想基础上,对“曾国藩书法在近代书法史上的位置”这一问题,还历史时事一个本来的面目。给现当代书法创作和书法理论研究提供真实可靠的依据,填补中国晚清书法史的空白。更多还原

【Abstract】 Zeng Guofan firstly is a well-known statesman, a great thinker and a famous writer in Chinese modern history. To him, calligraphy is a redundant matter. This thesis tries to perform a study on the calligraphy of Zeng Guofan via the exploration of the origin of his thought, and put his calligraphy into the large social background, ideological background and cultural background to make an observation. Hence, a objective and appropriate judgment of the position of Zeng Guofan’s calligraphy in Chinese modern calligraphy history-a guard of Tiexue calligraphy in late Qing Dynasty.The situation of calligraphy in late Qing Dynasty is shown as:on the one hand, since Wei and Jin Dynasty, Wang Xizhi’s and Wan Xianzhi’s calligraphy had gone through Song, Yuan, Ming, Qing Dynasty and gradually deviated from Confucian Theory of Tiexue Calligraphy. By late Qing Dynasty, it had been about to disappear. On the other hand, since Qian Jia Reign, due to the need for textual research, a large amount of calligraphy materials from underground as well as remote and border areas emerged. Thanks to the advocacy of Ruan Yuan, Bao Shichen and Kang Youwei, it evolved to a calligraphy upsurge called Tablet Calligraphy, which greatly impacted the Tiexue tradition since Song Yuan Dynasty and was going to replace it.Zeng Guofan immersed himself in the traditional Chinese culture all his life, and was deeply influenced by Confucian Thoughts. He pursued the extreme goal of "self-cultivating, Regulating the family, Governing the country, and Unifying the world", constantly went after the essence of Confucian Thoughts, and formed the distinctive "Neo-Confucianism Practical Thoughts" in practice. Taking "Guarding the Confucianism" as the starting point, starting with the benefits of his own class, his thought tried its best to maintain the already-existing feudal political systems and moral orders, conservative but not destructive. Starting from the purpose of guarding the Confucianism, Zeng Guofan thought that calligraphy firstly should be practical, a tool to "promote education and help moralities", a tool to keep feudal dominating system. It took after the aesthetic standards of "guarding to harmony" "guarding to the doctrine of mean" in literary thoughts. On the one hand, it tried to protect traditional Tiexue, keep the calligraphy order, disabuse the deviation from orthodox Tiexue since Song, Yuan and Ming Dynasty. Starting with the inside of Tiexue, his thought absorbed the intrinsic measure, order, power, and momentum in regular scripts of Tang Dynasty, and formed a calligraphy style which gave priority to masculine and combined both firmness and flexibility. On the other hand, the overdependence on intrinsic measures and order, it lacked artistry and creativity, and was not able to escape from the influence of Taige Style, failing to exceed the Tiexue calligraphy in Late Qing Dynasty.However, it doesn’t mean that Zeng Guofan’s calligraphy is meaningless in calligraphy history. On the contrary, his calligraphy thought means a lot in the whole calligraphy history.First, it takes after Confucian thought culture, Confucianism being the form while calligraphy being the practice. Calligraphy is taken as a means and way to cultivate the people, to achieve the ideal realm of peace and harmony, and to achieve the purpose of keeping the feudal managing system.Second, Zeng Guofan’s calligraphy thought gives priority to masculine, and combines both firmness and flexibility, which amounts to unification, harmony and nature, and reach the realm of "Zhongyong" "Zhonghe" in Confucian aesthetic thought. It grants deeper and more colorful contents to calligraphy dialects.Third, the calligraphy style of "integrating majesty with tranquility" "combining grandeur with peace" mirrors Zeng Guofan’s obsession with traditional Tixue calligraphy, and also reflects his confidence and determination to revive the calligraphy orthodox since Wei and Jin.Fourth, it can be observed from the perspective of Zeng Guofan’s calligraphy situation that in the calligraphy area the upper class bureaucratic calligraphy and tablet style in Late Qing Dynasty still took the dominant position, and various calligraphy styles co-existed and paralleled, which clarifies the partial description that tablet calligraphy took the absolute monopoly.Besides, this thesis does not restrict to the explanation of calligraphy. It also analyzes Zeng Guofan’s calligraphy phenomenon under the macro social, cultural and thought background, and tries to search for the answer from the thought origin. It first provides a clear understanding of Zeng Guofan’s thought origin, and then further put his calligraphy in a large calligraphy history, making a full exploration about his calligraphy thought and calligraphy style. On the basis of mastering Zeng Guofan’s Neo-Confucian Practical Thought, the thesis restores the true face of history on the question of the position of Zeng Guofan’s calligraphy in modern calligraphy history, and provides reliable evidence to modern and contemporary calligraphy production and calligraphy theory research to make up the blank in calligraphy history of Late Qing Dynasty.更多还原