道家哲学对张怀瓘书学理论的影响中国哲学专业论文.docxVIP

摘要 摘 要 1 1 唐朝书法艺术是中国书法艺术发展的第二个高峰，从公元 618 年开始，到公元 907 年结束，共 290 年，期间书法家、书学家人才辈出，灿若河汉，活跃于唐开元至乾元年 间的张怀瓘，无疑是众书学家当中最著名的一位。他的书学理论体系完备，著作极多， 有《书断》、《书议》、《书佑》、《文字论》、《六体书论》、《二王书录》、《玉堂禁经》、《评 书药石论》、《用笔十法》。相对于孙过庭、刘熙载等人，国内外对张怀瓘书学理论的研 究相对不足，尤其从道家哲学的角度深层次分析的就更少了，因此从道家的角度对张怀 瓘的书学理论进行分析就显得有必要。 张怀瓘在《书断》中提出了著名的神、妙、能书法品评体系，研究者多对其体系进 行分析解读，而甚少对其品评体系形成的深层次哲学依据进行分析，基于此，本文尝试 性地从这个角度出发，对张怀瓘的书论进行探索。张怀瓘认为书法是与“道”相合的， “道”是书法的本体，他在书学理论中讲到“启其元关，会其至理即与大道不殊”，“道 本自然，谁其限约”，“书之为征，期合乎道”，可见书法作品高下之判在于是否合“道”。 书与“道”相合，而“道法自然”，“道无为而无不为”，那么书必然也要“法自然”，“以 无为而用”。评判的标准有了，那么在这个标准之下该怎么进行创作呢，张怀瓘提出了 “不师古法，学之于造化”，要“各逞其自然，以无为而用，同自然之功”的观点；在 精神状态上，要“迹在尘壤，志出云霄”，即降迹同尘，随物所宜，身在尘俗而不滞， 不为尘俗所累，精神达于逍遥之境，以心契不以言宣，方能创作出神妙的作品来。 关键词： 道； 自然； 无为； 神采 A Abstract f free and unfettered Spaces, heart contract not to say. Only in this way can create wonderful works. 1 1 2 2 The calligraphy art of the tang dynasty is the second peak during the period of Chinese calligraphy art development. This peak lasts for 290 years which starts from A.D.618 to A.D. 907. During this period, calligraphers and book historians come out in succession. Zhang huaiguan, actives in KaiYuan to Qian yuan of the tang dynasty, is undoubtedly one of the most famous book historians. He has not only complete book theory system, but also many works, such as the book breaks, The Essay of character, Calligraphy Conference, the Judgment of Character, the Essay about Six Forms of character, The Record of two Wang and so on. Compared with Sun Guoting and liu Xizai, the research on ZhangHuai guan book theory is relatively insufficient at home and abroad, especially from the philosophical point of view on Taoism, so it is necessary to study Zhang Huaiguan book theory from Taoism viewpoint. Zhang Huaiguan has put forward the famous calligraphy evaluation system of superb、 wonderful、good in the book breaks. Most of the researchers have had research on the system analysis, while there aren’t many analyses to interpret the evaluation system from the deep philosophical basis. For thi