【作者】 张亚玲；

【导师】 程金城；

【作者基本信息】 兰州大学 ， 文艺学， 2013， 硕士

【摘要】 书法是以汉字为载体,主要以毛笔或钢笔为书写工具的艺术。相较于远古器具,汉字对于中国历史的推动和传承具有不可替代的重要作用,这其中体现中国汉字书法艺术的敦煌文献便显得格外重要。具有鲜明艺术表现形式的敦煌书法,对我们了解中国传统文化、传统审美和民族意蕴提供了重要的参考和依据。自敦煌汉简和藏经洞重见天日起,敦煌简牍和写卷便受到前所未有的重视,二者展现的书法艺术更是震惊世人。敦煌书法虽然遗存丰富、种类繁多,但却因历经时间久远、写卷大部分流向海外等原因,研究考证颇为困难,成果著述相对较少。在翻阅前人研究成果的时候,发现少有将敦煌简牍和敦煌遗书一起研究的论文,此外敦煌书法的理论研究和书体流变及特点相结合的论文也不是很多,因此,本文便以此二者为研究对象,以敦煌学和文艺学等学科的相关内容作为理论基础,分别从两者各自的发展和特性入手,阐述敦煌书法的脉络。绪论部分对敦煌书法的研究现状进行总结概括,并解释了本文研究角度选取的原因。文章正文先对敦煌书法理论的衍变做了系统阐释,并简单介绍了各时期有代表性的书法理论著作,以时代顺序和风格特点对敦煌书法进行分期。其次,将敦煌书法按照内容和书写主体的不同进行梳理和分类,并介绍了敦煌写卷的特殊形式与特点。在对敦煌书法有了一定的清晰了解之后,最后着重讨论了敦煌书法的书体流变,以敦煌卷子中出现的五大书体为出发点,在书体发展的过程中寻找转变的契合点,并简单介绍了对书法界做出巨大贡献的两位敦煌籍大书法家——张芝和索靖。最后提出的中国书法发展的愿景和方向,是研究过程中作者一直思索的问题,拙见仅为抛砖引玉,只希望能在研究方面给文章提供更多视角。更多还原

【Abstract】 Calligraphy in Chinese characters as the carrier, brush or pen to the art of writing instruments. Compared to the ancient appliances, Chinese characters is an irreplaceable important role in promoting the Chinese history and heritage, which embodies the art of Chinese calligraphy Dunhuang literature it seems particularly important. Dunhuang calligraphy has a distinct form of artistic expression, to our understanding of traditional Chinese culture, traditional aesthetic and ethnic implication provides important reference and basis.Since Dunhuang Han bamboo and the Library Cave brought to light from the Dunhuang the Slips and write volume would be unprecedented attention, both to show the art of calligraphy shocked the world. Dunhuang calligraphy remains rich in variety, but after long time, the write volume most of the flow of overseas and other reasons, research is quite difficult to study the relatively small achievements writings. Read the results of previous studies, found rare Dunhuang Slips and Dunhuang Manuscripts research papers, in addition to the theoretical study of the Dunhuang calligraphy and book body rheology and features a combination of paper is not a lot, so this article will this both as the research object, as a theoretical basis for the content of Dunhuang studies and literature and other disciplines, respectively, starting from the development and characteristics of each of the Dunhuang calligraphy context. Introduction to summarize it, part of the Dunhuang Research calligraphy and explain the reasons for the selection of the perspective of this study. The body of the article first systematic explanation of Evolving Theory of Dunhuang calligraphy, and a brief introduction to each period representative calligraphy theoretical writings, Dunhuang calligraphy staging the order of the times and style features. Secondly, the Dunhuang calligraphy in accordance with the content and writing of the main different sort out and categorize, and describes the special form of manuscripts and features. Dunhuang calligraphy with a clear understanding, and finally focuses on the rheology of Dunhuang calligraphy book to appear in the Dunhuang cannelloni five chirography as a starting point in the development process in the body of the book to find the meeting point of the transition, and brief the the great calligrapher calligraphy make a significant contribution two Dunhuang nationality-Zhang Zhi and Suojing. Finally, the vision and direction of the development of Chinese calligraphy, has been pondering the problem of the course of the study, only initiate humble opinion, only hope that can provide more perspective in the research article.更多还原