黃伯平書法藝術與精神之研究

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Title:	黃伯平書法藝術與精神之研究
Other Titles:	The Research on the Arts and Essence of Mr. Po-ping Huang's Calligraphy
Authors:	黃素梅 Huang, Su-mei
Contributors:	建築與景觀學系環境藝術碩士班陳正哲 Cheng-che Chen
Keywords:	書藝;書法;書道 methodology of calligraphy;principles of calligraphy;aesthetic of calligraphy
Date:	2012
Issue Date:	2015-01-07 15:42:53 (UTC+8)
Abstract:	黃伯平為當代著名書法家，六歲即開始學書法且至今仍健在，現年已九十三歲，他是自古以來唯一可以寫十二體書法，且將各種字體融合在一個作品內的書法家。　　　黃伯平所創之中國正統書法是指自上古時代至周秦漢唐相繼流傳的正統主流書法。以真書永字為基礎，強調橫平豎直，提出五正新論，並融入中華民族傳統之歷史文化。所謂字相人相，寫書法重視書學基礎，其所謂的正統書法為集書道、書藝，且將書法作為修養身心之道，表現於精深之書藝境界。　　　本論文以「黃伯平書法藝術與精神之研究」為題，第一章緒論，說明研究動機與目的、研究方法與限制、文獻探討。第二章研究黃伯平之時代背景與師承。第三章研究黃伯平書法藝術技巧分析。第四章為黃伯平書法之精神內涵分析。第五章結論與建議。從黃伯平書法藝術與精神之研究，進而探討書法教育對社會風氣之影響，透過分析黃伯平之書法藝術與精神，提出他在歷代書法界、文化傳承之貢獻與歷史地位及本論文研究之建議。　　Bo-ping Huang is a modern calligrapher known to the world. He started learning calligraphy at the age of 6 and is now still a healthy 93-year-old. He is the only calligrapher ever that can write in 12 different types of calligraphy, and also the only one that is able to mix all types of calligraphy in one single work.　　　The authentic calligraphy Huang created refers to the one passed on from the ancient times of the Three Emperors to the times of the Chin, Han, and Tang Dynasty. Huang’s calligraphy is based on the Chinese character ”永” in the ”chen-shu” （chinese：”真書”） version and puts emphasis on the “horizontal and vertical.” He also has a new theory of the “Five Correctitudes,” which means to correct one’s brush, heart, body, thoughts, and minds, melting in the history and culture of the traditions of Republic of China. He says that “you are what your writings look like,” which focuses on the foundation of calligraphy, regarding calligraphy as a way, and an attitude of life, and nevertheless, presenting the depth and amazement of calligraphy in the world of art.　　　This essay is titled “The Research on the Arts and Essence of Mr. Po-ping Huang’s Calligraphy.” The first chapter, the introduction, illustrates the motives and purpose of this study, the study methods and its limits, and the conference of documentary. In the second chapter, I will delve into Huang’s historical and learning background, while analyzing the artistic skills of Huang’s calligraphy in the third chapter, and the inner spirits in the fourth. The fifth chapter will be the final conclusion and recommendation.　　　In the study of Huang’s artistic calligraphy and its spirit, I will look into the influences that the calligraphy schooling has on social phenomenon, and through analysis on Huang’s calligraphy, bring out his contribution to calligraphy and passing down the traditional culture along with my recommendation from my study.
Appears in Collections:	[Department of Architecture and Landscape Design] Disserations and Theses

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