- 期刊
- OpenAccess
八大山人的書法
Calligraphy of Chu Ta (1626-1705)
並列摘要
I. Introduction II. Materials: There are about 300 existing pieces of calligraphical works by Chu Ta plus quite a few writings on his paintings. Those which are used for study include originals, photographs, and reproductions. III. The studies of and comments on Chu Ta's calligraphy in the past. IV. The shape of the calligraphy: Album leaves, hanging scrolls, hand scrolls, couplets, fans, sets of hanging scrolls, letters, and writings on paintings. Examples exist in all forms. The album leaves are the greatest in number. V. The styles of his calligraphy: Seal forms, scribe forms, documental script, regular forms, running script, and cursive script. Also, his fancy signatures and the commemorative datings. VI. The models and calligraphers Chu Ta used to develop his style: He has studied various models and calligraphers. The existing materials show that he has studied the following calligraphers: Wang Hsi-chih 王羲之, Wang Hsien-chih 王獻之, Chung Yu 鍾繇, Wang Seng-ch'ien 王僧虔, Chang Chih 張芝, So Ching 索靖, Huang Tao-chou 黃道周, Hsü Hao 徐浩, Yen Chen-ch'ing 顏真卿, Huai Su 懷素, Yu Shih-nan 虞世南, Ch'u Sui-liang 禇遂良, Ou-yang Hsün 歐陽詢, Mi Fei 米芾, Ni Tsan 倪瓚, Wang Ch'ung 王寵, and Tung Ch'i-ch'ang 董其昌. He has paid special attention to the following models: Lin-ho hsü 臨河叙 (Lan T'ing, Orchid Pavilion), Ch'un-hua-ko t'ieh 淳化閣帖, Hsing-fu-ssu pei 興福寺碑, Shêng-mu t'ieh 聖母帖, Yüeh-yi t'ieh 月儀帖, and Shêng-chiao hsü 聖教序. VII. The chronological arrangement of Chu Ta's calligraphical works. VIII. The development of his signature. IX. The development of the character shapes in his script forms. X. Conclusion.