近代日本的書法革新：論六朝派及中村不折的中國式碑學風

Reforming Calligraphy in Modern Japan: The Six Dynasties School and Nakamura Fusetsu's Chinese-Influenced Stele Style

阮圓(Aida Yuen Wong)

《清華學報》 40卷3期 (2010/09) Pp. 485-511

https://doi.org/10.6503/THJCS.2010.40(3).06

摘要

受中國碑學派啟發，日本書法家中村不折（1866－1943）引入稀見的古意，創造嶄新風格。此風格標榜美術鑑賞中所崇尚的創意與新奇，顯示在現代「繪畫畫」「書法」分家的潮流下，中村氏肯定「書法乃美術」的態度。透過其代表作〈龍眠帖〉，本文從理論及風格的角度，探究中村不折的書法，闡述他與中國書法家和理論家（如康有為）所建立的關係，亦討論其書法活動的現代化意涵。

關鍵字

近代日本書法 ； 中日交流 ； 中村不折 ； 六朝派 ； 碑學派 ； 〈龍目氏帖〉

並列摘要

The J apanese calligrapher N akamura Fusetsu (1866-1943) created works in an unfamiliar archaic style that was inspired by the Chinese Stele School. Emphasizing inventiveness and nove1ty, this style aligned calligraphy with fashionable notions of ＂fine art,＂ reflecting Fusetsu's belief that, despite the gradual decoupling of calligraphy from painting in modern classifications, calligraphy should be considered a fine art. Focusing on his representative work Ryūminjō, this paper explores the theoretical and stylistic foundations of Fusetsu's calligraphy, establishes his links to Chinese calligraphers and theorists such as Kang Youwei, and places his activities within the framework of modernization.

並列關鍵字

modern Japanese calligraphy ； Sino-Japanese interchange ； N akamura Fusetsu ； Six Dynasties School ； Stele School ； Ryūminjō

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