楷書藝術創作與教學

論文提要本研究以「楷書藝術創作與教學」為題，從史學與美學的觀點探討「楷書藝術的形成，發展與演變」並提出「楷書的創作作品」作為整個的研究重心。中國的楷書藝術，源遠流長，有志於研習楷書者，可以從傳統出發，找出楷書的精神、結構、章法、內容、意境之美，從中發展出符合近代社會精神的楷書風格。「傳統是現代的根基」是不容置疑的，但傳統可以改變，卻不能推翻，不能丟棄。譬如唐朝楷書雖然應規入矩，但結果就變出歐、虞、褚、薛、顏、柳種種不同的風格，字的長短、大小、斜正、疏密、肥瘦，在唐代書家的筆下，非但沒有一成不變，相反得到了生動美妙的體現。無怪乎孟子云：「不以規矩，不能成方圓」，因此，我提出「遵守傳統，增益傳統」，甚至將「傳統做為我們創作的根基」做為我楷書創作的原點和研究的基礎理論。本文即就個人實際創作與教學的理念與心得、創作所根據的理論基礎，加以探討。

關鍵字

楷書藝術創作與教學

並列摘要

This thesis, titled as “The Research on the Art of the Standard Style of Chinese Handwriting ,” deals with the formation, development and evolution of the standard style from the angle of history and aesthetics, and at the same time presents some creative works as the essence of the research. The art of Chinese standard handwriting has a long history. Those who intend to study it may start from tradition and try to find out the spirit, structure, method, content, and the beauty of its bourn, and then derive from tradition the spirit corresponding to modern standard style. Without a doubt, tradition is the foundation of innovation. However, although tradition can be altered, it cannot be discarded. For example, although the Chinese standard handwriting in Tang Dynasty has its own methodology, it turns out that there are a variety of different styles evolving from it, including Ou, Yu, Chu, Hsueh, Yen, and Liu. For those writers of calligraphy in Tang Dynasty, the length, size, position, density, and thickness of Chinese characters are dynamic rather than static. No wonder Meng-tsu once said,” Without a standard, there won’t be squares and circles.” Therefore, I affirm that the creation and research of Chinese standard handwriting should be based on the creed, “Tradition is the foundation of innovation.” Based on the experience from my teaching and my creation, this thesis will explore the art of Chinese standard handwriting.