殖民地書法家的多重跨越：曹秋圃的書業經營與思想探析

The Multiple Crossings of Colonial Calligraphers: Analysis of Cao Qiupu's Calligraphy career and Thought

陳令洋(Chen, Ling Yang)

指導教授 ： 柳書琴

國立清華大學/人文社會學院/台灣文學研究所/碩士(2017年)

摘要

本研究是一個從藝術社會史的角度出發進行的台灣傳統文人研究。本研究認為台灣書法家曹秋圃作為一位「殖民地書法家」，隨著近百年來台灣的政權更迭，至少必須在三個層次的情境上不斷進行跨越：（一）政治身份的跨越；（二）不同漢文化系統之間的跨越；（三）文化身份的跨越。由於多重的情境跨越，因而導致他在文化表現具備三項特質：（一）創作與理論上的「雜揉性」；（二）經常有「自我正統化」的宣稱；（三）現代化衝擊之下產生的長期「文化失落感」。
由於曹秋圃向來已被以書法家的身份所認識與理解，故而筆者首先將他還原為一位傳統文人，觀察他如何在日治時期的美術觀念與現代化的衝擊之下，轉型成為「現代書畫菁英」的身份，開始經營自己的書業（calligraphy career），並發展出跨領域結盟的書道推廣策略。但「書道由文學出發」的傳統觀念卻仍然限制了他在書道思想內涵上現代化的可能。
其次，筆者觀察曹氏在戰後政權改易的歷史情境中，成功轉換了戰前的文化資本、強化了自己的「文化遺民意識」的過程，並從其應酬詩中解讀出「中華文化復興運動」後，曹秋圃被喚起的文化失落感，以及文化復興的使命感。
最後，筆者考察曹秋圃吸收「迴腕法」與中國儒釋道三家思想傳統，最終形成「書道禪」理論的過程，發現他將迴腕法與他所理解的各種傳統思想相互雜揉，使得這種執筆法成為朝向傳統文化精神世界的身體途徑，也成為他向世人展示他的文化涵養時的身體姿勢。

關鍵字

曹秋圃 ； 殖民地書法家 ； 書業 ； 文化資本轉換 ； 文化遺民意識 ； 迴腕法 ； 書道禪

並列摘要

This study is a study of Taiwanese traditional literati from the social history of art. This study suggests that Taiwanese calligrapher Cao, Qiu Pu is a "colonial calligrapher".With the change of regime in Taiwan in the last hundred years, he must at least continue to move across three levels of context: (1) political identity; (2)different Chinese culture systems; (3) cultural identity. As a result of multiple situations across, resulting in his cultural performance with three characteristics: (1) Creative and theoretical "Blending"; (2) the often "self-orthodox" pronouncements; (3) the long-term "sense of cultural loss" generated by modernization shocks.

As Cao, Qiu pu has always been to the calligrapher's identity and understanding, therefore I will first restore him to a traditional literati, to observe how he was transformed into a "modern calligraphy elite" under the impact of "art" concept and modernization, began to operate "calligraphy career", and the development of cross-domain alliance of calligraphy promotion strategy. But the traditional concept of "literature as the foundation of calligraphy" still limited his possibility of modernizing the connotation of calligraphy.

Secondly, I observed that Cao's success in transforming pre-war "cultural capital" and strengthening his "Cultural Consciousness of Adherents". I also read from his poems: After the "Chinese Cultural Renaissance Movement", Cao, Qiu pu was evoked a sense of cultural loss, as well as the cultural revival of the sense of mission.

Finally, I have studied the process of Cao Qiupu's absorption of the "迴腕法" and Chinese intellectual traditions, and finally put forward the "calligraphy Zen " theory. I found that he combined the "Hui Wan Fa" with the traditional Chinese thought he understood, making this writing method to become the physical way towards the traditional cultural and spiritual world. This writing method is also become to a pose to show the world his cultural conservation.

Keywords: Cao,Qiu Pu, colonial calligrapher, calligraphy career, Cultural capital conversion, Cultural Consciousness of Adherents, Hui Wan Fa, calligraphy Zen

並列關鍵字

Cao, Qiu Pu ； colonial calligrapher ； calligraphy career ； Cultural capital conversion ； Cultural Consciousness of Adherents ； Hui Wan Fa ； calligraphy Zen

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