| Summary: | 碩士 === 國立臺灣藝術大學 === 造形藝術研究所 === 97 === Abstract
This paper focuses on the study of the comments on Chinese calligraphy presented in Volume 1 of the book, authored by Tung Chi-Chang during the last phase of Ming Dynasty (1555 – 1636), of “Hua Chan Shih Essays”, which contains four essays: Comments on the use of brush, Comments on Chinese brush works, Comments on own brush works, and Comments on traditional calligraphic specimens.
Chapter 1 introduces the motivation, objectives, summary of Tung’s “Comments on Calligraphy”. Chapter two discusses the historical background and the movement of thoughts during then-contemporary times, where in it contains three sections: (1) introducing the life and learning background of Tung, including his family and educational background, political career, belief of Zen, philosophy of life, and esthetical views of calligraphy art, and the collection and connoisseurship of calligraphy artworks; (2) introducing the historical background in the late Ming Dynasty and its interactive relationship with foreign cultures, and the fine times at Hua-Ting; and (3) introducing the influence of the advocate by Tung, including the entangled feelings of Tung with Chao Meng-Fu, the influence to Ching Dynasty by Tung’s calligraphies and paintings, comments on the “Southern and Northern Models” and “Painting Theories” to clarify the errors and ambiguities of the cultures and humanities in Tung’s time in the late Ching Dynasty.
Chapter three narrates the famous calligraphic specimens of great calligraphers in the Wei Jin Southern and Northern Dynasties, commented by Tung, including Zhong Zhou, Wang Xi-Zhi, Wang Xian-Zhi and Gu Kai-Zhi, and the famous specimens recommended by Tung. Chapter four discusses the famous specimens of the Sui and Tang Dynasties, including the comments on Chi-Yong, Ouyang Xun, Yu Shi-Nan, Zhu Sui-Liang, Hua Ren, Sun Guo-Ting, Li Yong, Zhong Shao-Jing, Zhang Xu, Yan Zhen-Qing, Huai Su, Liu Gong-Quan. Chapter five narrates the famous calligraphers of the Five Dynasties, the Song Dynasty, including Yang Ning-Shi, Mi Fu, Huang Ting-Jian, Song Gao-Zong, and the records and writings by Tung regarding the study of Zen and the philosophy and casualty of his life. Chapter seven discusses the esthetics of and the contribution to Chinese calligraphy by Tung, where the factors resulted in the elegant free form and ordinary style of calligraphy, and Tung’s learning process and thoughts of the calligraphy art. Chapter eight “conclusion”, discusses the esthetics and essays of the contribution to Chinese calligraphy by Tung.
The four essays in Volume I of Tung’s “Hua Chan Shih Essays” are highly deemed as the most valuable and essential contribution Tung has made to the commentation to Chinese calligraphy, where in its artistic practices and theories are fully inter-compatible and mutually complementary. Tung’s comments have a significant inspiration and profound influence on the contemporary and later generations toward the development of Chinese calligraphy.
Key Words:
Tung, Chi-Chang (Dong, Qi-chang)
Ming Dynasty／Qing Dynasty
Chinese calligraphy／Calligraphy Art
Hua Chan Shih Essays
Comments on Chinese Calligraphy
Literati Painting
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