| Summary: | 博士 === 逢甲大學 === 中國文學所 === 100 === This research aims to discuss the Dung-Huang Annals Manuscripts in Tang Dynasty with the Non-annals Manuscripts as the supporting data in order to explore various phenomena of Dung-Huang’s calligraphy culture in that era.
The first chapter is mainly about the code cases of The Dung-Huang Annals Manuscripts and Illustrated Catalogue in Tang Dynasty. It also discusses about the resources, abbreviations and codes of the collection units, and the overview of distribution.
The second chapter lists the amount of the Dung-Huang writing manuscripts and annals manuscripts as references, and then categorizes all of them to work as the basement of this study of calligraphic culture in Tang Dynasty.
The third chapter focuses on the division of four periods of the Dung-Huang Annals Manuscripts in Tang Dynasty: Early Tang Dynasty, Golden Age, The Tibetan Occupation, and the Gui Yi Jun period for the purpose of taking a good look at the rise and fall of various manuscripts in different periods.
The fourth chapter talks about the status and characteristics in copying diverse manuscripts through the induction of Buddhism, Daoism, Four Series and Public or Private Instruments. This research in exploring their characteristics contributes a lot to understanding the formation and fluctuation of Dung-Huang’s calligraphic culture.
The fifth chapter describes how educational system in Tang Dynasty was regulated by the central government. But regional characteristics were also developed. There are 26 kinds of materials for practicing calligraphy and Books for children which are on the brink of out of print are saved.
The sixth chapter emphasizes the solid display of Dung-Huang’s calligraphic culture, ranging from types, apparatus, styles, pen calligraphy, and so forth. The types of the manuscripts can be divided into production methods and format. The apparatus deals with the paper and ink. The styles are various, but regular script is the majority and the running and cursive styles are also used. The last part mentions about pen calligraphy in Tang Dynasty, which increases the presentation aspects of Dung-Huang Calligraphic culture.
The seventh chapter lays more emphasis on the artistic aspect of Dung-Huang Calligraphic culture. The artistic genres of Buddhism, Daoism and Four Series have slight differences. But the public and private manuscripts maintain great diversity, resulting from the hand-writers and applicative intentions. The common practice in discussing calligraphy creates the value of Tung-Huang’s Calligraphy. But writing scripture remains the main shaft of the art of calligraphy, displaying the conscientious and careful levels in traditional scriptures.
The eighth chapter expounds the results of this research, value and prospect.
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