| Summary: | 碩士 === 國立臺灣藝術大學 === 書畫藝術學系造形藝術碩士班 === 101 === Abstract
Chen, Ding-Shan (Chen, Hsiao-Dieh) was an extreme active figure in Shanghai art circle in the early Republican period. He is not only a calligraphist, connoisseur collector, art history theorist, exhibition planner and writer, but also an ethnic entrepreneur. Therefore, studying Chen, Ding-Shan to understand art in Shanghai and Taiwan in the early republican period is valuable, and reviewing this contemporary history is meaningful for the influence of the current art circle.
The writer in Chapter 1 included motivations, purposes, contents, methods and literature exploration
The writer in Chapter 2 explored Chen, Ding-Shan’s life experience, family, and career and art events, etc., and influence of the change of time on Chen, Ding-Shan.
The writer in Chapter 3 discussed calligraphy origin in Chen’s family education; besides Jhung-Yao, two Wangs, two Huang, Yu, Jhe, Su and Mi described in his self report when he was interviewed, he was even affected much more by art and literature tendency in Shanghai and Hangjhou the late Qing Dynasty and the early Republican period. The writer studied calligraphy staging and styles by analyzing and summarizing the changes and differences of calligraphy styles in various years according to collected calligraphy works of Chen, Ding-Shan based on time of creating by sequence arrangement. The writer further referred to Chen’s theories in his correspondences, opinions from his peers in art and literature circle as well as his students, and analyzed to conclude his creative philosophy of calligraphy and artistic view. With actual observation, analysis and comparison of his ink marks, the writer analyzed to study his calligraphy techniques from brush skill, structure, type, shaping, spirit, inscription, seal and line quality, ink quantity as well as opening and closing of calligraphy.
The writer in Chapter 4 described Chen, Ding-Shan was inspired and affected by family collection of paintings and calligraphies and his uncle Yao, Dan-Yu, learning origin and development from Dai, Cun-Shih in the late Qing Dynasty, four Wangs and four monks in early Qing Dynasty, Shen-Jhou, Wen, Jheng-Ming and Tang-Yen in Ming Dynasty, four masters in Yuan Dynasty and Mi and Su in Song Dynasty, even including Dong and Jiu, maters in Southern Sect, as well as Chen’s own realization of learning methods “tracing, copying, reading and reciting” in calligraphy. The writer studied calligraphy staging and styles by analyzing and summarizing the changes and differences of calligraphy styles in various years according to collected calligraphy works of Chen, Ding-Shan based on time of creating by sequence arrangement. The writer further referred to calligraphy theories and calligraphy prefaces wrote by Chen, opinions from his peers in art and literature circle as well as his students, and analyzed to conclude his creative philosophy of calligraphy and artistic view.
The writer in Chapter 5 concluded Chen, Ding-Shan’s influence on artistic events, painting and calligraphy organization, writings, painting and calligraphy creations, exhibitions and cultivation of the younger generation as a teacher at that time and in the future.
The writer in Chapter 6 summarized the results of this study mainly not only highlight achievement and contribution of Chen, Ding-Shan in Taiwan art and literature circle, but also hope to initiate more deep understanding and exploration of Chen, Ding-Shan by other researchers, and more attention to art and literature circle started from this study.
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