The Study on the Seal Character of Modern Ancient Writing Scholars Whom from Late Ching Dynasty till Modern Times

本文以書法藝術中之篆書為研究對象，書家群體則為研究古文字之學者，時間跨度定為近代至現代。古文字學的新發展與篆書藝術的新表現，在近代的吳大澂的學術研究與篆書表現上，有承先啟後的重要地位，故以其為始，列敘至已故而兼能篆書的古文字學者。 本文二∼五章列敘諸家，以文獻搜集與整理為開端，將自吳大澂以來兼善篆書之古文字學者，其古文字學之研究與貢獻，作扼要之說明，以顯揚學者之高度、知其學問根柢，以明創作之本。次則針對諸家作品（圖版）作搜羅與對照，從中以明其古文字學研究，與所書之作品學與用相發的關聯。結論則為古文字學者書家之綜合分析歸納，統合整理分析出古文字學者篆書家一派之成就與特色，意義與精神。至於非古文字學者之篆書表現則於附錄中備考。 近現代古文字學者憑藉著清代金石學研究的豐富積累，考古文物、文獻資料的「文字之福」，著錄資料的傳播與保存遠邁前代，治學方法的傳承與開新，發展出現代化的古文字學，不論是舊有領域如小篆、六國文字、金文等門類的完善與推進，或是新發現的文字資料如甲骨文、春秋戰國金文、戰國簡牘帛書等新領域的建立與完善，都在近現代古文字學者書家手上獲得重大的成就。促進了以此為創作依託的古文字書法（篆書）在固有領域有了突破與完善；在新興領域有了創建與推動。古文字書法在古文字學中雖非重要門類，卻因學術的進步，使得每有新發現便使書法史一再增補。 這一群具有相近學習背景、學術專業的近現代古文字學者的篆書表現，形成了一個用字有據、用詞意涵豐富、書風雅正的古文字學者流派，依各人專擅的研究領域寫出其學養與藝術表現相發的篆書，體現了「書者，如也，如其人、如其學、如其才」的傳統、正統的書法藝術觀。這種有文化深度且表現出其學者風範的篆書表現，為往後的書法發展提供了最有核心意義的參照：一個守正且自然的人格書法典型；為越發走向視覺、形式的現代書壇丟出一個深沉的思考課題。The dissertation focuses on the seal-script writing of Chinese calligraphy art. As for the calligraphy scholars in the research, they range from near modern till contemporary period. Start with Wu Da-chen, who played the turning-point role in the modern academic research and seal-writing calligraphy by his efforts on the research of paleography and his professional personal achievements in seal-writing. Then, followed by other ancient scholars, with their special achievements in paleography and seal-writing calligraphy. From chapter two till chapter five, I start with document collection and systematic analysis of all the scholars mentioned in my dissertation. First, I make brief introduction of the scholars'' research and contribution in paleography and seal-writing calligraphy so as to expose their attitude, realize their basis for the achievement and recognize their origin of creation. Secondly, I make a contrast between the scholars'' works in illustration, trying to analyze the relationship between their writing and research. And the conclusion includes the systematic analysis and conclusion of all the paleography scholars'' personal achievements and style, meaning and inspiration. As for the non-paleography scholars'' seal-script writing,I leave them in notes for reference. According to the abundant accumulation of epigraphy research in Ching Dynasty, modern archaeological literal scholars achieved in publishing document data, meanwhile originated the research method in paleography of literal writing. As a result, they developed the systematic trend of modern paleography in writing. They made improvements in the research field of small-seal-script, characters in the period of Six Countries and inscriptions (script carved on tablets). They also established a new field in finding new literal data in oracle script, inscriptions in Spring and Autumn period and Warring States period and bamboo script in the period of Warring States. There''s no doubt that they have made great achievements in modern paleography literal writing. Henceforth, scholars in paleographical calligraphy (seal-script) had cultivated a new trend and created their new style. Although paleographical calligraphy is not an important classification, it still inspired the reconstructed record of calligraphy history by its constantly new findings and scholarly improvements. With similar learning background and professional major, these scholars'' performances in seal-script writing has established a specific school of elegant paleographical calligraphy writing. They created the seal-script calligraphy to correspond to their individual major research and personal interpretation. That is, they realized the traditional spirit of calligraphy：'calligraphy writing reflects what a calligrapher is, what he has learned, and what his talent is.' This seal-script performance with cultural depth and scholarly spirit made a good comparison for the development of Chinese calligraphy. Realizing the modern development in modern calligraphy which tends to expand into visually attractive, we can say their performance really throws out a serious issue for deeper thoughts.目次 第一章 緒論…………………………………………………………………………1 第一節 研究動機………………………………………………………………1 第二節 研究範圍………………………………………………………………2 第三節 研究方法與限制…………………………………………………..…15 第二章 近代古文字學者之篆書表現……………………………………………..17 第一節 吳大澂──學藝事功 大小二篆…………………………………..17 第二節 王懿榮──鑑別精妙 甲骨宗祧…………………………………..41 第三節 孫詒讓──樸學殿軍 研契權輿…………………………………..51 第三章 近、現代古文字學者之篆書表現………………………………………..61 第一節 羅振玉──討文傳後 盛業克昭……………………….………….61 第二節 孫 儆──知命研契 文采斐然………………………………..…89 第三節 王 襄──别裁類例 健拔高古….……………………………….94 第四節 丁佛言──踵武愙齋 醇古沉厚….……………………..……….107 第五節 葉玉森──究心鈎覆 刀筆雙美…………………………………123 第六節 馬 衡──考古奠基 文質彬彬…………………………………138 第四章 現代古文字學者之篆書表現（一）……………………………………153 第一節 郭沫若──器立標準 唯物騁才…………………………………153 第二節 容 庚──文編岸立 承傳雪堂…………………………………175 第三節 董作賓──科學考古 鑿破鴻蒙…………………………………191 第四節 鮑 鼎──小校碁成 貞諒廉隅……………………....…………228 第五節 唐 蘭──博洽論理 契學奇峰…………………………….…...234 第六節 戴君仁──舊書新法 宿儒人師………………………………....250 第七節 商承祚──平實溫潤 學書相發…………………………………262 第八節 顧廷龍──淳厚渾穆，神明內斂…………………………………284 第五章 現代古文字學者之篆書表現（二）…………………………………….297 第一節 弓英德──精研六書 渾厚華滋…………………………….…...297 第二節 孫海波──甲骨文編 純淨中和…………………………………307 第三節 胡厚宣──甲骨商史 駸駸四堂…………………………………319 第四節 張政烺──真誠求實 謙謙儒者……………………………...….332 第五節 魯實先──古倉今魯 超越前儒………………………...…….…343 第六節 金祥恆──續甲文編 精思探奧……………………………....…356 第六章 結論：近現代古文字學者篆書之成就與意義…………………………365 第一節 既有篆書書體的發展與完善………………………………………365 第二節 篆書新書體的醞釀、創立與發展…………………………………370 第三節 中國書法史的改寫…………………………………………………390 第四節 古文字學者篆書書風之崛起與發展………………………………397 第五節 總結……………………………………………………………...….401 參考書目……………………………………………………………………………403 附錄一 近現代非古文字學者之篆書表現………………………………………417 附錄二 近現代古文字學者事蹟年表……………………………………………485 附錄三 圖版徵引資料表……………………………………...……………….....506 附錄四 中國大陸1949後書畫作品禁止出境表……..…………………………51