目录
摘要 ................................................................................................................................. I Abstract ........................................................................................................................... III 文献综述 .. (1)
一、关于黄道周生平与著述的研究 (1)
二、关于黄道周学术思想的研究 (2)
三、关于黄道周书学的研究 (2)
绪论 (4)
第一章黄道周的立德立言与书学 (8)
第一节立德，黄道周以正儒术为己任 (8)
一、黄道周家学及游学 (8)
二、“天下称直谏者，必曰黄石斋” (10)there will be blood
第二节立言，黄道周学问的影响 (12)
一、明体致用：黄道周提倡实学 (12)
二、为天下立命：黄道周推崇“担当”意识 (13)
三、立师道以正君德：黄道周“彰显师道”的儒者风范 (14)
第三节书学，无心于此却成就书名 (14)
小结 (17)
第二章黄道周书学中的儒家思想 (18)
第一节黄道周书学中的儒家观念 (18)
2014年高考英语改革一、黄道周的人品书品观念 (18)
二、黄道周书法审美观念 (20)
第二节黄道周书学中的儒家意识 (22)
一、基于儒学之上的书法非功利意识 (23)
二、基于儒学之上的书法创新意识 (25)
小结 (26)
第三章圣人态度，儒者书风——兼论黄道周的书法作品 (27)
第一节从心理学角度探讨儒者的书法认知 (28)
一、从儒家“美”与“真”角度探知圣人朱熹的书学 (29)
二、从心理学角度探知崇尚钟繇法书的儒者的书学 (30)
第二节儒者黄道周的书法作品 (32)
一、与其孝义的履践互为反映的黄道周楷书 (33)
二、与其儒术的传扬相得益彰的黄道周行草书 (38)
我想你的英文第三节儒者黄道周书学的后世接受 (40)
小结 (42)
结语 (43)
参考文献 (45)
附录 (49)
致谢 (70)
儒者黄道周的书学研究
海伦英语口语视频美术学专业硕士研究生黄焕华
指导老师曹建教授
摘要
明末是一个动荡的时期，也是我国思想史上的高峰之一。黄道周是一个以继承道统为己
任的学者，他以气节闻名于世，可以说这是一个探讨中国儒者与书法关系的最佳人选。黄道
周在儒学次第当中将“书法”排位至“七八乘”，不把书艺视作要务，只是在无心之下成就
turnoff了“书名”。lsh
论文主体除绪论、结论外分作三章。第一章主要记述黄道周的立德问政、立言著述和书
艺大概。即对黄道周进行“三栖”式阐释。政治上，他是正直敢诤的忠臣，又是宁死不屈的
抗清民族英雄、爱国主义者；学术上，他是晚明儒学大家，学富五车，博闻广识，对当时和
后世都有巨大影响，在宋明理学史上占有一席之地；艺术上，尤其是书法方面，他的小楷取
法钟繇，又极具个人风格，行草书独树一帜，奇险含蓄，名重于时且对后世影响深远。第二
norco
章基于黄道周书论，研究其中反映的儒家思想。黄道周对人品书品极为重视，并以儒者风骨
为基础提出“遒媚加浑深”的审美观念。而书法的非功利意识和创新意识，是其书艺态度的
呈现。可以说，黄道周的书法是服务于他自身的，他借助书法寄托情感或者弘扬纲常节义思想。第三章分两部分，其一是通过心理学的书法认知研究，析探黄道周与其他儒者的书学相
通之处。书法作为文人的基础技能，学习过程必须有一个书家典范作为取法的对象。在贵古
贱今的“尚古”心理与典范追求的观念下，黄道周越过唐法宋意与王字的妍美，选择既典范、又深具拙趣的钟繇作为学习的对象，是此部分选取研究的“共同”的书法认知起点。书法学习，乃至个人、时代书风的形成，都离不开临与摹的工夫，回到源头来说，实际上就是效法
的书家或者法帖对学习者的影响。临和摹的学习，最终的结果都是将字迹的形象和结构准确jump是什么
的存入我们的记忆，事后需要凭借对字的原始记忆重新写成书法作品。从这个角度分析，只
intelli要是学习者对于临摹的对象是相同的，就有机会出现类似的字形与笔意，或者相似的书学态度。其二则为析探黄道周的书法作品，主要以《孝经》《张溥墓志铭》及其行草书为对象。
以黄道周的儒者身份作为基础，剖析其行草书作品与小楷作品，以及有类似身份的其他圣人
或者学者的书法作品，意图更直白地呈现出属于其儒学履践的书艺。
关键词：黄道周；书学；儒者；认知；遒媚
On the Calligraphic Thought
of Huang Daozhou
Masters degree of fine arts:Huang Huanhua
Tutor:Professor Cao Jian
Abstract
The late Ming Dynasty is one of the peak of Chine intellectual history , although it was in a turbulent period. Huang Daozhou‟s magnificent feat which inherited Confucian though that was one of the typical reprentive of the traditional intellectual who held the cultural integrity. Moreover, He was not only a civil official with the identity of ideologist and calligrapher, but also a scholar who took Taoism orthodoxy as his own duty. Therefore, it can be said that Huang Daozhou was the best candidate to investigate the relationship between Chine Confucian and Calligraphic styles.
In the Confucianism, Huang Daozhou ranked calligraphy as venth even eighth spot. It can be en from it that he didn‟t take Calligraphy art as the top priority, then acquire calli graphic achievement and reputation. Huang Daozhou believed in the spirit direction from Confucian Classics to Taoism pursuing.
Calligraghy belongs to the category of literature and art. Huang Daozhou believed that the excessive
expression of art will not o nly confu the pursuit of “the Golden Mean”, but is also easy to damage the development of Taoism. Therefore bad on the premi of “external performance” can not cover up the “internal spirit”, as a Confucian, Huang Daozhou didn‟t attach special importance to external performance of Calligraphy which become his necessary cognition.
The main body of the paper is divided into five chapters including introduction and conclusion. The first chapter mainly describes three aspects of Huang Daozhou: moral integrity and political significance; booking producing ;calligraphic achievement. That is to interpret Huang Daozhou all around by his three accomplishment.
Politically ,he was an honourable and loyal officer, moreover, he was a national hero and patriot to fight against Qing invader who will die before yielding.
第82届奥斯卡颁奖典礼Academically ,he was a Confucianism in late Ming dynasty with wealthy kownledge. He had had a great influence on that time and late long time. In addition ,he also occupied a space for Neo-Confucianism .
