中華草聖在扶桑——獨立性易的書學與書藝

<p>本文旨在探討晚明東渡日本的書法家獨立性易（1596-1672，本名戴觀胤，更名戴笠，字曼公，號荷鉏、天閒老人）的書法思想以及書法。其書學之關懷除了個人主觀於六書、中鋒的藝術堅持之外，還有自詡為中華書道正統的矜持與使命感，因此我們可以看到獨立對日本當時的書道風氣的批判，也可以明白其撰寫書學著作的動機。</p> <p> </p><p>This paper explores the calligraphy thoughts and calligraphy of Zen-Master Dokuryu Shoueki (1596-1672; whose real name is Guanyin Tai and who changed his name to Daili, with the courtesy name of Man Gong and style name of He Ji and Tianxian Laoren) who traveled to Japan in the late Ming Dynasty. In addition to his personal subjectivity in the Six Methods of forming Chinese and center tip artistic persistence, his concern for calligraphy also included his cautious words and deeds and sense of mission that claimed to be the orthodox Chinese calligraphy. Therefore, his independent criticism of the Japanese calligraphy culture at that time is observable and his motivation for writing calligraphy works is also understandable.</p> <p> </p>