Study Into Inscription Calligraphy of Tang Dynasty—Taking Gravestone Covers Carved For Court Ladies In Tang As Research Object
| Autor: | LIU, CHIA-HUA, 劉家華 |
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| Rok vydání: | 2019 |
| Druh dokumentu: | 學位論文 ; thesis |
| Popis: | 107 Due to the enormous amount of Tang gravestone inscriptions, scholars mark a new milestone on the cultural and historical study of Tang Dynasty in terms of stone-carving and epitaph documents. From the perspectives of Tang calligraphy education, calligraphic style, characteristics of epitaph, and unique body part of court ladies, this paper probes into the style of gravestone covers carved for court ladies—taking existent covers as targets. The paper will also explain the historic role of Tang gravestone inscriptions in Tang inscriptions in the hope of discussing the development of Tang calligraphy in a more diversified way. There are 152 gravestone inscriptions and 50 gravestone covers available. Tang court ladies’ life and images are revealed through Tang poetry, handed-down portraits and tomb murals. The content of preserved gravestone covers carved for Tang court ladies is often similar, only with different ages, death dates, lengths of funeral services. Most of the engravers just randomly carved covers on the court ladies’ cemeteries, which are easily ignored but precious first-hand resources for exploring the manifestation of Tang court ladies’ life. Calligraphy education and arts boomed in Tang Dynasty. Tang gravestone covers are renowned for its diverse styles, which are credited with calligraphers and engraving. There are no names of calligraphers or engravers left on Tang gravestone covers, some of which were first put down words on and then elaborately or creatively engraved. The others were randomly improvised on the gravestones by calligraphers hired by the royal, folk writers, or palace men, and then engraved by palace men or folk artisans. According to the comparison among styles, we can know that Tang inscriptions were influenced by Wei and Sui inscriptions cut into stones, and the calligraphers in the beginning of Tang. We can also infer the learning condition of calligraphy. Among people and the government, learning the style of the five main calligraphers in Tang is still the mainstream. During the reign of Empress Wu Zetian, the only female monarch of China, gravestone inscriptions all apply the rules of creating words. Covers were written in dignified seal character randomly done by calligraphers. However, covers written in freely and innocently regular script were especially charming and glamorous. The regular script features being squared and practical, which limits itself from innovation. When calligraphy learners admire a gravestone cover randomly created by calligraphers and engravers without any rule, they are offered another angel to look at the regular script even though calligraphy learners are usually confined by rules. |
| Databáze: | Networked Digital Library of Theses & Dissertations |
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