The Study of Taiwan Calligraoher Ink-Stone Cultur

• Main Authors: CHIN,SHIH-CHIEH, 金士杰
• Other Authors: LIN,CHUN-CHEN
• Format: Others
• Language: zh-TW
• Published: 2019
• Online Access: http://ndltd.ncl.edu.tw/handle/9dps3a

碩士 === 明道大學 === 中國文學學系(碩士班) === 107 === The Study on Taiwanese Calligrapher Ink-Stone Culture Abstract 　　Chinese culture is considered broad and profound with a long pedigree. The reason why the culture can handed down for generations, the “four treasures of the study,” referring to writing brush, ink stick, paper and inkstone, play the pivotal role, which could doubtless be rated as a culture carrier. Furthermore, the inkstone dominates the “four treasures of the study” on account of its combination of literature, graphic works, history, inscriptions, sculpture and other art, which is rich in abundant connotation of Chinese culture. In “Xiqing Catalogue of Inkstone Collection,” the Volume 13, named “Category of Stone. Inscription on Song Zi Duan Yun Yu Graphic Engraved Inkston,” states: “Who is so great could be the person that produces the Inkstone, as well as perfectly maintaining the spiritual disciplines of Ink Pool. This Inkstone is available to be passed down for centuries, and is made to grind out radiant ink.” Ever since the ancient times, there is a saying that a literatus has an inkstone is just like a beauty owns a mirror, having the closest relationship in life. It indicates the relationship between literati and inkstones. 　　An inkstone refers to a utensil for ink. Making a comprehensive view throughout the creation of ancient and modern literary works, books, paintings, etc., all the works begin with literati rubbing an ink stick on the inkstone. No ink, no books, while “no inkstone” leads to nonexistence of ink; therefore, an inkstone survives conclusively while ink appears. Calligraphers attach great importance to the matter of ink grinding, for it shows a decisive influence on their emotions and creation, as well as generating the motive force to brandish their writing brushes through the change of ink and the perception of its smell. Creating poetry, narration and intoning, recordation and evaluation display the passion of literati and gives vitality to the literary. 　　“Duan Inkstone” is well-known for its reputation as one of the four famous inkstones (Duan Inkstone from Guangdong Province, Tao Inkstone from Gansu Province, Xi Inkstone and Chengni Inkstone from Anhui Province); in addition, the “Luoxi Inkstone” originating from Ershui Township in Taiwan acquires a reputation of Taiwan national treasure. Both of them are representative characteristic local art with strong inkstone culture. The Author hereby probes the evolution of inkstone, the interaction, the literature, the craftsmanship, the appreciation and the collection between literati and inkstones, and the implications of nonmaterial culture for the achievements of nature and humanity for reference. Keywords: Duan Inkstone, Luoxi Inkstone, Grinding, Nonmaterial Culture