審美觀‧觀念行動‧跨文化闡釋：碑學脈絡中的周作人

"Aesthetics, Action, Interpretation: Zhou Zuoren in the Genealogy of the Tablet School"

清季以來考古學、碑學的不斷興盛，使得書法取法對象不斷擴大，最終改變了千年以來帖學一統天下的格局。晚清以降，西方人和日本人參與了中國的考古活動，和對中國美術史的撰寫，他們把美術的範疇從原來的書法、繪畫擴展到了金石學領域，以及20世紀前後發現的西北簡牘和敦煌經卷，從而改變了民國以來中國知識人對美術的理解。本論文把周作人放在清季以來碑學的發展脈絡中，梳理他的訪碑、校碑工作和藏鑑金石拓片的日常生活，檢視他與朋儕間的金石、書畫往來，在碑學譜系中重構他與晚明文人的親和關係，並且以淪陷時期周作人與碑學譜系的關聯性，探討他的傳統觀以及出處進退的態度，來闡明文類雜糅的周作人其思想與審美觀形成的源頭，同時指出以跨文化闡釋為路徑來詮釋周作人及其同時代人的必要性。

"Since Qing dynasty, archaeology and tablet calligraphy has been keeping flourishing, which expands the subjects of calligraphy, and finally changes the pattern that was unified by hardwood calligraphy. Since the late Qing dynasty, westerners and Japanese participate in the Chinese archaeological activity and write Chinese art history, expanding the field of art history from calligraphy and painting to epigraphy, bamboo slips and Dunhuang Scriptures, and thus change Chinese intellectuals’ views of the art. This paper places Zhou Zuoren’s activities within the framework of the development vein of the tablet calligraphy, to present his rubbings changing and purchasing and site visiting to steles in order to reconstruct the relationship between Zhou Zuoren and literati in the late Ming dynasty. This paper explores Zhou’s view of the tradition and his attitude toward the collaboration by discussing the relationship between Zhou and the genealogy of the tablet school in the period of Japanese occupation, so as to reveal the origin of his thinking and aesthetic ideas. This paper also points out the necessity of cross-cultural interpretation of Zhou Zuoren and his contemporaries."