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中国书法是日本书道的根源,且对日本书道的发展影响深远。与此不称的是,中国书学界对日本书道中的一些概念解读却长期处于含混状态。本文以概念史研究为视角,运用关键词及历史分析方法对“唐样”词意进行探究,得到超出词语本身所拥有的、更泛化的概念性意义。指出日本“唐样”书法在初期笼统指具中国风的书法,而后在江户时代在幕府接受中国儒学的背景下,最终形成基于吸取明代书法上所广泛取法、且兼具儒家与禅宗二元结构意味的中国式书法。
Chinese calligraphy is the root of Japanese calligraphy and has a far-reaching impact on the development of Japanese calligraphy. What is incomprehensible here is that Chinese book scholars have long been confused about some concepts in Japanese calligraphy. In this paper, from the perspective of the study of concept history, we use the key words and historical analysis methods to explore the meaning of “Tang-like”, and get beyond the general meaning of the word itself. It points out that in the early period of the Edo Period, calligraphy of “Tang-style” calligraphy, which refers to the Chinese style of calligraphy, came into being in the background of accepting Chinese Confucianism in the Edo Period. Binary structure means Chinese calligraphy.