唐代の碑誌にみる複数書体の併用

抄録

Beis and mu zhi mings (hereafter “bei zhi”) have been major media of calligraphic styles since their appearance. Bei zhis have a format consisting of “ti e/gai,” usually written in Zhuan shu style, and “body text,” written in a single writing style. However, a detailed look at bei zhi in the Tang period revealed the existence of a different category of bei zhi, which was distinguished by the use of a different writing style in some parts of the text. Defining these cases as the “combined use of more than one writing style,” this article examines how examples of the combined use of writing styles are classified into different types, what the significances of this phenomenon are, and where it is positioned in the history of calligraphic styles in the Tang period.

  The results reveal the presence of three types of combined use of more than one writing style. Additionally, there were certain rules for combining writing styles in body text and intentional choice of writing styles was already common to a certain degree. It is considered that different writing styles were used with the intention to emphasize a relevant part, indicating a situation when the practice of writing styles centered on paleography was already well-diversified. Accordingly, the combined use of more than one writing style is positioned to represent the development of choices with respect to writing in rough with a brush on a stone tablet in bei zhi.

  Furthermore, the combined use of more than one writing style is also interpreted as a measure to demonstrate the existence of individual calligraphers and a means of expression in creating bei zhi. These acts are recognized signs of the upcoming development of new calligraphic expressions in the Song period and provide significant insights in elucidating “changes in the Tang-Song transitional period” in calligraphy.