本論文旨在探討柳公權的書藝作品及其書學之影響。中國書法幾千年來一直處於變革中，面對書法藝術上瞬息萬變的思潮，在書法史上，柳公權的書法成就對後世的影響至深且鉅。本論文分作七章：第一章<緒論>，敘述本論文的研究動機、研究範圍與方法、並論述前人之研究成果與柳書作品大略。第二章＜柳公權之生平及其時代背景＞，主要以歷史研究法來探究柳公權的生平概況，並從「知人論世」觀點，了解柳公權的書學背景及柳書形成之原因。 第三章＜柳公權書法之淵源＞，柳書淵源來自五方面：一、是源於鍾繇，柳公權得其含蓄、自然；二、是源於二王，柳公權得其平和、古樸、清逸之韻；三、是初唐四家，歐陽詢、虞世南、褚遂良、陸柬之等人，柳公權得其清勁、含厚之雅；四、是源於顏真卿，柳公權得其寬博、挺拔之氣；五、是源於六朝碑版及其他，像是北碑中具雄強峭拔、斬截方正者，柳公權得其清勁、峻拔之質。柳公權遍閱其時筆法、集古意創新意，儼然形成所謂的「柳體」。第四章＜柳公權之書法及其特色＞，杜甫有詩云：「書貴瘦硬方通神。」，柳書瘦勁挺拔，結體法度森嚴，筆法靈活多變等為柳體之主要特色。 第五章＜顏柳書法之比較＞，柳公權是繼顏真卿之後，唐代最重要的書家。從張旭到顏真卿、顏真卿到柳公權，柳書的特色就是破舊立新，開拓新局面。蘇軾《題唐氏六家書後》云：「柳少師書本出於顏，而能自出新意。一字百金，非虛語也。 」顏柳使點線更富於立體感、節奏感，將唐楷書藝推向另一境界。第六章＜柳公權在書法史上的評價與影響＞，柳體的特點在於融匯前人特色而轉出新變，就學習書法者而言，容易得其形，而難以得其神，學書者往往只能抓住其中宮緊密、四周舒放的結體特點，並就其方硬瘦勁的筆畫特徵而加以學習；雖得其體貌表象，然對其神韻卻不易理解展現。因而柳書不易學習，自然也就容易為人所誤解批評了。第七章＜結論＞，綜理前面論述的研究成果剖析柳公權在書法藝術上之成就。 / The present paper is for the purpose of discussing Liu Gongquan's book skill work and the book study the influence. Chinese calligraphy for several thousand years have been in the transformation, facing calligraphy art in fast changing ideological trend, in calligraphy history, Liu Gongquan's calligraphy achievement to later generation influence to depth and great. The present paper minute makes seven chapters: The first chapter, the narration present paper's research motive, the range of study and the method, and elaborate of research results and the willow tree book work the predecessor greatly slightly. The second chapter < biography and time background the Liu Gongquan >, mainly by the historical methodology inquired into that Liu Gongquan's biography survey, and from “judges people and the times” the viewpoint, understood that Liu Gongquan's book study background and the willow tree book forms the reason. The third chapter < origin of the Liu Gongquan calligraphy >, willow tree book origin from five aspects: First, is stems from the clock zhou, Liu Gongquan must it contain, the nature; Second, is stems from two kings gentle, Liu Gongquan its, plain, the fresh and elegant rhyme; Third, is at the beginning of Tang four, Ouyang Xun, Yu Shina, Zhu Suiliang, land Cambodia et al., Liu Gongquan its clear vigor, contains the thick elegance; Fourth, is stems from Yan Zhenqing broad-mindedly, Liu Gongquan its, the tall and straight gas; Fifth, is stems from Six Dynasties tablet version and other, is likely north in the tablet powerful high and precipitous, unhesitating uprightness, Liu Gongquan its clear vigor, steep nature. Liu Gongquan spreads reads meantime the writing technique, collection ancient Italy to create the fresh idea, just like forms so-called “the liu's style”. The fourth chapter < calligraphy and characteristic the Liu Gongquan >, Du Fu has the poem cloud: “book expensive slender but vigorous Fang Tongshen.” Liu Shu the thin vigor is tall and straight, ties the body law to be stern, writing technique flexible and so on for liu's style main characteristic. The fifth chapter < comparison of the face willow tree calligraphy >, Liu Gongquan is after Yan Zhenqing, Tang Dynasty most important book. From Zhang Xu to Yan Zhenqing, Yan Zhenqing to Liu Gongquan, Liu Shu the characteristic is destroys the old and establishes the new, develops the new ball game. After Su Shi "Topic Tang Six Letters", cloud: “Liu Shaoshi the books stem from the face, but can from leaves the fresh idea. A character hundred gold, non-empty language.” Yan Liushi the line between two points is rich in the stereoscopic effect, the rhythm, pushes to another boundary the Tang kaishu skill. The sixth chapter < Liu Gongquan's in calligraphy history appraisal and influence >, the liu's style characteristic lies in the blending together predecessor characteristic to exit changes newly, speaking of the study calligraphy, is easy its shape, but its god, studies the book often only to be able with difficulty to hold the palace close, all around sends forth the knot body characteristic, and the thin vigor's stroke characteristic performs on its Fang Ying to study; Although its appearance representation, however is not actually easy to its charm to understand the development. Therefore Liu Shu is not easy to study, also to misunderstand naturally on the easy manner criticizes. The seventh chapter < conclusion >, in front of the synthesis principle elaborates the research results analyze Liu Gongquan in the calligraphy art the achievement.

中文書法經過了長久歷史的演變，已不單用來記錄事物，儼然成為了一種藝術。從古至今，有眾多書法大家和美學家撰寫書法專書，然而中文書法理論大多講述較抽象的技法，且在相關文獻鮮少之情況下難以具體將美感量化。本論文的目的為以電腦視覺角度解析中文書法筆畫與結構，找出影響書法美觀程度的視覺元素，並加以量化分析，透過機器學習機制，使電腦具有基本的書法鑑賞能力。有別於前人研究，我們提出6種描述整體楷書書法作品美感的特徵，包含排版工整度、字距掌握度、文字偏移程度、文字書寫大小穩定度、筆畫風格一致程度以及筆畫平滑程度。本研究蒐集書法比賽和素人作品共100張，每張皆經由一般母語為中文之受測者的評估，並且將得到的評分作為樣本的標籤，透過SVM辨識3個級別和5個級別的樣本，兩者皆有好的辨識效果。再者，我們將辨識結果轉換成美感分數，亦能真實呼應人工評分。透過我們的研究成果，期望能提供書法初學者在書法創作上的基礎參考標準。 / After a long history of evolution, Chinese calligraphy has transformed from a tool for writing to a unique form of art. Many publications regarding calligraphy writing techniques and appreciation have emerged along the way. Although the theory of Chinese calligraphy aesthetics is profound, it is difficult to define measures to quantify ‘beauty’ or ‘taste’. The objective of this research is to explore and extract relevant visual features for aesthetic evaluation of Chinese calligraphy using computer vision and machine learning techniques. Specifically, we propose six visual features to describe the quality of calligraphy work in Kai style, including layout, word separation, character offset, size regularity, style consistency and stroke uniformity. We then employ support vector machine (SVM) classifier to categorize the work into three or five levels of expertise. In both cases, good recognition results have been achieved. Furthermore, an aesthetic score can be obtained by converting the classification result with weighting factors. We hope that the evaluation result can assist beginners in identifying flaws in their writings and provide constructive suggestions to improve their skills in Chinese calligraphy.

本文以歷代碑帖中見之楷書異體字為研究對象，然以書法藝術為本位，故襲用前人所定之名稱：「帖體」字；楷書帖體字在古代碑帖中屢屢可見，少則二成，多則逾半，然而，古代文字學家多以《說文》為本位，稍致鄙斥之意，故其重要性遂沈沒不彰，偶有少數幾位古代書論家有所正面肯定，卻仍未獲得廣大迴響；並且，文字學家以文字學為本位，書論家也多未能以書法藝術為本位，與文字學家一樣，宗奉《說文》，遵之不違，楷書帖體字之研究因此游離於兩者之間，少有人予以注意，遑論整體之探究。因此，筆者綜合文字學、書法理論、美學三種學科將楷書帖體字作一較為全面之探究，而其中之論議則以記號學作為分析之工具。本文分為五章，各章之內容大要如下：第一章為緒論，第一、二節分別說明「研究動機與目的」、「研究內容與方法」，第三節則探討「帖體字之名義」，分別論述「定義」及「相關名稱」。第二章為「帖體字之變異方式」，第一節將古代書論中對於楷書帖體字之相關理論詳為考察並予以梳理；第二、三節將帖體字之變異方式分成十六項。第三章將楷書帖體字之變異方式予以統合，視其彼此之間的關係進行詮釋。第四章則探討楷書帖體字之成因，計有十項。第五章為結論，探討楷書帖體字之四項研究價值。