【作者】 陳世慶；

【导师】 徐在國；

【作者基本信息】 安徽大学 ， 漢語言文字學， 2014， 博士

【摘要】 秦漢篆书逐步隷化產生今文字,漢代篆书是古文字的终结和餘绪。研究漢代篆书对研究古文字向今文字的演燮具有重要意義。《说文》成书於東漢中期,研究漢代篆书对研究《说文》小篆意義重大。漢代石刻篆书是漢代篆书的重要部分。本课题選择秦漢七大“石刻群”作为重点研究范围,因为它们具有较强的歷史性、代表性。它们分别是河南“袁氏漢碑群”、“嵩山漢阙群”、“南陽漢碑群”、河北元氏“封龙山漢碑群”、山東和江蘇“古琅琊秦漢石刻群”、“古彭城漢碑群”和“邊疆漢碑群”。在对秦漢七大“石刻群”进行基础研究的前提下,对其中的名刻如《开母阙铭》、《少室阙铭》、《袁敞碑》、《祀三公山碑》、《延光残碑》等進行疏通、補正,考释疑難字。在考碑的基礎上,对漢代石刻篆书的面貌作初步描述,寻求漢代篆书发展演燮规律。以上石刻篆书曾引发出碑刻学史上的许多“老大难”问题。对其中的有些名刻,自明清以来,顧炎武、牛運震、黄易、纪昀、王昶、桂馥、翁方纲、王念孫、阮元、龚自珍、王仁俊、刘熙载、陸增祥、俞樾、楊守敬、方若、欧陽辅、康有为、梁啟超、羅振玉等多有深涉,现當代以来,马衡、容庚、商承祚、徐中舒、啟功、马子云、高文、容媛、裘锡圭、葉程義、徐永年、呂品、徐自強、徐玉立、毛遠明、臧克和、叢文俊、趙平安等做了许多卓有成效的工作。经过前賢时修的努力,有的问题已经解决,但仍有不少疑难之字和残泐之字常常“令人卻步或绕道而走”,有的碑文因为残泐或怪缪尊致研究停滞不前,也有部分学者封碑文考證的嚴密性有待加强、正确率有待提高。以上前賢时修所做的工作和取得的成果,都应成为本裸题研究的学衍榴尊和壑寅基礎目前学界存在的不足之处为本裸题研究提供了巨大空间。本裸题研究坚持将碑刻材料考古资料傅世文献相结合考碑、考文、考字相结合。尽可能親看、親訪、親拍刻石,寻求古拓和精拓,甄别補刻、洗刻、复刻、伪刻,开展综合封比研究。本裸题研究发现：漢代石刻篆害与秦代篆害相比没有本质上的匾别,但卻有“精神上”的差異。清代书法家王澍縂结李斯小篆有“五德”：“圆润和明,仁也。中规合矩,禮也。布分整筋,羲也。变勤不居,知也。准律有恒,信也。”创作小篆时“敬慎守律、引毫得中”是关键。漢代石刻篆害与標准秦小篆相比,在构形理摅、结體分怖、字形势態、筆道线條等方面或多或少或这或那有所缺失,其中最根本的是缺失秦小篆中蕴藏的“嚴谨、慎敬、得中道”的核心价值。遣种“精神上”的差異可能由于以下原因所致：其一,秦小篆创作要求非常高,欲学而難成。漢滅秦暴,尽管文字承延了秦系文字并大力推广,但终究没有取得大的成功。其二,秦漢石刻篆文相封於应用於国家政權和信用體系的摹印、刻符、害幡信的专用字體而言,刻石只是次要的。其三,每朝每代都有自己的主旋律、主产品。秦小篆強调的害寫时“中锋内敛且在墨道之中”与束漢“蠶头雁尾”式隷害所強调的害窝畴“筆锋外露且向上飘逸”,髓现了雨种不同的筆法、意趣,蕴藏著不同的社会僵值观和審美理想。在磅礴蒼润的漢碑面前,漢代石刻篆害只是“盛开在大漢晚春里的秦代貴族園林里的华鹿之花”。本裸题研究发现：漢代石刻篆书呈现多檬化发展情状。“嵩山三阙铭”壑守着纯正篆文的害窝障地。束漢碑额篆字随著时间的向後推移其规整性有所下降。而《第百刻石铭》、《袁敞碑》、《趟宽碑》题额则保有六國古文的遗存篆意,《延光残碑》和一批陽刻的畫像石题记文字则顯现出向印符篆文靠近的趨势。《平山神祠碑》整個文本带有“隷害篆意楷化”的特徵,阴通了篆害楷化之别径。本裸题研究发现：在漢武帝之前的篆害大约属於自然隷燮过程中的篆害,我们稱之为“自然隷燮篆书”,其特徵主要體现为：朴质,构形与小篆相近,文本内字體风格一致,增繁字少。而漢武帝之後特别是束漢的篆书则完全是处於隷书背景下的篆害,我们稱之为“自由蒜寫篆害”,其特徵主要體现为：怪異,文本内字髓雜合,增繁字多。以隷法寫篆,结體缪於小篆,在筆划、结體、形態等方面带有明显的隷害特徵。無输是“自然隷变篆害”还是“自由隷寫篆害”,在隷燮的大环境中都不可避免地带有隷害的特徵,并產生不少譌燮现象。许慎《说文》成害于柬漢安帝时代,《说文》小篆不可避免地受到漢代篆书和隷害背景的影警。本裸题研究发现：束漢碑刻“自由隷寫篆害”惯用的篆隷雜糅方法可分为“六種”：其一为同一文本内多种字體的雜糅,其二为同一文本内通行文字与假借字及别俗字的雜糅,其三为因雨字之间经常通假而将此两字直接雜糅產生新字,其四为将雨個字形相近或表羲相关的字雜糅产生新字,其五为将分属於隷、篆等不同害寫形態的构件雜糅产生新字,其六为将一個字的古今體雜糅產生新字。本裸题研究发现：柬漢时用篆隷雜糅的方法造作了三大名碑即《祀三公山碑》、《延光残碑》和《夏承碑》,开尊了漢魏晋唐雜糅书體之先河。而蔡邕是柬漢晚期篆隷雜糅碑刻的主创者,他应该就是《夏承碑》的害手。(宋)周越《古今害苑》所载蔡文姬的话说：“臣父造八害,割程隷八分取二分,割李篆二分取八分。”蔡邕所主创的“篆隷雜糅八分害”应富就是歷史上最早出现的“八分害”书體。另外,本课题研究发现：《袁敞碑》碑主为袁安的次子：《延光残碑》碑主的先祖为西漢著名人物盖公;《祀三公山碑》所记载的常山相當为著名的《光武碑》立造人陕西狄道冯龙；《许阿瞿畫像石题记》刻立於束漢光和四年即公元181年或稍後一黠的畴间；《平山神祠碑》刻立於柬漢建武九年即33年,在此之前束漢政府已在现今的朝鲜设置“遼丞属国”并派“会使”。更多还原

【Abstract】 Seal characters in the Qin Dynasty and Han Dynasty in ancient China had been evolved into modern Chinese characters after a gradual transformation into the clerical script, which is widely regarded as the heritage as well as the termination of ancient Chinese characters. Therefore, studies on the seal characters in the Han Dynasty are of great significance to exploring the evolution from ancient Chinese characters to modern ones. Meanwhile, the studies may also contribute a lot to relevant research on lesser seal script (xiaozhuan in Chinese calligraphy) contained in Origin of Chinese Characters, a classic dictionary explaining the origin and meaning of ancient Chinese characters completed during the mid-Han Dynasty.Seal character stone inscription in the Han Dynasty constitutes an important part in the whole seal character works at the time, and accordingly the key targets of this research are historic and representative stone inscriptions in the Qin Dynasty and Han Dynasty, namely Yuan Family Steles in the Han Dynasty, Songshan Watchtowers in the Han Dynasty, Nanyang Steles in the Han Dynasty, Fenglongshan Steles of Yuan Family in Hebei Province, Ancient Langya Inscriptions in the Qin Dynasty and Han Dynasty, Ancient Pengcheng Steles in the Han Dynasty and the Frontier Area Steles in the Han Dynasty. In addition to an overall research on the seven groups of "Inscriptions" hereinabove, this dissertation also makes further and in-depth survey including proofreading, investigating and explaining rare and difficult characters on the most famous stone inscriptions, namely Kaimu Watchtower Inscription, Shaoshi Watchtower Inscription, Yuanchang Stele, Sacrificing Sangongshan Stele, Yanguang Stele. Finally, this research explores into the rules in the evolution of seal characters in the Han Dynasty on the basis of a preliminary description of seal character stone inscriptions at the time.The seal character inscriptions aforementioned have generated long-lasting puzzles to researchers in the history of studies in the field. Nevertheless, there has been fruitful achievement on some of them by a myriad of renowned researchers in the Ming Dynasty and Qing Dynasty including Gu Yanwu, Niu Yunzhen, Huang Yi, Ji Yun, Wang Chang, Gui Fu, Weng Fanggang, Wang Niansun, Ruan Yuan, Gong Zizhen, Wang Renjun, Liu Xizai, Lu Zengxiang, Yu Yue, Yang Shoujing, Fang Ruo, Ouyang Fu, Kang Youwei, Liang Qichao and Luo Zhenyu as well as modern researchers like Ma Heng, Rong Geng, Shang Chengzuo, Xu Zhongshu, Qi Gong, Ma Ziyun, Gao Wen, Rong Yuan, Qiu Xigui, Ye Chengyi, Xu Yongnian, Lv Pin, Xu Ziqiang, Xu Yuli, Mao Yuanming, Zang Kehe, Cong Wenjun and Zhao Pingan.Some of the puzzles have already been solved with the arduous work by researchers and scholars over the time, the achievement of whom also gives directions and lays solid foundation for the research herein. On the other hand, studies on the seal character stone inscriptions in the Qin Dynasty and Han Dynasty still have a long way to go. Some of the puzzling characters and incomplete characters are still the Bermuda Triangle that no one dares to touch or are leading the research into a standstill. Meanwhile, previous research on the inscriptions by some researchers is not very satisfactory for not being precise and accurate enough. Therefore, further exploration in this research becomes necessary and possible.This research, which is based on stone inscriptions, archaeological materials and literature over the time, makes combined and multi-dimensional survey and exploration into individual characters, complete articles and original steles. Meanwhile, the researcher tries all means to conduct on-site watching, survey and interview of the stone inscriptions as many as possible and then makes comprehensive comparative studies on ancient rubbings and exquisite rubbings as well as on all the supplemented carvings, repaired carvings, duplicated carvings and coined carvings available.One of the key research findings is that the seal characters in the Han Dynasty and those in the Qin Dynasty are different in terms of "Spirit", though they seemed to be similar or even identical in nature. According to Wang Shu, a famous calligrapher in the Qing Dynasty, the lesser seal characters by Li Si are embedded with traditional Chinese "Five Virtues", i.e."Benevolence for being mellow, clear and harmonious, propriety for being in accordance with rules and norms, righteousness for being of neat overall structure, wisdom for being of rational flexibility and sincerity for being with consistent style." Therefore, the fundamental principles in creating the lesser seal character works of the Qin Dynasty are "Prudently following the rules and creating harmony in details". As to the seal character stone inscriptions of the Han Dynasty, the features of standard lesser seal characters of the Qin Dynasty in terms of structuring rationale, structural design, form and stance and lines are more or less abandoned, and a more striking difference is the loss of the core value embedded in the lesser seal character inscriptions of the Qin Dynasty, namely "Rigorous, Prudent and with the Spirit of Golden Mean". The key difference in terms of "Spirit" is due to the following reasons. Firstly, it is too difficult to learn to write lesser seal characters of the Qin Dynasty. Characters used in the Qin Dynasty had been inherited and promoted with great efforts as of the overthrowing of the cruel Qin administrations by the Han administrations, but it is inevitably difficult to imitate the characters of the previous dynasty like those by Li Si. Secondly, stone inscriptions remained a minor part in the whole family of seal character works compared with the specialized character styles adopted in mould official seals, carved tally like the tiger-shaped bronze tally issued for deploying troops and signals on flags for secret official or military message. Thirdly, it is general that there should be some typical things pertaining to each empire or dynasty, with no exception to character system. Xiaozhuan in the Qin Dynasty is famous for "restrained stroke", while the clerical script in the Eastern Han Dynasty, often called as the "Silkworm Head but Wild Goose Tail" style, features "open and explicit stroke with a graceful upward orientation". The different stroke styles and orientations manifest different values and aesthetics of the two periods respectively. Among the numerous works of stone inscriptions on steles in the Han Dynasty, the seal character inscriptions can only be called the "splendid flowers blooming in the royal parks left by the Qin Dynasty during the early stage of the Grand Han Empire".Thirdly, it is general that there should be some typical things pertaining to each empire or dynasty, with no exception to character system. Xiaozhuan in the Qin Dynasty is famous for "stroke embedded in the style of ink", while the clerical script in the Eastern Han Dynasty, often called as the "Silkworm Head but Wild Goose Tail" style, features "open and explicit stroke with a graceful upward orientation". The different stroke styles and orientations manifest different values and aesthetics of the two periods respectively. Among the numerous works of stone inscriptions on steles in the Han Dynasty, the seal character inscriptions can only be called the "splendid flowers blooming in the royal parks left by the Qin Dynasty during the early stage of the Grand Han Empire".The second significant findings of this research are that the seal character stone inscriptions in the Han Dynasty are of verified styles during their development. The seal character carving on the head of Songshan Three-Watchtower Inscription is a typical representative of authentic seal character works; the ordered structure of the seal character head inscriptions of steles in the Eastern Han Dynasty became no longer a typical feature gradually; the spirit of seal character style of the Warring States Period could be detected in the head inscriptions of Dibai Stone Inscription, Yuan Chang Stele and Zhao Kuan Stele; the seal characters on the Yanguang Stele and in the texts along some intaglio stone relieves indicated a trend towards Seal&Symbol Seal Character; and the whole text on the Pingshan Shrine Stele showed the features of "Seal character spirit and regular script orientation in clerical script" and announced the beginning of a new approach in the transformation from seal characters to regular scripts.Another focus of this research is on the styles and features of seal characters before and after the Emperor Wu of the Han Dynasty (hereinafter referred to as Emperor Wu) respectively. The seal characters prior to the period of Emperor Wu can be roughly categorized into seal characters in the natural trend towards clerical script, which is defined in this research as "Seal Character with Natural Trend towards Clerical Script" and is characteristic of being similar to lesser seal character in plain style, form and structure, consistent style of characters in a certain text and limited number of characters with supplemented radicals. On the other hand, the seal characters after the Emperor Wu period, especially those in the Eastern Han Dynasty, are completely under the influence of the clerical script style prevailing at the time. That new style, which is defined as "Seal Character Written with Free Clerical Script", began to show typical clerical script style in stroke, structuring and form, e.g. strange form of characters, mixed styles of characters in a certain text, a good number of characters with supplemented radicals, different character structure from lesser seal character though written with clerical style. At the time with clerical script as the major orientation, the features of clerical script became inevitable, no matter in the "Seal Character with Natural Trend towards Clerical Script" or in the "Seal Character Written with Free Clerical Script". And there appeared many variations. Accordingly, the lesser seal characters in Origin of Chinese Characters, a classics completed by Xu Shen in the Emperor An Administration of the Eastern Han Dynasty, are more or less influenced by the background of a mixture of seal character and clerical script of the Han Dynasty.According to elaborate survey and statistics in this research, there are usually six approaches to blending the seal character style and the clerical script style in the works of "Seal Character Written with Free Clerical Script", namely blending of multiple character styles in one text, blending common characters and wrongly-written characters/demotic characters, blending two interchangeable characters into a new one, blending two characters with similar form or related meaning into a new one, blending radicals pertaining to seal characters and clerical scripts respectively into a new character and blending the different forms of a certain character in different times into a new one.The common practice of blending seal character and clerical script in stone inscriptions in the Eastern Han Dynasty generated three masterpieces, the Sacrificing Sangongshan Stele, the Yanguang Stele and the Xiacheng Stele, and generated the trend of calligraphy with blended style in the later periods and dynasties including Han, Wei, Jin and Tang. It can also be inferred that Cai Yong should be the calligrapher of the Xiacheng Stele, since he was the dominant master of blending calligraphy style in the late Eastern Han Dynasty. As the quote of Cai Wenji cited by Zhou Yue of the Song Dynasty in his A History of Calligraphy goes,"My father created the Eight Style clerical script (in fact shaped and structured like the counterpart of the English word eight in Chinese), which was embedded20%of Cheng’s clerical script spirit and80%of Li Si’seal character spirit." Therefore, it can be inferred the earliest Eight Style calligraphy in history should be the "Eight Style Blending" created by Cai Yong.Furthermore, this research also achieved some new findings after exploring into the origin of some major steles in the Han Dynasty. For example, the Yuan Chang Stele was the monument for Yuan An’s second son; the Yanguang Stele was for one of the descendants of Gai Gong, a renowned scholar in the Western Han Dynasty; the Changshan Minister recorded in the Sacrificing Sangongshan Stele must be Fenglong of Shaanxi Province, the sponsor of the Guangwu Stele; the Inscription for Xu Azhai’s Stone Relief was carved and built in Guanghe4th Year of the Eastern Han Dynasty (181) or shortly after that; Pingshan Shrine Stele was carved and built in Jianwu9th Year (33), prior to which Liaocheng Vassal State had already been set at the location of current Democratic People’s Republic of Korea territory by the Eastern Han administration and "Huishi", ambassador had been commissioned hereto.更多还原