“魏晋古法”源流析论

【作者】 姚宇亮；

【导师】 任平；

【作者基本信息】 浙江大学 ， 中国古典文献学， 2007， 博士

【摘要】 魏晋(220—420)在书法史上有重要的地位。而在经过了千年天灾人祸的毁佚，我们实难窥见代表书法最高成就的魏晋二王书风的真相。如何有效的理解历史中流传的书迹，如何在各种风格间建立起逻辑的关联，是摆在每一位书法研究者面前的难题。本文拟以对“魏晋古法”的讨论为中心，对书法风格演化进行描述，以期提出一种书法风格描述的模式，并在此基础之上尝试对某些相关书学观念做出新的阐释。论文首先对书法的核心问题——“法度”进行了语意分析。“法”体现了人对事物的认识，“书法”是对“书写”的自觉，“笔法”是对“笔触”形式的发现。从人类认知的角度，本文对书法法度的性质与书法形式演变的原因等进行了探讨。“魏晋古法”表现为一定历史时期汉字书写的特殊运笔方式。作为类名，“魏晋古法”是对由“隶势”向“楷法”转变过程中种种笔法范式的总称。“隶势”打破了“篆引”笔法的视觉平衡，反映了人们对“书写”的自觉。而以“楷法”的建立为标志，汉字形态融纳了书写的内容，同时在视觉重新建立其新的平衡。本文以“隶势”对“篆引”的解散与“楷法”的最终成熟为主要脉络，以民间简帛残纸书迹与名家法书的形式比勘为方法，对书法风格发展史上的重要现象进行了分析，以期获得对“魏晋古法”的总体印象。“楷法”形成以后，人们面对的不再是书写本身，而是如何再现一定的视觉形象。这种转变构成了“魏晋古法”在唐宋时接受与流变的主要线索。如何处理“书写”与“法度”两者之间的关系，成为后期书法史上一系列基本观念逻辑展开的起点。更多还原

【Abstract】 The Wei [(220-265)] and Jin [(265-420)] dynasties occupy an important position in the history of [Chinese] Calligraphy. Though, after over a thousand years of natural disasters and human destruction, we cannot see the real appearance of the calligraphic style of the Two Wangs [Wang Xizhi (303-361) and his seventh son Wang Xianzhi (344-386)], which represents the highest achievement of Chinese calligraphy. How to interpret with efficacy the works trasmitted by history and how to establish the logical correlations between the various calligaphic styles, are two difficult questions for the scholars of Chinese Calligraphy. This dissertation aims to provide a descriptive scheme for the evolution of calligraphic styles; furthermore, on such a methodological basis, this text attempts to explain certain calligraphic concepts relating to the evolution of the calligraphic styles.This dissertation firstly analyses the linguistic meaning of the word ’rules’ (fadu), which is one of the essential questions for Chinese Calligraphy (shufa). The word ’fa’ (rule, technique) represents men’s cognition of things and events, ’shufa’ (calligraphy) is the consciousness of the action of ’writing’, while ’bifa’(technique of the brush) consists in the realization of the visual possibilies of the ’bichu’ (brushwork). From a cognitive point of view, this thesis researches the nature creation of ’regularity’ in Chinese Calligraphy and the causes of the formal evolution of Chinese Calligraphy.The li script configuration of strokes (lishi) broke the visual balance of the zhuan script towing line (zhuanyin), thus reflecting the acquirement of consciousness during the action of ’writing’ . With the formation of the regular script (kaifa), Chinese characters have summarized and condensed the contents the new formal possibilities of the action of ’writing’. At the same time Chinese characters have created a new visual ’force’ balance. This study focuses essentially on the ’dispersion’ of the zhuan script ’towing line’ arisen by the formation of the li script configurations of strokes, and on the final formation of the regular script (kaifa). Morever, by comparing the formal features of characters in the texts written on bamboo, silk and paper fragments with those of famous calligraphers’ autographs, this dissertation analyses the crucial events questions in the development of the calligraphic styles.After the formation of the ’regular script’ (kaifa), what people had to face was no longer the action of ’writing’ (shuxie) itself, but the re-creation of certain established visual forms . Therefore, in the following history of Chinese Calligraphy, how to manage the relationship between the action of ’writing’ (shuxie) and ’rules’ (fadu) became the starting point for a logical unfolding of a series of basic concepts.更多还原