【作者】 马静婷；

【导师】 丛文俊；

【作者基本信息】 吉林大学 ， 历史文献学， 2004， 硕士

【摘要】 北宋时期，由于其科举考试中废除以书判取士，使得读书人都工于文章诗词，而使文坛兴盛而书坛凋蔽。书法成为士大夫晚年赋闲的清娱雅好，成为士大夫借以修身的工具。加之，宋代所特有的文官政策，使士大夫为了政治上的利益而集结党羽、相互倾轧，很多士大夫都深受其害。因而他们一方面向往魏晋时期士大夫内心的解脱与自由，才华横溢，潇洒不群；一方面又鄙薄趋时入流的士大夫们为了内心的追逐功名利禄，荒废学业，又置尊严于不顾，而苟苟于世。体现在书法上亦有两方面的内容：一、他们崇尚魏晋南朝时的萧散、简远，向往士大夫超逸绝尘的气质与风度流露于书法而得之“气韵”，“韵”味十足；二、出于对于魏晋人的向往，他们更觉本朝士大夫在修养、学识、人品、道德方面的欠缺，因而大力提倡，并以书法作为修身养德的工具，在书法中加入了伦理、道德等非艺术的标准，实属必然。本文便借助《宣和书谱》为研究对象，通过对其中重点书法批评词语的分析，分别建立起以人格、“韵”、“清”、“神”为核心的词群谱系，进而对北宋书法风气透视一二。 第一章，通过对《宣和书谱》中“心画”、“胸次”、“书卷气”的分析，使宋人书法批评中对伦理道德、学养天资等非艺术成分的关注尽显出来，以人心直接对应书法，以人品直接注入书法，以修养直接评价书法，进而构筑出宋人“字如其人”理论的框架。以书法为教化的工具，为正人心的途径，不求工拙，而意在教人上向。此章也是全篇的主导，因为宋人这种“因人论书”的风气渗透到书法批评的每一个角落，影响着书法批评词语的涵义发生了变化。 第二章，以“韵”为核心词，“风韵”、“气韵”、“韵胜”、“远韵”、“病韵”、“俗韵”等一系列批评词语衍生而出，评晋人书法之“韵”、“风韵”、 60<WP=65>“气韵”，宋代士大夫对晋人风度气质的膜拜，以及对其书法的潇洒纵横、恣意抒情的生命力的感叹清晰可见；同时，反思宋代士大夫修养、道德上的缺失，而给“韵”一系词语注入了道德、伦理、才学等因素，给“气韵”、“韵胜”以新的内容，并以“远韵”、“高韵”强调了师法古远，尽览群书为脱俗得韵之必经之路。 第三章，以“清”为核心而生出的一系列批评词语，包含了由书法到人的兼具形上和形下的双重含义。由字形的癯瘦之“清癯”，用笔的劲健所得之“清劲”，意态闲雅之“清闲”，师法古远之“清远”，书家之脱俗的“清致”、“清约”。然而，俗人、小人皆不可以言“清”，师法浅近皆不可以言“清”，步趋古人的亦不可言“清”。“清”表面在字，而实质仍在于人品、学识。 第四章，“神”为核心词的词群谱系的建立可以使宋代在书法史上的转折性地位一目了然。在唐之前，“神”有可望而不可及，可遇而不可求的玄妙境界。而宋以后，书法风气随之一变，审美趋向多元，“神”已不再是最高的境界，内涵也发生了变化，增加了若干新意，世俗人情味很浓，而“风神”、“精神”也随之增加了世俗化的内容，且又由“字如其人”风气的影响而使之增加了明显的伦理色彩。 总的来说，由《宣和书谱》中这些具有代表性的词语的分析可寻绎出宋代书法及其理论发展的轨迹，且对于以传统书法批评词语构建词群谱系，作为书法研究的起点和基础的这一方法也是一种新的探索和尝试。虽然，由于个人能力所限，研究中尚有很多不足，但是在研究方法上对书法文献的进一步发掘，书法研究的进一步发展是有启发的。更多还原

【Abstract】 Since the Northern Song Dynasty, calligraphy was not one itemin the examination for official election any longer. The intellectualwas thus absorbed into the articles and poems. Therefore, theliterary circles flourished while the calligraphy became unpopular.Those literati and officialdom took the calligraphy as a kind ofgracious liking and then through it cultivated their moral character.In addition, owing to the special political system of civil servantsin the Northern Song Dynasty, colluded and jostled for their owninterests. In this situation, they admired for the freedom of theliterati and officialdom in Wei and Jin Dynasty, who releasedthemselves from the thirsty of money and power, liked reading andgained super talent. On the other hand, they looked down upon thosewho wasted their learning and seeked for high official positions andriches. This kind of thought was reflected in the calligraphy asfollows. One is that they liked Xiaosan and Jianyuan in thecalligraphy of Wei and Jin Dynasty and its Qiyun from humantemperament and graceful manner. The other is that they realized thelack in knowledge and quality of the literati and officialdom in theirtimes. Therefore, it was inevitable that they valued the calligraphyupon the moral standard beyond the artistic valuation. The study ofthis paper concentrates on XuanHeShuPu. This paper analyzed someterms valuing the calligraphy, set up a vocabulary pedigree with 62<WP=67>Quality, Yun, Qing and Shen as a core and thus the fashion of thecalligraphy in the Northern Song Dynasty was illustrated. Through the analysis on Xinhua, Xiongci and Shujuanqi in theXuanHeShuPu, Chapter I showed the appreciation standard beyondartistic valuation added to the calligraphy critics in the NorthernSong Dynasty. It directed connected the thoughts and morality of thecalligraphers with the calligraphy to make an evaluation and thenconstructed a theory that the handwriting mirrors the calligrapherin the Song Dynasty. It was not important for the calligraphy to befine or not. It had become the symbol of human morality and quality.Chapter I is the key part of the paper since the fashion of valuingthe calligraphy according to calligrapher,s quality of the SongDynasty appeared frequently in the calligraphy appreciation and thusinfluencing other calligraphy evaluating terms. Chapter II takes Yun as kernel word and a series of terms, Fengyun,Qiyun, Yunsheng, Yuanyun, Bingyun and Suyun are subsequently created.During the appreciation of the calligraphy of Wei and Jin Dynasty,Yun, Fengyun and Qiyun are applied, from which it is reflected thatthe literati and officialdom in the Song Dynasty had the liking ofthe calligraphy in Jin Dynasty and praised their vitality. At thesame time, since the knowledge and quality of the literati andofficialdom in the Song Dynasty were not as good as those in JinDynasty, moral, ethical and learning factors were infused into aseries of evaluation terms of Yun which were thus enriched. 63<WP=68>Chapter III created a series of terms with Qing as the core, whosemeanings were more comprehensive. Qinqu meant delicate form of thecharacter. Qinjin showed vigorious and forceful calligraphy.Qingxian meant free form of the character. Qingyuan meant learningthe calligraphy from the predecessors. Qingzhi and Qingyue reflectednoble character of the calligrapher. Qing was closely related notonly with the calligraphy, but also with the human character. In Chapter IV a vocabulary pedigree with Shen as a core was setup from which it could be concluded that the Song Dynasty was a turningpoint in the history of calligraphy. Before Tang Dynasty, Shen wasin a remote and mysterious state.A phrase for," absolute being" is establish Ci Qun Pu Xi(词群谱系)and can make the on behalf of Sung been clear at a glance in thecalligraphy the twist on the history position .Before Tang, the "absolute being" ha更多还原