【作者】 刘兆彬；

【导师】 杨存昌；

【作者基本信息】 山东师范大学 ， 文艺学， 2010， 博士

【摘要】 康有为(1858-1927),清末民国时期的著名政治家、哲学家、书法美学家和书法家,“戊戌运动”的领导人和清代“碑学运动”的领袖。他是传统书法美学的总结者和终结者,也是现代书法美学的开启者。他的书法美学思想,建立在“元气论”哲学的基础上,可称为“元气论”哲学的书法美学观。康有为的哲学是“元气论”哲学,以“元气”为宇宙的本体,它是世界的终极存在,也是世界的开端和终端。在这一哲学体系中,宇宙运动是一种“圆圈式”的“气化”过程。“元气”通过“气化”凝成万物,万物又通过“气化”消散为“元气”,如此循环往复,构成全部的宇宙现象,而其实质,便是“元气”的“凝散”。康氏所谓的“元气”是一种“三一体”,是“概念与客观存在的统一”,换言之,它是“概念、概念所代表的实在以及这二者的统一”。对于康氏来说,“元气”的性质、特点及其运动规律(气化),是其美学的规定根据。从原理的层面看:在康氏美学中,“元气”是自然美、社会美和艺术美的本源,也是审美现象的本质,所有审美现象在实质上都是一种“气化”现象,因此,也可以说“气象”就是康氏美学中所谓的“美”。从(书法)艺术美学的层面看:“元气”是书法美的本源,“气象”是书法美的具体表现形态,“气息(气味)”是书法鉴赏的核心。康氏以“元(元气)”为书法的本源。他所谓的“元(元气)”包括以下主要意涵:第一,“元”即“气”、“太一”和“太极”等;第二,“元气”是宇宙的本体,是世界的存在根据;第三,“气”是万物的“原质”;第四,“元气”既是“实体”又是“主体”。其哲学的主要命题包括:(一)“既有气,然后有理。”(二)“‘凝散’二字,尽天地物理。”(三)“盈天下皆气而已,由气之中,自生条理。”(四)“理与性皆是人理人性”,“未受气以前”,无所谓“性、理”。(五)“有气即有阴阳”。(六)“天地之理,阴阳而已”。(七)“独阴不生,独阳不生,阴阳与天地参然后生。”(八)“天道之常,一阴一阳。凡物必有合也。”(九)“阳贵而阴贱,阳尊而阴卑,天之道也”。(十)“形而后有气质之性”,性就是“气质”。概括说来,这些观点的思想实质是说:作为宇宙本体的“元气”由“阴阳二气”组成,这两种既有统一性又有差异性的“气”构成事物的内在矛盾和宇宙发展变化的动力;其中,在“阴阳二气”的矛盾统一体中,“阳气”占据矛盾的主导方面,决定着事物的发展方向;所谓“性”和“理”,就是“气质(气的性质)”及其“运动规律”。从美学的角度讲,“元气”具有以下审美属性:第一是“具体性”,这是因为,“元气”是一种“新客体”,可称之为“想象性存在”或“意象”,这是它能够成为“审美存在”的根据。第二是“运动性”,在康氏的哲学和美学中,“元气”是具有“主体性”的“流精”,即:它是“自由自发”的、不断地“开显自己”并“是其所是”的存在,因此,它以“气化”的形式表现自身。第三是“情感性”,因为“元气”具有自身的“质”,因此,它具有特定的“性情”,这也是它能够成为“审美存在”的原因之一。在康氏的书法美学中,“元气”表现为“气象”,因此,“气象”就是具体的“审美形态”。这一思想,有着深厚的美学史渊源,是传统美学“气象说”的继承和发展。在康氏看来,“气象”即“气化之象”,适用于政治、文学、伦理、自然和艺术等领域。它具有以下审美特征:(一)浑成美。“气象”是审美对象的整体精神风貌,它是审美对象的“生气”。(二)空间美。元气“聚为有象”就是具体的存在,必然会有其存在的时间和空间。(三)韵味美。“气象”是“气韵生动”的审美存在形态,具有韵味美。(四)整体美。“气象”是宏观的审美概念,具有总体性和整体性。(五)层次性。“气象”具有不同的层次,其中,越是趋近“元气”的本然状态——“浑成”状态的“气象”层次越高,反之则越低。康氏将“气象”分为三种基本类型:阳刚气象、阴柔气象和太和(中和)气象,它们分别对应于“壮美”、“优美”和“中和美”三种基本的审美风格。在康氏的书法美学中,“气象”具有十分重要的意义,即:它是“境界”质量的标志。这是因为,“气象”概念中的“气”就是“生命本身”,“象”就是“生命”的表现,而“境界”的“气象”愈浑穆,它就愈有生命的活力,反之,“境界”的气象愈“萧条”,它就愈缺乏生命的活力。“气象”的审美“存在方式”,离不开物质的形式,在书法审美中,“气象”就寄寓在书法的“形质”上。康氏极为重视书法的物质形式,提出了“盖书,形学也”的观点,这就抓住了“气象”问题的关键。在康氏的书法美学理论中,有大量的关于书法、书风、书意和书体等,即书法内容及其表现形式的问题的论述。康氏关于“书法”的探讨,包括“笔法”(含执笔、运笔、行笔、方笔、圆笔、篆之法、隶之法、楷书“八法”等)、“章法”、“字法”(含结构、布置等)、“墨法”和“纸法”等。其主要观点有:(一)“书法之妙,全在运笔”。康氏继承了“运笔”是“书法”关键的传统思想,把“运笔”的基本形式分为“方笔”、“圆笔”和“方圆并用”三种基本类型,这是相当完备的概括。(二)“方笔便于作正书,圆笔便于作行、草,然此言其大较。正书无圆笔,则无宕逸之致;行、草无方笔,则无雄强之神;故又交相为用也。”(三)“欲运笔,必先能运腕,而后能方能圆也。”(四)用笔贵藏锋。(五)“笔法”统一于“笔势”,是因势而生的存在。(六)“执笔”要“虚拳实指,平腕竖锋”。(七)结字要“茂密”,要“自然天成”。(八)重视“结字”,又反对“专讲结构”。(九)章法以“茂密”为主,要疏密得当,达到“纵横相涉,阖辟相生”、“位置天然”和“牝牡相得,不计点画工拙”的艺术效果。(十)“用墨”要以“浓墨”为主,“浓淡”适宜。(十一)“纸法”要求做到:所用的纸要“与笔、墨有相宜之性”,“若纸刚则用柔笔,纸柔则用刚笔”。关于“书意”,即书法的表现问题,康氏继承了中国古代艺术重写意的传统,提出了“得形质”然后“得性情”的观点。可以说,康氏所理解的“书法”类似武术中的“形意拳”,其中的“形(书写结果)”是“对象化”了的“思想情感(意)”。这一观点,具有一定程度的辩证性。在“书意”问题上,他强调“新理异态”,即“形式创新”的重要性,这是康氏的“进化论”思想在书法美学中的表现。康氏论述了三种基本类型的“书风”,即壮美、优美与中和之美。这是与阳刚气象、阴柔气象和太和(中和)气象一一对应的、完备的理论概括。这三种基本类型,每一种都可以无限细分下去,因此,具体“风格”的数量是无穷的。康氏的风格理论相当完备,既涉及了民族的、时代的、时期的风格,也涉及了个人的风格。康氏“书体”理论的最大贡献是关于“变体”和“八分”的研究。一般说来,所谓“变体”,是和“正体”相对而言的概念,也叫“正体变态”、“变制”、“破体”等,指的是一种处于“过渡状态”的书体。但是,从思辨的意义上看,所有的“变体”都同时是“正体”,而所有的“正体”也都同时是“变体”,这是因为,任何书体都兼有“它本身”和“过渡书体”的意义。因此,“变体”是一个“活称”,指的是“书体”之间的关系而不是固定的书体。在书法演进的过程中,“变体”具有两种基本的职能:一是充当“解散旧体”的武器,二是充当“旧书体”向“新书体”过渡的桥梁。其根本意义在于:适当地“变体”是“书体”创新的关键,可以认为,在“变体”或者说“正体变态”、“变制”和“破体”身上,蕴藏着汉字“书体”演变的秘密。在康氏看来,成功的“变体”是有规律可循的,即,“变体”时需要遵循“八分”的尺度。具体说来是这样:如果将“旧体”十分,那么,“新体”要继承“旧体”的“八分(百分之八十)”,创新过程中吸收的来自“旧体”以外的因素应占“二分(百分之二十)”,不管这种新的成分是从其他书体借鉴而来还是作者独创的,都要控制在这个比例之内。换言之,在“创新”的书体中,要有“百分之八十”的构成要素来自“旧体”,“百分之二十”的构成要素来自别处。这是历史经验的总结,也是“合理的”结论。康氏书法美学以“壮美”为审美理想,要求书法有:(一)浑穆的气象;(二)雄浑的力量;(三)庞大的体积;(四)奇异多变的形态;(五)飞动的气势等。为实现这一审美理想,康氏设计了一个实践计划,即向“南碑与魏碑”学习。他提出了“南碑与魏碑”有“十美”的观点,“一曰魄力雄强,二曰气象浑穆,三曰笔法跳越,四曰点画峻厚,五曰意态奇逸,六曰精神飞动,七曰兴趣酣足,八曰骨法洞达,九曰结构天成,十曰血肉丰美。”这“十美”,其实都是“壮美”的审美特征。此外,他还提出了师法“南碑与魏碑”的几点好处:第一是“笔画完好,精神流露,易于临摹”;第二是“可以考隶楷之变”;第三是“可以考后世之源流”;第四是“各体备具”;第五是“笔法舒长刻入,雄奇角出,迎接不暇”。他本人的书法实践,很好地落实了自己的主张,创造了笔气浑厚苍茫、体气茂密雄强、行气逸宕、气象浑穆的“康体”书法,增强了其书法美学的说服力。康氏的书法鉴赏理论是以“气息(气味)”为核心的。这一审美标准源自中国书法史的传统,而康氏的“气息(气味)论”,是在总结前人观点的基础上作了更进一步地阐发。他关于“气息(气味)”的论述涉及以下主要内容:(一)生命气息;(二)金石气;(三)雅气与俗气;(四)古气;(四)武夫气和伧父气;(六)浩大之气。总的来说,他最激赏“浩大之气”,因为它是“元气淋漓”的美,最讨厌武夫气、伧父气和俗气,这与其书法审美理想上崇尚壮美是一脉相承的。康氏的书法美学,以“元气论”始而以“气息论”终,从“元气”的创造回归到对“元气”的欣赏,整个体系即告完成,形成了一个波浪式前进、螺旋式上升的“圆圈”。在鉴赏论中,他为人们留下的是“浑穆”的气象,是浩浩的“元气”,是“太虚之气”的运化和“太和气象”之神秘——换言之,一种元气淋漓的壮美之风。综观康有为的书法美学,可以看出:他的书法美学是传统书法美学发展的总结果,是明代中叶以后书法美学新潮的有机组成部分,同时还吸收了西方美学思想的成果,开启了传统书法美学现代转换的大门。在美学发展史上,他上承王阳明、李贽、傅山、阮元、包世臣、刘熙载,下启梁启超、王国维等人的书法美学思想。因此,他堪称为传统书法美学的终结者和现代书法美学的开启者,他的美学是传统书法美学与现代书法美学的转捩点。更多还原

【Abstract】 K’angYu-wei(1858—1927), the well-known statesman, philosopher, calligraphist, calligraphy esthetician in the late Qing Dynasty and Republican period, is the leader of both the“Reform Movement”of 1898 and the movement of the study of stone inscriptions in the Qing Dynasty. He is not only the terminator and summarizer of the traditional calligraphy aesthetics but also the creator of modern calligraphy aesthetics. Based upon the philosophy of the Elementary-Qi theory, his calligraphy aesthetic thoughts could be considered as the concept of the Elementary-Qi theory.K’ang Yu-wei’s philosophy falls into that of the theory of Elementary-Qi, which sees "Elementary-Qi" as the ontology of the universe. Elementary-Qi is both the terminal existence and the beginning and ending of the world. In this philosophical system, the cosmic movement is a circular process of "gasification", in which all things are created " through "gasification" and they convert into Elementary-Qi. All the phenomena in the universe exist in this endless circular process, whose essence is the condensation and dispersion of Elementary-Qi. What Kang calls "Elementary-Qi", a kind of Trinitarian, is the consistency of concept and objective existence. In other words, it is concept, reality represented by concept and the consistency of them. For him, it is the nature, characteristics and the operation law of Elementary-Qi that his aesthetics is based upon. From the perspective of principle, Elementary-Qi is the origin of the beauty of nature, society and art. It is also the essence of the appreciation of beauty. Essentially, all the phenomena are a kind of gasification. Consequently,“qixiang”is what Kang calls“beauty”in his aesthetics. From the perspective of calligraphy aesthetics, Elementary-Qi is the source of calligraphic beauty, whereas“qixiang”is a specific demonstration of calligraphic beauty, and“sense”is the core of Calligraphy Appreciation.Kang regards Elementary-Qi as the origin of calligraphy. The implication of what he calls Elementary-Qi is as follows: First,“yuan”is“qi”,“Taiji”and“Taiyi”. Second, Elementary-Qi is the ontology of the universe, the base for the existence of the world. Third, "qi" is the original source of all things. Fourth,“Elementary-Qi”is both entity and subject. The main proposition of its philosophy includes the following: Firstly,“qi”precedes principle. Secondly, the two characters“condensation”and“dispersion”can account for the law of the world. Thirdly, the whole world is just made up of“qi”and the principles stem from it. Fourthly,“reason”and“nature”are that of the human being, which cannot find their way into the world without“qi”, Fifthly,“qi”goes with“yin”and yang. Sixthly, the principle of the world is nothing but“yin”and“yang”. Seventhly,“yin”can not exist without“yang”and vice verse. Eighthly, yin and yang are both involved in the law of the world, in which all things may ultimately find their way into unification. Ninthly, the law of the world is that“yang”is superior to“yin”. Tenthly, his specific nature comes into being after a person was born in the world. Generally, in essence these ideas means that the Elementary-Qi of the universe consists of“yin”and“yang”, the two kinds of“qi”with both distinction and identity, which constitute the internal contradictions of all things and the driving force for the development of the universe. In the unity of“yin”and“yang”,“yang”takes the dominant position, determining the direction of the development of things. Nature and principle represent the nature of“qi”and the law of motion. From the perspective of aesthetics, Elementary-Qi has the following attributes of beauty appreciation: The first one is concreteness. That is because Elementary-Qi, a type of new object, can be addressed as image or imaginative existence. The second one is its motion nature. In Kang’s philosophy and aesthetics, Elementary-Qi is the release of energy of its own accord. Consequently, it shows itself in the form of gasification. The third one is its nature of emotion. Elementary-Qi possesses its own quality. Accordingly, it has it specific“emotion”. That is one of the reasons why it can become“appreciation existence”.In Kang’s calligraphy aesthetics, Elementary-Qi manifests itself as“qixiang”. As a result,“qixiang”is a specific aesthetic form. The idea, which enjoys a long history of aesthetics, inherits and develops the traditional aesthetics. It is the continuation and development of traditional aesthetic“qixiang”theory. For Kang,“qixiang”is "gasification of“qixing”, which can apply to such fields as politics, literature, ethics, nature and art. It has the following appreciation characteristics: First, natural beauty.“Qixiang”is the overall spiritual outlook of the appreciation of beauty, which is the life of the object being appreciated. Second, spatial beauty. All things in the world are made up of Elementary-Qi, which is bound to have its time and space for existence. Third, beauty of lingering charm. Fourth, beauty for ensemble. Being a concept of macro appreciation for beauty, qixiang has its feature of unity. Fifth, the nature of hierarchy. The closer“qixiang”gets to the essential state of Elementary-Qi, the higher the level of hierarchy will be. On the contrary, the level will be lower. Kang categorizes“qixiang”into three types:“qixiang”with“yang”character,“qixiang”with“yin”character, and“qixiang”with neutral nature,which respectively represent magnificence, elegance, and the neutralized beauty. In Kang’s calligraphy aesthetics,“qixiang”is of great significance and it is the hallmark of the quality of level of hierarchy. That is because“qi”is life itself and“xiang”is the demonstration of life. And the denser and stronger“qixiang“of level hierarchy is, the more vigorous it will be.The aesthetic existence of“qixiang”in calligraphy can not be detached from the form of object.“Qixiang”in calligraphy aesthetics is conceived in the calligraphic form. Kang attaches great importance to the objective form of calligraphy, putting forward the idea that calligraphy is art of form. Hence, he grasps the key point of“qixiang”. In Kang’s theories of calligraphy aesthetics, quantities of discussion have been made about the rules of calligraphy, styles of calligraphy, ideas conveyed through calligraphy, and chirography, which are the content and manifesting form of calligraphy as well.Kang’s probe into calligraphy contains techniques of brushwork, the organization of brushwork, formation of characters, techniques of using ink and techniques of using paper. His main ideas are as follows: First, the skillfulness of calligraphy counts upon techniques of using brushes. Inheriting the traditional idea that techniques of using brushes are the key to calligraphy, he classifies the basic forms of techniques of using brushes into the following three categories: square style, round style and the mixture of the both. His summary in this respect is rather sound and complete. Second, the square style of brushwork facilitate regular script, whereas the round style facilitates the running script and the cursive script. Without the round style, regular script lacks cleverness; without the square style, the running and cursive script is deficient in magnificence. Accordingly, both the styles are employed interchangeably. Third, when driving brushes, the driving of wrist goes first. Fourth, the hiding of sharpness is valued in using the brushes. Fifth, techniques of using brushes is connected with the posing of brushes, without which techniques of brushes cannot exist. Sixth, it is required that brushes are handled, the palm emptying, fingers clasping, wrist leveling and sharpness erecting. Seventh, the formation of characters is based upon“thickness”in a natural way. Eighth, weight of the structure of characters is paid attention to, whereas the mere concentration on structure is opposed. Ninth, regardless of neatness or clumsiness artistic effect, the composition of calligraphy should be appropriately thick and loose, thickness being the keynote. Tenth, thickness of ink should be proper, with the thick ink enjoying priority. Eleventh, techniques of using paper require that brushes, ink and paper should be consistent. The tough paper should go with the soft brush, whereas the soft paper should match the tough brush.With regard to the demonstration of calligraphy, Kang, inheriting the tradition of freehand brushwork in traditional Chinese art, puts forward the idea that form of calligraphy goes first before the show of temperament. In this respect, Kang’s apprehension resembles“xingyi boxing”in Chinese wushu, which, to some extent, possesses the nature of dialectics. Moreover, he highlights the significance of innovation of form, which is the reflection of Kang’s evolution theory in his calligraphic aesthetics.Kang addresses three basic types calligraphic style, namely, magnificence, elegance, and the neutralized beauty. It is the complete theoretic summary, which is consistent with“qixiang”with“yang”character,“qixiang”with“yin”character, and“qixiang”with neutral nature. These three types can be divided endlessly. Consequently, there are boundless styles. Kang’s theory concerning style is sound and complete, involving the styles of nationality, time, period and some particular individuals.The most important contribution made by the chirography theory of Kang is the study of“variant”and“bafen”. Generally speaking, the so-called“variant”, which is also called“variant of the original form”,“changes of form”,“breaking from the original form”, is a concept in contrast to“regular form”. However, from the perspective of dialectic, all“variants”are“regular form”as well, and vice versa. This is because any chirography is both“itself”and“transitional chirography”. Therefore,“variant”is a“flexible reference”, which refers to the relation between chirographies other than a certain kind of chirography. In the process of calligraphic development,“variants”have two basic functions: first, they act as weapons used to“break the original chirography”; second, a transitional bridge from“the original chirography”to“the new chirography”. The essential significance of“variant”is that changing the original chirography properly is the key to chirography innovation, and“variant”, or“variant of the regular form”,“changes of form”,“breaking from the original form”, conceives the secret of the development of chirography. From Kang’s view point, changing the original chirography successfully has some laws to follow, or, to put it another way, the scale of“bafen”must be abided by. Specifically speaking, if the“original chirography”is scaled as“100%”, then the“new chirography”must inherit“80%”of the“original chirography”, and the new factors got during the course of innovation should account for“20%”; these new factors must be kept within the limits, no matter whether they borrowed from other chirographies or created by the author. To put it another way,“80%”of the constituent elements of the“newly created”chirography must be from“the original chirography”, with“20%”being from other sources. This is based on historical experience, and is also a reasonable conclusion.Kang’s aesthetics of calligraphy takes“magnificence”as its aesthetic ideal, and requires that calligraphy should have awe-inspiring magnificence, powerful strength, enormous size, fantastic and varied form, tremendous momentum, and so on. In order to achieve this ideal, Kang devises a practical plan: to learn from“Wei rubbings and Nan rubbings”. Kang holds forth the idea that Wei rubbings and Nan rubbings have“ten points of beauty”, namely, vital force, vigor of strokes, changeable brushwork, massy stippling, fantastic and excellent form, enormous Elementary-Qi, extraordinary aftertaste, penetrating stroke, natural structure, and plump and well-developed strokes. Indeed, all these“ten points of beauty”are aesthetic characteristics of magnificence. In addition, he also points out the advantages of learning from“Wei rubbings and Nan rubbings”: first, their strokes are intact, the spiritual components are distinct, and they are easy to copy; second, it can help to“study the change from li script to regular script; third,“it is helpful in studying the origin of later chirographies”; forth,“all chirographies are available”; fifth, the brushwork is“stretching, impressive and bewildering”. He put his views on calligraphy into practice, and created the calligraphy of“Kang chirography”characterized by vigorous stokes and spirit, thick structure, and awe-inspiring magnificence , thus making his aesthetics of calligraphy more convincing.Kang’s calligraphic appreciation theory centers on“sense theory”. This appreciation criterion used to belong to the tradition of Chinese calligraphy. Kang’s sense theory is the further elucidation based upon predecessors’ideas. His exposition on“sense theory”contains: sense of life, sense of characters in metals and stones, sense of elegance and worldliness, sense of ancient, sense of warriors and vulgar person, sense of generosity. Sense of generosity, among others, is what he appreciates and highly valued most, because it is the beauty with full Elementary-Qi, which is consistent with his calligraphy aesthetic ideal of Zhuangmei (Sublime or Magnificence). Kang’s calligraphic aesthetics starts with Elementary-Qi theory and ends with sense theory, forming a spiral circle from the creation of Elementary-Qi to the appreciation of Elementary-Qi. In the theory of calligraphic appreciation, what he leaves behind is the“qixiang”of graveness and greatness, surging Elementary-Qi, or in other words, beauty with full Elementary-Qi.A survey of Kang’s calligraphic aesthetics shows his calligraphic aesthetics is the overall result of the development of traditional. It is an integral part of the trend of the calligraphic aesthetics after the Mid-Ming dynasty. It also absorbs achievements from western aesthetics and opens the door to the transformation from the tradition to the modern. In the history of calligraphy aesthetics, he carries forward thought of WangYangming, Li Zhi, Fu Shan, RuanYuan, Bao Shichen, Liu Xizai and enlightens scholars like Liang Qichao. Therefore, he can be hailed as both the terminator of the traditional calligraphy aesthetics and the creator of modern, whose calligraphy aesthetics is the turning point of the traditional and the modern.更多还原