晚明士人生活中的书法世界

【作者】 吴鹏；

【导师】 黄惇；

【作者基本信息】 南京艺术学院 ， 美术学， 2008， 博士

【摘要】 晚明时期,是中国政治深刻变局和历史文化独特转型的关键时期。在这“天崩地坼”的时代,士人立身处世的价值取向也呈现多元状态:有的崇尚经世致用,积极担当社会文化的历史责任;有的避世退守,隐逸山林而独善其身;有的则优闲自适,纵情乐世而快然自足。加之此时市民阶层经济地位的崛起,文化权力由精英阶层下移至普通知识分子,呈现出前所未有的文化景观。从这一时期的社会背景和士人心态来观照书法艺术,则其文化转向也正基于当时文化乱象的主流语境而呈现出自明中叶以来思潮多元、风格多变的景致。时代生活中的艺术状态能折射出这一时代的社会意识和文化心态。具有强烈时代特征的晚明书法,也在士人们的文化生活之中进行着风格的演绎和个性的变革。本文即以晚明为考察断限,以士人生活为观照基点,从社会史、文化史和艺术史诸角度,对书法的本体范畴进行扩展性和延伸性的阐述。关于晚明士商之间的文化身份认同、社会生活中的冶乐心态和雅俗品位诸方面,学者们已作出了大量的研究,在本文所论晚明士人生活的文化背景时,在以前人研究成果基础上,偏重于艺术生活的背景叙述。晚明士人生活方式的精致与考究,其中一个重要原因,即是他们自己对于那些曾经是工匠工作的热情参与。如园林营造、书斋装潢、家具设计等等,都可见文人化的倾向。这种生活方式,乃是基于他们经济的自足与心情的优闲而来。以此闲暇生活切入,则可助于理解何以晚明文人的艺术设计中,对于书法的关注兴趣如此之浓厚。而此时商业出版事业兴盛的背景,也带动了刻帖之风的大炽,刻帖的流布又促使了书法艺术的泛化。在市民社会的商业精神和文化水平皆得以提升的背景下,士人对于书法的清玩方式和鉴藏理念,也深刻影响到普通大众,最终使得各种知识阶层之间形成了以书法为核心的艺术价值互动与商业价值转换。本章正是围绕这一互动和转换系统,而展开对士人闲暇生活中的书法世界的论述。在晚明士人的生活中,扇面书法是一个十分值得关注的亮点。尤其是折扇在社会生活中的大量使用甚至泛滥,为前所未有。这种现象的产生,乃与官方的政治行为、书画市场的繁荣以及士人交际生活的频繁诸因素密不可分。故本文在对扇面本身作为一种独特的物质文化考察的同时,更关注书法扇面在士人的日常应酬中所扮演的文化角色及其社会隐喻。晚明时期的旅游风尚与禅悦习气,也是因有士人的引导和推动而至寖盛。在这种士人们自视高雅的生活方式中,书法的意义不仅在于增添休闲生活的乐趣,更在于他们能借之以移情致兴、悟理证道。袁中道与董其昌,皆喜好游历参禅,可谓典型代表,故以他们作为个案的考察,并不妨碍由此探究士人生活方式与艺术情调的自觉交融,并可窥察晚明士人的舟游与禅悦生活中书法之于人生的意趣。对于书法的形式和发展而言,无论书家还是作品,都离不开社会文化阶层(包括商人和普通文人)对它的关注和推动。因此,本文以“士人生活”为核心场域展开,其中所涉人物即不仅限于书家本身,上至社会文化精英,下至普通知识阶层,皆是被纳入视野的群体。是故,本文将不过多着墨于书家及其作品的技法师承和形式演变等方面的分析,而注重书法在晚明士人生活史中所呈现的生命状态和所涵化的价值意义,并藉以此引申论述晚明书法的社会脉动和逻辑演进。这些作为晚明书法文化转向的诸方面,正是本文末章的重点探讨的部分。更多还原

【Abstract】 The Late Ming is a critical period for the change in politics and culture in China, in which the civil classes grew up, cultural powers went down from elites to ordinary intellectuals, and an unprecedented cultural pattern emerged. Observed in the light of social background and psychological characteristics of the intellectuals in that time, the cultural turn since the Middle Ming Dynasty is characterized by its multi-thoughts and changeful styles.The social consciousness and cultural psychology in this period can be reflected by art state at that time. The calligraphy with strong Late Ming features had experienced the change in style and personality in intellectuals’cultural lives. This paper, based on the lives of intellectuals and in the terms of the histories of society, culture and art, discusses extensively the noumenal categories of calligraphy in the Late Ming.An import reason for the delicacy and exquisite of intellectuals’living style in the Late Ming is that they were zealous in those jobs used to be done by artisans, such as garden design and construction, study-room upholstering, furniture design and so on, which reflected a characteristic of literati. The living styles resulted from their wealth and leisurely mood. Therefore, consideration in the light of the leisurely living styles is helpful for us to understand why intellectuals in Late Ming were so interested in calligraphy. In that time, the prosperous industry of commercialized publishing promoted the rapid development of rubbing calligraphy, which then future contributed much to the generalization of calligraphy art. In the background of civil commercial spirit and greatly-improved education, the intellectuals’idea of appreciation and collection in calligraphy exerted an extensive influence to ordinary people, and finally the interaction of art values focusing on calligraphy and the interchange of commercial value came into being among different intellectual classes.The calligraphy on folding-fan, unprecedentedly popular in the Late Ming , is an aspect of the intellectuals’lives, which is worthy being paid much attention to. The paper studies the fan-calligraphy regarded as a unique material culture as well as its cultural roles and social implications in intellectuals’daily lives.The prosperous development of traveling custom and Zen Buddhism in the Late Ming resulted from the guiding and promotion of intellectuals. In the exquisite lives valued by intellectuals, calligraphy can not only contribute to intellectuals’leisurely lives but also can be used to enlighten their inspirations. The paper, with a special reference to Yuan Zhongdao(袁中道) and Dong Qichang(董其昌), has made a discussion on the implications and values of calligraphy in intellectuals’life of the boat-traveling and Buddhist happiness.For the forms and development of calligraphy, both calligrapher and their works are closely linked to the care and promotion from various cultural classes. Therefore, the paper begins with and focuses on intellectuals’lives which go beyond calligraphers and cover social and cultural elites as well as ordinary intellectual classes. The author is not going to throw too much light on the analysis of calligrapher and their works, but pay much attention to life state and values embodied in the intellectuals’living history in the Late Ming , and extend to the discussion of calligraphy changes in that time.更多还原