論楊守敬《學書邇言》中之書法審美理念

楊守敬在二十九歲、三十歲的盛年，曾寫下研究書法碑帖的劄記，命名為《評碑記》與《評帖記》，但是，這些資料並未出版。就在他四十二歲那年，隨駐日公使赴日本時，會見了許多日本書法界的朋友，大家爭相傳閱他蒐集的碑帖，和這兩本書學評論的手稿。但是，這兩本評論的手稿卻在傳閱中遺失。幸而，後來有識之士將這它們出版，公諸大眾，在日本書法界造成很大的迴響。後來，楊守敬雖然曾陸續地刊印一些碑帖，卻將大部分精神放在《水經注疏》的研究上，不再寫有關碑帖評論的文字。他晚年時，日本人水野疏梅慕名來到中國，向他學書法，成為守敬書法方面唯一的入門弟子。當時，守敬已是七十三歲高齡的老人了，因為避武昌起義的戰事，移居上海，受了水野再三的要求，在手邊全無碑帖的狀況下，憑著記憶所及，勉力而為，寫下了《學書邇言》，作為給初學書法者的一份簡要指引。由於這本小冊子先後曾在大陸、日本、台灣發行，版本不同，內文亦稍有不同，和守敬早年的《評碑記》與《評帖記》，也有些異同。本文就從這部《學書邇言》中，探討他晚年的書法審美理念。

關鍵字

楊守敬；書法；學書邇言；審美理念

並列摘要

When Mr. Yang Show-Ching was about 29 years old, he wrote two manuscripts. One was 〝On epigrahy,〞the other was 〝On signature.〞 But he didn’t publish them. When he was 42 years old, he went to Japan, and showed these two manuscripts to his friends who loved Chinese calligraphy very much. But, these two manuscripts lost. Fortunately, someone published them after many years later. When Mr. Yang-Show-Ching was 73 years old, Mr. Shuei-Ye-Shu-Mei came from Japan, and asked to be Mr. Yang’s student. He was eager to learn Chinese calligraphy. He asked Mr. Yang to write a guide about Chinese calligraphy for him. At that time, Mr. Yang was living in Shang-Hie away from his home in order to avoid the war, so he didn’t have any books about calligraphy. But he remembered many details about Chinese calligraphy, then he wrote the 〝Xiue-Shu-Er-Yan〞 to help Shuei-Ye-Shu-Mei. It turned out that this book became popular and famous in Japan. In my essay, I try to find the characteristics in the 〝Xiue-Shu-Er-Yan〞, I also want to know Mr. Yang’s aesthetic conception of Chinese calligraphy in his old age. I find that Mr. Yang’ s memory was beyond ordinary, and he had a wild view. His aesthetic conception is very useful to the following generation. He is quite an adorable master.