孫過庭《書譜》之書論研究

《書譜》的研究，可以分為墨蹟和書論兩個方面，本文著重在書論部份。孫過庭的年歲，前輩多認為四十餘，啟功從寬認為六十。筆者耙梳相關證據，認為孫過庭應該得年五十四歲。《書譜》是全文或序文爭論已久，筆者依據當時寫序的習慣，以及墨蹟中的跳筆，認為應是尚未定稿的《書譜序》。中國書體多至百餘種，《書譜》所提到的書體有十一種，但筆者認為其討論的重點僅為真、草二體。真書的實用性無可取代，但因法度嚴謹，在創作時易妨礙書家情性的發揮。因此，就藝術創作而言，《書譜》的書法理論當更著重於草書的討論。由於草書有定理而無定法的特性，提供書家得以各依情性，而各創面貌，也由此使得情性論成為綜貫《書譜》全文的重點。人類的努力，多企望能實踐真、善、美的極致。而書法的終極追求，從歷代對書法品評的觀點沿波討源，得知書評者所認定的書法極致為「神」或「逸」二者。此二者論者各有所執，但到達此境界的路徑，應當都是在技巧成熟的能品之上，再從「中和」和「自然」兩方面尋求突破和創新。

關鍵字

孫過庭；《書譜》；書論；情性；書品

並列摘要

The study on Shu Pu can be classified into two aspects: strokes and theories. This research focuses on the theories. Former scholars assumed that Sun Guo-Ting died at the age around forty, while Qi Gong thought that he lived to sixty. The researcher compiled all possible evidences and estimated that Sun Guo-Ting passed away when he was fifty four. It has long been debated whether Shu Pu is a full text or a preface. Based on the writing conventions in the Tang Dynasty, as well as the relevant evidence of the strokes in the book, the researcher proposed that it should be a draft of the “Preface to the Treatise on Calligraphy.” Among the hundreds of types of Chinese calligraphy, eleven were mentioned in Shu Pu. Nevertheless, in the researcher’s point of view, it focuses on the discussion of “regular script” and “cursive script” only. Although the usefulness of the regular script is undeniable, because the rules are truly strict, it may prevent the writer from showing his temperament in the creation. Therefore, from the perspective of artistic creation, the theory of Shu Pu should be focused on the discussion of cursive script instead. Since there are no fixed rules of cursive script, writers were able to show their own temperaments. Because of this reason, the theory of temperament is indeed the focus of Shu Pu. Humans have endeavored to practice the highest level of truth, goodness and beauty. When it comes to the ultimate goal of calligraphy writing, sourcing through the critiques of calligraphy in generations, the researcher concluded that the goals regarded by critics were “shen” (神) and “yi” (逸). Though both were valued by different groups, a feasible method to realize them should be pursuing breakthough and creativity in neutralization and nature above and beyond a skilled refinement.