從身體角度來看唐代「永字八法」出現的意義與書論「筋骨說」在北宋的發揮

The Phenomenon of Inspiration from the Human Form in the History of Calligraphy from the High Tang through the Sung Dynasty

高明一(Ming-Yi Kao)

《藝術評論》 27期 (2014/07) Pp. 51-85

https://doi.org/10.3966/101562402014070027002

摘要

本文以身體為視角將盛唐到北宋的書史現象給予解釋，孫過庭《書譜》以自然界所觀察到的現象類比於草書是有文獻的來源，不早於唐玄宗時期所出現的永字八法，則是以身體的姿態或是動作為基礎來類比，取代了自然界的察而成為後來學習的準則。中國傳統書論上會以「筋骨」這身體的術語來評斷書蹟的好壞，在北宋則據此發展出「神、氣、骨、肉、血」來呈現出優秀的書法所具備的特質，本文將指出這數項的類比所代表的意義或是視覺上可見的形象。

關鍵字

書譜 ； 永字八法 ； 筋骨

並列摘要

This paper examines the phenomenon of inspiration from the human form in the history of calligraphy from the high Tang through the Sung dynasties. The study discusses how Sun Guoting used the sepsis in nature to conclude the cursive script, ＂The Eight Principles of Yong＂ used body to compare the strokes. The appearance of the ＂Eight Principles＂ to not earlier than the reign of Emperor Tang Xuanzong. Moreover in calligraphy theory ＂Jin-Gu＂(tendon and bone) is conventionally used to judge the quality of the work. In the Northern Song dynasty additional terms such as ＂shen＂ (spirit) ＂chi＂ (quality) ＂gu＂ (bone) ＂rou＂ (muscle) and ＂xie＂ (blood) were used. This study explains the meanings and shows pictorially how these terms were employed.

並列關鍵字

Shu pu (Treatise on Calligraphy) ； Yongzi bafa (Eight Principals) ； Jin-Gu (tendon and bone)

參考文獻

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