金學、石刻與法帖傳統的交會－《歷代鐘鼎彝器款識法帖》宋拓石本殘葉的文化史意義

北宋士大夫，不只為漢以後到宋以前散佈在荒煙蔓塚的三代銅器，建立新價值觀，視為至寶，同時試圖以秦漢至唐流行的石碑方式紀錄，以傳刻三代銅器上的鐘鼎款識，這種紀錄新材料的方法，在十一世紀中葉的北宋已出現，隨著皇室的推波助瀾，並建立有關三代銅器多種收藏、傳播、著書立說的典範，彰顯北宋金學與石學的交會。十二世紀中葉，在經歷靖康之難後，北宋士大夫及皇室所收藏的至少千件的三代青銅器遭浩劫之後，銅器本身雖然多已流失，但款識資料則在北宋的收藏、著書立說的傳播下，終於在南宋，在南方江西任定江僉幕薛尚功的全力收集下，將大規模且體系性地臨摹511件的器款識，以碑刻方式，分成二十四片，作歷史性的編排與論述，並以其書名及刊刻質材，凸顯款識此珍貴材料，是可以放入北宋以來皇家所提倡的「法帖」傳統的企圖心，反映了「金學」、「石刻」與「法帖之學」的交會。當時為薛尚功立石於定江者，為地方官定江郡守林師說。此行為，不只反映南宋地方官以地方財源公庫石支付，對此小吏所做的文化贊助，與文化產業投資個案，也彰顯薛尚功其將北宋所收集的有關三代銅器的款識新材料，以集大成的碑刻方式，透過其臨摹及楷書考釋，一併立於公領域公諸於世，並傳播刊刻的企圖心。

關鍵字

金學；石刻；法帖之學；宋石本殘葉

並列摘要

In the mid-twelfth century, after the conquest in the second year of the Ch'ing-k'ang era (1127), the Northern Sung literati and imperial court collected at least a thousand bronzes from Three Dynasties. Although many of the bronze vessels had already been lost, their inscriptions and materials were already in Northern Sung collections. Upon distribution of writings on the collections, the items were acquired in the Southern Sung by Hsüeh Shang-kung of Chien-mu, Ting-chiang, in the Chiang-hsi region. His vast and systematic assemblage of five-hundred and eleven inscriptions on ritual vessels accounted for the style of stele carvings, and was divided into twenty-four sections with chronological arrangement and discussion. The title of his writings and materials for the publication of carvings evidenced their precious materials, and also their move away from the tradition of ”model calligraphy” that was promoted by the Northern Sung imperial family. Moreover, it reveals the relationship between the studies of metal, stone, and model calligraphy. At that time, Hsüeh Shang-kung's stele was established in Ting-chiang to commemorate his position as a local official. This not only reflected the local resources of this Southern Sung official, praised his cultural achievements, and officially recorded his cultural investments, but it also demonstrates a new material used for inscribing Hsüeh Shang-kung's collection of Three Dynasties bronzes. By assembling these methods of carvings, including their standard script explanations, it establishes the world of a public individual in the public realm while conveying the objectives of carved inscriptions.