略論唐代筆法傳授之中的幾個問題

On Transmission of Calligraphic technique in the Tang Dynasty

志野好伸(Yoshinobu Shino)

《淡江中文學報》 18期 (2008/06) Pp. 71-88

https://doi.org/10.6187/tkujcl.200806.18-4

摘要

唐代著名的狂草書家張旭，在中國書法史上一向被視為革新派，又是筆法傳授的關鍵人物。這意味著張旭或他的繼任者將從前秘而不傳的筆法公開行世，書家能隨意地使用傳統書法。緣此，書論的思想背景亦隨之改變。雖然關於筆法傳授的文獻裡仍然洋溢著道教的氣氛，但是從唐代後期開始，書論上「自悟」的觀念愈來愈受到重視，筆法傳授的樣式似乎有向禪宗法燈傳授靠攏的傾向。

關鍵字

張旭 ； 師受 ； 自悟

並列摘要

In the history of Chinese calligraphy, Zhang Xu is not only famous for his strange cursive style and considered to be a reformer, but also a key person of transmission of traditional calligraphic technique into next generation. This means that Zhang Xu or his successors wrote down and disclosed the secret of the technique so that they could easily access to the secret and freely exploit it. Along with this reformation, the background thoughts of calligraphy shifted from Taoism to Zen Buddhism. From the middle Tang era onwards, they began to emphasise the experience of self-awakening more and more. Zen Buddhism also insists that only who have experienced self-awakening can transmit the dharma. This shows a kinship between theories of calligraphy and Zen Buddhism.

並列關鍵字

Zhang Xu ； transmission ； self-awakening

參考文獻

孫過庭、國立故宮博物院編輯委員會編(1973)。故宮歷代法書全集一。台北:國立故宮博物院。

張彥遠編(2003)。法書要錄。北京:人民美術出版社。

顏真卿(1922)。四部叢刊初編。上海:上海商務印書館。

懷素、國立故宮博物院編輯委員會編(1973)。故宮歷代法書全集一。台北:國立故宮博物院。

(1922)。宣和書譜。上海:博古齋。