饒宗頤「學者型」書法的文化內涵探論

An Examination of the Cultural Depth of the ＂Scholarly Calligraphy＂ of Jao Tsung-i

蔡典娉(CAI Dianping)

《饒宗頤國學院院刊》 8期 (2021/09) Pp. 435-458

摘要

饒宗頤的書法，一方面是中國「文人書法」藝術傳統的當代延續，另一方面則又是當代「通才式學者」筆墨的突出代表。其兼及學者和書者兩大身分，以「學者型」的筆墨從理論和技法實踐兩個方面充盈了當代中國傳統古典書法藝術在新時代的文化內涵。饒宗頤不僅對碑銘帖卷的各種書體均有涉略，還對前人書作有敏銳的觀察轉化能力、對學藝富有好奇心，以及創新性的學識魄力，使得自身在傳統與現代交融中昇華出新的審美風格，打造出奇逸古拙、大悲大喜的獨特書風書貌。饒宗頤既擁有中國傳統文人的綜合素養，又能很好地融合時代的新思想、吸收全球範圍內的各種文化新因素，突破民族文化的界限，具有典型的現代學者氣質，從而打造了一個綜合了傳統文人和現代專業學者特點的文藝家，於書法一隅，這正是典型的「學者型」範式。

關鍵字

饒宗頤 ； 學者型 ； 書法 ； 藝術 ； 文化

並列摘要

The calligraphic art of Jao Tsung-i (1917-2018), on the one hand, is the contemporary continuation of the tradition of Chinese literati art. On the other hand, it is an exemplar of the modern ＂oriental renaissance man.＂ Being both a major scholar and iconic calligrapher, Professor Jao added the much desired cultural depth to Chinese calligraphy of his time through his ＂scholarly-style＂ theory and practice. He not only had an all-round understanding of various calligraphic styles and traditions, but also had unparalleled perceptiveness that helped him transform brushstroke styles of the old masters into his own, extraordinary curiosity of anything art related, incredible erudition and creative courage, enabling him to invent a new aesthetic in the midst of tradition and modernity. His unique aesthetic of calligraphy is known to be sublime yet rustic, a mix of melancholy and joy. Professor Jao had the temperament and all-round qualities of a traditional Chinese scholar but never limited himself to the classical tradition. Instead, he always tried to absorb new cultural elements from different cultures into his artwork and succeeded in straddling both worlds. He established himself as a new kind of artist, part literati in the traditional sense, part academic by profession. As a result, his unique ＂scholarly calligraphy＂ is the epitome of his life and art.

並列關鍵字

Jao Tsung-i ； scholarly calligraphy ； calligraphy ； art ； culture