書法「形式」與「內容」再詮釋－以帖派「經典」形成史觀為主軸

Reinterpreting the ＂Form＂ and ＂Content＂ of Calligraphy from the Historical Perspective of the Formation of ＂Classics＂

簡月娟(YueJuan Jian)

《史匯》 16期 (2012/12) Pp. 1-29

摘要

帖派作品成為經典系統有其獨特的闡釋體系，文化時空與書法經典範式彼此影響，形成一個為互文指涉的網絡。具有高度美學規律的書法透過權力機制流傳經典網絡，而以二王父子文人系統的帖派書法為核心。經典書法的本質具有層次多元的特性，西方美學系統化論述提供再詮釋契機。書法可分為三重「形式」層次：第一重書法形式為書寫用具，第二重為具有傳承網絡的用筆、結構與章法，而經典作品重視筆法嚴謹、典雅優美，至於第三重為抽象層次的神采與書家情性，並與內容相互重疊，成為是經典作品的關鍵層次。至於經典作品的內容奠基於漢字，多為文學作品，其意境強調中庸與平和。直至清代碑派書法推崇北碑庶民書法，書家對於書法本體形式的掌握能力取代書家與文化素養的絕對關係。隨此審美理想轉換，帖派書法不再是唯一經典系統，書法「形式」與「內容」的本質或另為碑派，或碑帖融合，其定義也隨之改變。

關鍵字

經典 ； 帖派書法 ； 形式 ； 內容 ； 範式

並列摘要

As ＂Tiepai＂ Calligraphy works became the standard for the classical system-which has its own unique methods of interpretation - the cultural time and space and calligraphy's classical model influencing each other formed an intertextual network. Through the mechanisms of power the highly aesthetic calligraphy handed down its classical network for later generations, taking the ＂Two Wangs＂' - father and son's-scholar style calligraphy as the main core. The nature of classical calligraphy has a diverse level of specific characteristics; and the Westernized system of aesthetic analysis offers an opportunity of its reinterpretation. Calligraphy can be divided into the triple form of hierarchy: on the first level we can talk about the calligraphy forms as writing apparatuses; the second level is the inherited system of brush usage, the structure and composition of writing, that is to say the classical works attached a great importance to well-knit brushworks and writing techniques, as well as elegance and grace. As to the third, which is the abstract level of demeanor and disposition of calligraphy, its field overlapping with the area of content, became the critical level of classical works. As for the content of the classical works that has its foundation in Chinese characters, are mostly literary works, their creative concept emphasizing the Confucian notion of Golden mean and gentleness. Until the Qing Dynasty, the school of stone tablet calligraphy (Beipai) esteemed the common people's stele calligraphy of the North; the calligraphers replaced the importance of the ability grasping calligraphy's intrinsic form with the absolute relationship of calligrapher and cultural qualities. With the transformation of this aesthetic ideal, the ＂Tiepai＂ Calligraphy was no longer the only classical system, the essential definition of calligraphy's ＂form＂ and ＂content＂ also had changed.

並列關鍵字

Calligraphy ； Classic ； Form ； Content ； Paradig