翁方綱與乾嘉時期碑帖書風及鑑藏文化

A Study of Weng Fanggang: Calligraphic Style and Collection Culture of Stele and Model-letters Rubbings in Qianlong and Jiaqing Periods

何碧琪(Pik-Ki Ho)

指導教授 ： 傅申教授

國立臺灣大學/文學院/藝術史研究所/博士(2011年)

https://doi.org/10.6342/NTU.2011.00148

摘要

乾隆中期，隨着考證學漸興，學者書家以文字學、金石學等質樸紮實的研究根柢，回應受董其昌（1555–1636）、趙孟頫（1254–1322）末流的柔弱妍媚書風，重考據的書學鑒賞語言及篆隸等古代書體逐漸盛行於士子之中。從書學發展自運的角度看，至清代，刻帖等書學範本因輾轉翻刻而形神漸失，思想界追本溯源的重學思潮，促使學者書家們注意力轉向更真實反映文字演變及書學源流的碑刻上。至嘉慶年間出現阮元（1764–1849）〈南北書派論〉、〈北碑南帖論〉等反思王羲之以來帖學書風的書論。
　　思想是引起風氣、文化、書風改變的源頭，本研究在縱向的書史發展至碑學的概念出現的交匯點上，嘗試透過翁方綱切入的縱切面，剖析書法風格、交遊圈、文化、認知、思想等各個互相關連的因素。碑學概念產生，是由於習書者對以往書法史的「認知傳統」反思而起，這是繼書體結構發展完成、書法風格變遷兩個重要時期之後，中國書法史第三個涉及重大結構性變革的時期。
值得指出的是，學者擅書、重實踐是導致書學觀念革新的觸發點，這與翁方綱（1733–1818）的宋學及致用思想密不可分。本研究不厭其煩地引用翁氏研究的例子，是要闡明親見、經年而大量並重複的實際經驗，是突破既有的感知與認知傳統。比較後來的碑學理論家阮元及包世臣（1775–1855），惟獨翁氏最擅於寫書法、臨摹及親自訪拓碑刻，他是改變觀念的主因。同時，清初至中期一連串因素相繼出現才造就碑學書法的興起：學者們對經學反思的意識、漢代碑刻拓本大量地被收集研究、金石學復興、習書者對古代書體有新的認知、習隸的書法大家相繼出現、隸書風格改變、繼而出現里程碑式的碑學理論著作，最後碑學為人所認同。在整個過程中，翁氏是惟一引起思想改變、連結主要隸書大家及碑帖收藏家、帶動風氣、並貫穿上述各項因素的核心人物。本研究澄清既有的迷思，闡明金石學只是引起碑學書風興盛的其中一環，並不是決定性因素。宋代金石學盛行，當時金石學家少有以擅書馳名。反觀翁氏身兼書法家及金石學者，他由臨寫法帖擴展至從刻石拓本入手習書；他經年親訪、研究，由記錄金石文字轉移注意書體發展的變化。刻石被賦予「法帖」的功能，行草書能上石，都是源於觀念與思想的改變。並且，在阮、包二氏碑學書論發表之前，翁氏為首的交遊圈已經以金石文字、拓本、相關詩作創造了新的文人文化，他們造就了清中期以後碑學書法與帖學並行的氛圍及客觀環境。
　　本研究分為四章，第一章簡述清前期的書學觀，翁方綱承接清初再次萌芽的金石學，他回應宋以後楷法漸失而加以鑽研，並臨摹碑刻拓本，重新認識書法源流與漢隸。
　　第二章分析翁氏的交遊圈與其「宗主」地位的建構過程。翁氏透過「祀東坡生日」來傳遞學、書、詩、修齊治平「一以貫之」的經世思想，他也成為思想方向及風氣的領導人物，影響深廣至嘉道年間「宣南詩會」廉潔且具政績的士大夫群體。
　　第三章剖析翁氏「一以貫之」的思想，他以此為基礎，將書學、學術、詩學等統合於道統，十分徹底地將朱子學的中心思想實踐於各個領域。在書學上，翁氏臨古帖先忠於書法法度，以助修身養氣，然後能進能出。他以「格物窮理」的方式掌握字體結構中的「理」和書寫的「法」，始於「正本探原」，終於「窮形盡變」，寫出具法度、兼具個人風格而質厚的書法。翁氏被時人推為乾隆四家之首，顯示當時與近代注重個人風格及視覺效果的書法審美觀極不相同。
　　第四章從翁氏的《粵東金石略》及《兩漢金石記》，闡釋他建立分析書體及風格的學術語言，致令他修正清代以前書法家們對漢隸的錯誤認知，從而重新掌握兩漢碑刻上的漢隸筆法及結構。翁氏所主張似乎都是二元對立而又能圓融為一理的思想及美學觀，這觀念來自《易》。他提出由「淳古」而求「變」、「我心」與「法」等既互相制約又相輔相成的審美觀。書法除了是風格變化及視覺上的美感外，同時具有深厚的文化內涵。藝術、個性表現與載道、傳統的矛盾，展現在翁氏以繼承道統為己任，而同時身為書法家的兩難上。
　　最後，期望本研究的嘗試，能啟發更多不同的觀察與思考角度，對中國特有的歷史現象有更準確而深刻的分析和詮釋。

關鍵字

認知傳統 ； 「一以貫之」 ； 金石學 ； 朱子學 ； 經世致用 ； 乾隆四家

並列摘要

During the mid-Qianlong period, accompanying with the rise of textural studies, scholar-calligraphers rooted in epigraphy and philology confronted the flattering and delicate calligraphic style after Dong Qichang (1555–1636) and Zhao Mengfu (1254–1322). Introduction of textural studies to connoisseurship of calligraphy, and the practice of ancient seal and clerical scripts then became popular among literati. Reviewing the development of calligraphy, in the Qing dynasty, rubbings of model-letters lost their form and spirit because of re-engraving. It induced scholar-calligraphers to turn their focus to steles on which the development of scripts and calligraphic styles authentically showed. In Jiaqing period, Ruan Yuan (1764–1849) wrote the two treatises on calligraphy, namely, “the South and North Schools of Calligraphy” (Nanbei Shupai Lun) and “the North Stele and South Model-letters Schools” (Beibei Nantie Lun) and rethought about the canonization of Wang Xizhi and model-letters school tradition.
Thoughts and ideology trigger the change of climate of opinions, culture and calligraphic style. By tracing the development of calligraphy, the intersection of the rise of stele school calligraphy and the life span of Weng Fanggang (1733–1818), this study analyzes the interlocking dimensions including style, circle of friends, culture, conception and thoughts. The stele school evolved because scholar-calligraphers re-examined “the conception tradition of calligraphy”. It marked the third period of structural revolution of the history of calligraphy after the standardization of scripts and the evolution of style.
It is worthy noticing that scholar who excelled in calligraphy and put into practice was the trigger point of the breakthrough of conception of calligraphy, and this was closely related to Weng’s Neo-Confucian beliefs. Weng’s research examples be quoted unweariedly in this study was to demonstrate that the change of perception and conception was brought about by repeating and long-term practices. Unlike the stele school theorists Ruan Yuan and Bao Shichen (1775–1855), Weng was the only epigraphy expert who continuously getting hands dirty in writing and copying calligraphy, visiting and making rubbings for steles, as well as scrupulously comparing different versions of rubbings. Hence, conception altered gradually in the process of practices. I have found that the rise of the stele school of calligraphy was due to a series of uninterrupted phenomena, including the introspection of Confucian classics of scholars, the collection and research of a great deal of rubbings of ancient steles, the revival of bronze and stone study, the awareness of new conception of ancient scripts among calligraphers, masters of clerical script rising in groups, the change of style of clerical calligraphy, and the publication of milestone-type calligraphic treatises. Eventually, the stele school of calligraphy gained recognition. During the course, Weng was the sole and leading scholar who linked every facet of the phenomena. He introduced the change of thoughts, connected important masters of clerical calligraphy and rubbings collectors, and pushed forward the fashion. The fallacy of epigraphy bringing the stele school was clarified in this study. Epigraphy, in fact, was merely one of the factors. In the Sung dynasty, there was the rise of epigraphy but few of the relevant scholars were recognized as calligraphers. However, Weng excelled in both. He learned calligraphy by copying rubbings of model-letters and steles. He focused on recording texts on steles and then turned to observe the development and relation of different scripts. Rubbings of steles treated as “model-letters”, and running and cursive scripts carved on steles were initiated by the change of conception and thoughts. Besides, Weng played an active role in rubbings study and collection, exchange of relevant poems in the circles of acquaintances that it created a new form of culture among social elites. It appeared even earlier than the treaties of the stele school written by Ruan and Bao. Weng and his friends built up the favourable circumstances for the growth of the stele school of calligraphy.
The dissertation comprises four chapters. In Chapter 1, the conception of calligraphy in the beginning of the Qing dynasty is introduced. Weng Fanggang continued the revival of bronze and stone study. He thoroughly studied the principles of standard script for the loss of them after the Sung Dynasty. Meanwhile he copied calligraphy on steles to renew his perception of the development of calligraphy and clerical script.
The formation of his acquaintances and the master status of Weng are clarified in Chapter 2. Weng linked calligraphy, poetry and statecraft with “one unifying principle” and transmitted his thoughts by the yearly commemoration of Su Shi’s birthday. He became the leading figure among scholar-officials and even influenced the “Xuannan Poetry Society”, a group of incorruptible social elites with achievements in their official career during Jiaqing and Daoguang periods.
In the third chapter, I have discussed how Weng integrated calligraphy, scholarship and poetry with Confucian orthodoxy on the basis of “one unifying principle”. He left no stone unturned to execute Zhu Xi’s Teachings in the above mentioned domains. For calligraphy, Weng claimed that to follow obediently the calligraphic principles in copying ancient model-letters was a must. After that, one would be able to master and be free from the governing principles and create individual style. He also emphasized that calligraphy would help to cultivate one’s moral character. He emphasized the importance of understanding the principle by the study of things (gewu qiongli). Weng was regarded as the leader among the Four Masters of the Qianlong reign. It implied the great differences from the aesthetics of calligraphy of modern era that explicit personal styles and visual appeals are appreciated.
In Chapter 4, I have analyzed A Record of Yuedong Bronzes and Steles (Yuedong jinshi lüe) and A Record of Han Bronzes and Steles (Liang Han jinshiji) to explain how Weng developed the language of studying scripts and style. Weng revised the misperception of Han clerical script among calligraphers till the early Qing dynasty. He was enabled to master the brush methods and structure on Han steles. It is worth mentioning that Weng’s thoughts were based on the relationship of two contradicting factors unified with one principle. It was evolved from The Book of Changes (Yi Jing). For instance he stated that “pure and ancient” (chungu) and “change” (bian), “my heart” (woxin) and “rule” (fa) are mutually restrictive but complementary to each other. Apart from distinguishing style and aesthetic of visual quality, calligraphy embodied profound cultural connotations. Weng was always in the dilemma of succeeding Confucian orthodoxy as self-realization or being an individualized calligrapher.
Finally, it hopes that the attempt of this research will stimulate different points of view and ways of thinking, and achieve more precise and in-depth analysis and explanation of phenomena according to the uniqueness of Imperial China.

並列關鍵字

“the conception tradition of calligraphy” ； “one unifying principle” ； bronze and stone study ； statecraft ； the Four Masters of the Qianlong reign

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