《靈飛經》與盛唐宮廷楷書之發展

Spiritual Flight Sutra and the Development of Court Regular Script in the High Tang Period

廖珮妏(Pei-Wen Liao)

指導教授 ： 盧慧紋

國立臺灣大學/文學院/藝術史研究所/碩士(2019年)

https://doi.org/10.6342/NTU201903947

摘要

美國紐約大都會藝術博物館藏有小楷《靈飛經》寫本殘卷。此為道教典籍，書於唐玄宗開元二十六年（738），由玉真長公主（約692-762）奉勑檢校寫。其書風挺拔勁健卻又不失婉麗流暢，堪稱唐代（618-907）宮廷楷書高度發展的代表作之一。《靈飛經》流傳甚廣，至少被刻入三部彙帖之中，亦有單刻本傳世。

過往學界對《靈飛經》的研究較零散，多數學者聚焦於書者爭議及墨跡本傳藏史，少數關心《靈飛經》對後代的影響及文本內容，而大都會藝術博物館亦僅以宏觀書法史的脈絡略論之。這些研究雖具啟發性，卻較少同時由宗教、政治和藝術三方面深究此作。乃至於對《靈飛經》與道教和玉真公主的關聯、《靈飛經》所承襲之書學傳統，及其在唐代的書學地位，尚缺乏充分且立體的認識。

本文從《靈飛經》文本出發，討論其流傳過程與殘卷現狀。接著藉由探討《靈飛經》對南北朝（420-589）至隋（581-618）寫經書法傳統的繼承，以及梳理初、盛唐（618-741）宮廷楷書及其背景，論述唐代宮廷書法與《靈飛經》的關係。本文期許能在浩瀚的唐楷中具體掌握《靈飛經》的書學成就，同時增進學界對唐代宮廷時興楷書風格、及其標準化過程的了解。

關鍵字

靈飛經 ； 寫經 ； 盛唐 ； 宮廷楷書 ； 標準化 ； 玉真公主

並列摘要

The Spiritual Flight Sutra is a small writing currently preserved in the Metropolitan Museum of Art of New York City in the United States. It’s a Daoism Sutra commissioned by Princess Yuzhen (Jade Perfected, 692-762) in 738 during Kaiyuan reign period of Tang (713-741) under the command of Emporor Xuanzong (685-762, r. 712-756). Not only forceful but graceful and fluent, the calligraphy style grants it the position as one of the masterpieces which reflects the sophisticated court regular script during Tang dynasty (618-907). The Spiritual Flight Sutra has a wide spread history as well. It has been carved into at least three compilations of calligraphy rubbings, and besides, it has a single-printed form.

The past studies about Spiritual Flight Sutra are not focused enough. Most scholars argue about its writer and explain the history of collection. Some scholars concern about its influence to the following dynasties and the content of the Sutra. While the Metropolitan Museum of Art discusses it in the context of macro-history of calligraphy. These studies are inspiring yet scarce of the viewpoint of seeing it from three perspectives- religion, politics, and art in the meanwhile. Therefore, the relationship between Spiritual Flight Sutra, Daoism and Princess Yuzhen; the calligraphy tradition inherited by Spiritual Flight Sutra; and its position of calligraphy during the Tang are still lack of full and solid recognition.

This study begins with the content of Spiritual Flight Sutra, and discusses its handed-down history and current status. Then, by examining its succession to the sutra writing tradition of Southern and Northern Dynasties (420-589) and Sui dynasty (581-618), and by organizing court regular script during early and High Tang (618-741), the relationship between Tang court calligraphy and Spiritual Flight Sutra can be analyzed adequately. This study expects to grasp the calligraphy achievement of Spiritual Flight Sutra among the abundant Tang regular script in a concrete way. Besides, the study also aims at increasing the understanding of Tang court’s popular regular script style and its standardization process to the academic field.

並列關鍵字

Spiritual Flight Sutra ； Buddhist and Daoist Scriptures ； High Tang ； Court Regular Script ； Standardization ； Princess Yuzhen

參考文獻

傳統文獻

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