溥心畬宮廷書風與渡臺後發展之研究

本論文旨在研究「溥心畬（1896-1963）宮廷書風與渡臺後之發展」。溥心畬是清道光皇帝的曾孫，恭親王奕訢之孫，因為時代的變局，於一九四九年農曆八月渡海來台。通過宮廷書風－舊王孫的政治認同與價值共識，從而理解到溥心畬書法傳統價值的所在。在結構的安排鋪陳方面，本文並非全部按照年代的先後順序，多是以書作的類型作為議題的安排。除了緒論和結論外，共分七章，每章皆分兩節。首先，以一章論述溥心畬渡台前清末民初之文化與日治時期台灣書風；其次，以一章探討清代宮廷之書法風尚與溥心畬早年的生活、書作；再其次，以五章論析溥心畬渡台後晚年的生活，以及書法的發展。試圖以每章兩節均稱的鋪陳方式，獲致研究的最大成效。第二章檢視溥心畬所處的時代文化背景與日治時期台灣書風。首先探討清末民初之文化與書風流派。其次探析日治時期台灣之書風，以一九二0年代艋舺龍山寺書法藝術的建構來作探究。第三章探究清代宮廷書法與溥心畬早年生活，分析溥心畬書作與宮廷書風之關係。首先論析清代宮廷書法之風尚，以及康熙、雍正、乾隆盛世宮廷書風之塑造與皇子王孫的教育。其次探討溥心畬家世與南渡前書學經歷，來自家世背景與王孫的文治武功教育，厚植其宮廷書風的書法根柢。第四章探究宮廷傳統精神之延續，首先分析渡台後溥心畬如何繼承清代宮廷書風典範，其容納吸收前賢之書法，作為政治身分的認同。其次，探討堅守傳統之時代意義，基於宮廷書法是道德與權力的象徵，同時也是政治身分的認同，溥心畬渡臺前後之書法風格，變異不大。第五章論述溥心畬經詩書畫合一的觀念與儒士的提拔、贊助。先分析溥心畬書法具有經詩書畫合一的美學觀，往上溯源自清代宮廷經詩書畫的學術文藝活動；又溥氏書法文本繼承《詩經》「詩言志」的精神，將書法文學化。再探究寫經與儒士之提拔、贊助。第六章探析溥心畬渡臺後書學術著與正統國畫之爭，首先探究溥心畬授課之餘，往往利用下午時間從事書寫學術著作，希冀在儒學方面有所建樹。其次探析溥心畬與正統國畫之爭，渡臺後溥心畬曾經多次擔任「省展國畫部」評審，期間發生渡海來臺水墨畫家與臺灣本土東洋畫家的一場繪畫版圖之爭－「正統國畫之爭」，透露出渡臺初期的時代背景。第七章探討書論之提出、傳授與清遺民之交往，首先討論其書論之提出與傳授，溥心畬「論畫」和「論書」同刊於《寒玉堂論書畫真書獲麟解》中，其中〈論書〉部份共十五則，溥氏謂臨習古人書法的目的乃先「求其用筆」。其次，探討渡臺後溥氏喜與清遺民交往，以詩詞書畫倡和。第八章研究溥心畬晚年生活與行楷書，先討論旅居日本、香港與泰國之書作。溥氏與朱家驊、董作賓於一九五五年赴韓國講學，獲贈漢城大學法學榮譽博士；之後，在返臺途中，獨自一人在日本停留下來，遊歷一年餘，期間所見所感以書作表述。再探討溥心畬書臺灣生活與風情之行楷書，其利用行楷書抒懷詠物與書寫日常生活瑣事、山水遊記與各地風物，雖然滯留台灣卻走出遺民「新亭對泣」的格局，為生命找到重生的出口。研究結果發現，溥心畬在辛亥國變（1911）後，以宮廷書風作為心靈的寄託，自我有意識地建構延續傳統的一套歷史道統觀，以確立自己身分的尊嚴。在風格研究之外，也觸及書法的政治與文化議題，從政治文化「轉型的時代」（transitional era）角度，重新詮釋溥心畬書法的傳統價值所在。

關鍵字

清代宮廷書風；溥心畬書臺灣生活與風情；寒玉堂詩集；舊王孫

並列摘要

This dissertation studies Pu Hsin-Yu’s calligraphy in Taiwan and its relationship with the Qing court. This calligraphy was important in that its creation combined the Qing court with political identity. Pu Hsin-Yu was the great-grandson of Qing dynasty’s Xuanzong emperor. He was one of the old princes, who were also called shin, shin-jen, or shin-ta-fu . As shih, they were members of the elite, superior to those of the commonalty (shu) or the populace (min). That Pu Hsin-Yu had been learning classics, poetry, calligraphy, and painting together as a form of aesthetics had to deal with sinicization. It was true that the Qing rulers had Buddhist, Confucian, and other works translated into their own national language. In fact, so sinicized were the Manchus that much of what we regard as the orthodox Confucian state and society was in fact the result of Qing’s sinicization. While the elite’s vogue of cultivating scholarly and artistic avocations was a national phenomenon, the old princes of Qing dynasty read many of the same texts, shared many assumptions about the value of what they were doing, and identified with each other. It was their intellectual culture. However, their loyalty to the Qing dynasty did not automatically transfer into loyalty to China. Pu Hsin-Yu came to Taiwan as KMT Government withdrew in 1949.This dissertation elaborates mainly according to the types of calligraphy rather than chronological order. The first chapter of this study observes the development of calligraphy both in late Qing dynasty and in Japanese colonial period in Taiwan before the KMT Government. The second chapter describes not only the Qing Emperors’ calligraphy activity and its significance but also Pu Hsin-Yu’s educational development of calligraphy. Chapter three to chapter eight analyzes the development of Pu Hsin-Yu’s calligraphy in Taiwan and its relationship with the Qing dynasty. The Qing was without doubt the most successful dynasty of conquest in Chinese history. The aim of this dissertation is to determine what remained unchanged in Pu Hsin-Yu’s thinking about traditional values after the collapse of the Qing dynasty in the twentieth century.