文徵明及其書法探論

The researches of Wen Jeng-ming's brief biographical sketch and calligraphy

吳淑菁(Shu-Ching Wu)

指導教授 ： 崔成宗

淡江大學/文學院/中國文學系碩士在職專班/碩士(2012年)

https://doi.org/10.6846/TKU.2012.00619

摘要

書法要從技術的層面向上追求到藝術的境界，除了具備胸羅萬卷的學養之外，還要有高尚的人格修養，開闊的胸懷襟抱，才能在字裡行間煥發岀卓越的人文精神，表現出生命之美、情操之美。文徵明就是具備上述特質之書法名家，他在從政淑世的理想破滅後，轉而投入藝術創作，中規中矩地師法前賢的典範，融鑄前修精髓，形成自家風貌，並廣收門生，傳道授業，影響後世極為深遠。

筆者蒐羅各類研究文徵明的文獻資料及其書法、詩、文、繪畫等作品，並以考據、賞析、臨摹等方法進行研究，而撰寫本書第一章〈緒論〉。欲瞭解文徵明的藝術成就及其書法風格的形成，必須知其人、論其世，書品與人品更有著相即相容的關係，筆者因而撰寫本書第二章〈文徵明評傳〉。文徵明一生臨摹法帖為數甚多，尤其是對《千字文》的臨寫更為用心，他兼工篆、隸、楷、行、草等各體書法，乃因其師承於各朝代的前賢名家，筆者因而撰寫本書第三章〈文徵明之學書歷程及各體書法之師承〉。文徵明重視楷法、強調師古與創新、注重人品與書品的關係，並且將書法與繪畫相通相融，這些理論對後世影響甚鉅，筆者因而撰寫本書第肆章〈文徵明之書學理論〉。條貫全書各章之論述及其書法成就，筆者因而撰寫本書第伍章〈結論〉。

本書附錄〈文徵明書法繫年〉，將其一生的重要事蹟及書跡羅列於表中，可清楚地看出他各時期的書法作品及風格。本書附圖，除文徵明的書跡外，尚有其臨摹的各書家法帖，由此百餘帖的書跡，應足以窺見文徵明的書法藝術成就。

關鍵字

文徵明 ； 書法 ； 臺閣體 ； 書品 ； 人品

並列摘要

Calligraphy should be reached to the artistic state from the technical level. Not only profound cultivation but noble accomplishments can make a calligrapher transpire illustrious human spirits and the beauty of life in the words. Wen, Cheng-ming (文徵明) is a famous calligrapher who possesses the above specialities. The state of political disillusionment created a chance for him to find the approach to art. Soundly and regularly handed down by previous masters, achieved mastery through a comprehensive study of subject, received the disciples broadly and finally influenced posterity a lot.

I search and collect various kinds of bibliographies and works to textual criticize, appreciate and imitate to write down Chapter 1: ‘Introduction’. We need to know Wen, Cheng-ming in detail to understand his artistic achievements as well as the formation of his calligraphic style. So I write down Chapter 2: ‘A critical biography of Wen Cheng-ming’ (〈文徵明評傳〉) .

A large number of rubbings Wen, Cheng-ming imitated are all important and One Thousand Character Primer (《千字文》) is paramount. Because he followed many famous experts in different dynasties, he’s skilled in the seal character(篆), official-script(隸), cursive-hand(草), regular(楷) and running-hand(行) styles. Therefore, I write Chapter 3rd ‘The processes of learning calligraphy and the models from every kind of calligraphic styles’ (〈文徵明之學書歷程及各體書法之師承〉)。Wen, Cheng-ming emphasized regular style, highlighted tradition and innovation, paid attention to the relationships between personality and book comments, meanwhile, blended calligraphy with paintings. All of above theories influenced the later a lot. Thence, I write Chapter 4th ‘Wen, Cheng-ming’s calligraphic theories’ (〈文徵明之書學理論〉). To sum up, I write Chapter 5th ‘Conclusion’(〈結論〉).

Wen, Cheng-ming’s important deeds and works are listed in the the appendix ‘The Annals of Wen, Cheng-ming’s Calligraphy’ (〈文徵明書法繫年〉). In that table, we can clearly read his calligraphic works and styles in various periods. In addition, the pictures in this thesis are including Wen, Cheng-ming’s works and various models for calligraphy he handed down by previous masters. From these precious pieces, we can find Wen. Cheng-ming’s calligraphic artistic achievements.

並列關鍵字

Wen, Cheng-ming ； calligraphy ； cabinet-style ； book comments ； Personality

參考文獻

24.（清）陳夢雷編：《古今圖書集成》（臺北：臺灣學生書局，1989年）。

35.石守謙著：《雅俗的焦慮：文徵明、鍾馗與大眾文化》（臺北：國立臺灣大學藝術史研究所，民國93年）。

36.石守謙著：《雅俗的焦慮：文徵明、鍾馗與大眾文化》（臺北：國立臺灣大學藝術史研究所，2004年）。

1. 朱書萱 ：《明代中葉吳中書家及其書風的形成 》（臺北：國立臺灣師範大學國文研究所博士論文，民國89年）。

一、文徵明的著作及傳記資料