沈曾植與馬一浮書法比較

Comparison of the Calligraphy of Shen Zengzhi and Ma Yifu

陳秀雋(Hsiu-Chuan Chen)

《大葉大學通識教育學報》 5期 (2010/05) Pp. 1-24

摘要

沈曾植以治經史方法治書學，主張「碑帖結合」，開創新書風。沈曾植在思想上融通儒玄道釋的美學思想，表現出折衷融合的現象。以章草為主，用北碑方筆側鋒入行草，創造出「生、辣、古、拙」的新書風。康有為評為「高妙奇變，超軼蘇黃」，曾熙評曰：「工處在拙，妙處在生，勝人處在不穩」。章士釗評為「奇峭博麗」，沙孟海評為「開千古未有之奇境」。
馬一浮書學效沈曾植，但與沈不同，不喜沒有書卷味的龍門二十品，而推崇多骨豐筋的石門頌。馬一浮的書法於三十年代領袖書壇，豐子愷稱為「中國書壇泰斗」，陸維釗、沙孟海均推崇有加。馬一浮一生不追求名利，隱居讀書著述。故其書迹札如蘇東坡所言，「書無意於佳乃佳」，達到凝練高雅的境界。
本文擬從藝術特徵、書法風格作比較，探討沈曾植、馬一浮書法藝術成就的差異，從而見出兩位大師之異同。

關鍵字

沈曾植 ； 馬一浮 ； 碑帖結合 ； 多骨豐筋 ； 凝練高雅

並列摘要

Shen Zengzhi studied calligraphy using the methods of studying the classics and history, advocated ”combination of bei and tie inscription styles,” and developed an innovative calligraphic style. In terms of thinking, Shen incorporated the aesthetic thought of Confucianism, the occult, Daoism, and Buddhism in his work, which was expressed as the phenomena of eclecticism and fusion. Shen's work mostly features zhang cursive script, and his use of the side of a northern tablet square brush to write running script has given rise to a new calligraphic style with the attributes of ”rawness, piquancy, antiquity, and raw simplicity.” Kang Youwei assessed Shen's calligraphy as ”full of wonderfully strange variations, surpassing Su and Huang,” Zeng Xi weighed in with ”his effort is found in raw simplicity, his skill is found in rawness, and his triumph is found in unsteadiness,” Zhang Shizhao commented on Shen's ”strange peaks and expansive beauty,” and Sha Menghai saw ”never-before-seen weird landscapes” in Shen's calligraphy.
While Ma Yifu's calligraphy emulates the work of Shen Zengzhi, unlike Shen, Ma does not appreciate the bookish 20 works of Dragon's Gate, but rather esteems the tough and muscular Ode to Stone Gate. Ma's calligraphy dominated the calligraphy scene during the 1930s. Feng Zikai acclaimed Ma as ”China's leading calligraphic authority,” and Lu Weizhao and Sha Menghai both held him in the highest regard. Ma Yifu never pursued fame or personal benefit, and lived a solitary life of study and writing. As a consequence, his calligraphy achieves the state of practiced grace described by Su Dongpo as ”calligraphy achieving beauty through no intention to achieve beauty.”
This paper investigates differences in the accomplishments of Shen Zengzhi and Ma Yifu through a comparison of their artistic characteristics and calligraphic style, and concludes with a look at the differences and similarities of these two masters.

並列關鍵字

Shen Zengzhi ； Ma Yifu ； combination of bei and tie inscription styles ； tough and muscular ； practiced grace

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