創意師古--元代書法復古下的篆書發展與諸問題

Abstract

書體的使用並非偶然，而是文化內涵、時代氛圍與書家之間的多重錯綜的關係。篆書不同於楷、行、草等日常書體，向來被視為古代書體。在元代重視「復古」的藝術氣氛下，篆書成為反映「古意」的文化載體。對於篆書在元代的流行，首倡復古的趙孟頫扮演相當重要的角色。趙孟頫不僅以兼擅眾體的形象出現，更因其身體力行諸體的創作而帶動各種古代書體在元代的復興。在篆書方面，趙孟頫試圖由李陽冰以來的「玉箸篆」，進而上溯秦篆，而追求所謂的「古意」；更試圖在秦篆中進一步融合〈石鼓文〉、〈詛楚文〉等秦系文字的淵源，而達到「復」於「古」的意圖。與趙孟頫同時的著名印人吾丘衍所留下豐富的篆學著作中，也同樣表達對於早期篆學範本的興趣，反映元代初期南方的博古氣氛。此與宋代金石學大興以來，得以掌握青銅、石刻等早期文字實物有密切的關係。 在趙孟頫之後，「篆書」顯然被賦予特定文化內涵。這種書體視覺上的文化內涵，透過散布與宣傳，即經由元代的文人雅集的篆書與書學的篆書發達，而更廣為確定自身的高古意義。無論南北二地，皆有活絡的篆書活動。無論是以臨學〈詛楚文〉聞名的吳叡，或是取徑〈石鼓文〉的周伯琦與泰不華，彼此風格各不相同，卻都反映趙孟頫以來追求篆書古意的「復古篆書」之理念。張雨評價吳叡篆書「創意師古」之語，恰可做為理解元代篆書的最好註腳。

Abstract A form of written calligraphy is always concerned with cultural atmosphere, their distinguishing era characteristic, and also the writers themselves. These three factors decide the usage of script type most of the time. Seal script, which is different from regular script, running script, and cursive style, is usually considered to be the so called “ancient character”. Literati in the Yuan dynasty think highly of the ways of restore ancients, which makes the Seal script prove to be the best carrier of representing the past. With this concern, Chao meng-fu not only became a culture leader of literati, but also as an important role in approaching archaism. In order to return ancients, Chao attempted to use Yu-Zhu-Zhuan style derived from the Tang master , then traced back to the Seal script in the in the Qin times. By trying to combine the Qin-style character such as Stone Drums text and Curse-Chu-Wen, he achieved the new form of “ancient characters”. Besides Chao, Yuan Dynasty Sphragist Wu Yan also expressed his interest in ancient Seal characters. On the basis of Sung Jin-Shi Studies, Wu left many profound writings about Seal characters showing the tendencies of returning ancients. All above, the era of the archaism influenced each other and interdepends with these social factors. After Chao and Wu, the Seal script was obviously given the specific culture significance. Through the promoting, the Seal script admit its own ancient meaning. Although the later generations had variety of styles, all of them reflected the idea of “novel archaism” succeed to Chao Meng-Fu.