清代金石學對書法的影響

Abstract

論文提要 清代書法，自康有為在《廣藝舟雙楫》中，揭櫫「帖學」與「碑學」的概念後，在康氏影響下，後之論書法史者，多以嘉慶、道光為分界線，將清代書法史劃分為前、後二階段，稱前期為「帖學期」，後期為「碑學期」，涇渭分明，截然二分。立足於實際作品的觀察，黃惇於1989年首先提出「清代前碑派」的概念，注意到清代中期以前，篆、隸書頗為盛行，書家眾多的事實，並以「前碑派」概括之，以其為清代「碑派」書法全盛時之前導。其後經劉恒、蘇森裕、周睿之踵繼研究，清初「碑學」肇興之事實與意義，論述漸趨於完備。 在清代中期乾、嘉階段，以及後期道、咸、同、光、宣統之世，「碑學」書法現象的觀察與研究方面，劉恒《中國書法史－清代卷》，企圖以金石學的觀點，藉由實際作品的舉例觀察，探析清代中、後期「碑學」書法的發展狀況。此後學界陸續有相關論文提出，清代金石學對「碑學」書法影響深遠，牽繫清代書法發展脈動的事實，已成為書法史界普遍的共識。然而，由於對金石學的學術內涵缺乏理解，諸人在闡述清代金石學對「碑學」書法之影響情況時，每以朱劍心《金石學》一書為參考書籍，排比羅列金石書名；至於所舉書目，則「鑑賞」與「考據」不分，隨機任意舉例，掛一漏萬，乃至於所討論的金石之籍，往往並非影響較大之著者；或僅浮光掠影，略舉數本金石書名，隨即便下結論，以清代書法受金石學影響極深作結。故截至目前為止，雖探討此一論題著作綦夥，研究成果，仍侷限於清代前期金石學對「碑學」書法之影響，以及清代各期金石學興盛的背景條件之討論。對清代中、後期金石學，學術如何影響書法發展的狀況，以及「碑學」書法如何借鑒轉化金石材料，化學術成果為藝術創作之用，此最為核心與關鍵的課題，則探討闕如，學術推進極其有限！ 此外，在對實際作品進行觀察，以證明清代金石學對書法有極大的影響上，諸人往往僅略舉數例以作說明，或直接就觀察結果，提出心得結論，未全面關照作品呈現的現象，導致觀察結果往往陷於片面武斷，或流於以偏概全，無法真切反映清代金石學，影響清代「碑學」書法發展的真實情況。筆者鑑此，撰為本文，藉由對清代書法產生影響的重要金石學著作之探討，配合實際作品的深入觀察，探究清代金石學影響書法發展的情況，釐清有清書法借鑒化用金石資料的事實；跳脫以往對清代金石學著作書名的隨意羅列，從各期具有代表性金石著作的內涵著手，探究其與清代書法發展的關係，以清晰呈現清代各期「碑學」書法，發展的脈絡與風格特徵。 本文是第一部深入運用相關金石學資料，對清代「碑學」書法進行研究者，故能對清代「碑學」書法的發展脈絡，進行較全面的觀察與論述。對清初漢隸、金文書法的復興，乾、嘉之世篆、隸書風格的轉變，道光以降「碑學」書法全盛時期的觀察，除提出清晰且合理的說明，並對前人說法錯謬之處多所補正。從而提出清代書法史發展的三階段說，以清代前期為「帖學發達期」、中期為「碑帖並行期」、後期為「碑學發達期」；清代「碑學」書法的發展，前期為「醞釀期」、中期為「發展期」、後期為「全盛期」的新說。所做分期，應是目前最能清楚呈現清代各期書法風貌的實況，呈現清代各期「碑學」書法發展脈絡的說法。 此外，對包世臣《藝舟雙楫》和康有為《廣藝舟雙楫》的研究上，本文立足於金石學的研究角度，亦有新得與創見的提出，透過相關金石著作的鉤稽發微，闡發二書的美學思想；並注意到二氏的書學創作理論，從而提出百年以來的書法現象，不脫《藝舟雙楫》、《廣藝舟雙楫》美學思想之影響的論見。全文藉由實際作品的閎觀考索，有效釐清清代各期「碑學」書法，借鑒化用金石資料的狀況，呈現清代書法發展受學術深刻影響，與金石學發展相表裡的事實！

Abstract Qing-Dynasty calligraphy, starting from Kang Youwei’s collection “The Oars of Quanta Arts”, enshrined the concepts of stelae and model calligraphy. Under Kang’s influences, most preceding studies mark a separation of Chinese calligraphy at the transition of the Jiaqing era and the Daoguang era. The former is known as the Era of Model Calligraphy and the latter as the Era of Stalae Calligraphy. There is a clear and keen distinction between the two. From realistic observations, Huang Tun pioneered the concept of ‘Early Qing-Dynasty Stalae Calligraphy’ in 1989, addressing the prevailing popularity of the seal script and the clerical script during the early ages of the Qing Dynasty. This concept was later developed into a more rounded and completed theory through the continuous researches of other scholars such as Liu Heng, Su Senyu, and Zhou Rui. In Liuheng’s study of stalae calligraphy, “Chronology of Chinese Calligraphy - Qing Dynasty”, there was an attempt to comprehend the development of middle-late Qing Dynasty calligraphy through studies of cepigraphy, from the Qianlong/Jiaqing periods to the Daoguan/Xianfeng/Tongzhi/Guanxu/Xuantong periods. Numerous similar studies began to emerge, indicating profound influences of cepigraphy on the stalae calligraphy. This discovery has now become a common knowledge between the scholars of calligraphy. However, due to lack of understandings in the essence of it, when elaborating on the actual effect of epigraphy, most scholars find themselves referencing Zhu Jianxin’s “Study of Cepigraphy”, or sampling from various other compositions that are not of prestigious researches. Generally, studies of cepigraphy lack organisation and thorough understanding, making rash suggestions and too quick to conclude a deep connection between Qing Dynasty calligraphy and cepigraphy without proper references. Thus, the study of cepigraphy’s influences on stalae calligraphy, up until now, remains an assumption, observed through the prevailing conditions of history. The understanding of important discourses, such as how does stalae calligraphy takes from the scientific contents of epigraphy into its creation of artistic forms, remain limited. In addition, upon evident observations of calligraphy arts, in order to demonstrate the effects of cepigraphy on Qing Dynasty calligraphy, researches tend to make feeble attempts of scattered examples or objective personal opinions without attending to the full spectrum of artistic creation, forgoing subjective opinions and unbiased observations. The author of this paper attempts to comprehend the effects of epigraphy on Qing Dynasty calligraphy through realistic observations and studies on the development of cepigraphy, unveiling the process in which calligraphy borrows from cepigraphy material for artistic creations. Escaping from the lack of organisations and thorough understandings, the author will conduct this study through coherent presentation of the parallel evolutions in both stalae calligraphy and Qing Dynasty epigraphy. This paper will be the first to utilize in-depth information on epigraphy, allowing for a comprehensive study on the developing of stalae calligraphy in relation with Qing Dynasty calligraphy. The paper will also study the transition of seal and clerical scripts between the Qianlong/Jiaqing periods, explain the renaissance of epigraphical calligraphy, and observe from the post-Daoguan periods in order to provide coherent explanations for misinterpretations from previous scholarly compositions. The development of Qing Dynasty calligraphy will be separated into three divisions, the early-Qing ‘model calligraphy era’, the mid-Qing ‘stalae and model calligraphy era’ to the late-Qing ‘stalae calligraphy era’. And the development of stalae calligraphy will be divided into the ‘incubation era’, the ‘expansion era’ and the ‘developed era’. These divisions of eras will assist in the understanding of calligraphy styles and developments of Qing Dynasty stalae calligraphy. In addition, in the research of Bao Shichen’s “The Oars of Arts” and Kang Youwei’s “The Oars of Quanta Arts”, this paper addresses innovative results through the study of epigraphy. Focusing on the theorems of artistic creations from Bao and Kang, without forgoing the principles of beauty and art from their works, this paper thoroughly demonstrates the influence of epigraphical progress in Qing-Dynasty calligraphy and comprehensively references evident observations from various periods of stalae calligraphy.