《兰亭序》美学研究

【外文题名】Aesthetic study on LanTinXiu

【作者】 高园园

【关键词】 王羲之 兰亭序 书法

【外文关键词】 Wang Hsi-chih;LanTinXiu;calligraphy

【导师姓名】陈望衡

【学位名称】硕士

【学位年度】暂无

【学位授予单位】暂无

【录入时间】2015-02-11

【全文挂接】 读秀挂接

【摘要】瑰丽夺目，在文学史上亦享有盛名。帝王之家将它奉若至宝：唐太宗对其极尽赞叹，康熙为其作传，乾隆更是将其镌于硬石——但笔者认为，其奥秘并非如作者所言“其时乃有神助”，而是在当时的天时、地利、人和之中，进入了最佳的创作状态，亦即天人合一的境界。同时我们还能认定的是，基于汉字的书法并不是术技之学，还应该是人格品性、文化修为之学。一部《兰亭序》之所以被推上历史前台并千年不衰其名，与其创作者的人文修养、道德价值密不可分。论人才能，先文而后墨，书法家的“文”，不仅仅是在笔墨之中倾注，长期积淀而成的自身素养也自然会呈现在字里行间。以《兰亭序》为范本，从书法、文字上来把握中国美学意蕴有着独特而深刻的意义。 本文首先将目光对准《兰亭序》版本考察，对流传于世的两大《兰亭》体系作了基本介绍：一是以褚本、虞本、冯本、黄绢本为宗的帖学体系，二是以定武本为宗的碑学体系。以此为据，从最贴近真迹的冯承素摹本开始，对《兰亭序》进行品评：首先是对《兰亭序》文本进行把玩，在其行文、内容上略作绍介；再将其文所呈现的山水观、自然观一一道来，将文章纳入其时的玄言与山水诗作以及魏晋风度中进行考量。其次是对《兰亭序》图卷进行细致琢磨：一是以笔画、结体为据赏析单字趣味，以重字别构为据赏析姿态纷呈；二是以章法中格式与幅式，以及《兰亭序》章法所表征出来的一气贯注、疏密得当、奇正相辅来抵达作者营造的意境；三是总领该帖所表达的风格，与其他各时代书家的异趣相较；最后谈《兰亭序》文本与图卷统一的契机，乃是“天人合一”。第三章乃是本文的重点。 《兰亭序》在中国文化史上的地位如何究竟如何：本文认为，它于文学史驻名，展示了东晋诗歌从玄言诗向山水诗演变的轨迹；它于书法史千古，尤其是二王体系的行书，笼罩了整个唐代，其后历代书家莫不以它为典范之作或临摹或鉴赏；而对王羲之的绝对推崇和碑帖的泛滥，使得书法创作因“泥古”而至误区。作书要发挥自己性灵，切莫寄人篱下。一味专注术技之学而缺乏个性，只能被视为“书奴”。作者引后世临《兰亭序》之佳作，述此深意。

【外文摘要】A Chinese character undoubtedly is the most charming character in the beauty of vision in all characters. Why? The reasons are various, such as the function of emotion expressing, the perfect form framework and profound culture details. When we enjoy the calligraphy, we often feel familiar with the ancients as if touching their pulse. And in the diverse lines, we are not difficult to discover life, age, history, universe flowing. ‘LanTinXiu’ not only is regarded as the best running script in the world and the invaluable treasure in the calligraphy, but also is famous in literature. Tangtaizong emperor has the greatest esteem for it. When he lived, it slept with him. When he died, it buried with him, too. Kangxi emperor also erected a monument and wrote biography for it. Qianlong emperor carved a reproduction of it in order to spread forever. But the secret of ‘LanTinXiu’ was not said by Wang Hsi-chih that god help him in the moment. At that time, opportunities of time vouchsafed by Heaven, favorable geographical position and unity and coordination within one's own abilities made Wang Hsi-chih enter into the best state which is a mind of the unity of Heaven and man. At the same time, we also conclude that Chinese calligraphy is not a technique, which a wisdom on personality and culture cultivation. So the reason for ‘LanTinXiu’ can have been famous for thousands of years can not leave with the humane cultivation and moral value about the framer. On the ability and talent, Wang Hsi-chih is proficient in literature firstly and perfected himself in calligraphy. The ‘characters’ in calligraphy not only wrote by pen and ink, but only are a natural expression about self-cultivation for long term. It is a unique and profound significance to take the ‘LanTInXiu’ as the example to master Chinese aesthetic aroma from the angle of calligraphy and characters. This essay will start study with some editions about ‘LanTinXiu’ and introduce the base information about two systems which spread to today. The one system which is written on silk or paper includes the edition of ‘chu’, ‘yu’, ‘feng’ and ‘yellow silk’. The other system which is carved on stone mainly is the edition of ‘dingwu’. According to two systems, the essay begins with the most similar edition and tries to comment on it. Firstly, the essay appreciates the text of ‘LanTInXiu’ and introduces the content of the text. Secondly, the essay describes the opinions about mountains and waters and nature. And essay will compare its statements and poems on mountains and waters with demeanor in Dynasty of Wei and Jin. Secondly, the essay will ponder carefully on the picture of ‘LanTinXiu’ which includes three side: one is appreciation on the strokes and frame of single character, the other is style and methodicalness which express conherent, appropriate, and unity of opposites to reach the artistic conception, thirdly, the essay will summarize the sytle of ‘LanTinXiu’ and compare the special interest with some calligraphers in other ages. Finally, the moment of unity of text and picture in ‘LanTinXiu’ is the unity of Heaven and man. The position in history of Chinese culture on‘LanTinXiu’ is a problem on debate. This essay consider that it is eminent in literature history and presents the orbit from metaphysical poem to landscape poem; it is brilliant in calligraphy history, especially running script created by ‘two Wang’ has a great influence on Dynasty Tang and afterwards there is no one calligrapher who did not imitate or enjoy as classic masterpiece. But calligraphers set absolutely Wang Hsi-chih on a pedestal. The copies in paper or stone are flooded. These situations make the production of calligraphy enter the wrong zone for imitating ancient. The Qing Dynasty, Zhuhegeng said in ‘thinking on the poolside’ that calligraphy must develop own zest and never always imitate others. Invariably concentrating on technique and lack of personality, the calligrapher just is a slave of calligraphy. So the essay quotes some fine work imitating ‘LanTinXiu’ to express the deep intention.