認知與感悟:書法審美之“意”解析  

Cognition and Insight:An Analysis of Vi意(Expressive Meaning)in Calligraphy

作　　者：叢文俊 CONG Wenjun

机构地区：[1]吉林大學古籍研究所

出　　处：《书法研究》2024年第6期5-28,193,194,共26页Chinese Calligraphy Studies

摘　　要：“意”對書法的影響由來已久,應該是東漢之“翰墨之道生焉”的產物,唯其時重書勢、形勢,是以不彰。及至魏晋玄學的發展,王弼《周易略例·明象》闡明象、意、言三者關侨,及以王羲之等勝流的倡言,“意”始凸顯,成為“势”的運用與審美的主導因素,并以“書意”“意態”“意象”“筆意”等詞語,與“势”相對應,揭示書法美之所以然,其中的“人意”“人心”是靈魂所擊。東晉至盛唐,隨着對“势”的審美不斷深入,“意”亦逐漸明晰,成為書法批評的常見詞語,涵義包括源于天地萬物的自然美和物象生動,“势”成其“象”,“势”與“意”相表裹,進而生成專用的詞語一“意象”,對書法之抽象美的認知、如何表建及深入其審美本質,發揮了重要作用。及至中晚唐法度大成,属宋人的承續與出新提供了强大的動力,自此在蘇、黄的宣導下,“意”則從隱處走到前壹,成為謀取書法生路的標志,并以文學為助力,極大開拓了“人意”的内涵,而倫理道德的介入,為宋人尚“意”打開通道。在“宋意”中,蘇軾宣導的無意與讀書,是破除工夫和法度的號角,黄庭堅宣導的脱俗,即以“二王”、顏真卿、楊凝式属典範的個性出新,成為尚“意”風氣中的楷模,所憑藉者,盡在本有達意特質的行、草書體,復以米芾的卓然成就,為書法史交出了理想的答卷。從中晚唐至清代書論,言“意”的前提大都繁之于“法”,在客觀上,形成尚“意”脱“法”的發展倾向,所見之“意”“書意”“筆意”“意態”等種種以“意”為基礎之詞語的運用,則是千年以降最活躍的思想觀念。如何認識“势”“意”“法”的辯證關條,將是打開漢晋至明清書法的一把鑰匙。The influence of yi(expressive meaning)on calligraphy has a long history and can be fairly considered a product of the Eastern Han dynasty when,as ancient critics said,“the way of the brush and ink was generated”.At that time,emphasis was placed on the momentum and form of calligraphy;its significance,therefore,was not directly manifest.With the development of metaphysics during the Wei and Jin dynasties,Wang Bi's General Cormments on the Book of Changes clarified the relationship between xiang(image),yi(meaning/intention)and yan(language);at the same time,thanks to Wang Xizhi and other masters,the concept of yi began to emerge as the dominant factor in the creative application and aesthetic elaboration of shi(momentum).Terms such as shuyi(alligraphic connotation),yitai(demeanor),yixiang(imagery)and biyi(brushwork connotation)were used in dialectical correspondence with"momentum"to reveal the apparatus behind the generation of beauty in calligraphic works.Among these terms,renyi(human intention)and renxin(human heart/mind)are its spiritual ties.From the Eastern Jin dynasty to the Tang dynasty,as the appreciation of shi deepened,yi gradually became clearer,becoming a common term in calligraphy creation and criticism.Its meaning encompassed the natural beauty derived from the universe and vivid imagery.Shi formed xiang,and shi and yi were intertwined,giving rise to the term yixiang.This played a significant role in the recognition of the abstract beauty of calligraphy,expressing it and deepening its aesthetic essence.By the mid-to late Tang dynasty,the standardization of calligraphic technique had matured,providing a strong impetus for innovation in the art of calligraphy when it was inherited by the Song Dynasty.From that time,under the advocacy of Su Shi and Huang Gong,yi became a symbol for pursuing a distinctive path in calligraphy.With the help of literature,the scholars of the Song dynasty greatly expanded the connotations of yi,linking it to renyi(human will).The intervention of ethics and morality opene

关 键 词：意 意象 書意 筆意 尚意 無意 筆勢 筆法 

分 类 号：I20[文学—中国文学]