從尚意到誠意:南宋理學對尚意書風的修正  

From Shangyi(Advocating Expressive Meaning)to Chengyi(Consolidating Sincerity):The Revision of the Shangyi Style of Calligraphy by Neo-Confucianism during the Southern Song

作　　者：張爍爍 ZHANG Shuoshuo

机构地区：[1]東南大學藝術學院

出　　处：《书法研究》2024年第6期142-152,197,共12页Chinese Calligraphy Studies

基　　金：2022年山西省哲學社會科學規劃項目(項目編號:2022YJ132)的階段性成果。

摘　　要：在南宋理學的架構下,書法作為“物”被納入“格物致知”的體系中,并在南宋理學“正心”“誠意”觀和“以性代情”的理學觀念影響下,南宋書法在提升書寫者主體精神的同時,對北宋“尚意書風”形成了一定程度的遏制。從而使宋代書法由北宋偏重“尚意”轉化為南宋偏重“誠意”,進而由尚“已意”轉變為尚“它意”,完成“尚意”内核的潜在置换。元、明、清書法也都是在南宋理學心性論所引發的“觀物”與“觀我”,“師古”與“師心”的基本構架下往前發展的。During the Song,under the framework of Neo-Confucianism,calligraphy was incorporated as wu(object)into the system of"investigating things to gain knowledge".Under the infuence of the Neo-Confucian concept of zhengxin(upright heart)and chengyi(sincerity),as well as the concept of yixing daiqing(using nature to represent emotions),the calligraphy of the Southern Song not only emphasized the subjective spirit of the calligrapher,but also exercised a certain degree of restraint in the style"advocating expressive meaning"(shangyi),typical of the calligraphy of Northern Song.As a result,the calligraphy of the Song experienced a shift from shangyi in the Northern Song to chengyi in the Southern Song,and from emphasizing"one's own intention"to emphasising"others'intentions",completing the replacement of the core of shangyi.The calligraphy of the Yuan,Ming and Qing dynasties also developed within the basic framework between"observing objects"and"observing oneself"and between"learning from the ancients'and"learning from the heart",triggered by the Neo-Confucianism of the Southern Song.

关 键 词：南宋 理學 書法 誠意 尚意書風 

分 类 号：I20[文学—中国文学]