夷夏之辨与北朝书法接受中的文化认同问题  

Yi-Xia Distinction and Cultural Identity in the Reception of Calligraphy in the Northern Dynasties

作　　者：张兴成[1] Zhang Xingcheng(the School of Chinese Language and Literature,Southwest University,Chongqing 400715,China)

机构地区：[1]西南大学文学院,重庆市400715

出　　处：《文艺理论研究》2024年第6期79-89,共11页Theoretical Studies in Literature and Art

基　　金：国家社科基金项目“清代经学与书学关系研究”[项目编号:23BZX045]的阶段性成果。

摘　　要：北朝书法在中国书学史上的沉浮不但有艺术与审美的原因,还涉及比较复杂的文化认同问题,深刻折射了书法与文化政治之间的互动关系。唐代“崇王”论及书学的南学化是导致北朝书法被遗忘的开始,宋人弃魏碑等北朝书法不学也是建立在夷夏之辨、文野之分基础上的晋唐书学正统论的影响结果。清代中晚期以来,学术思想的变革、现实文化政治的需要,特别是清人《春秋》学所持夷夏观的调整,改变了清人对北朝书法的看法,其中阮元、康有为的书学思想起到了关键性作用,他们重新赋予了北朝书法“通古”“变古”等新意,并借此打破了书学中南与北、文与野、夏与夷之间的中心-边缘结构及价值秩序。北朝书法是唐宋和清代文化政治构建的产物,它被塑造成了具有范式意义的存在,并逐渐演化为中国书法史上一个新的统绪。梳理和辨析北朝书法接受史,有助于我们深入认识中国书法审美观念和批评标准背后的深层文化政治心理结构。The fluctuating recognition of Northern dynasties'calligraphy within Chinese calligraphic history stems not only from aesthetic considerations but also from complex cultural identity issues,which profoundly reflects the interaction between calligraphy and cultural politics.The Tang dynasty's reverence for Wang Xizhi and the trend toward“southernization”in calligraphic studies initiated the decline of Northern dynasties'calligraphy,while the Song Dynasty's rejection of Wei steles and related Northern styles reflected the orthodoxy of Jin and Tang,based on the Yi-Xia distinction and the divide between civilization and barbarism.Since the mid-to-late Qing dynasty,the transformation of academic thought,the demands of realistic cultural politics,and particularly the adjustment of Yi-Xia perspective in Qing scholars'studies of the Spring and Autumn Annals transformed the Qing people's view of Northern dynasties'calligraphy.Key thinkers like Ruan Yuan and Kang Youwei were central to this reevaluation,infusing Northern dynasties'calligraphy with new meanings such as“communicating with antiquity”and“transforming antiquity,”which disrupted the prevailing cultural hierarchies of south versus north,cultured versus uncultured,and Xia(Han culture)versus Yi(non-Han cultures)in calligraphic discourse.Emerging from the cultural-political contexts of the Tang,Song,and Qing dynasties,Northern dynasties'calligraphy became a paradigmatic style,which formed a distinct lineage within Chinese calligraphic history.Tracing the reception history of Northern Dynasties'calligraphy would deepen our understanding of the cultural-political psychological structures behind aesthetic values and critical norms in Chinese calligraphy.

关 键 词：夷夏之辨 北朝书法 魏碑 文化认同 阮元 康有为 

分 类 号：J29[艺术—美术]