從時空轉向平面——碑刻現場感的缺失與拓本的多重誤讀  

From Space-time to Plane:The Lack of On-site Feeling in Inscriptions and Multiple Misreadings of Rubbings

作　　者：徐發 XU Fa

机构地区：[1]中國美術學院

出　　处：《书法研究》2025年第1期138-157,199,共21页Chinese Calligraphy Studies

基　　金：中國美術學院2024年度基本科研業務“清末民初碑刻重摹僞刻著録研究”(项目编號:YW2024SK11);浙江省哲學社會科學规劃课题“新時代浙江鄉村書法藝術生産及圖像数據庫建設”(項目編號:25YJRC005ZD-4)的研究成果。

摘　　要：金石之學,其實是以拓本爲媒介和依托的一門學問。當金石轉换爲拓本,存在着一系列的遮蔽、误讀與重構。論文通過還原碑刻的时空環境與刊刻程序,指出碑刻從时空轉换爲平面,再到镌刻、傳拓、装裱,每一程序都存在着不同層面的加工與重構。而拓本的最终效果是由碑刻的材質、形式、用途、鎸刻、傳拓、装裱等多種因素層纍疊加、综合之後而形成的。圍統拓本,學者、鑒藏家、書家亦衍生出三種不同的接受熊度,其中又牵涉到清代的學術之争與藝術之變。Epigraphy is a discipline which relies on rubbings as a medium and support.When the inscription is converted into a rubbing,a series of interpretative obstructions,misreadings and subjective reconstructions appears.By restoring the time and space environment and the engraving procedures of the inscriptions,this paper points out that each procedure related to the inscription,from the conversion of the time and space dimension into a plane surface to the engraving,the making of rubbings and their mounting,involves different levels of processing and reconstruction.The final effect of rubbings is formed by the accumulation and synthesis of various factors,such as materiality,form,purpose,engraving of the inscription and the making and mounting of the rubbings.As for the reception of rubbings,scholars,collectors and calligraphers have developed three different attitudes,which involve academic disputes and artistic changes in the Qing Dynasty.

关 键 词：碑刻 拓本 時空 鎸刻 傳拓 裝裱 誤讀 重構 

分 类 号：J292.2[艺术—美术] J292.26