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浙江大学学报(人文社会科学版)  2023, Vol. 53 Issue (3): 16-28    DOI: 10.3785/j.issn.1008-942X.CN33-6000/C.2022.05.131
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中介、媒材、历史:书法及其经典生成机制的物质性探讨
陈硕
山东大学 文艺美学研究中心,山东 济南 250100
Intermediary, Media, History: The Materiality of Calligraphy and Its Canon Formation
Chen Shuo
Research Center for Literary Theory and Aesthetics, Shandong University, Jinan 250100, China

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摘要 碑帖及其衍生出的拓片既是古代书法范本的主要物质形态,亦是名家谱系与经典脉络的重要载体。其功能属性、物理特点、制作流程、保存方式与传播途径等皆对书法史研究有着复杂而深刻的影响。真伪混杂的碑帖、良莠不齐的拓片介入历史的发展、经典的塑造,往往不以求实、传真为主要目的,但亦正因如此,诸物中的若干真实成分在一定程度上保证了历史发展之后回溯原点的可能性,而其间的混杂、模糊、失实、枝蔓等成分则为后世学者投射立场、填充想象、发挥议论提供了足够丰富的空间。这恰是《兰亭序》等经典可以由一件具体的书迹不断滋生衍化,最终发展成为一个显著历史传统与文化现象的主要原因。物质性的视角正可为穿透文本与图像的障翳,呈现其间的复杂机制,起到重要的作用。
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陈硕
关键词 书法物质性中介媒材碑帖拓片经典生成机制    
Abstract:One of the primary reasons why the evolution of Chinese calligraphy history is different from other literature and art categories is that the generation of the lineage of the canon masters and masterpieces is based on the beitie and rubbings derived from them. Although calligraphy is believed to be a kind of visual art, it has a very complicated materiality. Limited by the reproduction technology and transmission mode of ancient China, most original works of calligraphy masters were difficult to be directly involved in the appreciation, copying and research of later generations. In fact, their large-scale dissemination depends on beitie, which are essentially derivative products, and the more famous the original works were, the more frequent and tanglesome the reproduction of beitie became. In numerous cases, the developed practices of reproduction dissolve the exclusive status of the original author and the original work, so that it has become an independent field of study and historical tradition. Rubbings, as the material presentation of beitie, are the main carrier of the calligraphy model. As the production process of rubbings is seriously affected by a lot of subjective and objective factors, it is plastic. Whether it can accurately convey the original information is very difficult to generalize, and whether it has reliable academic value also needs to be carefully evaluated by experienced scholars. In addition, rubbings are made by converting three-dimensional inscriptions and images into two-dimensional paper, which is to reduce the materiality of the original object in a quite special way. We can call it the “planarity” of rubbings, which directly influenced the writing style of countless later calligraphers. Obviously, the functional properties, physical characteristics, production processes, preservation methods and transmission channels of all kinds of beitie and rubbings have had an extremely profound impact on the form of calligraphy and the narration of calligraphy history. By taking the famous “Lanting Preface” as the primary example, this study analyzes the formation process of its most significant version “Dingwu Lanting” after the Song Dynasty, especially the process of the rumor that great calligrapher Ouyang Xun in the Tang Dynasty was forcibly attached as the copyist of it. This helps us to understand: how beitie with ever-changing forms and rubbings with diverse appearances can be strongly integrated into the canonization of a specific calligraphy work so that the canon itself is subject to change; and, in the process of canonization, how people’s imagination, speculation, attachment and misinterpretation based on beitie and rubbings play their roles. However, the plasticity of canon has its limits. After the rise of “Stele School” in the Qing Dynasty, various types of calligraphy works from the Qin-Han Period to the Six Dynasties challenged the canon of the past, and partially dissolved its authority. Therefore, the status of the famous calligraphy works in the Pre-Ming Period such as the “Xia Cheng Monument” and “Guo Youdao Monument” has plummeted, and numerous versions of “Lanting Preface” have gradually been overlooked. The materiality of beitie and rubbings have played a historic role in it. Many great researchers have found the break between virtual and actual fractures in the canon through it, thus opening the way for the generation of new knowledge and the construction of new lineage. There is no denying that the perspective of the materiality can help contemporary scholars to go beyond the way of overly focusing on texts and images in the previous studies of calligraphy history, take a plural perspective of authors, works, lineage and traditions, so as to better place various works in the specific historical context and help explore the spread of calligraphy models, the intermediary factors and operating mechanism of shaping canon, and ultimately transform the research paradigm of the history of calligraphy.
Key wordscalligraphy    materiality    intermediary    media    beitie    rubbing    canon    formation   
收稿日期: 2022-05-13     
基金资助:教育部人文社会科学重点研究基地重大项目(22JJD750032)
作者简介: 陈硕(https://orcid.org/0009-0002-5518-2502),男,山东大学文艺美学研究中心助理研究员,艺术学博士,主要从事中国书法史、印章史研究;
引用本文:   
陈硕. 中介、媒材、历史:书法及其经典生成机制的物质性探讨[J]. 浙江大学学报(人文社会科学版), 2023, 53(3): 16-28. Chen Shuo. Intermediary, Media, History: The Materiality of Calligraphy and Its Canon Formation. JOURNAL OF ZHEJIANG UNIVERSITY, 2023, 53(3): 16-28.
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https://www.zjujournals.com/soc/CN/10.3785/j.issn.1008-942X.CN33-6000/C.2022.05.131     或     https://www.zjujournals.com/soc/CN/Y2023/V53/I3/16
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