明代名宦华察书法研究
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摘要
华察是明代著名官吏,但在书法史上并无名气,存世作品也十分罕见。在华氏旧藏家族文献资料中,非常难得地保存了华察的四件书作,可补史阙。这些作品面世之后,在学界并未引起足够重视,既未充分研究其书法艺术,亦未判断其艺术水准。本文对华察存世的四件书法作品做了细致的梳理和考辨。由于这些作品主要为华察晚年所书,故其致仕后人生观的改变,以及由此带来的审美观的成熟,无疑会对这一时期的创作产生重要的影响。通过研究华察晚年的诗歌风格,并以此为基础考察华察书法,可发现其书愈到晚年愈精彩。华察书法师承二王,法度精雅,用笔清劲娴熟,结字奇趣横生,晚年书作不事雕琢、随意自然的艺术风格,充分体现了达观通透的人生观和冲和恬淡的审美境界。以华察晚年书作置诸明代帖学的背景中去考量,完全不逊于吴门书家群,可被视为明代书法史的补充。
Hua Cha was more fa mous as a n of f ic ia l t ha n as a ca l l ig rapher. Few of h is calligraphic works have survived to today. Although four of his works have been recently discovered in the Hua family collection, they have attracted little scholarly attention. No indepth researches have been made about Hua's calligraphic art, nor is there any evaluation of its artistic standards. The current author reviews Hua's four works. They were mostly finished in Hua's late years, when his art was influenced by the transformation of his attitude toward life after taking up government post and the maturing of his aesthetic values. In addition, Hua's calligraphy shares common features with his poetry. A follower of the style of Wang Xizhi and Wang Xianzhi, Hua displays superb skills, individual pursuit for freedom and special aesthetic standards in his works. Within the context of the history of Ming dynasty calligraphy, Hua's calligraphy in his late years is comparable to famous calligraphers from Wumen and can be regarded as an inseparable part in the history of Ming dynasty calligraphy.
Hua Cha was more fa mous as a n of f ic ia l t ha n as a ca l l ig rapher. Few of h is calligraphic works have survived to today. Although four of his works have been recently discovered in the Hua family collection, they have attracted little scholarly attention. No indepth researches have been made about Hua's calligraphic art, nor is there any evaluation of its artistic standards. The current author reviews Hua's four works. They were mostly finished in Hua's late years, when his art was influenced by the transformation of his attitude toward life after taking up government post and the maturing of his aesthetic values. In addition, Hua's calligraphy shares common features with his poetry. A follower of the style of Wang Xizhi and Wang Xianzhi, Hua displays superb skills, individual pursuit for freedom and special aesthetic standards in his works. Within the context of the history of Ming dynasty calligraphy, Hua's calligraphy in his late years is comparable to famous calligraphers from Wumen and can be regarded as an inseparable part in the history of Ming dynasty calligraphy.
引文
[1](清)张廷玉等:《明史》第24册,中华书局,1974年,第7371页。
[2][17][18][19][24][27](明)王世贞:《翰林院侍读学士鸿山华公寿藏志》《,无锡文库》第3辑,凤凰出版社,2012年,第247-249页。
[3](明)华察等:《〈皇华集〉类编》卷首,清光绪三年(1877年)刻本,无锡图书馆藏。
[4]《明实录》卷二七六,文渊阁四库全书;(明)翁大立:《学士华先生传》,华察等:《〈皇华集〉类编》卷首,清光绪三年(1877年)刻本,无锡图书馆藏。
[5](明)翁大立《:学士华先生传》,(明)华察等:《〈皇华集〉类编》卷首,清光绪三年(1877年)刻本,无锡图书馆藏。
[6](清)黄卬辑《锡金识小录》卷九,环溪草堂1930年本,第32页。
[7]朝鲜国王以铜活字印成《皇华集》进献,俗称高丽本。华察曾索是书以传子孙,高丽本《皇华集》遂一直为华氏后人代代相传,并终由华绎之后人捐赠给无锡博物院。这套高丽本《皇华集》极其珍贵,堪称天涯孤本,南京图书馆藏嘉靖本胶卷及北京图书馆藏万历本均为翻刻本。
[8](明)徐阶:《重复碧山吟社记》,无锡市太湖文化研究会、无锡市碧山吟社编《碧山吟社》,江苏人民出版社,2012年,第54页。
[9][12][13][15]南京师范大学古文献整理研究所:《江苏艺文志·无锡卷》上册,江苏人民出版社,1995年,第131-132、137页。
[10][14](清)钱谦益:《列朝诗集小传》下册,上海古籍出版社,1983年,第398-399页。
[11](明)华察《:岩居稿》,嘉靖三十五年(1556年)王懋明刻本,无锡博物院藏。
[16][32][33][36]张叶露:《明代华察的两帧自书诗稿》,《中国书法》2015年第3期。
[20](明)文徵明:《鸿山草堂记》,《无锡文库》第3辑,第242-243页。
[21][22][23][25][28](明)华察:《岩居稿》卷一,嘉靖三十五年(1556年)王懋明刻本,无锡博物院藏。
[26][30][31](明)华察:《岩居稿》卷三,嘉靖三十五年(1556年)王懋明刻本,无锡博物院藏。
[29](明)华察《:岩居稿》卷八,嘉靖三十五年(1556年)王懋明刻本,无锡博物院藏。
[34](明)华察:《华氏传芳续集》卷十六,《无锡文库》第3辑,第242页。
[35]王洪:《华察研究》,硕士学位论文,上海师范大学,2012年,第59页。
[37]张金梁《:明代书法史探微》,时代文艺出版社,2003年,第203、206页。
[2][17][18][19][24][27](明)王世贞:《翰林院侍读学士鸿山华公寿藏志》《,无锡文库》第3辑,凤凰出版社,2012年,第247-249页。
[3](明)华察等:《〈皇华集〉类编》卷首,清光绪三年(1877年)刻本,无锡图书馆藏。
[4]《明实录》卷二七六,文渊阁四库全书;(明)翁大立:《学士华先生传》,华察等:《〈皇华集〉类编》卷首,清光绪三年(1877年)刻本,无锡图书馆藏。
[5](明)翁大立《:学士华先生传》,(明)华察等:《〈皇华集〉类编》卷首,清光绪三年(1877年)刻本,无锡图书馆藏。
[6](清)黄卬辑《锡金识小录》卷九,环溪草堂1930年本,第32页。
[7]朝鲜国王以铜活字印成《皇华集》进献,俗称高丽本。华察曾索是书以传子孙,高丽本《皇华集》遂一直为华氏后人代代相传,并终由华绎之后人捐赠给无锡博物院。这套高丽本《皇华集》极其珍贵,堪称天涯孤本,南京图书馆藏嘉靖本胶卷及北京图书馆藏万历本均为翻刻本。
[8](明)徐阶:《重复碧山吟社记》,无锡市太湖文化研究会、无锡市碧山吟社编《碧山吟社》,江苏人民出版社,2012年,第54页。
[9][12][13][15]南京师范大学古文献整理研究所:《江苏艺文志·无锡卷》上册,江苏人民出版社,1995年,第131-132、137页。
[10][14](清)钱谦益:《列朝诗集小传》下册,上海古籍出版社,1983年,第398-399页。
[11](明)华察《:岩居稿》,嘉靖三十五年(1556年)王懋明刻本,无锡博物院藏。
[16][32][33][36]张叶露:《明代华察的两帧自书诗稿》,《中国书法》2015年第3期。
[20](明)文徵明:《鸿山草堂记》,《无锡文库》第3辑,第242-243页。
[21][22][23][25][28](明)华察:《岩居稿》卷一,嘉靖三十五年(1556年)王懋明刻本,无锡博物院藏。
[26][30][31](明)华察:《岩居稿》卷三,嘉靖三十五年(1556年)王懋明刻本,无锡博物院藏。
[29](明)华察《:岩居稿》卷八,嘉靖三十五年(1556年)王懋明刻本,无锡博物院藏。
[34](明)华察:《华氏传芳续集》卷十六,《无锡文库》第3辑,第242页。
[35]王洪:《华察研究》,硕士学位论文,上海师范大学,2012年,第59页。
[37]张金梁《:明代书法史探微》,时代文艺出版社,2003年,第203、206页。