先秦篆书的形式秩序建构
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摘要
人类历史进程中始终贯穿着人类理性精神的积淀以及对形式秩序的向往与建构。中国书法在形式秩序方面的发展进程在早期的发展阶段中,与人类社会的历史发展进程有着极为相似的同步性。书法艺术作为人类文化精神的外化显现形式,随着人类理性精神的提高以及对形式秩序认识的逐步提升,在形式秩序方面也逐步发展成熟。
本文以形式秩序的发展演变为主线,以商、西周、秦各时代的历史文化为背景,通过对从商代甲骨文、西周金文、秦刻石等篆书艺术的历史发展轨迹进行考察,论证篆书艺术发展过程中始终贯穿着书法形式秩序的建构历程,揭示对书法形式秩序研究的价值与意义。本文具体分四个章节进行论述：第一章,线条样式的确定。提出以线代面、以直代曲的观点,对仿形线条样式进行具体论述；运用篆引的发现与成熟对准仿形线条样式进行论证,提出肥笔的消亡、锐笔的消退、书写特性的确立的观点进行具体论述；提出几何抽象式线条样式的观点对图案化仿形线条样式进行具体论述。最终论证中国书法艺术的核心表现形式——线条样式的发现与发展过程以及书写性线条样式的秩序化过程。第二章,字形结构的秩序建构。提出图画式仿形、符号化简化、同字异形的观点对甲骨文阶段进行具体论述;提出字形的规范化、符号化对金文阶段大篆典范的建立进行论证；运用文字结构的规范统一、字形结构的几何式抽象对秦刻石文字阶段进行论证。第三章,构形空间的秩序建构。提出形体大小较大差异、构形空间的不稳定性、构形的抽象性与形象性共存的观点对甲骨文阶段进行具体论证；提出文字大小的逐步统一、文字形体空间的规范、文字象形特征的逐渐消退观点进行具体论证；提出垂直重心的建立、对称与均衡的形式法则、上紧下松的构形图式、预成图式的建立的观点进行具体论证。第四章,章法秩序的建构。提出随形布势、多块面的篇章、自上而下、纵向成列的观点对甲骨文阶段章法进行具体论证；提出预置空间、下行而左、纵向垂直、横向行列的观点对金文阶段章法进行具体论证；提出整体空间的静态的平衡感与抽象的几何装饰性特征构成整饬简洁的平衡图式论证秦刻石章法秩序典范的建立。最后得出结论,篆书艺术的发展历程始终贯穿着形式秩序的建构的历程,为书法史研究提供一个新的视角。以期抛砖引玉,希望引起更多专家学者对书法形式秩序研究产生兴趣并推进对中国书法史的进一步研究。
The continuing accumulation of human reason and the spiritual yearning and construction of form and order run through the course of human history. The development process of form and order in Chinese calligraphy has a very similar synchronization character with the historical development of human society in the early historical period. The art of calligraphy as the outward embodiment of human cultural spirit will also gradually mature in terms of form and order with the improvement of the human rational spirit and the deepening understanding of form and order.
Adopting the evolution of the form and order as the main line, with the historical and cultural background of Shang, Zhou, Qin Dynasties, this paper tries to demonstrate the fact that a construction process of form and order of calligraphy runs through the course of the Seal Arts, thus to reveal the value and significance of studying the form and order of calligraphy through inspecting historical development tracks of Seal Arts, such as the Oracles in the Shang Dynasty, the Inscriptions in Western Zhou Dynasty, and Qin stone. This paper is divided to four chapters:the first chapter is about to setting the line style. My views are here:line replaces the face, straight replaces bending, these are used to explore the profile model in the line style; the use and mature of seal is also cited to demonstrate the line style; the thick strokes went waning, so did the sharp curves, these were establishing the writing features; geometric abstraction line style is proposed here to explore the pattern-imitating profile line style. At the end of this chapter the core spirit of Chinese calligraphy-the line style -will be explored in its discovery, development and process.
ChapterⅡis about the setting of orders of the characters' internal structure. Picture type profiling, symbolic simplification, and words with more than one writing forms are given to explore the stage of Oracle; the standardization of glyphs and symbolization of character are adopted to explore the stage of the Bronze Seal; unification and geometric abstraction of the internal structure are also my views on Qin stones stage. ChapterⅢis about the construction orders for arranging internal space of Chinese characters. Big varieties in size, the instability of internal space, and the coexistence of features of abstraction and pattern-orienting are the general features of the stage of Oracle; the gradual unification of the characters' size, standardization for arrangement of internal space, and the feature of pictography are my major views here; the establishment of the vertical center of gravity, the rules of symmetry and balance, configuration the schema and pre-built schema for being tight in the top part and loose below of the specific points of argument are also discussed here.Chapter IV is about constructing the order of scrolls. Oracle stage are featured by adusting to the shape, multi-block surface, writing from top to bottom to form into vertical lines; Inscriptions stage are featured by margin-leaving, writing to the bottom left and vertical lines through horizontal arraning; both the overall feeling of stabling balance through the arranging of the whole space and the decorative features through abstract geometric composition contribute to setting the model Qin stone, for its balance of simple schema. Finally, the conclusion should be that, the process of constructing order has always been along with the development history of Seal arts, which provides a new perspective to the History of Calligraphy. This paper is just the beginning on this field. It would be too much if it can attract attentions of other experts and scholars to study on the order of calligraphy and push forward the study of the history of Chinese calligraphy.
本文以形式秩序的发展演变为主线,以商、西周、秦各时代的历史文化为背景,通过对从商代甲骨文、西周金文、秦刻石等篆书艺术的历史发展轨迹进行考察,论证篆书艺术发展过程中始终贯穿着书法形式秩序的建构历程,揭示对书法形式秩序研究的价值与意义。本文具体分四个章节进行论述：第一章,线条样式的确定。提出以线代面、以直代曲的观点,对仿形线条样式进行具体论述；运用篆引的发现与成熟对准仿形线条样式进行论证,提出肥笔的消亡、锐笔的消退、书写特性的确立的观点进行具体论述；提出几何抽象式线条样式的观点对图案化仿形线条样式进行具体论述。最终论证中国书法艺术的核心表现形式——线条样式的发现与发展过程以及书写性线条样式的秩序化过程。第二章,字形结构的秩序建构。提出图画式仿形、符号化简化、同字异形的观点对甲骨文阶段进行具体论述;提出字形的规范化、符号化对金文阶段大篆典范的建立进行论证；运用文字结构的规范统一、字形结构的几何式抽象对秦刻石文字阶段进行论证。第三章,构形空间的秩序建构。提出形体大小较大差异、构形空间的不稳定性、构形的抽象性与形象性共存的观点对甲骨文阶段进行具体论证；提出文字大小的逐步统一、文字形体空间的规范、文字象形特征的逐渐消退观点进行具体论证；提出垂直重心的建立、对称与均衡的形式法则、上紧下松的构形图式、预成图式的建立的观点进行具体论证。第四章,章法秩序的建构。提出随形布势、多块面的篇章、自上而下、纵向成列的观点对甲骨文阶段章法进行具体论证；提出预置空间、下行而左、纵向垂直、横向行列的观点对金文阶段章法进行具体论证；提出整体空间的静态的平衡感与抽象的几何装饰性特征构成整饬简洁的平衡图式论证秦刻石章法秩序典范的建立。最后得出结论,篆书艺术的发展历程始终贯穿着形式秩序的建构的历程,为书法史研究提供一个新的视角。以期抛砖引玉,希望引起更多专家学者对书法形式秩序研究产生兴趣并推进对中国书法史的进一步研究。
The continuing accumulation of human reason and the spiritual yearning and construction of form and order run through the course of human history. The development process of form and order in Chinese calligraphy has a very similar synchronization character with the historical development of human society in the early historical period. The art of calligraphy as the outward embodiment of human cultural spirit will also gradually mature in terms of form and order with the improvement of the human rational spirit and the deepening understanding of form and order.
Adopting the evolution of the form and order as the main line, with the historical and cultural background of Shang, Zhou, Qin Dynasties, this paper tries to demonstrate the fact that a construction process of form and order of calligraphy runs through the course of the Seal Arts, thus to reveal the value and significance of studying the form and order of calligraphy through inspecting historical development tracks of Seal Arts, such as the Oracles in the Shang Dynasty, the Inscriptions in Western Zhou Dynasty, and Qin stone. This paper is divided to four chapters:the first chapter is about to setting the line style. My views are here:line replaces the face, straight replaces bending, these are used to explore the profile model in the line style; the use and mature of seal is also cited to demonstrate the line style; the thick strokes went waning, so did the sharp curves, these were establishing the writing features; geometric abstraction line style is proposed here to explore the pattern-imitating profile line style. At the end of this chapter the core spirit of Chinese calligraphy-the line style -will be explored in its discovery, development and process.
ChapterⅡis about the setting of orders of the characters' internal structure. Picture type profiling, symbolic simplification, and words with more than one writing forms are given to explore the stage of Oracle; the standardization of glyphs and symbolization of character are adopted to explore the stage of the Bronze Seal; unification and geometric abstraction of the internal structure are also my views on Qin stones stage. ChapterⅢis about the construction orders for arranging internal space of Chinese characters. Big varieties in size, the instability of internal space, and the coexistence of features of abstraction and pattern-orienting are the general features of the stage of Oracle; the gradual unification of the characters' size, standardization for arrangement of internal space, and the feature of pictography are my major views here; the establishment of the vertical center of gravity, the rules of symmetry and balance, configuration the schema and pre-built schema for being tight in the top part and loose below of the specific points of argument are also discussed here.Chapter IV is about constructing the order of scrolls. Oracle stage are featured by adusting to the shape, multi-block surface, writing from top to bottom to form into vertical lines; Inscriptions stage are featured by margin-leaving, writing to the bottom left and vertical lines through horizontal arraning; both the overall feeling of stabling balance through the arranging of the whole space and the decorative features through abstract geometric composition contribute to setting the model Qin stone, for its balance of simple schema. Finally, the conclusion should be that, the process of constructing order has always been along with the development history of Seal arts, which provides a new perspective to the History of Calligraphy. This paper is just the beginning on this field. It would be too much if it can attract attentions of other experts and scholars to study on the order of calligraphy and push forward the study of the history of Chinese calligraphy.
引文
[1]裘锡圭.文字学概要[M].北京：商务印书馆,1988：63—-64
[2]许慎.说文解字[M].北京：中华书局出版社,1987：315
[3]苏珊·朗格.艺术问题[M].北京：中国社会科学出版社,1983：11
[4]许慎.说文解字[M].北京：中华书局出版社,1987：314
[5]古典名著普及文库老子·庄子·列子[M].长沙：月麓书社,1989：12
[6]许慎.说文解字[M].北京：中华书局出版社,1987：314
[7]邱振中.书法的形态与阐释[M].重庆：重庆出版社,1993：12
[8]丛文俊.中国书法史 先秦·秦代[M].南京：江苏教育出版社,2002：118
[9]黎东明.秦汉篆书[M].北京：北京图书馆出版社,1999：59
[10]许慎.说文解字[M].北京：中华书局出版社,1987：314
[11]丛文俊.中国书法史 先秦·秦代[M].南京：江苏教育出版社,2002：119
[12]丛文俊.中国书法史 先秦·秦代[M].南京：江苏教育出版社,2002：120
[13]王国维.观堂集林[M].北京：商务印书馆,1940
[14]许慎.说文解字[M].北京：中华书局出版社,1987：315
[15]黎东明.秦汉篆书[M].北京：北京图书馆出版社,1999：74
[16]鲁道夫·阿恩海姆.艺术与视知觉[M].长沙：湖南美术出版社,2008：18
[17]黎东明.秦汉篆书[M].北京：北京图书馆出版社,1999：74
[18]郭宝钧.由铜器研究所见到之古代艺术《文史》[J].1944年2月第3卷,第3、4合刊
[19]郭宝钧.由铜器研究所见到之古代艺术《文史》[J].1944年2月第3卷,第3、4合刊
[20]郭宝钧.由铜器研究所见到之古代艺术《文史》[J].1944年2月第3卷,第3、4合刊
[1][美]鲁道夫·阿恩海姆著.艺术与视知觉[M].孟沛欣译.长沙：湖南美术出版社,2008.
[2]裘锡圭.文字学概要[M].北京：商务印书馆,1988.
[3]丛文俊.中国书法史先秦·秦代[M].南京：江苏教育出版社,2002.
[4]宗白华著.美学散步[M].上海：上海人民出版社,1981.
[5]黎东明.秦汉篆书[M].北京：北京图书馆出版社,1999.
[6]陈滞冬.甲骨文·金文[M].北京：北京图书馆出版社,1999.
[7]陶东风.文体演变及其文化意味[M].云南人民出版社,1999.
[8]李泽厚.美学四讲[M].生活·读书·新知三联书店,1989.
[9]邱振中.书法的形态与阐释[M].重庆：重庆出版社,1993.
[10]赵平安.隶变研究[M].河北大学出版社,2009.
[11]李泽厚刘纲纪.中国美学史[M].安徽文艺出版社,1999.
[12]尹定邦.图形与意义[M].湖南科学技术出版社,2001.
[13]陈新亚《王镛书艺的构成及笔语解析》。见《王镛书法集》,荣宝斋,1992.
[14]孙鹤.秦简牍书研究[M].北京大学出版社,2009.
[15]蒋跃著.绘画形式语言研究[M].合肥：安徽美术出版社,2009.
[16]李建盛著.艺术学关键词[M].北京：北京师范大学出版社,2007.
[17]陈洛加著.外国美术史纲要[M].重庆：西南师范大学出版社,1995.
[18]苏珊·朗格.艺术问题[M].北京：中国社会科学出版社,1983.
[19]帅民风.基础造型学教育课题初探[M].广西美术出版社,2002.
[20]陈洛加著.外国美术史纲要[M].重庆：西南师范大学出版社,1995.
[21]柏拉图《文艺对话集》,第298页。人民文学出版社,1980.
[22][英]威廉·荷加斯著.美的分析[M].杨成寅译.桂林：广西师范大学出版社,2002.
[23][英]赫伯特·里德著.艺术的真谛[M].王柯平译.北京：中国人民大学出版社,2004.
[24][英]克莱夫·贝尔著.艺术[M].薛华译.南京：江苏教育出版社,2004.
[25]许慎.说文解字[M].北京：中华书局出版社,1987.
[2]许慎.说文解字[M].北京：中华书局出版社,1987：315
[3]苏珊·朗格.艺术问题[M].北京：中国社会科学出版社,1983：11
[4]许慎.说文解字[M].北京：中华书局出版社,1987：314
[5]古典名著普及文库老子·庄子·列子[M].长沙：月麓书社,1989：12
[6]许慎.说文解字[M].北京：中华书局出版社,1987：314
[7]邱振中.书法的形态与阐释[M].重庆：重庆出版社,1993：12
[8]丛文俊.中国书法史 先秦·秦代[M].南京：江苏教育出版社,2002：118
[9]黎东明.秦汉篆书[M].北京：北京图书馆出版社,1999：59
[10]许慎.说文解字[M].北京：中华书局出版社,1987：314
[11]丛文俊.中国书法史 先秦·秦代[M].南京：江苏教育出版社,2002：119
[12]丛文俊.中国书法史 先秦·秦代[M].南京：江苏教育出版社,2002：120
[13]王国维.观堂集林[M].北京：商务印书馆,1940
[14]许慎.说文解字[M].北京：中华书局出版社,1987：315
[15]黎东明.秦汉篆书[M].北京：北京图书馆出版社,1999：74
[16]鲁道夫·阿恩海姆.艺术与视知觉[M].长沙：湖南美术出版社,2008：18
[17]黎东明.秦汉篆书[M].北京：北京图书馆出版社,1999：74
[18]郭宝钧.由铜器研究所见到之古代艺术《文史》[J].1944年2月第3卷,第3、4合刊
[19]郭宝钧.由铜器研究所见到之古代艺术《文史》[J].1944年2月第3卷,第3、4合刊
[20]郭宝钧.由铜器研究所见到之古代艺术《文史》[J].1944年2月第3卷,第3、4合刊
[1][美]鲁道夫·阿恩海姆著.艺术与视知觉[M].孟沛欣译.长沙：湖南美术出版社,2008.
[2]裘锡圭.文字学概要[M].北京：商务印书馆,1988.
[3]丛文俊.中国书法史先秦·秦代[M].南京：江苏教育出版社,2002.
[4]宗白华著.美学散步[M].上海：上海人民出版社,1981.
[5]黎东明.秦汉篆书[M].北京：北京图书馆出版社,1999.
[6]陈滞冬.甲骨文·金文[M].北京：北京图书馆出版社,1999.
[7]陶东风.文体演变及其文化意味[M].云南人民出版社,1999.
[8]李泽厚.美学四讲[M].生活·读书·新知三联书店,1989.
[9]邱振中.书法的形态与阐释[M].重庆：重庆出版社,1993.
[10]赵平安.隶变研究[M].河北大学出版社,2009.
[11]李泽厚刘纲纪.中国美学史[M].安徽文艺出版社,1999.
[12]尹定邦.图形与意义[M].湖南科学技术出版社,2001.
[13]陈新亚《王镛书艺的构成及笔语解析》。见《王镛书法集》,荣宝斋,1992.
[14]孙鹤.秦简牍书研究[M].北京大学出版社,2009.
[15]蒋跃著.绘画形式语言研究[M].合肥：安徽美术出版社,2009.
[16]李建盛著.艺术学关键词[M].北京：北京师范大学出版社,2007.
[17]陈洛加著.外国美术史纲要[M].重庆：西南师范大学出版社,1995.
[18]苏珊·朗格.艺术问题[M].北京：中国社会科学出版社,1983.
[19]帅民风.基础造型学教育课题初探[M].广西美术出版社,2002.
[20]陈洛加著.外国美术史纲要[M].重庆：西南师范大学出版社,1995.
[21]柏拉图《文艺对话集》,第298页。人民文学出版社,1980.
[22][英]威廉·荷加斯著.美的分析[M].杨成寅译.桂林：广西师范大学出版社,2002.
[23][英]赫伯特·里德著.艺术的真谛[M].王柯平译.北京：中国人民大学出版社,2004.
[24][英]克莱夫·贝尔著.艺术[M].薛华译.南京：江苏教育出版社,2004.
[25]许慎.说文解字[M].北京：中华书局出版社,1987.