刘熙载书学研究
摘要
刘熙载是古代书学的重镇,其书学也是清代书学的高峰。以往学术界对刘熙载的书学有所关注,出现了一批学术成果,但限于材料,研究的深度不够,也缺乏系统性。本文比较全面而系统地研究刘熙载及其书学,期待有所建树。本着知人论世的原则,本文以丰富的文献考证出刘熙载许多鲜为人知的生平、行迹以及与书家的交游。这些对于研究刘熙载的学术与艺术思想均有佐助。本文不惟关注《书概》,还将《游艺约言》、《文概》、《诗概》、《昨非集》,以及刘熙载传世书法作品中的书论作为研究对象,尽可能全面地研究刘熙载的书学。不惟研究书体论、书家论、技法论、审美范畴论等人们常关注的内容,还对刘熙载的书法实践、学术渊源进行探讨,旨在说明没有空头的理论家,理论必须来源于实践的道理。同时也说明刘熙载的书学之所以取得如此高的成就,还在于他对古代书学的合理继承。在南北书派论中,刘熙载认为北碑南帖各有所长,客观公允,不感情用事。在论审美时,提出“怪石以丑为美,丑到极处便是美到极处”的命题,这是指北碑而言,石破天惊,体现出刘熙载书学的时代精神。在书品人品论中,刘熙载肯定狂狷,反对乡愿,借论书来育人,又体现了他的心学规约下的文艺观。
Liu Xizai whose calligraphic thoughts are always valued highly is a focus in Chinese ancient calligraphy study. The dissertation makes a comprehensive study of Liu Xizai’s calligraphic thoughts on the basis of the previous accomplishments. It is composed of four parts: introduction, the main body, conclusion and appendix.
The first part is an introduction. It mainly introduces the history and present situation as well as the theoretical and practical significance of the study of Liu Xizai’s calligraphic thoughts. Not long before Liu Xzai’s calligraphic thoughts were known to the public, they aroused great attentions. Scholars like Yuan Chang, Zhang Mingke, Li Fang, Ma Zhonghuo all made comments on his“A Brief Introduction to Calligraphy.”Kang Youwei twice quoted from“A Brief Introduction to Calligraphy”in his The Double Oars of the Spacious Art Boat and spoke highly of it. The contemporary study of Liu Xizai started from the 80s of the last century. The theoretical value of Liu Xizai’s calligraphic thoughts is very high and it needs us to make a careful research on it. Liu Xizai’s calligraphic thoughts, especially the parts concerning the techniques in calligraphy, are a summery of his own experiences in calligraphy. Therefore, Liu Xizai’s calligraphic thoughts also have an instructive significance for our calligraphic practice today.
The second part is the main body. It includes 7 chapters.
Chapter 1 A review of Liu Xizai’s life and activities. It prepares the necessary documents for the research of Liu Xizai and his calligraphic thoughts. In the meanwhile, it also makes a textual study of Liu Xizai’s intercommunion with many calligraphers and personages of various circles, which expands the study of Liu Xizai’s scope of communication, thus enables people to see an animated Liu Xizai.
Chapter 2 Liu Xizai’s calligraphic thoughts, calligraphic practice, and the origins of his academic studies. Besides“A Brief Introduction to Calligraphy”, Liu Xizai also wrote another book titled“Concise Words in the Entertaining Art”. In his other works like“A Brief Introduction to literature”,“A Brief Introduction to Poetry”and“Collections of Non-Yesterday”, and even in his great calligraphic works, his calligraphic thoughts are also expressed. All these are a part of Liu Xizai’s calligraphic thoughts. Concise language and rich meaning feature Liu Xizai’s calligraphic thoughts . Liu Xizai is not only a calligraphic theorist, but also a great calligrapher. This chapter analyzes more than ten of Liu Xizai’s calligraphic works. In his mature period of his art, his pursuit for art is in harmonious accordance with his artistic theory, which also demonstrates that theory comes from practice. The reason why Liu Xizai has achieved so great achievement lies in the fact that he has successfully learned from his predecessors’experience in calligraphic thoughts to enrich his own theory. In his“A Brief Introduction to Calligraphy”, he quotes 66 theorists’works by 58 theorists, which makes it self-evident from where his own theory originates.
Chapter 3 Theory of Liu Xizai’s style of calligraphy. Liu Xizai divides style of calligraphy into two categories. Zhuan ,Li, Kai is a“detailed and serene”style while XingCao is a“concise and active”style. Liu Xizai makes a careful distinction between the origins, evolution and features of myriads of styles of calligraphy. Many of his points of view are unprecedented. Liu Xizai focuses on Li and Cao style of calligraphy. As for Li style of calligraphy, he mainly concentrates on the distinction between Li and before or after the Eighth Fraction to clarify the previous ambiguous understandings. His exposition on Cao calligraphy mainly focuses on aesthetic aspects and many of his ideas are very enlightening.
Chapter 4 Liu Xizai’s exposition on the South and North school of calligraphy. Tablet movement in the Qing dynasty is a very important event in the history of calligraphy. The goal of this movement is to raise the status of North Tablet, and to express a negative opinion against South Tablet, thus it starts the conflict between North and South Tablets. Liu Xizai’s attitude on North and South Tablet is objective. While he has a positive opinion on the achievements of North Tablet, he does not evade its shortcomings. And he doesn’t follow Shi Xiang’negative ideas on South Tablet. On the other hand, he even thinks that there exists something“lofty and ancient”in South Tablet. Crane Inscription’s style is implicitly similar to Zhuan style and bears a great similarity with Zheng Dao Manifestation in Late Wei. Liu Xizai thinks that both the North and South Tablet have their own advantages and disadvantages, therefore we shouldn’t simply reject either school.
Chapter 5 The discussion of calligraphers in Liu Xizai’s calligraphic thoughts.“A Brief Introduction to Calligraphy”begins with calligrapher Cai Yi and ends with You in the Northern Song Dynasty, making comments on more than 80 calligraphers. According to Liu Xizai’s academic tendency, all the calligraphers can be divided into two categories: Wang style pedigree that sets Wang Xizhi as a model and Yan style pedigree that sets Yan Zhenqing as a model. Liu Xizai makes the highest evaluation on Wang Xizhi and his followers. In particular, the Southern school of calligraphers are profited by this and form a huge calligrapher pedigree: Wang Xianzhi, Yangxin, Wang Zhenqian, Xiao zhiyun, Zhi Yong, Yu Shinan, Chu Suiliang, Sun Guoting, etc. Secondly, Liu Xizai also admires Yan Zhenqing and thinks Yan Zhenqing’s calligraphy is free and comprehensive”that can be called the excellent combination with water and black ink”Yan calligraphy pedigree includes Liu Gongquan, Huang Tingjian, Shu shi, Mifu, Cai Xiang,etc.. Yan pedigree comes from Wang pedigree. Wang pedigree is good at copybook studies while Yan pedigree is good both at tablet and copybook. What’s more, Liu Xizai also makes careful comments on the two calligrapher’s pedigree, objectively evaluating the level of their calligraphic art and their status in the history of calligraphy.
Chapter 6 On the technique theory of Liu Xizai’s calligraphic thoughts. The technique theory is the most wonderful part in Liu Xizai’s calligraphic thoughts and the most conspicuous feature is that he puts his own calligraphic experience in the thoughts, which is to get to one’s destination by making use of others’means. It includes three parts: brush work, combination of characters and art of composition. When it comes to brush work, he stresses the use of the central part of the Chinese brush. When it comes to how to move the brush, he stresses“the Chinese brush should be used in a reversion, move slowly and unsmoothly, come to an end with some tension”. He expounds“lifting and pressing”and“moving fast and moving unsmoothly,”the two opposite categories, which fully embody his dialectical thoughts. When it comes to the combination of characters, he stresses the main strokes of a character, and he makes an analogy between a character and nine palaces. He regards the main palace as in the middle, or in the central part of the four upright dimensional space, which is very enlightening. He also puts forward two new ways of combining words:“internally embracing characters”and“externally embracing characters.”When it comes to the art of composition, he stresses the alteration in the regular and the interpenetration of the calligraphic tone. He continues to point out:“the art of composition ranges from a tiny thing to a huge thing. Tiny as one character or number, huge as one line or several lines, one piece of calligraphy or several pieces.”All of them should be corresponding to each other. And the correspondence of one piece of calligraphy and several pieces of calligraphy is his unique contribution.
Chapter 7 The exposition methodology of Liu Xizai’s calligraphic thoughts. Liu Xizai is best at using metaphor to expound his calligraphic thoughts, but that belongs to the scope of rhetoric. Here what I argue is how to understand his exposition methodology from a doctrinal perspective. The chapter is divided into three parts : 1. Cultural exposition. Liu Xizai is very erudite. He is adept at Confucianism, Buddhism and Daosim and makes full use of the philosophical theories in his calligraphic thoughts.“Zhou Yi”as the main work of Confucianism is used to illustrate the nature of calligraphy. A case in point is the image theory in“A Brief Introduction to Calligraphy”which requires“the observation of objects is reflected in the analogy of one’s emotions”and so on. In his“Concise Words in the Entertaining Art”, Liu Xizai said: Both article and calligraphy can be distinguished by Qian and Kun. Qian means change and Kun stability. When it comes to the style of calligraphy, Liu Xizai expounds calligraphy from the perspective of Buddhism by employing Zen terms to analyze why later generations tend to form“Yuan style of calligraphy”when they imitate“An Introduction to St. Teachings”. He also uses the terms of gradual understanding and sudden enlightenment to form an exact analogy to show how ancient people get inspiration from Nature. As for Daosim, Liu Xizai mainly makes use of the philosophy of Laozi and Zhuanzi to expound his philosophy of Nature, and the inaction of calligraphy’s creation. Daoism is made fullest use in his work“Concise words in Entertaining Art.”2. The Aesthetic Exposition. Calligraphy is the art of beauty and Liu Xizai also views calligraphy from the perspective of aesthetics. Liu Xizai expounds the aesthetic category of supermaturity, rich rime, firmness and gentleness, peculiarity and normality, implication and artistry. He also expounds the natural, implicit, true , and frank features of calligraphy from the perspective of aesthetic tendency. 3 Ethical Exposition. Liu Xizai’s calligraphy has another conspicuous feature, that is , he stresses calligraphy reflects one personality. He puts forward the proposition that“the man is his calligraphy”to determine the different levels of the calligraphers. Liu Xizai is a theorist and also and educator whose goal of ethnic exposition is to make a good man out of learning calligraphy whose conduct is in accordance with the doctrines of Confucianism. He means to cultivate and excise man with calligraphy and we must live up to his kind expectations.
The third part is a conclusion, which sums up the whole dissertation.
The fourth part is an appendix. Nine pieces of Liu Xizai’s calligraphic work are attached as the appendix.
Liu Xizai whose calligraphic thoughts are always valued highly is a focus in Chinese ancient calligraphy study. The dissertation makes a comprehensive study of Liu Xizai’s calligraphic thoughts on the basis of the previous accomplishments. It is composed of four parts: introduction, the main body, conclusion and appendix.
The first part is an introduction. It mainly introduces the history and present situation as well as the theoretical and practical significance of the study of Liu Xizai’s calligraphic thoughts. Not long before Liu Xzai’s calligraphic thoughts were known to the public, they aroused great attentions. Scholars like Yuan Chang, Zhang Mingke, Li Fang, Ma Zhonghuo all made comments on his“A Brief Introduction to Calligraphy.”Kang Youwei twice quoted from“A Brief Introduction to Calligraphy”in his The Double Oars of the Spacious Art Boat and spoke highly of it. The contemporary study of Liu Xizai started from the 80s of the last century. The theoretical value of Liu Xizai’s calligraphic thoughts is very high and it needs us to make a careful research on it. Liu Xizai’s calligraphic thoughts, especially the parts concerning the techniques in calligraphy, are a summery of his own experiences in calligraphy. Therefore, Liu Xizai’s calligraphic thoughts also have an instructive significance for our calligraphic practice today.
The second part is the main body. It includes 7 chapters.
Chapter 1 A review of Liu Xizai’s life and activities. It prepares the necessary documents for the research of Liu Xizai and his calligraphic thoughts. In the meanwhile, it also makes a textual study of Liu Xizai’s intercommunion with many calligraphers and personages of various circles, which expands the study of Liu Xizai’s scope of communication, thus enables people to see an animated Liu Xizai.
Chapter 2 Liu Xizai’s calligraphic thoughts, calligraphic practice, and the origins of his academic studies. Besides“A Brief Introduction to Calligraphy”, Liu Xizai also wrote another book titled“Concise Words in the Entertaining Art”. In his other works like“A Brief Introduction to literature”,“A Brief Introduction to Poetry”and“Collections of Non-Yesterday”, and even in his great calligraphic works, his calligraphic thoughts are also expressed. All these are a part of Liu Xizai’s calligraphic thoughts. Concise language and rich meaning feature Liu Xizai’s calligraphic thoughts . Liu Xizai is not only a calligraphic theorist, but also a great calligrapher. This chapter analyzes more than ten of Liu Xizai’s calligraphic works. In his mature period of his art, his pursuit for art is in harmonious accordance with his artistic theory, which also demonstrates that theory comes from practice. The reason why Liu Xizai has achieved so great achievement lies in the fact that he has successfully learned from his predecessors’experience in calligraphic thoughts to enrich his own theory. In his“A Brief Introduction to Calligraphy”, he quotes 66 theorists’works by 58 theorists, which makes it self-evident from where his own theory originates.
Chapter 3 Theory of Liu Xizai’s style of calligraphy. Liu Xizai divides style of calligraphy into two categories. Zhuan ,Li, Kai is a“detailed and serene”style while XingCao is a“concise and active”style. Liu Xizai makes a careful distinction between the origins, evolution and features of myriads of styles of calligraphy. Many of his points of view are unprecedented. Liu Xizai focuses on Li and Cao style of calligraphy. As for Li style of calligraphy, he mainly concentrates on the distinction between Li and before or after the Eighth Fraction to clarify the previous ambiguous understandings. His exposition on Cao calligraphy mainly focuses on aesthetic aspects and many of his ideas are very enlightening.
Chapter 4 Liu Xizai’s exposition on the South and North school of calligraphy. Tablet movement in the Qing dynasty is a very important event in the history of calligraphy. The goal of this movement is to raise the status of North Tablet, and to express a negative opinion against South Tablet, thus it starts the conflict between North and South Tablets. Liu Xizai’s attitude on North and South Tablet is objective. While he has a positive opinion on the achievements of North Tablet, he does not evade its shortcomings. And he doesn’t follow Shi Xiang’negative ideas on South Tablet. On the other hand, he even thinks that there exists something“lofty and ancient”in South Tablet. Crane Inscription’s style is implicitly similar to Zhuan style and bears a great similarity with Zheng Dao Manifestation in Late Wei. Liu Xizai thinks that both the North and South Tablet have their own advantages and disadvantages, therefore we shouldn’t simply reject either school.
Chapter 5 The discussion of calligraphers in Liu Xizai’s calligraphic thoughts.“A Brief Introduction to Calligraphy”begins with calligrapher Cai Yi and ends with You in the Northern Song Dynasty, making comments on more than 80 calligraphers. According to Liu Xizai’s academic tendency, all the calligraphers can be divided into two categories: Wang style pedigree that sets Wang Xizhi as a model and Yan style pedigree that sets Yan Zhenqing as a model. Liu Xizai makes the highest evaluation on Wang Xizhi and his followers. In particular, the Southern school of calligraphers are profited by this and form a huge calligrapher pedigree: Wang Xianzhi, Yangxin, Wang Zhenqian, Xiao zhiyun, Zhi Yong, Yu Shinan, Chu Suiliang, Sun Guoting, etc. Secondly, Liu Xizai also admires Yan Zhenqing and thinks Yan Zhenqing’s calligraphy is free and comprehensive”that can be called the excellent combination with water and black ink”Yan calligraphy pedigree includes Liu Gongquan, Huang Tingjian, Shu shi, Mifu, Cai Xiang,etc.. Yan pedigree comes from Wang pedigree. Wang pedigree is good at copybook studies while Yan pedigree is good both at tablet and copybook. What’s more, Liu Xizai also makes careful comments on the two calligrapher’s pedigree, objectively evaluating the level of their calligraphic art and their status in the history of calligraphy.
Chapter 6 On the technique theory of Liu Xizai’s calligraphic thoughts. The technique theory is the most wonderful part in Liu Xizai’s calligraphic thoughts and the most conspicuous feature is that he puts his own calligraphic experience in the thoughts, which is to get to one’s destination by making use of others’means. It includes three parts: brush work, combination of characters and art of composition. When it comes to brush work, he stresses the use of the central part of the Chinese brush. When it comes to how to move the brush, he stresses“the Chinese brush should be used in a reversion, move slowly and unsmoothly, come to an end with some tension”. He expounds“lifting and pressing”and“moving fast and moving unsmoothly,”the two opposite categories, which fully embody his dialectical thoughts. When it comes to the combination of characters, he stresses the main strokes of a character, and he makes an analogy between a character and nine palaces. He regards the main palace as in the middle, or in the central part of the four upright dimensional space, which is very enlightening. He also puts forward two new ways of combining words:“internally embracing characters”and“externally embracing characters.”When it comes to the art of composition, he stresses the alteration in the regular and the interpenetration of the calligraphic tone. He continues to point out:“the art of composition ranges from a tiny thing to a huge thing. Tiny as one character or number, huge as one line or several lines, one piece of calligraphy or several pieces.”All of them should be corresponding to each other. And the correspondence of one piece of calligraphy and several pieces of calligraphy is his unique contribution.
Chapter 7 The exposition methodology of Liu Xizai’s calligraphic thoughts. Liu Xizai is best at using metaphor to expound his calligraphic thoughts, but that belongs to the scope of rhetoric. Here what I argue is how to understand his exposition methodology from a doctrinal perspective. The chapter is divided into three parts : 1. Cultural exposition. Liu Xizai is very erudite. He is adept at Confucianism, Buddhism and Daosim and makes full use of the philosophical theories in his calligraphic thoughts.“Zhou Yi”as the main work of Confucianism is used to illustrate the nature of calligraphy. A case in point is the image theory in“A Brief Introduction to Calligraphy”which requires“the observation of objects is reflected in the analogy of one’s emotions”and so on. In his“Concise Words in the Entertaining Art”, Liu Xizai said: Both article and calligraphy can be distinguished by Qian and Kun. Qian means change and Kun stability. When it comes to the style of calligraphy, Liu Xizai expounds calligraphy from the perspective of Buddhism by employing Zen terms to analyze why later generations tend to form“Yuan style of calligraphy”when they imitate“An Introduction to St. Teachings”. He also uses the terms of gradual understanding and sudden enlightenment to form an exact analogy to show how ancient people get inspiration from Nature. As for Daosim, Liu Xizai mainly makes use of the philosophy of Laozi and Zhuanzi to expound his philosophy of Nature, and the inaction of calligraphy’s creation. Daoism is made fullest use in his work“Concise words in Entertaining Art.”2. The Aesthetic Exposition. Calligraphy is the art of beauty and Liu Xizai also views calligraphy from the perspective of aesthetics. Liu Xizai expounds the aesthetic category of supermaturity, rich rime, firmness and gentleness, peculiarity and normality, implication and artistry. He also expounds the natural, implicit, true , and frank features of calligraphy from the perspective of aesthetic tendency. 3 Ethical Exposition. Liu Xizai’s calligraphy has another conspicuous feature, that is , he stresses calligraphy reflects one personality. He puts forward the proposition that“the man is his calligraphy”to determine the different levels of the calligraphers. Liu Xizai is a theorist and also and educator whose goal of ethnic exposition is to make a good man out of learning calligraphy whose conduct is in accordance with the doctrines of Confucianism. He means to cultivate and excise man with calligraphy and we must live up to his kind expectations.
The third part is a conclusion, which sums up the whole dissertation.
The fourth part is an appendix. Nine pieces of Liu Xizai’s calligraphic work are attached as the appendix.
引文
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①曾国荃,张煦,等修,王轩,杨笃,等纂.山西通志[M].光绪十八年刻本.
②马丕瑶,魏象乾修,张承熊纂.[光绪]解州志[M].光绪七年刻本.
③吴坤修.三耻斋初稿:卷四[M].同治乙丑仲夏刊刻.
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⑥顾广誉(1799-1866),字维康,号访溪,浙江平湖人。优贡生。精于经学,有《悔过斋文集》等。顾广誉主讲几个月,便于同治五年四月二十七日病卒于书院(叶裕仁.行状[M].归安文稿[M].光绪壬午九月开雕)。
⑦万斛泉(1808-1904),字清轩,湖北兴国人,不应试,授徒自给。守程朱之学,有《尉山堂稿》传世。万斛泉曾为书院制定条约和规章制度,为书院的发展做出了贡献,遗憾的是同治五年十一月因生父之丧而去职。
⑧万斛泉.尉山堂稿:卷之四[M].光绪丙午秋叠山书院刊.
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③袁梁肃、袁允橚、袁荣叟述.太常袁公行略[M].光绪乙巳付写,商务印书馆代印.
④沈祥龙.乐志簃文录:卷四[M].光绪庚子冬文墨斋写刻.
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①历代书法论文选[M].上海:上海书画出版社,1979:276.
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①杨伯峻.论语译注[M].北京:中华书局,1980:61.
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④沈祥龙.左春坊左中允刘先生行状[C]//乐志簃文录[M].光绪庚子冬文墨斋写刻.
⑤吴大廷.读书随笔[M].同治癸酉刊.
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②张怀瓘.书断[C]//历代书法论文选[M].上海:上海书画出版社,1979:208.
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①薛正兴点校.刘熙载文集[M].南京:江苏古籍出版社,2001.
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⑥陈宝.小迦陵馆文集[M].宣统庚戌季冬浙江官报兼印刷局排印.
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②汪鋆.扬州画苑录[C]//陈恒和.扬州丛刊[M].民国扬州陈恒和书林刻本.
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①袁昶.安般簃诗钞[M].光绪壬辰刻.
①萧穆.敬孚类稿[M].光绪丙午正月刻.
①许慎.说文解字[M].北京:中华书局,1963:315.
①裘锡圭.文字学概要[M].北京:商务印书馆,1988:59.
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⑦全唐诗[M].上海:上海古籍出版社,1986.
①何文焕.历代诗话[M].北京:中华书局,1981:599-600.
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②历代书法论文选[M].上海:上海书画出版社,1979:22.
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①历代书法论文选[M].上海:上海书画出版社,1979:553.
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③历代书法论文选[M].上海:上海书画出版社,1979:781.
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①赵明诚撰,金文明校证.金石录校证[M].上海:上海书画出版社,1985:300.
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①宣和书谱[M].四库全书本,813-219.
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③历代书法论文选[M].上海:上海书画出版社,1979:213.
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③历代书法论文选[M].上海:上海书画出版社,1979:5-6.
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③历代书法论文选续编[M].上海:上海书画出版社,1993:111.
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③李延寿.南史:卷三十六[M].北京:中华书局,1975:931.
④历代书法论文选[M].上海:上海书画出版社,1979:59.
⑤历代书法论文选[M].上海:上海书画出版社,1979:89.
①历代书法论文选[M].上海:上海书画出版社,1979:188.
②历代书法论文选[M].上海:上海书画出版社,1979:73.
③李延寿.南史:卷二十二[M].北京:中华书局,1975:600.
④历代书法论文选[M].上海:上海书画出版社,1979:82.
⑤历代书法论文选[M].上海:上海书画出版社,1979:89.
⑥历代书法论文选[M].上海:上海书画出版社,1979:189.
⑦历代书法论文选[M].上海:上海书画出版社,1979:249.
⑧李延寿.南史:卷四十二[M].北京:中华书局,1975:1075.
⑨历代书法论文选[M].上海:上海书画出版社,1979:139.
①历代书法论文选[M].上海:上海书画出版社,1979:190.
②历代书法论文选[M].上海:上海书画出版社,1979:139.
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⑥孔凡礼点校.苏轼文集:卷六十九“题跋”[M].北京:中华书局,1986:2206.
①李延寿.南史:卷三十二[M].北京:中华书局,1975:835.
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④历代书法论文选[M].上海:上海书画出版社,1979:190.
⑤历代书法论文选[M].上海:上海书画出版社,1979:141.
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⑤刘昫,等.旧唐书:卷七十二[M].北京:中华书局,1975:2565.
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①历代书法论文选续编[M].上海:上海书画出版社,1993:646.
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①历代书法论文选[M].上海:上海书画出版社,1979:256.
②历代书法论文选[M].上海:上海书画出版社,1979:124.
③历代书法论文选[M].上海:上海书画出版社,1979:267-268.
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①历代书法论文选[M].上海:上海书画出版社,1979:273.
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②杨伯峻.列子集释:卷第一[M].北京:中华书局,1979:36-37.
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⑥何文焕辑.历代诗话[M].北京:中华书局,1981:616.
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⑨历代书法论文选[M].上海:上海书画出版社,1979:554.
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③孔凡礼点校.苏轼文集:卷六十九[M].北京:中华书局:2206-2207.
④历代书法论文选续编[M].上海:上海书画出版社,1993:407.
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④唐宋十一名家法书精选·米芾[M].上海:上海书画出版社,1993:137-144.
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③孔凡礼点校.苏轼文集:卷六十九[M].北京:中华书局,1986:2183.
①孔凡礼点校.苏轼文集:卷六十九[M].北京:中华书局,1986:2183.
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③历代书法论文选续编[M].上海:上海书画出版社,1993:64.
④历代书法论文选续编[M].上海:上海书画出版社,1993:69.
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③历代书法论文选[M].上海:上海书画出版社,1979:360.
④明清书法论文选[M].上海:上海书店出版社,1994:237.
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①马宗霍.书林藻鉴:卷第九[M].上海商务印书馆,民国二十三年刊印.
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⑤历代书法论文选[M].上海:上海书画出版社,1979:728.
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②历代书法论文选[M].上海:上海书画出版社,1979:391.
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①历代书法论文选[M].上海:上海书画出版社,1979:668.
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③历代书法论文选[M].上海:上海书画出版社,1979:526.
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⑥邵雍.皇极经世书:卷十三[M].四库全书本,803-1069.
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②王夫之,等,撰.清诗话[M].上海:上海古籍出版社,1963:419.
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②历代书法论文选[M].上海:上海书画出版社,1979:827.
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③李延寿.南史:卷二十二[M].北京:中华书局,1975:600.
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①历代书法论文选续编[M].上海:上海书画出版社,1993:646.
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⑤历代书法论文选[M].上海:上海书画出版社,1979:3661.
⑥历代书法论文选[M].上海:上海书画出版社,1979:587.
⑦康有为.广艺舟双楫[C]//历代书法论文选[M].上海:上海书画出版社,1979:821.
⑧康有为.广艺舟双楫[C]//历代书法论文选[M].上海:上海书画出版社,1979:827.
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③历代书法论文选续编[M].上海:上海书画出版社,1993:645-646.
④金学智.书概评注[M].上海:上海书画出版社,1990:157.
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①历代书法论文选[M].上海:上海书画出版社,1979:256.
②历代书法论文选[M].上海:上海书画出版社,1979:124.
③历代书法论文选[M].上海:上海书画出版社,1979:267-268.
④历代书法论文选[M].上海:上海书画出版社,1979:124.
①历代书法论文选[M].上海:上海书画出版社,1979:273.
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③孔凡礼点校.苏轼文集[M].北京:中华书局,1986:2206.
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①历代书法论文选续编[M].上海:上海书画出版社,1993:132.
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③马宗霍.书林藻鉴:卷第八[M].上海商务印书馆,民国二十三年刊印.
④历代书法论文选[M].上海:上海书画出版社,1979:655.
⑤马宗霍.书林藻鉴:卷第八[M].上海商务印书馆,民国二十三年刊印.
⑥马宗霍.书林藻鉴:卷第八[M].上海商务印书馆,民国二十三年刊印.
①历代书法论文选[M].上海:上海书画出版社,1979:292.
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⑥宣和书谱[M].四库全书本:813-297.
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②杨伯峻.列子集释:卷第一[M].北京:中华书局,1979:36-37.
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②范文澜.文心雕龙注[M].北京:人民文学出版社,1961:543.
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④孔凡礼点校.苏轼诗集[M].北京:中华书局,1982:372.
⑤孔凡礼点校.苏轼文集:卷六十九[M].北京:中华书局,1986:2206.
⑥历代书法论文选[M].上海:上海书画出版社,1979:297.
⑦丛文俊.“晋尚韵、唐尚法、宋尚意”辨[J].书法,1991〔3〕.
⑧孔凡礼点校.苏轼文集:卷六十九[M].北京:中华书局,1986:2183.
⑨孔凡礼点校.苏轼诗集:卷二十九[M].北京:中华书局,1982:1525-1526.
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②梁披云.中国书法大辞典[M].香港书谱出版社,广东人民出版社,1984:1433.
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④历代书法论文选[M].上海:上海书画出版社,1979:827.
⑤历代书法论文选[M].上海:上海书画出版社,1979:858.
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④杨伯峻.列子集释:卷第五[M].北京:中华书局,1979:175-177.
⑤历代书法论文选续编[M].上海:上海书画出版社,1993:339.
⑥何文焕辑.历代诗话[M].北京:中华书局,1981:616.
①孔凡礼点校.苏轼文集[M].北京:中华书局,1986:2178.
②历代书法论文选[M].上海:上海书画出版社,1979:361.
③历代书法论文选续编[M].上海:上海书画出版社,1993:511.
④历代书法论文选续编[M].上海:上海书画出版社,1993:624.
①曹础基.庄子浅注[M].北京:中华书局,1982:362.
②历代书法论文选续编[M].上海:上海书画出版社,1993:700.
③历代书法论文选[M].上海:上海书画出版社,1979:408.
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⑤司马迁.史记:卷一百二十[M].北京:中华书局,1959:3106.
⑥班固.汉书:卷五十八[M].北京:中华书局,1962:2619.
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⑧司马迁.史记:卷一百二十二[M].北京:中华书局,1959:3138.
⑨历代书法论文选[M].上海:上海书画出版社,1979:554.
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③孔凡礼点校.苏轼文集:卷六十九[M].北京:中华书局:2206-2207.
④历代书法论文选续编[M].上海:上海书画出版社,1993:407.
⑤历代书法论文选[M].上海:上海书画出版社,1979:818.
①历代书法论文选续编[M].上海:上海书画出版社,1993:657.
②历代书法论文选[M].上海:上海书画出版社,1979:332.
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④殷荪.论柳公权[J].书法研究,1990(2):1-22.
①孔凡礼点校.苏轼文集:卷六十九“题跋”[M].北京:中华书局,1986:2187.
②历代书法论文选续编[M].上海:上海书画出版社,1993:66.
③历代书法论文选续编[M].上海:上海书画出版社,1993:68.
④王大亨,欧阳恒忠.刘熙载书概签注[M].广西师范大学出版社,漓江出版社,1990:225.
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⑥明清书法论文选[M].上海:上海书店出版社,1994:626.
⑦钱泳.履园丛话:十一上[M].北京:中华书局,1979:291.
①历代书法论文选续编[M].上海:上海书画出版社,1993:66.
②历代书法论文选续编[M].上海:上海书画出版社,1993:66.
③历代书法论文选续编[M].上海:上海书画出版社,1993:64.
④唐宋十一名家法书精选·米芾[M].上海:上海书画出版社,1993:137-144.
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⑦米芾.书史[M].四库全书本,四库全书本,813-39-41.
⑧钱泳.履园丛话:十一上[M].北京:中华书局,1979:291.
①钱泳.履园丛话[M].北京:中华书局,1979:291.
②历代书法论文选[M].上海:上海书画出版社,1979:409—410.
③赵孟頫.评宋十一家书[C]//历代书法论文选续编[M].上海:上海书画出版社,1993:181.
④江苏师范学院历文系,苏州地方史研究室整理.瞿式耜集[M].上海:上海古籍出版社,1981:304.
⑤孔凡礼点校.苏轼文集:卷第六十六[M].北京:中华书局:2069.
①金学智.书概评注[M].上海:上海书画出版社,1990:194.
②孔凡礼点校.苏轼文集:卷六十九[M].北京:中华书局,1986:2177.
③孔凡礼点校.苏轼文集:卷六十九[M].北京:中华书局,1986:2183.
①孔凡礼点校.苏轼文集:卷六十九[M].北京:中华书局,1986:2183.
②历代书法论文选续编[M].上海:上海书画出版社,1993:60.
③历代书法论文选续编[M].上海:上海书画出版社,1993:64.
④历代书法论文选续编[M].上海:上海书画出版社,1993:69.
⑤丛文俊.揭示古典的真实—丛文俊书学、学术研究论集[M].郑州:中州古籍出版社,2003:329.
①历代书法论文选[M].上海:上海书画出版社,1979:459.
②王澍.竹云题跋·瘗鹤铭考[C]//历代书法论文选续编[M].上海:上海书画出版社,1993:611.
③历代书法论文选[M].上海:上海书画出版社,1979:360.
④明清书法论文选[M].上海:上海书店出版社,1994:237.
⑤李之仪.姑溪居士论书[C]//历代书法论文选续编[M].上海:上海书画出版社,1993:74.
①马宗霍.书林藻鉴:卷第九[M].上海商务印书馆,民国二十三年刊印.
②马宗霍.书林藻鉴:卷第九[M].上海商务印书馆,民国二十三年刊印.
③历代书法论文选续编[M].上海:上海书画出版社,1993:521—522.
④历代书法论文选[M].上海:上海书画出版社,1979:860.
⑤马宗霍.书林藻鉴:卷第九[M].上海商务印书馆,民国二十三年刊印.
①历代书法论文选续编[M].上海:上海书画出版社,1993:179.
①历代书法论文选[M].上海:上海书画出版社,1979:21.
②屈守元.韩诗外传笺疏[M].成都:巴蜀书社,1996.
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④黄庭坚.论书[C]//历代书法论文选[M].上海:上海书画出版社,1979:354.
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⑥沈括.梦溪笔谈[M].北京:文物出版社,1975.
⑦历代书法论文选[M].上海:上海书画出版社,1979:376.
①历代书法论文选[M].上海:上海书画出版社,1979:561.
②明清书法论文选[M].上海:上海书店出版社,1994:766.
③历代书法论文选[M].上海:上海书画出版社,1979:719.
④米芾书法集[M].上海:上海书画出版社,1993.
⑤杨伯峻.春秋左传注[M].北京:中华书局,1981:458.
⑥十三经注疏[M].北京:中华书局,1980:1825.
①历代书法论文选[M].上海:上海书画出版社,1979:276.
②历代书法论文选[M].上海:上海书画出版社,1979:547.
③历代书法论文选[M].上海:上海书画出版社,1979:551.
④历代书法论文选[M].上海:上海书画出版社,1979:564.
⑤金学智.书概评注[M].上海:上海书画出版社,1990:206.
⑥朱和羹.临池心解[C]//历代书法论文选[M].上海:上海书画出版社,1979:732.
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⑧包世臣.艺舟双楫[C] //历代书法论文选[M].上海:上海书画出版社,1979:641.
①历代书法论文选[M].上海:上海书画出版社,1979:385.
②历代书法论文选[M].上海:上海书画出版社,1979:662-663.
③历代书法论文选[M].上海:上海书画出版社,1979:653.
④蔡邕.九势[C]//历代书法论文选[M].上海:上海书画出版社,1979:6.
⑤历代书法论文选[M].上海:上海书画出版社,1979:727.
①历代书法论文选[M].上海:上海书画出版社,1979:287.
②沈尹默.书法论丛[M].上海:上海教育出版社,1984:57-58.
③历代书法论文选[M].上海:上海书画出版社,1979:6.
④明清书法论文选[M].上海:上海书店出版社,1994:898.
⑤历代书法论文选[M].上海:上海书画出版社,1979:646.
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①历代书法论文选[M].上海:上海书画出版社,1979:875-876.
②余绍宋.书画书录解题[M].国立北平图书馆铅印本,1931.
③陈绎曾.翰林要诀·第八圆法[C]//历代书法论文选[M].上海:上海书画出版社,1979:486.
④历代书法论文选续编[M].上海:上海书画出版社,1993:416.
⑤历代书法论文选[M].上海:上海书画出版社,1979:728.
⑥历代书法论文选[M].上海:上海书画出版社,1979:27.
①笪重光.书筏[C]//历代书法论文选[M].上海:上海书画出版社,1979:561.
①历代书法论文选[M].上海:上海书画出版社,1979:6.
②宋曹.书法约言·总论[C]//历代书法论文选[M].上海:上海书画出版社,1979:566.
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④历代书法论文选[M].上海:上海书画出版社,1979:483.
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①姚孟起.字学忆参[C]//明清书法论文选[M].上海:上海书店出版社,1994:911.
②金学智.书概评注[M].上海:上海书画出版社,1990:214.
③历代书法论文选[M].上海:上海书画出版社,1979:282.
④历代书法论文选[M].上海:上海书画出版社,1979:844.
⑤历代书法论文选[M].上海:上海书画出版社,1979:178.
⑥历代书法论文选[M].上海:上海书画出版社,1979:279.
⑦历代书法论文选[M].上海:上海书画出版社,1979:193.
⑧历代书法论文选[M].上海:上海书画出版社,1979:330.
⑨宣和书谱[M].四库全书本,813-250-251.
①历代书法论文选[M].上海:上海书画出版社,1979:798.
②历代书法论文选[M].上海:上海书画出版社,1979:566.
③赵宧光.寒山帚谈[C]//明清书法论文选[M].上海:上海书店出版社,1994:295.
④宣和书谱[M].四库全书本,813-297.
⑤董逌.广川书跋[C]//历代书法论文选续编[M].上海:上海书画出版社,1993:134.
⑥历代书法论文选[M].上海:上海书画出版社,1979:393.
⑦历代书法论文选续编[M].上海:上海书画出版社,1993:69.
⑧历代书法论文选[M].上海:上海书画出版社,1979:105.
⑨明清书法论文选[M].上海:上海书店出版社,1994:435.
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①历代书法论文选[M].上海:上海书画出版社,1979:81-82.
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③金学智.书概评注[M].上海:上海书画出版社,1990:.218.
④杨伯峻.论语译注[M].北京:中华书局,1980:61.
①历代书法论文选[M].上海:上海书画出版社,1979:482.
②历代书法论文选[M].上海:上海书画出版社,1979:649.
③历代书法论文选[M].上海:上海书画出版社,1979:130.
④现代书法论文选[M].上海:上海书画出版社,1980:38.
①百子全书[M].杭州:浙江人民出版社,1984.
②历代书法论文选[M].上海:上海书画出版社,1979:498.
③历代书法论文选[M].上海:上海书画出版社,1979:648.
④何宁.淮南子集释[M].北京:中华书局,1998.
①金学智.书概评注[M].上海:上海书画出版社,1990:222.
②历代书法论文选[M].上海:上海书画出版社,1979:736-737.
①历代书法论文选[M].上海:上海书画出版社,1979:392.
②明清书法论文选[M].上海:上海书店出版社,1994.283.
③历代书法论文选[M].上海:上海书画出版社,1979:102.
④历代书法论文选[M].上海:上海书画出版社,1979:489.
⑤刘彝程.简易庵算稿[M].光绪庚子秋制造局锓板.
⑥包世臣.艺舟双楫·述书上[C]//历代书法论文选[M].上海:上海书画出版社,1979:641.
①历代书法论文选[M].上海:上海书画出版社,1979:100.
②历代书法论文选[M].上海:上海书画出版社,1979:391.
③杨伯峻.春秋左传注[M].北京:中华书局,1981:1164.
①历代书法论文选[M].上海:上海书画出版社,1979:668.
②历代书法论文选[M].上海:上海书画出版社,1979:391.
③历代书法论文选[M].上海:上海书画出版社,1979:526.
①历代书法论文选[M].上海:上海书画出版社,1979:552.
②历代书法沦为选[M].上海:上海书画出版社,1979:575.
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④历代书法论文选续编[M].上海:上海书画出版社,1993:200.
⑤明清书法论文选[M].上海:上海书店出版社,1994:324.
⑥历代书法论文选[M].上海:上海书画出版社,1979:553.
①历代书法论文选[M].上海:上海书画出版社,1979:543.
②蒋和.蒋氏游艺秘录[C]//明清书法论文选[M].上海:上海书店出版社,1994:651.
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③王大亨,欧阳恒忠.刘熙载书概签注[M].广西师范大学出版社、漓江出版社,1990:274.
④历代书法论文选[M].上海:上海书画出版社,1979:37.
⑤明清书法论文选[M].上海:上海书店出版社,1994:683-684.
⑥蒋和.蒋氏游艺秘录[C]//明清书法论文选[M].上海:上海书店出版社,1994:646.
⑦历代书法论文选[M].上海:上海书画出版社,1979:129.
①历代书法论文选[M].上海:上海书画出版社,1979:100.
②邓实辑.美术丛书:第一辑[M].清末民国上海神州光社铅印本.
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②朱伯崑主编.周易知识通览[M].济南:齐鲁书社,1993:1.
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④金景芳.《周易·系辞传》新编详解[M].沈阳:辽海出版社,1998:93.
⑤金景芳.《周易·系辞传》新编详解[M].沈阳:辽海出版社,1998:93.
⑥邵雍.皇极经世书:卷十三[M].四库全书本,803-1069.
①十三经注疏[M].北京:中华书局影印,1980:14
②十三经注疏[M].北京:中华书局影印,1980:17-18.
③朱伯崑.周易知识通览[M].济南:齐鲁书社,1993:240.
④金景芳.《周易·系辞传》新编详解[M].沈阳:辽海出版社,1998:23.
⑤金景芳.《周易·系辞传》新编详解[M].沈阳:辽海出版社,1998:127.
⑥金景芳.《周易·系辞传》新编详解[M].沈阳:辽海出版社,1998:165.
①历代书法论文选[M].上海:上海书画出版社,1979:38.
②历代书法论文选[M].上海:上海书画出版社,1979:129.
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⑥金景芳.《周易·系辞传》新编详解[M].沈阳:辽海出版社,1998: 179.
⑦金先生说此段文字是“误增”的.
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④明清书法论文选[M].上海:上海书店出版社,1994:662.
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②瞿式耜集[M].上海:上海古籍出版社,1981:304.
③苏轼诗集[M].北京:中华书局,1982:235.
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⑤明清书法论文选[M].上海:上海书店出版社,1994:907.
①王弼著,楼宇烈校释.王弼集校释[M].北京:中华书局,1980:65.
②曹础基.庄子浅注[M].北京:中华书局,1982:53.
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①王弼著,楼宇烈校释.王弼集校释[M].北京:中华书局,1980:77.
②王夫之,等,撰.清诗话[M].上海:上海古籍出版社,1963:419.
③历代书法论文选[M].上海:上海书画出版社,1979:6.
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②王弼著,楼宇烈校释.王弼集校释[M].北京:中华书局,1980:127-128.
③历代书法论文选[M].上海:上海书画出版社,1979:266.
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①历代书法论文选[M].上海:上海书画出版社,1979:407.
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①王琦注.李太白全集[M].北京:中华书局,1977:574.
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①王弼著,楼宇烈校释.王弼集校释[M].北京:中华书局,1980:328.
②明清书法论文选[M].上海:上海书店出版社,1994:452.
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③杨伯峻.列子集释[M].北京:中华书局,1979:136—137.
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①李延寿,撰.南史[M].北京:中华书局,1975:810.
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②历代书法论文选[M].上海:上海书画出版社,1979:506.
③历代书法论文选[M].上海:上海书画出版社,1979:22.
④历代书法论文选[M].上海:上海书画出版社,1979:334.
①历代书法论文选[M].上海:上海书画出版社,1979:229.
②历代书法论文选[M].上海:上海书画出版社,1979:230.
③孔凡礼点校.苏轼文集[M].北京:中华书局,1986:2206—2207.
④孔凡礼点校.苏轼文集[M].北京:中华书局,1986:2186.
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③历代书法论文选[M].上海:上海书画出版社,1979:408.
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③孔凡礼点校.苏轼文集[M].北京:中华书局,1986:2177.
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①甘鹏云.潜庐随笔[M].癸酉夏五月潜江甘氏崇雅堂开雕.
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