王船山书法遗墨刍议
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摘要
王船山的书法遗墨存世较少,一般见于各博物馆以及民间私人收藏单位,这些书法资源可分为书法作品和手稿遗墨两大类。王船山的书法渊源于他的家学和友人,他的书法交游广泛。他的书法艺术特色主要体现在"字如其人"、遵循传统、崇尚晋唐、追求平正典雅和务求形式与内容高度统一等方面。王船山的书法美学思想与他的诗歌美学思想有诸多相似之处,两者有异曲同工之妙,他对"天人合一"、情与景、意与势等美学问题的阐述,为解决当下书法面临的困境提供了有益的启示。
Wang Chuanshan's calligraphy is less existed now and generally only be found in museums and private collection units,and these calligraphy resources can be divided into two categories.Wang Chuanshan's calligraphy originated from his family and friends,and his calligraphy activities are extensive.Wang Chuanshan's calligraphy art features are mainly embodied in the"style is the man",follow the tradition,advocating the style in Jin Tang Dynasty,the pursuit of elegance and ensure a high degree of unity of form and content.There are many similarities between Wang Chuanshan's calligraphy aesthetics thought and his poetic aesthetics thought,both of which are similar,and his exposition of the aesthetic problems such as"The Unity of Heaven and Man",emotion and scenery,meaning and potential,which provides a useful enlightenment for solving the predicament facing calligraphy nowadays.
Wang Chuanshan's calligraphy is less existed now and generally only be found in museums and private collection units,and these calligraphy resources can be divided into two categories.Wang Chuanshan's calligraphy originated from his family and friends,and his calligraphy activities are extensive.Wang Chuanshan's calligraphy art features are mainly embodied in the"style is the man",follow the tradition,advocating the style in Jin Tang Dynasty,the pursuit of elegance and ensure a high degree of unity of form and content.There are many similarities between Wang Chuanshan's calligraphy aesthetics thought and his poetic aesthetics thought,both of which are similar,and his exposition of the aesthetic problems such as"The Unity of Heaven and Man",emotion and scenery,meaning and potential,which provides a useful enlightenment for solving the predicament facing calligraphy nowadays.
引文
[1]王夫之.王船山诗文集[M].北京:中华书局,2006.
[2]戴鸿森.姜斋诗话笺注[M].上海:上海古籍出版社,2003.
[3]康和声.王船山先生南岳诗文事略[M].长沙:湖南人民出版社,2009.
[4]李元度.光绪重修南岳志[M].北京:中国书店出版社,1990.
[5]梁披云.中国书法大辞典[M].广州:广东人民出版社,1987.
[6]松年.颐园论画[M].呼和浩特:内蒙古人民出版社,1984.
[7]王气中.艺概笺注[M].贵阳:贵州人民出版社,1986.
[8]胡抗美.中国书法章法研究[M].北京:荣宝斋出版社,2014.
[9]上海书画出版社,华中师范大学古籍整理研究室.历代书法论文选[M].上海:上海书画出版社,1981.
[10]范军.论王夫之的艺术整体观[J].华中师范大学学报,1989(1).
[11]叶朗.王夫之美学二题[J].学术月刊,1980(6).
[12]陈望衡.中国古典美学的总结———王夫之美学思想摭论[J].船山学刊,1997(1).
[13]王夫之.尚书引义[M].北京:中华书局,1982.
(1)图一、图四选自岳麓书社1982版《王船山手迹》,图二、图三来自湖南省博物馆举办的“湖南名人书法展”,图五由衡阳生态壹号美术馆馆长熊泓翔先生提供。
[2]戴鸿森.姜斋诗话笺注[M].上海:上海古籍出版社,2003.
[3]康和声.王船山先生南岳诗文事略[M].长沙:湖南人民出版社,2009.
[4]李元度.光绪重修南岳志[M].北京:中国书店出版社,1990.
[5]梁披云.中国书法大辞典[M].广州:广东人民出版社,1987.
[6]松年.颐园论画[M].呼和浩特:内蒙古人民出版社,1984.
[7]王气中.艺概笺注[M].贵阳:贵州人民出版社,1986.
[8]胡抗美.中国书法章法研究[M].北京:荣宝斋出版社,2014.
[9]上海书画出版社,华中师范大学古籍整理研究室.历代书法论文选[M].上海:上海书画出版社,1981.
[10]范军.论王夫之的艺术整体观[J].华中师范大学学报,1989(1).
[11]叶朗.王夫之美学二题[J].学术月刊,1980(6).
[12]陈望衡.中国古典美学的总结———王夫之美学思想摭论[J].船山学刊,1997(1).
[13]王夫之.尚书引义[M].北京:中华书局,1982.
(1)图一、图四选自岳麓书社1982版《王船山手迹》,图二、图三来自湖南省博物馆举办的“湖南名人书法展”,图五由衡阳生态壹号美术馆馆长熊泓翔先生提供。