杜甫论书诗研究
摘要
大诗人杜甫是一位对诗歌、书法、绘画等多种艺术门类都卓有见地的艺术家,其书法有家学渊源,其祖父杜审言、父亲杜闲都擅长书法。杜甫虽然没有墨迹流传下来,但是元、明、清等历代对杜甫的书法水平都给予了充分肯定。杜甫一生写诗三千多首,其中有一百余首论及书法,记录了与书家的交游,包含了独特的书法美学思想。
杜甫先后与韦见素、刘伯华、李白、李邕、李琎、李潮、张旭、张彪、郑虔、郑典设、贺知章、顾诫奢、曹霸、韩择木、蔡有邻、裴施州等十几位书家交往,并为他们写下众多诗篇。在这些诗中,杜甫多用典故,以比喻、对比手法描写书家书艺,同时表达自己对书法的好恶,语言富有特色,对后代论书诗影响很大。
杜甫主张勤奋学书,广益多思,多方取法,在创作状态上推崇“静心多妙”,在艺术风格上崇尚奇古,以瘦硬为美,以通神作为书法创作的最高境界。
杜甫的书学思想的形成有历史传承,尤其受到初唐尚骨书风的影响。盛唐时期,由于社会风尚和统治者的喜好,丰肥书风大行其道。针对当时的社会环境和艺术氛围,杜甫旗帜鲜明地提出“老夫平生好奇古”和“书贵瘦硬方通神”的口号,对唐代及以后的书风、书论都产生了重要影响。
杜甫论书诗中体现的书学思想的形成也与其独特的性格和人生经历有关。杜甫性格褊躁,与世俗格格不入。由于没有得到重用,报国理想未能实现,加之唐朝由盛转衰,因此杜甫提倡“奇古”、“瘦硬”,都是在表达对统治者的不满。疏救房琯获罪之事使其对颜真卿心怀不满,更促使其反对以颜真卿为代表的丰肥书风,提倡回归奇古、瘦硬的二王书风。
As a famous poet, Du fu had keen insight on many arts such as poem, calligraphy and painting .Both his grandfather Du Shenyan and father Du Xian were good at calligraphy, therefore, he learned much knowledge about calligraphy from them. Although his calligraphy was not been handed down, but it was appraised highly in Yuan,Ming and Qing Dynasty. In his whole life, Du fu wrote more than three thousand poems, more than one hundred of which touched upon calligraphy, recorded his association with calligraphers and contained unique aesthetics ideas of calligraphy .
Du Fu altogether associated with more than ten calligraphers, such as Wei Jiansu,Liu Bohua,LiBai, Li Yong,Li Jin,Li Chao,Zhang Xu,Zhang Biao,Zheng Qian,Zheng Dianshe,He Zhizhang,Gu Jieshe,CaoBa,Han Zemu,Cai Youlin,Pei Shizhou, and wrote many poems for them. In these poems, Du Fu described usually calligraphers and arts of calligraphy and expressed his own viewpoint on calligraphy by literary quotations, metaphors and contrast. These poems was distinctive in words and had great influence on later poems of discussing calligraphy.
Du Fu hold that people should be diligent in calligraphy, absorb all useful ideas and follow all the examples of calligraphy. He praised highly the creating mind of“quiet is beautiful”and uphold the strange and ancient arts style. He also considered that the thin and hard calligraphy is beautiful. What is more, he thought understanding spirits as the best realm of calligraphy creating.
The calligraphy idea of Du Fu was influenced by tradition of calligraphy, especially by the style of advocating bone in early period of Tang Dynasty. In the prosperous period of Tang Dynasty, the plump style was very popular because of the social custom and the rulers’favor. In view of the social conditions and artistic atmosphere then, Du Fu explicitly put forward the slogan: I was keen on strange and ancient artistic style in my whole life and only the thin and hard calligraphy can gain access to miraculous realm, which affected prevailing calligraphy custom and judgment of Tang Dynasty and later ages deeply.
The formation of calligraphy thinking, which was embodied in the poems appraising calligraphy of Du Fu, had something to do with his unique personality and life experience. Du Fu was short-tempered and incompatible with the social conventions. Not being assigned to a key post, Du Fu failed to achieve his ideal of dedicating himself to the service of his country, moreover, the Tang Dynasty began to become weak,so Du Fu advocated strange and ancient, thin and hard style of calligraphy in order to express his complaints against the rulers. Du Fu was penalized because of rescuing Fang Guan, then he hold complaints against Yan Zhenqing, which made him oppose the plump style of calligraphy which is advocated by Yan Zhenqing ,and promote go back to the strange and ancient, thin and hard style of calligraphy which encouraged by Wang Xizhi and Wang Xianzhi.
杜甫先后与韦见素、刘伯华、李白、李邕、李琎、李潮、张旭、张彪、郑虔、郑典设、贺知章、顾诫奢、曹霸、韩择木、蔡有邻、裴施州等十几位书家交往,并为他们写下众多诗篇。在这些诗中,杜甫多用典故,以比喻、对比手法描写书家书艺,同时表达自己对书法的好恶,语言富有特色,对后代论书诗影响很大。
杜甫主张勤奋学书,广益多思,多方取法,在创作状态上推崇“静心多妙”,在艺术风格上崇尚奇古,以瘦硬为美,以通神作为书法创作的最高境界。
杜甫的书学思想的形成有历史传承,尤其受到初唐尚骨书风的影响。盛唐时期,由于社会风尚和统治者的喜好,丰肥书风大行其道。针对当时的社会环境和艺术氛围,杜甫旗帜鲜明地提出“老夫平生好奇古”和“书贵瘦硬方通神”的口号,对唐代及以后的书风、书论都产生了重要影响。
杜甫论书诗中体现的书学思想的形成也与其独特的性格和人生经历有关。杜甫性格褊躁,与世俗格格不入。由于没有得到重用,报国理想未能实现,加之唐朝由盛转衰,因此杜甫提倡“奇古”、“瘦硬”,都是在表达对统治者的不满。疏救房琯获罪之事使其对颜真卿心怀不满,更促使其反对以颜真卿为代表的丰肥书风,提倡回归奇古、瘦硬的二王书风。
As a famous poet, Du fu had keen insight on many arts such as poem, calligraphy and painting .Both his grandfather Du Shenyan and father Du Xian were good at calligraphy, therefore, he learned much knowledge about calligraphy from them. Although his calligraphy was not been handed down, but it was appraised highly in Yuan,Ming and Qing Dynasty. In his whole life, Du fu wrote more than three thousand poems, more than one hundred of which touched upon calligraphy, recorded his association with calligraphers and contained unique aesthetics ideas of calligraphy .
Du Fu altogether associated with more than ten calligraphers, such as Wei Jiansu,Liu Bohua,LiBai, Li Yong,Li Jin,Li Chao,Zhang Xu,Zhang Biao,Zheng Qian,Zheng Dianshe,He Zhizhang,Gu Jieshe,CaoBa,Han Zemu,Cai Youlin,Pei Shizhou, and wrote many poems for them. In these poems, Du Fu described usually calligraphers and arts of calligraphy and expressed his own viewpoint on calligraphy by literary quotations, metaphors and contrast. These poems was distinctive in words and had great influence on later poems of discussing calligraphy.
Du Fu hold that people should be diligent in calligraphy, absorb all useful ideas and follow all the examples of calligraphy. He praised highly the creating mind of“quiet is beautiful”and uphold the strange and ancient arts style. He also considered that the thin and hard calligraphy is beautiful. What is more, he thought understanding spirits as the best realm of calligraphy creating.
The calligraphy idea of Du Fu was influenced by tradition of calligraphy, especially by the style of advocating bone in early period of Tang Dynasty. In the prosperous period of Tang Dynasty, the plump style was very popular because of the social custom and the rulers’favor. In view of the social conditions and artistic atmosphere then, Du Fu explicitly put forward the slogan: I was keen on strange and ancient artistic style in my whole life and only the thin and hard calligraphy can gain access to miraculous realm, which affected prevailing calligraphy custom and judgment of Tang Dynasty and later ages deeply.
The formation of calligraphy thinking, which was embodied in the poems appraising calligraphy of Du Fu, had something to do with his unique personality and life experience. Du Fu was short-tempered and incompatible with the social conventions. Not being assigned to a key post, Du Fu failed to achieve his ideal of dedicating himself to the service of his country, moreover, the Tang Dynasty began to become weak,so Du Fu advocated strange and ancient, thin and hard style of calligraphy in order to express his complaints against the rulers. Du Fu was penalized because of rescuing Fang Guan, then he hold complaints against Yan Zhenqing, which made him oppose the plump style of calligraphy which is advocated by Yan Zhenqing ,and promote go back to the strange and ancient, thin and hard style of calligraphy which encouraged by Wang Xizhi and Wang Xianzhi.
引文
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