“重拙大”源于书论说——晚清词学转向的文化与文学史背景分析

摘要/Abstract

摘要： “重拙大”是晚清词学的一个重要命题，由于一直以来其理论来源不明，导致学界对其阐释存在种种歧误，以至迄今为止仍无定论。通过晚清相关文化变迁的全面考察，大体可以确定此种美学范式直接起源于其时盛行一时的碑学理论，为碑书美学的基本特点。由于晚清词的发展面临与书法类似的问题，词论家因此将其引入词学，属于典型的类比批评。厘清了“重拙大”的直接理论来源，便可循此对其内涵进行较为准确的阐释。

关键词: 重拙大, 晚清词学, 碑学, 况周颐

Abstract: "Zhong Zhuo Da" (Strength, Refined Antiquity, and Grandiosity) is an important theory of ci-poetry in the late Qing Dynasty, since its theoretical origin remains unknown, there are so various interpretations of the theory that there is still no consensus on its origin. Through a comprehensive study of the related cultural changes in the late Qing Dynasty, the paper argues that it is almost certain that the aesthetic paradigm should originate from the theory of tablet calligraphy critique. Given the shared problem with the development of ci-poetry and calligraphy in the late Qing Dynasty, critics introduced tablet calligraphy critique into ci-poetry criticism, which is type of ana. To clarify its direct theoretical sources, we can make a more accurate interpretation of its connotation.

Key words: Zhong Zhuo Da, ci-poetry criticism in the late Qing Dynasty, tablet calligraphy, Kuang Zhouyi

姜荣刚. “重拙大”源于书论说——晚清词学转向的文化与文学史背景分析[J]. 文艺理论研究, 2017, 37(3): 95-108.

Jiang Ronggang. The Origination of "Zhong Zhuo Da" from Calligraphy Critique: the Cultural and Literary Historical Background of the Turn of Ci-poetry Criticism in the late Qing Dynasty[J]. Theoretical Studies in Literature and Art, 2017, 37(3): 95-108.

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(1)参见苏利海:“‘重拙大’新议”(《文艺理论研究》4(2011):81-85)关于“重拙大”内涵阐释的学术史梳理。
(2)刘红麟曾引用蔡嵩云对“重拙大”的解释,并认为“基本能概括王鹏运重拙大之旨”,惜未发挥蔡氏将其与碑学联系起来的观点。参见刘红麟《晚清四大词人研究》(长沙:湖南师范大学出版社,2012年),第34页。
(3)这一点与词学的使用与阐释情况略同,如孙克强:《况周颐“重、拙、大”新论》一文中说:“对于‘重、拙、大’的内涵,《蕙风词话》正续编中已有所解释,但详略不同,如释‘重、拙’较详,而释‘大’较略”。参见《中国韵文学刊》2(2003):91-95。
(4)关于临桂词派的形成与词学主张可参巨传友《清代临桂词派研究》(上海:上海古籍出版社,2008年)的相关论述。
(5)清词研究专家严迪昌在《清词流派述要》一文种就说:“‘桂派’的词学观,渊源仍在‘常州词派’,是‘常派’的余波一脉”。参见王步高编《金元明清词鉴赏辞典》附录(南京:南京大学出版社,1989年),第1 388页。
(6)陈水云在《清代词学发展史论》(北京:学苑出版社,2005年,第247页)中说谭献对词创作技巧提出的两点要求之一便是“运笔多样化,或平起(正笔),或重笔,或逆入平出(侧笔)”。
(7)华人德在《中国书法史·两汉卷》(南京:江苏教育出版社,1999年)中说:“清代碑学派书家用笔多主张逆入平出,即是隶书笔法”。参见第155页。
(8)参见彭玉平:“晚清‘重拙大’词学思想溯源---端木埰《宋词赏心录》探论”,《学术研究》8(2004):127-31。
(9)赵尊岳《〈蕙风词话〉跋》就称况周颐言词境“其造极者曰穆”。参见况周颐著、孙克强辑考《蕙风词话广蕙风词话》附录一(郑州:中州古籍出版社,2003年),第452页。
(10)据龙榆生《今日学词应取之途径》转述朱祖谋语,《龙榆生词学论文集》(上海:上海古籍出版社,2009年),第115页。
(11)孙维城在“重拙大:桂派词学审美基本标准---况周颐词论研究之一”一文说:“可知‘意厚’云云,乃在意多”,是颇为准确的观点。参见《安庆师范学院学报》1(1989):69-76。
(12)孙维城将况周颐的“重”视为“气格”,并认为它与明清的“格调”说、先秦汉魏的“文气”说存在渊源关系,即为显例。参见孙维城:“重拙大:桂派词学审美基本标准---况周颐词论研究之一”,《安庆师范学院学报》1(1989):69-76。

[1]	彭玉平. 况周颐批点陈蒙庵填词月课综论 [J]. 文艺理论研究, 2019, 39(2): 105-116.
[2]	孙克强. 况周颐词学新论 [J]. 文艺理论研究, 2016, 36(1): 120-127.

“重拙大”源于书论说——晚清词学转向的文化与文学史背景分析

The Origination of "Zhong Zhuo Da" from Calligraphy Critique: the Cultural and Literary Historical Background of the Turn of Ci-poetry Criticism in the late Qing Dynasty

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