“崇王”论塑造了唐以来中国书法的审美精神、信仰体系和学术传统,也深刻改变了后世对先唐书法的想象与认识。初唐政治和文教的大一统需要,儒学与文学、艺术的南学化,是唐太宗明确提出“崇王”论的历史背景。唐太宗以行、草书碑,作《王羲之论》,将王羲之塑造成美学与道德高度合一的典范,既与其自身的审美取向有关,亦是借王书以实施书学改制。唐以来人们对二王法书的反复临摹与翻刻,思想史对王羲之形象的层累塑造,加之宋明理学道统论影响下以王羲之为中心的笔法授受体系的不断拓展,使得王羲之在书学史上的宗主地位得到进一步强化,从而构建出一个由文化精英主导的、建立在圣人和经典崇拜基础之上的儒家书学道统。
Abstract
The veneration of Wang Xizhi has shaped the aesthetic spirit, belief system and academic traditions of Chinese calligraphy since the Tang dynasty. It has also significantly transformed the imagination and understanding of calligraphy in the pre-Tang era. The imperative to integrate politics, culture, and education during the early Tang dynasty, along with the Southern influence on Confucianism, literature, and the arts, served as the historical backdrop for Emperor Taizong's proposal to honor Wang Xizhi. Emperor Taizong's composition, “On Wang Xizhi,” crafted with both running and cursive inscriptions, established Wang Xizhi as an exemplar embodying a harmonious fusion of aesthetics and morality. This was not only reflective of the emperor's own aesthetic preferences but also instrumental in driving calligraphy reform through the influence of Wang Xizhi's calligraphy. Since the Tang dynasty, the emulation and replication of the calligraphic masterpieces of Wang Xizhi and Wang Xianzhi, along with the gradual development of Wang Xizhi's image in the history of calligraphy and intellectual history, coupled with the influence of the Neo-Confucianism orthodoxy during the Song and Ming dynasties, the system of transmission and reception centered around Wang Xizhi has continuously expanded. This has further solidified Wang Xizhi's esteemed position as a master in the history of calligraphy and finally established a Confucian calligraphic orthodoxy dominated by the cultural elites and based on the veneration of saints and classics.
关键词
书学 /
王羲之 /
崇王论 /
唐太宗 /
道统
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Key words
calligraphy /
Wang Xizhi /
veneration of Wang Xizhi /
Emperor Taizong of the Tang dynasty /
orthodoxy
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基金
国家社科基金项目“清代经学与书学关系研究”[项目编号:23BZX045]的阶段性成果。
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