姜夔《续书谱》中的儒家书艺观

The Confucian Calligraphy Concept in Jiang Kui's “Xu Shu Pu”

宋代在文学艺术、哲学等意识形态方面，创造了不同于前代的另一个高峰。在这个文化繁荣发展的时代，诗、书艺、绘画等艺术活动，无论是在创作上还是在理论上都呈现卓越的成就。姜夔就是其中的代表人物，他不仅在文学和书法创作上为后人留下了丰富的艺术遗产，而且在文艺理论尤其是书法理论方面也为后人留下了宝贵的思想财富。姜夔作为一名对书法有着精深造诣和独特见解的艺术家，其将自己多年的书写经验以及艺术心得进行思考与总结，并对书法审美特征、基本技法、以及关乎性情等一系列基本问题进行了论述，并为续补唐代孙过庭的《书谱》而作《续书谱》。《续书谱》可谓是南宋书论中成就显着、影响较大的著作之一，为历代书家所重。本文欲以《续书谱》为中心，通过解读姜夔的书法理论，考察其书艺观。姜夔在《续书谱》中确立“风神”为书法艺术的最高审美标准，并以“风神”为核心展开其理论阐释。其受到了朱熹以及理学思潮的影响，在书艺理论中也透露出推崇“义理”和“古法”的明显倾向。姜夔在《绪书谱》中对唐人书法的过于“应规入矩”持有批判与否定的态度，并对魏晋书法尤其是王羲之等人的书法大加赞。除了魏晋书法具有自然之 “真态”外，也因其颇具“尽善尽美”的中和之美，这也表现出了姜夔对“从心所欲不逾矩”的儒家审美观的遵守。

The Song Dynasty created another peak different from the previous dynasties in terms of ideology such as literature, art, and philosophy. In this era of cultural prosperity and development, artistic activities such as poetry, calligraphy, and painting have shown outstanding achievements in both artistic creation and theory. Jiang Kui is one of the representative figures. He not only left rich literary and artistic achievements for future generations in literature and calligraphy creation, but also left precious ideological wealth for future generations in terms of literary and artistic theory, especially calligraphy theory. As an artist with profound attainments and unique insights into calligraphy, Jiang Kui pondered and summarized his many years of writing experience and artistic experience, and conducted a series of basic questions on calligraphy aesthetics, basic techniques, and cultural meanings. “Xushupu” can be said to be one of the works with remarkable achievements and great influence in the Southern Song Dynasty calligraphy theory, and it has been valued by calligraphers of all dynasties. This article intends to focus on “Xu Shu Pu”, by interpreting Jiang Kui's calligraphy theory, and examining his Confucianism-inspired calligraphy concept. Jiang Kui established “Fengshen” as the highest aesthetic standard of calligraphy art in “Continued Books”, and launched his theoretical interpretation with “Fengshen” as the core. Influenced by Zhu Xi's thoughts and Neo-Confucianism, he also showed an obvious tendency to respect “yili” and “gufa” in his calligraphy theory.