遼慶陵哀冊書法評述

A Review of Liao Calligraphy on Qingling Epitaphs

長久以來，我們對於遼代書法的認識嚴重不足，甚至有錯誤的評價。其主要原因在於能夠看到的遼代書跡不多，相關的出版物也很罕見，所以極少專門的討論， 此乃書法史上一個亟待開發的領域。遼寧省博物館收藏了一批從內蒙古赤峰市巴林右旗遼慶陵出土的帝皇帝后哀冊，有漢字也有契丹字，都寫刻得十分精美，足以作為遼代書法的代表作。其中聖宗皇帝和欽愛、仁德兩皇后的哀冊具有濃厚的歐陽詢風格，是遼代前期書法的典型樣式；而道宗皇帝哀冊體態豐滿，撇捺柔和，全無歐體特徵，明顯與前期不同。宣懿皇后哀冊體兼顏、柳，骨力勁健，結構嚴謹，堪稱是遼代書法第一佳跡。此外，道宗皇帝和宣懿皇后的兩件契丹文哀冊更是難得的史料，足以拓展我們的書法視野。慶陵哀冊不僅展現了遼代書法的成就，也說明了它們與唐代書法的緊密關係。 顯然地，與此同時的北宋「院體書法」或「尚意書法」都沒有在遼地區產生太大的影響。遼的書家似乎比較崇尚法度，所以風格大體一致，變化略少，與北宋書法殊異，此亦可說是草原民族個性質樸的表現。

For a long time people knew little about Liao Dynasty calligraphy, or even made wrong evaluation presumably because surviving Liao calligraphy works can hardly be found and related publications as well as discussions are rare. This segment of calligraphy history undoubtedly needs further exploration. Liaoning Provincial Museum houses a collection of Liao Dynasty epitaphs unearthed from imperial tombs in Chifeng City, Inner Mongolia. On these Qingling epitaphs Chinese characters along with Khitan words are delicately engraved on jade stone. They are suitable enough to serve as representatives of Liao Dynasty calligraphy. After careful appreciation and comparison this study deduces the following conclusions. On the epitaphs of Emperor Shengzhong's queens, Qinai and Rende, the calligraphy has a strong Ouyang Xun style, typically pre Liao Dynasty calligraphy style; but on the epitaph of Emperor Daozhong the calligraphy is plump and soft, with no Ouyang Xun characteristics, far from its precedent style. On Queen Xuanyi's epitaph the calligraphy combines merits of Yan and Liu, strongly stroked and well structured, and is thus regarded as a masterpiece of Liao Dynasty calligraphy. There are also two epitaphs written in Khitans, which offer precious historic information to broaden our horizons.Qingling epitaphs not only demonstrate the achievements of Liao Dynasty calligraphy, but also exemplify its close connection with Tang Dynasty calligraphy. In the mean time, the Northern Song Dynasty's 'Academy form calligraphy' or 'Mind form calligraphy' did not have much influence in Liaoning region. Liao calligraphers seemed to be more respectful for the testimonies, broadly consistent in style with only slight change. They differed from Northern Song calligraphers showing their own rustic charm in calligraphy performance.