黃庭堅書學對六朝「韻」審美思維的深化與擴充

Deepening and Diversifying the Aesthetic Thinking of ''Rhyme''During the Six Dynasties Period by Huang Ting Jian's Calligraphy

「韻」的美感最初來自於「和諧的聲音」，後來引申為藝術思維上「美與善的統一」，成為一種整體的、和諧的、超乎形貌的美學感悟，是傳統藝文品評中重要的美學思維。六朝文藝品評中對「韻」的使用，往往表現於人倫品鑑、文論或畫論，而宋代黃庭堅在書學史上更首度大量以「韻」來作為書藝品評的指標。只是黃庭堅書論中的「韻」，除了延續六朝以來對「韻」的使用之外，也進一步在內容與培養的方式上做了深化與擴充。本文即以此為脈絡，以六朝「韻」的審美思維為起點，包括「韻」的內涵，以及「韻」在書法中的具體表現。接著論述黃庭堅書論中的「韻」，從黃庭堅對「韻」與「俗」的相對性談起，闡述「韻」與「俗」之間的關係，並進一步指出黃庭堅對「韻」的深化與擴充|再者，從黃庭堅的書論中可歸納出去「俗」而有「韻」的方法，即「讀書知節義」與「學古須會心」，而這兩種途徑都有黃庭堅獨到的見解，本文亦試圖闡述與釐清。

The beauty of ''rhyme'' originally comes from ''harmonious sound'' and subsequently extended to represent ''unity of beauty and kindness'' in the artistic world, it has become a kind of integrated and harmonious aesthetic perception and remained vital thinking behind traditional art and literature critique. The use of ''rhyme'' in literature and art critique was commonly practiced toward people, works of literature, and paintings during the Six Dynasties period. Huang Ting Jian was the frontrunner in extensively utilizing ''rhyme'' as the yardstick in judging and critiquing calligraphy writings during the Song Dynasty. Extended from their usages since the Six Dynasties period, the concept of Huang Ting Jian's ''rhyme'' was further deepened and expanded in terms of its applications in artistic fields. Built upon the aforesaid points, this study aims to explore the implications and expressions of ''rhyme''. Furthermore, the authors also attempt to articulate the notions of ''rhyme'' compiled in Huang Ting Jian's art and literature reviews, highlighting its legacy and evolvement since the Six Dynasties.