歷史與識鑒──王世貞的書法批評及其與祝允明之異同

History and Identification: Wang Shi Zhen's Thinking of Calligraphy Criticism and Differences with Zhu Yun Ming

本文探討王世貞書法題跋中的批評模式與核心概念，從其編纂之大型類書《古今法書苑》之體系，說明其所認知之書學傳統與分類概念。本文以祝允明作為參照，運用現代藝術批評理論，檢視明代題跋的語言內涵，凸顯王世貞題跋敘寫之特色，與二者在批評上之異質性，藉此觀察明代書法批評中，賞鑑家與藝術家的不同關懷。本文以為：王世貞重視歷史源流，關注技巧與風格的關係，以作品與典範的距離衡量藝術的價值，對藝術變化的規律提出解釋。祝允明擅長整全地把握藝術形象，傾向在差異的變相中推求同一的藝術本質。二人看似相反的批評視角，涵括了書法中變異與恆常的兩端，而王世貞主張學有淵源，對古今書風演變的分判，正是由對書法經典恆常性的把握而來。

"Wang Shi Zhen was the representative writer, historian, and connoisseur. This paper aims to explore the criticism mode and kernel concepts of his calligraphy postscripts based on his edited large-class book Gu Jin Fa Shu Yuan. Also using Zhu Yun Ming as a reference, to applies modern art criticism theory to examine the linguistic connotations of the Ming inscriptions and highlighting the characteristics of Wang's inscriptions and the critical heterogeneity of the Wang and Zhu, to observe the different concerns of connoisseurs and artists in the Ming calligraphy criticism. This paper argues that Wang attached importance to historical sources, and paid attention to the relationship between technique and style, measured the value of art by the distance between his works and the paradigm, and offered explanations for the laws of artistic change. Zhu specializes in grasping artistic images in a holistic manner and tends to seek the same artistic essence in different disguises. The seemingly opposing critical perspectives of the two encompass the two ends of variation and constancy in calligraphy. However, Wang distinguished the evolution of writing styles between the ancient and contemporary eras that was achieved by his constantly managing the calligraphy classics."