典型的塑造──鍾繇的時代及其「正書之祖」形象的確立

The Classic Calligrapher Zhong Yao(ca. 151-230) —A research on the development and formation of ‘Zheng Shu Zhi Zu’ since the Eastern Han Dynasty

本文透過考察東漢時期書法藝術化之社會基礎，與鍾繇所處時代師徒傳授的現象，進一步探究其歷史地位的確立，與其書法家形象的流傳與演變。鍾繇在歷史上的角色多樣，具有政治家和書法家的身份。在政治事功之外，藝術的鍾繇，面目不清。然而，鍾繇作為藝術典故中被虛構的對象，成為書法文化中的典型，與其自身的藝術特質及其在書法歷史發展中的作用息息相關。鍾繇的行書法在隸書楷化的過程中扮演重要角色，對魏晉以王羲之為主流的書法影響甚鉅，更成為後代師法的對象。其被稱為「正書之祖」的歷史脈絡，與其書法家形象的塑造相輔相成。本篇的主旨，在梳理鍾繇典型的塑造，確認鍾繇在書史上的地位並非憑空而致，而是以書法內在發展理路為根據的結果。 This Study inspected the social foundation for the artistic calligraphy in Eastern Han Dynasty, the phenomenon of learning from teachers or masters in the era Zhong Yao lived in, as well as made a further exploration of confirming his historic status, and his calligrapher image that handed down and evolved. In history, Zhong Yao played various roles who was a statesman and calligraphy master as well. Except for political achievements, Zhong Yao’s artistic status was unclear. However, as being an imaginary role model in the artistic classics, Zhong Yao became a classic model in the calligraphy culture. Which was tightly connected his own artistic characteristics and influence on the development of calligraphy history. Zhong Yao’s handwriting method played an important role in the transition process between Lishu (official script) and Kaishu (regular script) and greatly impacted the calligraphy circle that mainly followed Wang Xizhi’s calligraphy in Wei-Jin dynasties, as well as became the model next generations learnt from. That is, it had been called as the historical context of “Zheng Shu Zhi Zu”, and complement to make his calligrapher image one another. This Study intended to verify the shaping of Zhong Yao model, and confirm Zhong Yao’s status in the calligraphy history which was not forged, but depending on the basis of inner logic for calligraphy.