對米芾〈吳江舟中詩卷〉所作關於「水上書寫」的猜想

Meditation on“Writing above Water:”Mi-fu's Poems Composed While Boating in Wujiang

宋代書法家米芾，風格取自唐人晉賢，以其所謂「刷字」運筆，強調筆勢迅振天真，歷經集古字的過程而後形成自家面貌，與書學相應的是精於書畫鑑賞，雖任官而多水上遊歷，船載圖書，觸景則常發於詩篇，又其人以嗜古、潔癖生性癲狂之形象久著人心，所以異於常人者多端，茲取其〈吳江舟中詩卷〉為例，說明幾點書法美學上的意義。〈吳江舟中詩卷〉為其少數大字行草作品之一，墨韻線條風格鮮明，書寫地點為舟中，記載一時一地因逆風行船不易，泥沙粘底，船工賣力且需多費雇錢，可視為宋代水上交通之史料，以書法研究而論，其重點或在於：一、詩卷內容合乎當時的「場所精神」，反映書寫者在水上處於情境交融的實際經驗狀態；二、大概人之書寫場所多處於陸地上，而此作品明白標示書寫地點為舟中，一般遠航船可於船中書寫記事，船艙備有文房用品，供閱讀書寫，米芾則水上書寫經驗或更多於其他書法家，水上波瀾有大小，人之身體經驗必然與居陸地時有所差異，此差異是否影響書寫動作，亦即筆法與身體經驗二者互相作用之關係，因筆法攸關風格，所以水上書寫時之身體經驗對書寫風格之作用為何?此非環境決定論，而旨在強調書寫與身體感受經驗之關係，源於此，可設一書寫實驗，於水上設一浮板，稍體驗非固定狀態下，有輕微震動之書寫感受；三、此作品為長卷形式，橫幅開展，米芾雖曾拜書畫博士，但其畫名因時代風潮而不見重於當時，雖然如此，米氏山水以煙雲氤氳及橫幅形式表現，大有別於當時畫學所強調之北派直軸巨峰，書畫整體表現原本就在於創作者的高度自覺，米芾的刻意不同流俗，或許也源於其所處的環境空間，舟中眺望，景致時時變換，又艙中空間是否是其橫幅表現的條件因素，以上數點為「水上書寫」之主題研究，其方向又在能符合「筆法與身體經驗歷程」之關係，更說明書法實為具有能分項又能綜合理解的整合性學問。

Mi-fu the calligrapher of the Song dynasty presents to the reader running, cursive scripts, rare and large-sized, in one of his works, Poems Composed While Boating in Wujiang. Writing with stylish inky strokes, Mi-fu designates the venue of his writing as the boat and illustrates in his work the difficulty of sailing against the wind. His work provides the reader with important historical materials, from which the water traffic of the Song dynasty in a specific place and during a specific period of time can be accurately grasped. Nevertheless, to approach Mi-fu's writing from the perspective of calligraphy, the author has several points to argue for. First, Mi-fu's poems clearly refer to the venue where they were composed. The poems reflect the physical context with which the poet interacted, that is, the contextualization of the boat and the body writing above water. Second, while the act of writing is often performed on land, Mifu's Poems Composed While Boating in Wujiang was completed above water. A sailing boat invites waves, big and small. The body experience above water certainly differs from that on land. Does such a difference exert any influence on the act of calligraphic writing? Strokes are crucial to one's style. The author thus wants to bring to light the correlation between the body and the strokes performed above water. Finally, Poems Composed While Boating in Wujiang was composed upon a long roll of paper, upon a scroll. Is such a horizontal unfolding of Mi-fu's work related to the way how the poet perceived the scenery around from the cabin of the boat? These are the issues the author of this paper wants to address. Different from the other poets and calligraphers, Mi-fu had a comparatively longer life experience of living and writing in a boat. What triggers the author's interest in Mi-fu's work is thus the unique body experience of writing in a moving vehicle, the way how the body interacts with its environment to conduct the act of calligraphic writing.