從魏晉至唐的書論探究用筆法對點畫審美意識的影響

A Study on Influence of Theories of Calligraphy from Wei and Jin Dynasties to Tang Dynasty on the Brushwork of the Aesthetic Consciousness of Stippling

用筆一直以來是書法藝術性表現的主要手段，其重要性甚至高於單字結體與整體章法。通過書論中筆法的描述及點畫的形容來觀察，是理解書法藝術性價值的重要方向。本文以魏晉至唐之間有關用筆法描述及點畫形容的書論為基礎，以《九勢八字訣》、《筆陣圖》、《玉堂禁經》分析單一點畫用筆的說明與自然物象的關係，再透過《永字八法》對單一字形的用筆描述，探討用筆法對於點畫審美意識的影響。通過研究發現，用筆若是成為缺乏意象聯想的書寫行為，那麼用筆法就只能歸納為寫字的方法，書法藝術性的表現必須是書寫者在具備意象聯想的能力之下進行書寫才可能產生。用筆法指的是通過自然萬物的比喻，讓書寫者理解緩慢急速、抑揚頓挫等的規律法度，而並非單指形成點畫的書寫方法。

Brushwork has always been the main way to express the art of calligraphy, and its importance even surpasses the composition of single characters or the overall composition. It is a significant method to understand the artistic value of calligraphy through the description of brushwork and stippling according to the theories of calligraphy. This paper is based on the theories of calligraphy about the description of brushwork and stippling from the Wei and Jin Dynasties to Tang Dynasty, and analyzes the relationship between the brushwork of stippling and natural object based on Jiushibazijue, Bizhentu, and Yutangjinjing, and explores the impact of brushwork on the aesthetic consciousness of stippling through the description of the single character by Eight Principles of Yong. Through this study, it can be found that if brushwork becomes a writing behavior lacking image association, then it is no more than a way of writing. The artistic expression of calligraphy can be realized only when a calligrapher has the ability of image association. Brushwork refers to the use of natural things to allow the calligrapher to understand the laws of rhythm and cadence, rather than just a method of stippling.