論傅山書學的「正格」與「變格」

“Orthodoxy” and “Transgression” in Fu Shan’s Calligraphy

傅山書學在理論與實踐上都體現強烈的創變特質，傅山在書學上提出「四寧四毋」之說，即「寧拙毋巧，寧醜毋媚，寧支離毋輕滑，寧直率毋安排」，體現出與傳統帖學全然不同的書藝指標。然而傅山求「奇」、求「變」的觀念，卻是建立在求「正」的態度上，因此在傅山的書學思想中，明顯存在著「正」與「變」的辯證性格。本文從傅山對「軟媚」、「奴俗」書風的批判談起，論述傅山在書學歷程中審美標準的轉變，進而探討傅山對顏真卿「支離」的接受，以及傅山審美思維中「尚奇」、「崇古」與「醜拙」的核心價值，最後說明傅山書學中「正」、「變」的內涵與關係，並將其說置入書法史上的脈絡，提出傅山書學的意義。

Whether in theory or in practice, Fu Shan’s calligraphic works possessed powerfully creative and transgressive characteristics. Fu Shan put forth the notion of “four peacefulness and four nothings” in calligraphy, which was elaborated as “at peace with clumsiness, no skill; at peace with ugliness, no charm; at peace with fragmentation, no smooth ease; at peace with direct boldness, no planning.” This position personifies artistic practices which deviate completely from tradition. Nevertheless, Fu Shan’s pursuit of “weirdness” and “transformation” was actually built upon an attitude of pursuing “orthodoxy”. As such, within his calligraphic theory there existed an obvious dialectical interplay between “orthodoxy” and “transformation.” Beginning with Fu Shan’s critique of the “lovely gentleness” and “vulgar slavishness” of some calligraphic artworks, this article will discuss the transformations that occurred in Fu Shan’s aesthetic standards. It will go on to explore Fu Shan’s acceptance of the calligraphic method of “fragmentation” of Yan Zhenqing, as well as discuss the core values of Fu Shan’s approach to aesthetics, which consisted of “esteeming the strange,” “valuing the old,” and “ugliness.” Finally, this study will illuminate the meanings inherent to, and the relationship that existed between, the concepts of “orthodoxy” and “transformation” within Fu Shan’s calligraphic theory.