以人为喻与汉魏六朝书论美学

Human Metaphors and Aesthetics of Calligraphy Criticism in Han,Wei and Six Dynasties

以人为喻是汉魏六朝书论独特的言说方式与批评范式。批评家以人为喻论书,是将书法看成与我为一的同类的“活人”,其间蕴含着中国书法崇尚生命活力的美学精神。书法批评以人为喻范式的生成既与华夏先民的“尚象”意识以及早期汉字“近取诸身”的造字思维密切相关,更是两汉相术与魏晋六朝人物品藻评向书法批评领域辐射的产物。汉魏六朝书论以人为喻范式在具体的批评实践中先后形成了书体形态美、书家风格美两种言说向度。以人为喻范式的言说向度由书体形态向书家风格之过渡,带有魏晋玄学言意之辨的鲜明印记,也标志着汉魏六朝书论由注重形质到崇尚神采的审美嬗变。

Human metaphors are unique discourse mode and paradigm of calligraphy criticism in Han,Wei and Six Dynasties.Critics have been studying calligraphy in a way of viewing it as living human being which embodies the aesthetic spirit of Chinese calligraphy cherishing the vitality of life.The formation of the human metaphor paradigm of calligraphy criticism is not only closely related to the Chinese ancestors’consciousness of“Shangxiang”and the“simulating body”pattern of early Chinese characters,but also the deep infiuence of Xiangshu in Han Dynasty and the evaluation of historic figures in Wei,Jin and Six dynasties on calligraphy criticism.The human metaphor paradigm of calligraphy criticism in Han,Wei and Six Dynasties developed in two directions:the elegance of calligraphy form and the beauty of calligrapher style.The transition from the former to the latter was obviously deeply infiuenced by the“discrimination between language and intention”in metaphysics of Wei and Jin Dynasties.And the transition itself also marked the aesthetic evolution of calligraphy criticism from being form-focused to style-based in Han,Wei and Six dynasties.