“重拙大”源于书论说——晚清词学转向的文化与文学史背景分析

The Origination of “Zhong Zhuo Da”from Calligraphy Critique: the Cultural and Literary Historical Background of the Turn of Ci-poetry Criticism in the Late Qing Dynasty

"重拙大"是晚清词学的一个重要命题,由于一直以来其理论来源不明,导致学界对其阐释存在种种歧误,以至迄今为止仍无定论。通过晚清相关文化变迁的全面考察,大体可以确定此种美学范式直接起源于其时盛行一时的碑学理论,为碑书美学的基本特点。由于晚清词的发展面临与书法类似的问题,词论家因此将其引入词学,属于典型的类比批评。厘清了"重拙大"的直接理论来源,便可循此对其内涵进行较为准确的阐释。

＂Zhong Zhuo Da＂（ Strength, Refined Antiquity, and Grandiosity） is an important theory of Ci-poetry in the late Qing Dynasty, since its theoretical origin remains unknown, there are so various interpretations of the theory that there is still no consensus on its origin. Through a comprehensive study of the related cultural changes in the late Qing Dynasty, the paper argues that it is almost certain that the aesthetic paradigm should originate from the theory of tablet calligraphy critique. Given the shared problem with the development of Ci-poetry and calligraphy in the late Qing Dynasty, critics introduced tablet calligraphy critique into Ci-poetry criticism, which is type of ana. To clarify its direct theoretical sources, we can make a more accurate interpretation of its connotation.