论朱为弼的吉金之学与铭文篆书

On ZhuWeibi's Study on Ancient Sacrificial Vessels and His Calligraphy of Inscription and Seal Characters

朱为弼的篆书创作取法商周铜器铭文,赖于他一生对吉金的僻好,而这个僻好的时代背景,即金石学在清乾嘉以后的复兴。朱为弼的铭文书法,搨摹、临摹、集字、创作,有着密切联系。手搨铭文,是其铭文书法的审美经验积累;手摹铭文,是其铭文书法的实践基础;将铭文临写成作品,则不受摹本限制,多有洒脱轻松、随意错落之美;集字创作,颇考究文辞与古文通假,书写则不全依摹本,是基于模拟并稍作变化的结果;其纯粹创作,则用字不纯是铭文篆法,用笔结体也不纯是铭文特征,而是借鉴《说文》并参考小篆书法的产物。朱为弼的学术研究与铭文书法说明,篆书创作由固守二李篆法向鼎彝铭文的拓展,在学术上离不开款识之学,也离不开《说文》学,在书学上同样离不开传承既久的二李篆法。

ZhuWeibi took inscription on bronze wares in Shang and Zhou Dynasties as his model for his calligraphy writing of seal character, which depended on his being fond of ancient sacrificial vessels. The historical backgroundof this hobby of his was the renaissance of epigraphy since Qianlong and Jiajing Period in Qing. Among ZhuWeibi's inscription calligraphy, his rubbings, copy, character collection, creation were closely related. Rubbing by hand was the accumulation of his aesthetic experience of inscriptions, copy by hand was the basis of his calligraphy of inscription; copying the inscription into works was not limited by copy of the originals, and was with the beauty of being light and free; character collection needs care about language and rhetoric and ancient characters and interchangeability of words or characters, butcalligraphy does not totally depend on copy, but base on the results of imitation with a little change; his pure creation was not just calligraphy writing of inscription and seal characters, his character collection was not with the character of inscription, but taking reference from Shuo Wen and minor seal character. ZhuWeibi's academic research and inscription calligraphy shows thatthe expansion of seal character calligraphy from keeping the two Lis' way to that of the inscription characters on ancient vessels was academically inseparable from the study of the inscription characters, as well as the study of Shuo Wen, and also cannot do without the two Lis' way of seal character calligraphy of inheritance for long.