从政治统治转向书学审美:唐太宗书法理论钩沉及其文化渊源诠释

From Political Rule to Calligraphy Aesthetics: An Exploration of Emperor Tang Tai Zong's Calligraphy Theory and Cultural Origin Interpretation

唐太宗具有多维身份,亦被世人冠以书家标签。其即位后万机之暇习书,书法颇佳。虽书名被政绩所掩,然有关阐释书艺的言语却颇有深意并福泽后世。其书论如《笔法诀》《论书》《指法论》《王羲之传论》和《笔意论》等可谓"发前人所未发,定千古之是非",尽显帝王风范。文章从历史文献角度对其书法理论进行钩沉,从文化渊源角度对其书论思想进行释义,从而揭橥其间的文史关联,期冀对于唐太宗的综合研究有所裨益。

Emperor Tang Tai Zong has a multiple identities, and he was crown with a label of calligrapher. After he accessed, he still continued to study calligraphy surrounded by a myriad of state affairs. Therefore, he was very good at it. Although his fame of calligraphy was covered by his achievements in policy, however, his discourses upon calli- graphy art was profound and had exerted a great impact upon later generations. Rhymed Formula on Calligraphy, On Calligraphy, On Fingering, On Biography of Wang Xizhi, and Discussion of Charm of Stroke ascribed to Emperor Tang Tai Zong touched something people never thought before, and established standards for later generations, which to a great extent illustrated the emperor style. To explore his calligraphy theory from the perspective of historical litera- ture, and to interpret his calligraphy thought form cultural origin, is to disclose its relation with literature and history, in hope of benefiting a comprehensive research upon Emperor Tang Tai Zong.