王船山书法遗墨刍议

On Wang Chuanshan's Calligraphy and Manuscripts Left Behind

王船山的书法遗墨存世较少,一般见于各博物馆以及民间私人收藏单位,这些书法资源可分为书法作品和手稿遗墨两大类。王船山的书法渊源于他的家学和友人,他的书法交游广泛。他的书法艺术特色主要体现在"字如其人"、遵循传统、崇尚晋唐、追求平正典雅和务求形式与内容高度统一等方面。王船山的书法美学思想与他的诗歌美学思想有诸多相似之处,两者有异曲同工之妙,他对"天人合一"、情与景、意与势等美学问题的阐述,为解决当下书法面临的困境提供了有益的启示。

Wang Chuanshan's calligraphy is less existed now and generally only be found in museums and private collection units, and these calligraphy resources can be divided into two categories. Wang Chuanshan's calligraphy originated from his family and friends, and his calligraphy activities are extensive. Wang Chuanshan's calligraphy art features are mainly embodied in the “style is the man”, follow the tradition, advocating the style in Jin Tang Dynasty, the pursuit of elegance and ensure a high degree of unity of form and content. There are many similarities between Wang Chuanshan's calligraphy aesthetics thought and his poetic aesthetics thought, both of which are similar, and his exposition of the aesthetic problems such as “The Unity of Heaven and Man”, emotion and scenery, meaning and potential, which provides a useful enlightenment for solving the predicament facing calligraphy nowadays.