心慕手追,各有不同:从蔡绦《铁围山丛谈》看宋代书法的“晋唐”纠葛

On the Laborious Imitation of Calligraphy in Different Styles——Viewing the "Jin Tang" Entanglement of Calligraphy in the Song Dynasty from CAI Yong’s Tiewei Shan Chronicle

蔡绦《铁围山丛谈》中的书法记则反映出宋人学书的"晋唐"纠葛。有的书家"由唐入晋",有的则"先晋后唐",如宋徽宗先晋后唐,苏黄推崇晋韵也求法度,米芾由唐入晋,在取"唐法"和"晋韵"的基础上形成了自己的书法风格。而至南宋,学书的"晋唐"纠葛依然延续,这突出地表现在赵构、朱熹等书法艺术上。宋代书法延续"唐法"和"晋韵",形成"尚意"的鲜明时代特征。

The calligraphy records in CAI Yong’s Tiewei Shan Chronicle reflect the "Jin Tang’ entanglement of the Song people’s study books. Some of the calligraphers imitated "from the Tang to the Jin Dynasty", and some imitated "from Jin to Tang Dynasty", such as Emperor Huizong of Song Dynasty imitated from the Tang to the Jin Dynasty, SU Huang promoted Jin Yun and sought for the standard, MI Fu was admitted to the Jin Dynasty by Tang, and formed his own calligraphy style on the basis of taking Tang Fa and Jin Yun. In the Southern Song Dynasty, the "Jin Tang" entanglement of the study continued, which was prominently expressed in the art of calligraphy such as ZHAO Gou and ZHU Xi. The calligraphy of the Song Dynasty continued the Tang and Jin styles and formed the distinctive characteristics of the "pursuit of philosophy".