北宋以来士大夫的审美追求与审美转向——以宋代的书法审美转向为例

The Aesthetic Pursuits and Aesthetic Shift of Scholar Officials in Northern Song Dynasty——A Case Study of Aesthetic Shift in Calligraphy of Song Dynasty

宋代是中国文化转型的时代,文化的转型也带来了审美观念的转向。在“复古”的旗帜下,作为宋代主要艺术门类的书法审美观念也在不知不觉中发生了变化,传统上的“二王”书风虽然在宫廷仍被重视,但士大夫对“古迹”的收集与整理之风的兴起,审美视野的进一步扩大,欧阳修为代表的士大夫文人,从被长期冷落的古代碑刻拓片中发掘一种新的书法美感。儒家的文化精英们在对古代艺术模式的选择过程中,将书写者的性格纳入书法的评价体系。日常生活的审美化、书信手札重新进入审美视野,非职业书法家被重视,强调书法的“在场”性和“无意识”特征。这些审美观念的转型作为文化转型的具体表现形式,为书法艺术的发展与丰富书写了最为壮丽的一笔。

The Song Dynasty was an era of Chinese cultural transformation that also brought the shift of aesthetic concepts.Under the principle of"retro",aesthetic concepts of calligraphy as a main art category in the Song Dynasty has also changed unconsciously.Although the“Er Wang”calligraphy style was still valued in the court,the aesthetic view of scholar officials has been further broadened with a growing interest of scholar officials in collecting and sorting out“historical relics”.The scholar officials,represented by Ou-yang Hsiu,have explored a new aesthetic perception of calligraphy from the long-neglected ancient inscription rubbings.The Confucian cultural elites incorporated the character of the writers into the evaluation system of calligraphy in the process of selecting ancient art models.The shift of aesthetic concepts,as the concrete manifestation of cultural transformation,namely,the aesthetics of daily life,the hand-written letters re-entering into the aesthetic vision,the importance attached to non-professional calligraphers,and the emphasis on“presence”and“unconsciousness”of calligraphy.All of them have made great contributions to the development and enrichment of calligraphy art.