沈曾植眼里的二王--从海日楼藏《兰亭序》《圣教序》与法帖探沈氏书学观点

Wang Xizhi and Wang Xianzhi in the Eyes of Shen Zengzhi: Investigation of Shen’s Thoughts on Calligraphy through Lantingxu, Sheng jiaoxu and Copies in Hairilou Collections

浙江省博物馆藏沈曾植捐赠《兰亭序》拓本有40余种之多,通过整理识读这些拓本册页中的题跋批校,可以看出沈曾植的日常书写与艺术表现之间,既有不疾不徐的工整与翻覆跌宕的潇洒之差别,又有学理与实践息息相关的内在联系。本文遴选了11种《兰亭序》、2种《圣教序》和5种刻帖,通过沈氏的只字片语,并结合对应校参,补充了许全貹、柳岳梅整理的《海日楼书目题跋五种》和钱仲联辑《海日楼札丛海日楼题跋》,来探寻他的点滴书学思想。沈曾植的以学养书,开拓了乾嘉以来学人书法的格局,也正是他在实践中的诉求,促使他用自己的眼光和审美导向选择青睐的碑版刻帖,并不一定严格按照版本学上的优次排序,甚至在鉴定上并无太多见解,但却能用帖与帖之间的比较和溯源作为他独有的方法来认识各类书体间的流变,进而用书法的风格断代作为他目鉴的佐证。

Shen Zengzhi donated over 40 rubbings of Lantingxu to the Zhejiang Provincial Museum. By reviewing the rubbings’ prefaces, postscripts, and annotations written by Shen, one can tell that Shen’s artistic expression varies from neat rigorousness to chic freedom. Some strokes were neatly done while others were written freely through the ups and downs of brushwork, all presenting a close inner connection between theory and practice of this calligrapher. In this paper, by analyzing 10 versions of Lantingxu, 2 of Shengjiaoxu and 5 engraved models of writing, plus the Hairilou shumu tiba wuzhong(Five annotations of the items and inscriptions of Hairilou) co-edited by Xu Quansheng and Liu Yuemei, and Hairilou zhacong Hairilou tiba(Notes and annotations of Hairilou) edited by Qian Zhonglian, the author explores Shen’s thoughts on the study of calligraphy through his limited works and related references. Shen practiced calligraphy through researching, which was new way of studying calligraphy in the ruling period of Qianlong and Jiaqing. He selected favored calligraphy works with an independent collector’s sight and aesthetic taste, not in strict accordance with typological priority. In the field of identification, Shen compared and traced the models of calligraphy in a unique method to explore the spread and transition of various types of chirography, making the styles of calligraphy strong evidence to his visual identification.