清初诗人题咏帝王书法的言说方式与“圣君”政治

On the Poets′Speech Way of the Criticism of Emperors′Calligraphy in Early Qing Dynasty and"Sage-King"Politics

诗人因观“帝王书法”而题写的论书诗文往往被研究者忽视。清初诗人朱彝尊、王士禛、査慎行等获观或受赐了较多明、清两朝帝王书迹,留下了许多诗文题咏,但常被当作一般迎合君主权威的“颂圣”文章而未被深究。事实上,这些诗文题咏艺术化言说方式的背后隐藏着一种深沉的、已内化为我们民族心理特征的情感——对“圣君”的呼唤。诗人通过追比远古贤王的“尧文羲画”说、在下瞻仰的“云汉天章”说及与《兰亭》相比较的“超越书圣”说,传达了华夏民族知识分子心中“圣君”的应然形象,以及由明末到清初“圣君”传统的断与续带来的情感起伏。对诗人而言,帝王处理政事和艺文的关系是否得当、华夏民族数千年来的“圣君”传统是否能得以接续,才是评价帝王书法最重要的尺度。

Researchers often ignore the poems and essays on"emperors′calligraphy"written by poets.Important poets such as Zhu Yizun,Wang Shizhen,and Zha Shenxing in Early Qing Dynasty received or witnessed emperors′calligraphy of Ming and Qing dynasties,and composed many poems and proses,which,however,are often regarded as"Odes to the King"to cater to the authority of the monarch,and thus receive no further investigations.In fact,behind their artistic way of narration,there is a deep emotion that has been internalized as the psychological characteristic of our nation——calling for the coming of a"Sage-King".By citing the deeds of ancient wise kings like"Yao and Fuxi",comparing the kings′article to"clouds in heaven and galaxy",and praising the"surpassing the calligrahy saint Wang Xizhi"in parallel with Orchid Pavilion,poets conveyed messages about the supposed qualities"Sage-Kings"should have in the eyes of Han intellectuals and the emotional ups and downs brought by the intermittency and continuity of the"Sage-King"tradition from the Late Ming to Early Qing.For poets,whether the emperor handles the relationship between political affairs and arts properly,and whether the Han nationality′s thousands of years of"Sage-King"tradition continues,are the most important criteria for evaluating emperors′calligraphy.