从师古法到师古韵:明前中期书法视域中的“宋元之变”

From Learning Ancient Methods to Learning Ancient Rhymes:“Change of Song and Yuan Dynasties”in the perspective of calligraphy in the early and middle Ming Dynasty

明前中期书法批评的好尚除了对宋代书法传统由抑而扬之外,对于以赵孟为代表的元代书法传统的推崇也不再那么热烈,这正是当时人们的师法观念由师古法转向师古韵的嬗变之反映,即由以恪守典则为品评依据转向既能与传统有机相融、又能充分发挥主体才性的师法策略。其中对于古法的认识也从“以我合法”的“体合造化”逐渐走向“以法博我”的“心”“笔”分野。从师古法到师古韵的观念嬗变可视为中晚明式“临仿”的逻辑线索,“体合造化”的古法观或许也可视为此际“创新”名家的另一层不容忽视的底色。

In the early and middle Ming Dynasty,besides the suppression and promotion of the calligraphy tradition of the Song Dynasty,the appreciation for the calligraphy tradition of the Yuan Dynasty represented by Zhao Mengfu was no longer so enthusiastic.This was just the reflection of the evolution of people’s idea of learningchanging from ancient methods to ancient rhymes,that is,from abiding by the code as the basis for evaluation to a learning strategy that can not only organically integrate with the tradition,but also give full play to the subjective talent.Among them,the understanding of ancient methods had gradually shifted from the"combination of body and nature"of"making myself follow the model"to the separation of"mind"and"pen"with"enriching me with models".The evolution of the concept from"learning from the ancient method"to"learning from the ancient rhyme"can be seen as the logical clue of the"imitation"in the middle and late Ming Dynasty,and the"combination of body and nature"of the ancient method may also be seen as another layer of background that can not be ignored by the"innovation"masters at this time.