“此待诏职也”:北宋中晚期书家身份区隔及其话语建构

"This Post Requires an Imperial Edict":On the Identity Distinction of Calligraphers and Related Discourse Construction in the Mid and Late Northern Song Dynasty

宋仁宗朝,士大夫开始明确反对书伎术官违制转迁,“区别士类”的朝廷公制较之宋初获得更为严格的执行。同时,随着欧阳修、蔡襄等提出并实践了“师古—取意—自娱”这一士流书学体系,士流书家实现了对书伎术官书法成就的全面超越,并明晰了两者书法观念的根本不同。当苏轼、黄庭坚等进一步深化士流书学体系时,书伎术官则被斥为反面典型,彼此书法美学的取向差异被定性为“身份—趣味”的雅俗不同。通过这一“制度—文化”双重话语建构,书家身份区隔在北宋中晚期逐渐确立,士大夫阶层完成了一场以书法为媒介塑造自我精英身份的社会权力表达。

In the mid-North Song dynasty,scholar-officials began to speak out clearly on the illegal transfer of calligraphy officials.As a result,the latter could no longer use the emperor's personal favours to carry out class mobility as in the early Northern Song dynasty.At the same time,as Ouyang Xiu,Cai Xiang and others gradually gave shape to the system of scholar-official calligraphy,which may be resumed as"learn from antiquity—extract the essence—entertain oneself".Scholar-officials surpassed the calligraphic achievements of calligraphy officials,and also established a clear distinction between the fundamental concepts of these two calligraphic systems.Calligraphy officials were often rebuked as constituting negative examples when Su Shi,Huang Tingjian and others further deepened the system of scholar-official calligraphy.Difference in the aesthetic properties of these two systems has been described as attitudes of elegance and vulgarity vis-à-vis the"identity——flavour"concept.Through the dual discourse construction of"system——culture",the identity of calligraphers was gradually established in the middle and late Northern Song dynasty.This constitutes an expression of social power in which the literati class used calligraphy as a medium to shape their elite status.