李煜书法审美观、笔法传承与唐宋审美观的转换

On Li Yu's Calligraphic Aesthetics and Inheritance and on the Transformation of Tang and Song Aesthetics

李煜确立了南唐纵逸、“瘦硬而风神溢出”的书法审美观,并提出九字书法审美标准。其中清品延续了李白的“清真”观,为宋代更明确地诠释清品的概念奠定了基础。李煜创造的七字拨镫法既是对唐法的总结,又有对意的表达,拓展了书体表现的空间。另有“金错刀”、撮襟书的创造,为同时代书画家效仿,在南唐形成了以李煜书法为审美核心的艺术群体。尤其是“金错刀”笔法在书画相互取法中发挥了极大作用,绘与写的交互是宋代追求意趣美的先行实践,历代书画家从中受益并形成了各种风貌。

Li Yu established the"thin and hard,yet exuding charm"aesthetic standard of the Southern Tang,and put forward the nine-character aesthetic standard.Pure criticism succeeded Li Bai's view of detachment,thus laying the foundation for a clearer interpretation of the concept of pure criticism under the Song dynasty.The"seven-step writing technique"set forth by Li Yu is not only a summary of Tang calligraphic art,but also an expression of artistic conception,which expands the space of calligraphic expression.In addition,Li Yu's original creations—jincuodao script and calligraphy written with rolled up silk scrolls(in lieu of a brush)—were imitated by contemporary calligraphers and painters.This led to the forming,during the Southern Tang dynasty,of an art group with Li Yu's calligraphy as its aesthetic core.In particular,jincuodao script played a great role in mutually informing calligraphy and painting.The interaction between painting and calligraphy was the first practice in the pursuit of flavour and beauty during the Song,which benefited calligraphers and painters of all dynasties and led to the formation of various styles.These facts show that Li Yu's calligraphy embodied extraordinary value throughout the Southern Tang dynasty and further informed the transformation of calligraphy aesthetics in the Tang and Song dynasties.