论宋人题跋与蔡襄书史形象的建构

On Inscriptions of Song Dynasty and the Construction of Cai Xiang’s Calligraphic History Image

蔡襄书法史形象存在两个相反相成的象喻系统,其形成与宋人题跋所表达的书学话语密切相关。欧阳修的题跋与蔡襄的书法形成双向互动,初步奠定了蔡襄书史地位;苏轼“本朝第一”的品第引发争议,其象喻模式却在南宋年间产生重要回响;与黄庭坚、米芾以闺房女子描述蔡襄书风不同,南宋以张栻、朱熹为代表的理学士人在题跋中突显了蔡襄书风的儒者形象。通过题跋的书写,宋代士人得以深度介入书法批评领域,阐发重要的书学观点,作为“副文本”的题跋与原作深度关联,为一幅作品提供丰盈的历史现场,有效参与原作意义的建构、阐释与传播。

There are two opposite and complementary imagery metaphorical systems in Cai Xiang’s calligraphic history image,the formation of which is closely related to the calligraphic discourse expressed in the Song inscriptions.Ouyang Xiu’s inscriptions and Cai Xiang’s calligraphy formed a two-way interaction,initially establishing Cai Xiang’s status in the calligraphic history.Su Shi’s evaluation of Cai Xiang’s works as“the first in Song Dynasty”provoked controversy,yet his imagery metaphorical model had significant repercussions during the Southern Song period.Unlike Huang Tingjian and Mi Fu who described Cai Xiang’s calligraphic style as a boudoir girl,the Neo-Confucian scholars represented by Zhang Shi and Zhu Xi in the Southern Song Dynasty highlighted the Confucian image in Cai Xiang’s calligraphy in their inscriptions.Through the writing of inscriptions,Song scholars were able to intervene deeply in the field of calligraphy criticism,expound important calligraphic views.The inscriptions,as“paratexts”,are highly related to the original works,providing a rich historical scene for a work and effectively contributing to the construction,interpretation and dissemination of the meaning of the original works.