故事与史实:“郑虔三绝”中的“书与画”钩沉

Stories and Historical Facts-Exploring"Calligraphy and Painting"in Zheng Qian's Three Paradigms

由于书画关系在中国美术史上极为重要,因此,“郑虔三绝”这则故事常被后世美术史研究者所征引。但该故事中“书与画”的史实究竟如何,却一直未见具体研究。经考证,“郑虔三绝”中的“书绝”,很可能是被唐朝主流书坛抛弃,而在民间流行的杂体书,而非一般意义上的主体书。而“画绝”,则很可能是一幅以江海为背景,以斩鲸钓鳌为叙事中心,呈现社会理想主义与个人英雄主义相结合的江海画,而非一般意义上的山水画。

Due to the significant relationship between calligraphy and painting in the history of Chinese art,the story of ZhengQian'sThreeParadigms has often cited in art history by later generations of researchers.However,the historical facts about"calligraphy and painting"in this story have not yet been specifically studied.Textual research indicates that the"calligraphic paradigm"in Zheng Qian'sThree Paradigms likely designates the miscellaneous script that was abandoned by the mainstream calligraphy circles of the Tang dynasty,and which was popular among the common folk,rather than the mainstream script in a general sense.As for the"painting paradigm",it is likely centred around a story of hunting for whales and fishing for giant turtles,set against a backdrop of rivers and seas,presenting a combination of social idealism and individual heroism,rather than a landscape painting to be understood in a general sense.