传统心性论与书法性情观——以“性情”为核心的书论诸范畴集解

Traditional Inwardness Theory and Idea of Disposition of Calligraphy——Interpretation on Domains of Calligraphic Theory Surrounding “Disposition”

本文梳理儒道释三教心性论在传统书论中的转化,借此厘清以"性情"为核心的书论诸范畴内涵。虽然三教心性所指各有侧重,道家偏于认识和审美,儒家偏于道德,佛教偏于净觉与解脱,但总体来看,三教涵养下的书法性情观,都注重书家性情的自觉、修养与提升。主要反映在这几个方面:志对性情的引导;对主体个性与才性的反省与完善要求;对创作情感的辩证态度与中和追求;意趣学养对情感深度的拓展。通过溯源书法性情观形成的思想语境,提撕书论的古典人文精神,在中西心性观的对比中,反省和批评书法在现代性追求中出现的弊病。

This paper sorts out the transformation of inwardness theory of Confucianism,Taoism and Buddhism in traditional calligraphic theory,and clarifies the connotation of calligraphic theory domains surrounding 'disposition'.Dispositions that the three schools signified have emphasis separately,as Taoists stressing knowledge and aesthetics,Confucianists moral,and Buddhists rigpa and liberation,however,generally speaking,the calligraphic disposition ideas conserved by the three schools all pay attention to self-consciousness,self-cultivation and elevation of the calligrapher's in his disposition.This reflects in several aspects:guide of disposition by will;requirement of reflection and perfection to the subject in his personality and disposition;dialectical attitude and harmonious pursuit to feeling of creation;expansion of feeling depth by tastes and cultivation.Through tracing to the source of thinking context of the forming of disposition ideas,elevating the classic humanity spirit of calligraphic theory,with comparison between Chinese and western inwardness theories,this paper wants to reflect and criticize the problems emerged in calligraphy during its seeking for modernity.