鄧石如《陰符經大篆屏》研究

Abstract

鄧石如是書法篆刻創作的藝術家，他追求「下筆馳騁」的健美，「剛健婀娜」的審美觀和創作形式，有屬於他自己的絕然創見。最主要是他不但繼承秦朝李斯的「玉筋篆」，唐朝李陽冰的「鐵線篆」，而能突破前人窠臼開創新局。 《陰符經大篆屏》得力《金文》、《石鼓文》在書法史上具有承前啟後的重要地位。《陰符經大篆屏》在思想方面：充滿了老莊哲學，在書寫的用筆結字方面：他經常運用小篆、石鼓的筆趣，加入金石銘識的線條，使筆劃能交互融合產生新的張力，因此有屬於自己的大篆古典風格，開創以石鼓和周秦以來金石銘識，入於書法創作的重要先例。曹文埴對鄧石如書法評曰：「其四體書，皆為國朝第一。」鄧石如從書法藝術實踐中體悟，三點書法篆刻理論。（一）是所謂的：「摹其規矩而為方圓」，此乃書法中；特別是篆隸的基本功夫，（二）是結字要「疏處可以走馬，密處不使透風」，（三）是「計白當黑」。是晚清創作兼顧理論的書印大師。 《陰符經大篆屏》以《金文》、《石鼓文》作為主要創作的筆墨符號，也為他在晚清篆書書壇，確立了他對古典篆書的最大成就與影響。此件作品；筆墨包括《金文》、《石鼓文》、《碑版瓦當》、《權量鏡銘》、《竹簡帛書》等文字的運用，無論結構、篆法及筆法，或是形式、章法、風格，他都能確實全面的了解，相互活化古典文字的篆法、墨法與筆法。從「殘碣斷碑」中外師造化中得心源，這樣的認知和比較分析，才足以奠定他在書史的地位。尤其《陰符經大篆屏》可為後學者作籀的典範，運用大篆（金文、石鼓文）的篆法、結體與用筆，表現在篆書的創作上，確立了屬於「鄧派」的篆書風格成就。其中有二點值得探討；一是：《金文》和《石鼓文》對《陰符經大篆屏》書風的影響，二是：《陰符經大篆屏》對鄧石如的影響。 鄧石如一生書藝四體精湛，對後世影響極為深遠廣大，其中吳讓之（1799-1870）趙之謙（1829-1884）和吳昌碩（1844-1927），乃至於整個碑派、或是鄰國的日本和韓國，無不或深或淺或多或少的受其影響。可見從《金文》和《石鼓文》→《陰符經大篆屏》→鄧石如作品→晚清篆書書壇、日本和韓國。造成古典文字的流行風尚，甚至使《石鼓文》大興於清末到民國初年。無論是《石鼓文》的古樸渾厚，亦或是漢魏書法的風神骨氣，由鄧石如的倡導才得百花齊放，足以形成晚清書壇盛世，造就碑派的黄金時代。鄧石如在書法藝術史上是一位開創性的先驅，應是勿庸置疑的，而且對書法篆刻藝術有卓越貢獻。從此件《陰符經大篆屏》的風格、特色、成就、影響，應可以證明鄧石如在篆書史上的崇高地位。Deng Shiru is a seal-cutting calligrapher, who pursues the strength and beauty of “writing with unchecked brush strokes,” as well as the aesthetic values and creative form of “yin’s gentleness and yang’s toughness.” He has his own original creation. Not only does he inherit Li Si’s yujinzhuan of the Qin dynasty and Li Yangbing’s tiexianzhuan of the Tang dynasty, he also turns over a new leaf by breaking the mold of his predecessors. Deng’s Yin Fu Jing Da Zhuan Ping owes a lot to Bronze Script (or Jin Wen) and Stone Drum Script (or Shi Gu Wen), taking up a critical position in the history of Chinese calligraphy. Concerning its thought, Yin Fu Jing Da Zhuan Ping is teeming with the philosophy of Laozi and Zhuangzi. As for the writing style, Deng frequently utilizes the styles of small seal and stone drum scripts, coupled with the lines of bronze and stone inscriptions, bringing about a new tension by fusing different brush strokes together. Doing such, he creates his own classic style, setting a precedent for both stone drum script and bronze and stone inscriptions since Zhou and Qin dynasties introduced into calligraphy. Zao Wenzhi commented on Deng’s calligraphy, “Each of his four types of calligraphy forms is the best in the Qing dynasty.” Deng learns three seal-cutting theories from the realization of the art of calligraphy. The first theory is that “to get a square and a circle, one must use a carpenter’s square and a compass.” The theory is considered the fundamentals of calligraphy, especially with seal and clerical scripts. The second states that “there is sometimes plenty of room to even ride a horse in, and other times little room for wind to blow through between words and lines.” The third one is the exercise of “balancing the black (characters) and the white (blank space).” Deng has been a pioneer of the school of stele inscriptions since the late Qing dynasty and a master of calligraphy skilled in both creation and theory. Yin Fu Jing Da Zhuan Ping is based mainly on the calligraphy form of Bronze Script and Stone Drum Script, establishing Deng as a leading influence on classical seal script in the circles of seal script in the late Qing dynasty. The work involves using the brushwork of Bronze Script, Stone Drum Script, Bei Ban Wa Dang, Quan Liang Jing Ming, and Bamboo and Silk Texts (or Zhu Jian Bo Shu). Whether it’s about structure, calligraphic technique, form, methodicalness, or style, Deng has a good knowledge of any of them and masters the seal script form, calligraphic technique, and the way to prepare ink. Out of the fragments of ancient works, he derives the teachings of the Nature and his enlightenment, both of which pave the way for his high status in the history of calligraphy. Yin Fu Jing Da Zhuan Ping especially can be a model for those wishing to learn the large seal script. Employing the techniques and brushwork of large seal, bronze, and stone drum scripts to create the seal script from, the “School of Deng Shiru” established its own style of seal script. There are two points worth discussing about Yin Fu Jing Da Zhuan Ping. One is Bronze Script’s impact on the piece, and the other is the piece’s impact on Deng. Well versed in every script, Deng has a far-reaching influence on later generations. Among them are Wu rangzhi (1799~1870), Zhao Zhiqian (1829~1884), Wu changshuo (1844~1927), and even the entire school of stele inscriptions, or the neighboring countries of Japan and Korea. Each of them is more or less influenced by Deng. From Bronze Script and Stone Drum Script through Yin Fu Jing Da Zhuan Ping and Deng’s works to the circles of seal script in the late Qing dynasty and Japan and Korea, the classical writing was back in fashion with Stone Drum Script flourishing from the late Qing dynasty to early years of the Republic of China. Through Deng’s advocacy of the solid simplicity of Stone Drum Script and the vigorous spirit of Northern Wei dynasty calligraphy, calligraphy assumed diversified forms. His trumpeting was about to create the golden years of the circles of calligraphy in the late Qing dynasty and usher in the prime time of the school of stele inscriptions. No doubt a groundbreaking forerunner in the history of art of calligraphy, Deng contributes remarkably to the art of seal-cutting calligraphy. Judging from the style, feature, achievement, and influence of Yin Fu Jing Da Zhuan Ping, it can be proved that Deng is a calligrapher of good standing in the history of seal script.