情深調合──2021府城當代書法家作品展

蔡仲子

情深調合──2021府城當代書法家作品展

時間 2021/12/23 10:00 ~ 2022/03/06 18:00

地點 2館3樓展覽室K、2館3樓展覽室L、2館3樓展覽室M

「情深調合──2021府城當代書法家作品展」

Deep Emotion in Delicate Form: The 2021 Tainan Contemporary Calligraphy Exhibition

　　書法乃是透過文字的書寫以表現美感之藝術。竇臮〈述書賦〉云：

「古者造書契，代結繩，初假達情，浸乎競美。自時厥後，迭代沿革，樸散務繁，源流遂廣，漸備楷法，區別妍蚩。」

意謂：文字的創造，原本只用來狀物敘事或抒情達意；而在寫字同時，逐漸追求形體的美觀。此後，經過歷代不斷流傳與衍化，不但字體益發多樣，書寫的技法也越加完備，於是產生了書法藝術。

Calligraphy is a text-based art which expresses beauty through writing.  Tou Chi manifests it in his On Calligraphy:

"The invention of the Chinese characters was originally for description, narration, expression, and explanation, but the writing of it gradually became a pursuit of beauty in terms of its form.  With the passage of time, from dynasty to dynasty, the act of writing has continuously transformed and been polished as it is passed down, to accumulate and develop a myriad of script fonts and to keep improving the skills until it has eventually become the calligraphic art we have known."

　　而優秀的書法作品必須達到「情深調合」之境界。孫過庭《書譜》云：

「右軍之書，代多稱習，良可據爲宗匠，取立指歸；豈惟會古通今，亦乃情深調合。」

略謂：王羲之的書蹟之所以廣受世人的推讚與仿學，不只因爲他能掌握古人的長處，表現時代的精神；也因爲他能以精當恰適的風格，展現深摯動人的情感。

Meanwhile, it is the harmonized emotions which makes a calligraphic work outstanding, as what Sun Guo-ting' says in his A Narrative on Calligraphy:

"The calligraphy of Wang Xi-zhi (also known as Youjun) is widely praised and modeled in our times while he is also highly recognized for his outstanding artistry; it is not simply because how he inherits the existing practices before him and absorbs the contemporary fashions, but also the harmonized emotions expressed in his writing."

　　惟所謂「情深調合」，其實是諸多條件交互作用的成果，包括：雋永的文辭、適稱的書體、合宜的紙幅、恰當的風格，以及用筆、結字、構篇等書寫技法。誠如韓方明〈授筆要說〉所引徐璹之言：

「夫欲書，先當想看所書一紙之中是何詞句，言語多少，及紙色相稱以何等書，令與書體相合。或真、或行、或草，與紙相當。」

The manner of “Deep Emotion in Delicate Form” can only be achieved when multiple conditions are met, including a resonating literary quality, appropriate form, right size of the paper, proper style, and the writing skills concerning brushwork, structural characters, and composition, as explained by Hsu Shu, quoted in Han Fang-ming’s Teaching from the Calligraphic Masters:

"Before you start to write, you should first think about the content, length, and how they may suit the texture of the paper to decide the right script, be it cursive or regular."

　　因此，觀賞一件書法作品時，宜先透過作爲載體的文辭，掌握作者所欲表現之意境；再分析其用筆、結字、構篇等書寫技法，以及紙色搭配、書體選擇等形式條件；最後並判斷整件作品之形式風格，是否與其所欲展現之情感內容相符合。而如果想檢測自己對於這件書法作品的心得，則不妨嘗試將所掌握之各項重點，用精準而優美之語言或文字加以傳達。

Therefore, the viewing of a calligraphic work should start with the literature as the medium to spiritually realize what the writer/author attempts to express and emote, before it goes to the analysis of the brushwork, character-based structure, and composition, as well as formal elements such as the paper texture and the choice of script, and then reach the final point to decide whether the form and style of the whole piece correspond to the emotions it channels.  If you are interested in examining your view on the calligraphic piece, you may base on the points listed above to explain and evaluate with precise and elegant language.

　　此項展覽，一方面希望呈現當代府城書藝優雅且多元之樣貌，另一方面也期待參觀民眾能夠體會古都文化之豐富底蘊。

Celebrating the rich contemporary calligraphic art of elegance and diversity in the ancient city of Tainan, the exhibition welcomes the public to have a close encounter with its cultural pulses.

來源：臺南市立美術館