"前纸张"时代和"非书写"时代的线条审美意识

  The aesthetic consciousness of the lines in the "former paper" era and the "non writing" era

　　方鼎

　　对简牍书法的线条用笔究竟应该如何定位？我们今天是从汉代石刻的书法史背景出发，认定相对于石刻的斧凿之迹呈现出浑朴厚重而言，汉简书法的线条必然应该是轻捷迅速自由佻达的。今天众多的汉简书法家的理解和表达，都是这样的取向。观众也是这样接受的。

　　但这几乎是一个绝大的误区。

　　如果深入分析当时的“前书法史”形态，我们会看到截然相反的印象。前文字时代即刻符图画时代姑且不论。从有系统文字的殷商甲骨文时代开始，所有的契刻都是刀锋强力所为。在当时还未有冶铁的青铜时代及前青铜时代，契刻的工具是锋利的石器与铜器。与书写的顺滑畅快相比，契刻的费劲费力和龟甲兽骨的材料之硬，使契刻必然是深刻的、迟滞的、讲究力量与冲撞或对抗的。那么它的线条也应该是入木三分，肯定不会轻佻肤浅的。

　　契刻是如此，青铜器冶铸的工艺过程更是如此。由于它还要经过翻模拨腊拆模修整等一整套程序，因此它的最终效果呈现出的迟滞凝碍比直接契刻更有过之而无不及。我们在各种西周和东周春秋战国青铜器铭文的拓片中，看到的冶铸工艺技术所导致的线条特点，和契刻线条、书写线条之间是两个完全不同类型。冶铸的纸面呈现方式，是墨拓。但因为它不是一次成形，也就无所谓书写性，尽管它最初有墨稿底书也罢。但通过书样、凿刻、翻模、浇铸、冷却、拆模、修整再加上墨拓、裱托等各道工程的互相影响互相限制互相抗拒，形成了完全不靠人为造成的、天然随机的斑驳、缺蚀、刻剥、浑融的金石之韵。这恰恰与后来墨书的全靠人为控制的行为方式所导致的线条感觉截然不同。

　　也就是说、契刻（甲骨文）、冶铸（青铜器金文）、凿刻（石碑）这三种早期文字承载形式，都是在呈象立场上是“非书写”的。

　　其实，在契刻、冶铸、凿刻时代，即从夏商周三代直到战国秦再到两汉，我们称之为是“前纸张”时代。龟甲青铜石刻时代，也有书写的存在；比如存世甲骨文上残留的未被刻去的硃砂笔迹，肯定也是出于手写；又如春秋时代的侯马盟书玉片，都有书迹。青铜器鼎彝盘觥爵簋壶觚剑戈等等上的铸文刻字，当然也都有事先的书字工序。两汉石刻碑志上的“书丹”，更是毋须解释的普遍常识。此外，就是与本课题有关的战国秦简楚简一直到西汉东汉简三国简晋简。纵观这一历史时期，正规场合下的文字显现，都是由契刻、冶铸、凿刻而呈现出来的。它构成了一个重要的书法与书写的审美指标：完全刻意于斑驳、缺蚀的效果倒未必；但偏向于浑厚、重浊、稳固、力感、札实、丰瞻而不是一般毛笔在纸上施展书写动作导致常见的轻快、尖佻、迅捷、简约、单薄；这却是显而易见的。完全可以想象，以甲骨文金文碑志为最终呈现目标的“前纸张时代”，线条审美肯定不是一般书写的畅快，而是复杂多变的线性形态。看竹简木牍的书法审美，这应该是一个特别的出发点。

　　“前纸张时代”，导致了汉代以前“非书写”的审美意识的产生，这是个恰当的事实定位。我们今天看上古时代的书法，是习惯于站在宋元明清直到今天的“写毛笔字”的观念立场上来发声的。但这是一个后起的今天立场；如果以它去倒推先秦时代的文字书法，想当然地以为那时的书法标准和今天应该是一样的；那就大错特错了。经历了《兰亭序》、智永、欧阳询虞世南褚遂良、到怀素以下直到文征明刘墉王文治再到赵之谦和于右任沈尹默，用这个序列的书写意识去解读上古时代的契刻冶铸凿刻线条，显然是南辕北辙，背道而驰；必定沦为误解曲解而已。

　　可以肯定：“书写”尚未成为主流的时代，书法线条的存在方式尤其是认知方式是非常独特、出乎我们意料的。它与我们熟悉的唐人楷草和宋代文人书法线条语汇的认识习惯肯定是格格不入的。竹木简牍处于和上古“契刻”、“冶铸”、“凿刻”同一个时代；因此不妨有一推测：竹木简牍中书写线条的把握，肯定不是后来”纸张时代”所想象的定义。如果只是用宋元明清以来的后世文人书法意识，去套用先秦竹木简牍的书写线条；那还不如更多地考虑同一时代“龟甲契刻”、“青铜冶铸”、“石碑凿刻”的不同线条质感表现对简牍书写所产生的直接影响。就简牍书法线条的认知与实际掌控而言，在上古时代，同时代横向的文化背景和环境制约；要远远大于古今纵向衔接中同一材质行为序列的影响轨道的作用力。

　　“非书写”、“反书写”之所以能成为两周秦汉时期的主流，因为当时的文字上接神灵天地，书写行为只是作为其中一个环节，为通上苍、接神灵而出力。“写字”只是作为达到目标的一个参与环节，捎带着有至高无上的权威；但论写字技术而言，与契刻、冶铸、凿刻诸工匠环节之间，并没有本质区别，都只不过是凡俗技艺之事而已。于是，并没有特别优越感的书写，在审美上也不会特立独行，而会保持与契刻诸技术所造成的厚重凝练苍茫浑成的线条效果并行不悖。

　　正是基于这一点，我认定简牍书法创作的线条规范，肯定不是时下我们误解的如飘薄的、浮夸的、肤浅的、轻佻的。而应该是它们的反面。

来源：人民网

 The aesthetic consciousness of the lines in the "former paper" era and the "non writing" era

Square Tripot

The bamboo slips calligraphy pen lines how to position? We are starting from the Han Dynasty stone carving calligraphy history today, that relative to the stone axe chisel traces showing heavy Hunpu, Han Dynasty calligraphy line must be free of your light quickly. Today many of the Han Dynasty calligrapher and expression of understanding, is this orientation. So did the audience.

But this is almost a big mistake.

If we make an in-depth analysis of the "history of pre calligraphy" at that time, we will see the opposite impression. The age of the former literal age is no matter what the picture age is. From the beginning of the text system of Shang Dynasty Oracle era, all are powerful for carving knife. At that time there is no iron bronze age and the bronze age, the bronze and stone carving tools are sharp. Compared with the sliding along the fun of writing, carving the laborious and hard material hard shells and animal bones, which must be profound, carving, exquisite and collision force hysteresis or confrontation. It should also be penetrating the lines, certainly not frivolous superficial.

So is the process of carving, bronze smelting is even more. Because it also after mold wax removal finishing dial a set of procedures, so it shows the final results because of Chi Zhining than the direct carving more than. We all in the Western Zhou Dynasty and the spring and autumn and the Warring States Bronze Inscription rubbings, line features of metallurgy process technology to see the cause, and between the lines, the lines are carved writing two completely different types. The paper presents the way of smelting, is the extension of ink. But because it is not a form, it does not mean writing, although it was originally written in the bottom of the ink. But influence each other through books like chisel, mold, casting, cooling, demoulding, Dressing plus ink rubbings, each mounted support engineering limited to each other each other to resist, formed entirely man-made, natural random mottled, etching, stripping, lack of fusion of the stone carved rhyme. This is quite different from the lines that later led to the human controlled behavior of the ink books.

That is to say, carving (Jia Guwen), metallurgy (the bronze inscriptions), carved (stone) of the three early words are in the form of bearing, a like position is "non writing".

In fact, in the era of metallurgy, carving, carved chisel, from Wednesday until the Warring States Qin Xia and Shang generation to the Han Dynasty, known as "former paper" era. The stone age bronze tortoise, also written in existence; such as the residual surviving Oracle not carved to cinnabar handwriting, certainly for handwriting; and as the Houma jade from the spring and Autumn period, there are books trace. The bronze Gong Gui Gu Jue Yi Ding disc pot sword and so on casting the lettering, of course also have book process in advance. The Han Dynasty stone inscription on the "Ho", is generally more common sense without explanation. In addition, it is related to the subject of the Warring States Qin Dynasty to the Western Han Dynasty has three Jin Han Jane Jane jane. Throughout this period, formal occasions of the text appear, are made by carving, casting, carving out. It constitutes an aesthetic index of calligraphy and writing important: to deliberately mottled, nibbled effect was not; but in favor of vigorous, muddy, solid, force, solid, Feng Zhan instead of the usual brush on paper to writing action leads to the common light, sharp, quick and simple you this is obviously the thin,. Can imagine, in the final render target for Oracle inscription inscription "before the age of paper", certainly not the general aesthetic lines written in linear form freely, but complex and changeable. See bamboo wooden slips of calligraphy, this should be a special starting point.

The "former paper age" has led to the emergence of the aesthetic consciousness of "non writing" before the Han Dynasty, which is a proper position of fact. Today, we look at the calligraphy of the ancient times, which is used to stand on the standpoint of "writing brushes" in the song, yuan, Ming and Qing Dynasty to the present day. But this is a new position today; if it takes to push down the pre Qin era of calligraphy, calligraphy standard that most probably it did not actually happen at that time and today should be the same; it is completely mistaken. Experienced "the Lanting Pavilion sequence", Zhi Yong and Ouyang Xun Zhu Suiliang, Yu Shinan Wen Zhengming and Liu Yong Wang Wenzhi to the Huai Su until then to Zhao Zhiqian and Yu Youren Shen Yinmo, with the sequence of writing consciousness to interpret ancient smelting carving chisel engraved lines, is obviously different, will become distorted draw further apart; misunderstanding.

It can be affirmed that "writing" has not become the mainstream of the era, the way of the existence of calligraphy lines, especially the way of cognition, is very unique and unexpected. Which we are familiar with Tang Kai grass and literati calligraphy line vocabulary understanding habits must be misfits. In the "bamboo and bamboo carving", "south" and "carved" at the same time; so be a conjecture: grasp the writing line bamboo slips, the definition of imagination is certainly not later "paper era". If only by past dynasties later literati calligraphy consciousness, to apply the pre Qin bamboo slips for writing lines; it is better to consider more the same era "shell carving" and "bronze smelting", "stone carving" the different lines show the quality of bamboo slips of writing produced by the direct impact. It slips calligraphy line cognition and actual control, in ancient times, horizontal cultural background and environment at the same time