{"meta":{"id":"https:\/\/api.iclient.ifeng.com\/ipadtestdoc?aid=ucms_7zA7G2UJoBj","type":"doc","o":"1","documentId":"ucms_7zA7G2UJoBj"},"body":{"newStatus":"1","documentId":"ucms_7zA7G2UJoBj","staticId":"ucms_7zA7G2UJoBj","title":"董其昌,以禅法向鲁公致敬","shareTitle":"董其昌,以禅法向鲁公致敬","thumbnail":"http:\/\/d.ifengimg.com\/w150_h106_q100\/x0.ifengimg.com\/res\/2020\/9E6DCFFBE79E8F96491AC1841DB25ABC995CCAEF_size87_w640_h877.jpeg","source":"","author":"","editorcode":"weMedia","editTime":"2020-08-23 07:00:00","updateTime":"2020\/08\/23 07:00:00","wapurl":"http:\/\/\/\/feng.ifeng.com\/c\/7zA7G2UJoBj","introduction":"","wwwurl":"http:\/\/\/\/feng.ifeng.com\/c\/7zA7G2UJoBj","commentsUrl":"ucms_7zA7G2UJoBj","commentCount":0,"text":"
董其昌的《行草大唐中兴颂》,是他的极精之作,用行草书写颜真卿的楷书《大唐中兴颂》。<\/p>
按白谦慎先生的说法,这种由董其昌开创的“臆造性临书”,是明末“古代经典权威的式微”的产物,并将此与晚明的市民文化现象联系起来。我以为白谦慎先生的论证,远未完善,而更倾向于从书法自身发展演变的角度解释这种“臆造性临书”。<\/p>
比如这件《行草大唐中兴颂》,书法上跟颜真卿的《大唐中兴颂》没什么直接关系,但是,却无疑流淌着怀素的《自序帖》血脉,正如董其昌曾用《韭花帖》笔意写《神仙起居法》一样。这并不是“古代经典权威的式微”,而是董其昌本人所说的“妙在能合,神在能离”:<\/p>
怀素与颜真卿书风完全不同,但两人谈笔法时如同高僧参禅般合契;<\/p>
杨凝式一手写出完全不同的《韭花帖》与《神仙起居法》;<\/p>
董其昌则试图以“离”的外在面目求“合”于内在的“道”,用类似于禅宗的方式向伟大的传统致敬。<\/p>
这既是布鲁姆所说的“影响的焦虑”,也是贡布里希所说的“高度严肃的游戏”。<\/p>
《大唐中兴颂》系唐代大诗人元次山(结)所撰,由唐代大书家颜真卿用楷书大字所写,镌刻于湖南摩崖,是一篇勒石诛乱纪功颂德的碑文,历来被书家奉为圭臬。<\/p>
本卷是董其昌学颜书中之佼佼者,用行体而具楷书笔意,结体端庄,笔画严谨,是董氏用意之作,堪称至精之品。——以上文字源自“中国书法网”之莫武临董其昌《行草大唐中兴颂》<\/p>
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