Wang Wenzhi yu lan ting xu

清代乾嘉时期書家王文治（1730-1802）為帖派健將，以一手瀟灑流麗的書法垂譽書史，有"淡墨探花"之稱。其學書歷程漫長、取法廣博，由明末董其昌（1555-1636）開始上溯晉唐，終以王羲之（303-361）為代表的晉人書風作最終堂奧，更直言"書以右軍為宗"。在眾多書法經典中，尤對《蘭亭序》情有獨鍾，認為"禊敘一帖關乎書法源流"，將之置於最關鍵的位置，成為一生臨習不斷的典範。其一生所見、所學、所跋《蘭亭》版本眾多，又以"定武蘭亭"致為鍾愛，自言研究超過二十年。此種書學取態，非但是個人性情之因，亦與當時皇家和文人圈締造的蘭亭風尚有關。本文核心共包含四個篇章：第一章"蘭亭風尚"，從清代前中期皇家和文人圈對《蘭亭序》的刻藏、研究和臨寫，來窺看當時的蘭亭之風。指出時人對蘭亭修禊的效仿已變成雅集的一種，是蘭亭風尚中最為突出的表現之一。第二章"蘭亭情結"，重組三次武昌借園的修禊，集中環繞乾隆五十八年（癸丑，1793）春舉行的"借園修禊"。從王文治的《蘭亭》集詩及書畫題跋中，尤其挪用"歲在癸丑，暮春之初"的年款，探究他對《蘭亭》的深厚情結。第三章"蘭亭品鑒"，先論王文治在考據時風下不依考據，純以"品韻"鑒別書畫的因由與方法；繼而梳理他品鑒過的《蘭亭》版本，分析他"禊敘一帖關乎書法源流"之論背後的含義，並討論他對不同《蘭亭》版本的看法。最後，指出不論何本王文治都視為原帖化身，將之與王羲之緊扣。第四章"蘭亭之路"，則重塑王文治在書壇董趙書風籠罩下，以董其昌為起步，借鑒歷代書家學王之徑，逼近王羲之，進入《蘭亭序》的臨池自運過程。特別詳細分析他如何通過對《蘭亭》的臨寫、集詩和集聯來演繹《蘭亭》，將之化入腕底，最終自出機杼，在清代書壇芸芸帖學高手中脫穎而出。從王文治對《蘭亭序》的取態和學習，可窺看在金石考據學方興未艾、碑學萌芽的時代，《蘭亭》的魅力和位置，從而更全面瞭解十八世紀中國書壇面貌，比起傳統認識上的碑興帖衰，來得更多元並蓄。This dissertation is a study of the 18th century Chinese calligrapher, Wang Wenzhi (1730-1802). Being famous for his elegant and graceful brushwork with relatively light ink tone, Wang Wenzhi advocated the Model-book School (tiexue) throughout his life. He regarded the late Ming master Dong Qichang (1555-1636) as his primary source in the study of the Two Wangs tradition. Starting from the works of Dong Qichang and the other calligraphy masters preceding him, he finally traced back to the style of Wang Xizhi (303-361), who was his target. Among all the classical works of calligraphy, the Preface to the Orchid Pavilion Gathering (Lanting xu) by Wang Xizhi was his favorite, which he regarded, more than any other, to be the origin of Chinese calligraphy. Wang Wenzhi has seen, studied, and practiced a large number of different versions of the Lanting xu in his life. This interesting phenomenon is closely related to his time, which was a "Lanting fashion" period.This dissertation includes four chapters. The first one reconstructs the "Lanting fashion" in the 18th century. During this period, both emperors and scholars had great interests in collecting, reproducing and copying the Lanting xu. They also loved to follow and imitate the Orchid Pavilion gathering. The second chapter focuses on the three literati gatherings in the Jie Garden in Wuchang during the 1790s. It especially focuses on how Wang Wenzhi expressed his passion for the Lanting xu during the third gathering in 1793. The third chapter studies Wang Wenzhi’s principle of connoisseurship in calligraphy and painting, and analyses his attitude towards different versions of the Lanting xu. The fourth chapter is about how he learned from and practiced copying the Lanting xu. This dissertation, finally tries to argue that the practice of calligraphy in the 18th century was more varied and diversified than previously thought, the Model-book School being at its most glorious.Detailed summary in vernacular field only.Detailed summary in vernacular field only.陳冠男 = Wang Wenzhi and Preface to the Orchid Pavilion Gathering / Chan Kwun Nam.Thesis (Ph.D.) Chinese University of Hong Kong, 2014.Includes bibliographical references (leaves 177-202).Abstracts also in Chinese.Chen Guannan = Wang Wenzhi and Preface to the Orchid Pavilion Gathering / Chan Kwun Nam