本文以康有為1910年代中期開始標榜的集篆隸碑帖大成的「新體」為研究中心，指出民初書學發展出現了一些新形勢與條件，包括碑派盛行帶來行草書的沒落、碑帖影印技術的出現、漢晉簡牘與敦煌寫本出土等，這些都促使康有為及其他民國書家調整過去所秉持的尊碑立場。本文進一步分析認為，集大成的思想資源，一方面與明末清初以來書家們對於介於兩種字體之間的過渡性字體的興趣有關，集各種字體之大成，實為這一思考與實踐邏輯發展之終點；另一方面，集大成也與碑學缺乏行草書範本故必須借助帖學資源有關，不過因為審美、工具與技巧的差異，碑帖融合的思潮雖也催生出不少新面貌，但因為帖學用筆遭到徹底摒棄，無法被認為是融合成功的案例。本文最後提到二十一世紀的展廳文化，在視覺化的觀看要求之下，康氏集大成的書學遺產獲得一定的迴響，字體雜糅確實更加符合展廳觀賞的效應，不過字體的包羅萬象也限制了書家的想像力，這類創作出現了形式語言大量趨同的問題，這也成為書法創作中需要面對的新課題。

This article focuses on the “Great Calligraphic Consolidation”, a new calligraphy typeface which Kang Youwei (1858-1927) started to promote in the early 1910s. Kang claimed this style to be a great consolidation of all calligraphic essences of the seal script, clerical script, stele inscriptions from the Northern-Southern dynasties as well as the running and cursive scripts of Jin and Tang masterpieces. This essay then considers a new direction in calligraphy studies during the early Republican era, including the decline of the running and cursive scripts due to the prevalence of the Stele School, the new printing technology for rubbings, and the archaeological discoveries of the Dunhuang manuscripts and Han and Western Jin bamboo and wooden slips. These factors led Kang and other Republican calligraphy scholars to revise their previous view to exclusively honor the significance of the Stele School.

This article further investigates the thought process behind the notion of the “Great Calligraphic Consolidation”. The author argues that the scholar-officials and calligraphers during the late-Ming and early-Qing periods shared a common interest in formulating a form of synthesized yet transitional style of script, which is in between two established scripts. Therefore, a “great calligraphic consolidation” could be seen as the logical derivation and the ultimate goal of this attempt. Furthermore, by referencing the vast archive of the traditional Copy-book School masterpieces, the “Great Calligraphic Consolidation” was also a means to address the pressing issue of its absence, hence the lack of models of running and cursive scripts in the Stele School inscriptions. The revered phenomenon of achieving a “Great Calligraphic Consolidation” gained a strong following among calligraphers of the Republican period and received much interest. Many of these efforts, however, were considered unsuccessful. This was largely due to the fact that abolishing the calligraphic brushwork in Copy-book School traditions had prevented the formation of a perfect union of Copy-book scripts and Stele inscriptions.

This article extends its attention to the implications of Kang’s “Great Calligraphic Consolidation” under the context of the twenty-first century “Exhibition Hall Phenomenon”. In addition, and highlighted some new challenges of the contemporary Chinese calligraphers.

康有為; 民國; 書學; 集大成

Kang Youwei; The Republican period; Chinese Calligraphy; The Great Calligraphic Consolidation