本文以清代書法家錢泳（1759－1844）主持刊刻的《攀雲閣帖》作為研究主題，探討嘉、道時期書家如何統整乾、嘉金石學者積極訪碑、考碑與校碑的成果，使其成為有系統且易於入手的書法學習典範。這是第一部以漢隸為內容的大規模刻帖，標誌著碑版石刻正式被納入書學體系中，在中國書史上極為重要，然至今尚未引起學界足夠的重視。本文除考察《攀雲閣帖》的版本、內容、選件、臨書風格與編集原則，也從明清的書法臨古與刻帖、嘉慶至道光初期「金石學」、「碑學」與「帖學」交會的時代脈絡，還有此帖由十八世紀末至二十世紀的多種化身，來考察它在清代書史中的意義。

Model Calligraphy of Panyunge (Panyunge tie), completed in 1818 by the calligrapher Qian Yong (1759-1844), was the first compilation of model calligraphy that featured exclusively ancient works of Han dynasty steles (dated from the second to the early third centuries). It marked a turning point in the history of Chinese calligraphy where ancient stone inscriptions became canonical models. Up to that time, for nearly 1500 years, works by the fourth-century calligrapher Wang Xizhi (303-361) and his followers dominated what were considered classics and worthy models in Chinese calligraphy. As antiquarianism and antiquarian studies (jinshixue) came in vogue in the 18th century, ancient bronze vessels and stone carvings turned into sought-after items. Vast numbers of them were unearthed, recorded, reproduced, and studied. Model Calligraphy of Panyunge epitomizes the efforts of scholars and calligraphers of the 19th century in organizing and making sense of these newly discovered materials. Its appearance blurred the line between the traditions of “stele” (bei or beixue) and “model calligraphy” (tie or tiexue), the popular pair of concepts in discourses of Qing calligraphy. Model Calligraphy of Panyunge was later commercially reprinted as the Grand Collection of Han Steles (Hanbei daguan) in the early 20th century, gaining an even wider circulation and exerting greater impacts. This paper investigates the production, distribution, and impacts of Model Calligraphy of Panyunge, hoping to offer new insights into the great changes in calligraphy during the Qing period.

錢泳; 攀雲閣帖; 金石學; 碑學; 帖學; 漢碑大觀

Qian Yong; Model Calligraphy of Panyunge (Panyunge tie); jinshixue; beixue; tiexue; Grand Collection of Han Steles (Hanbei daguan)