清末以來，書法文化在歷經抑碑揚帖的創作思潮後，沈尹默用他自己的美感經驗去詮釋他心中的帖學書風。他的特殊性在於他曾長期學碑來矯正學帖所帶來的缺失，最後卻又以帖學書風作為他終極的書學審美。然而陳振濂在2006-2008年所發表的《新帖學論綱》中，卻有不少針對沈尹默書論的批判，其批判內容可分為兩大範疇：一是沈尹默對帖學的認知，二是沈尹默對晉人筆法的解讀。經筆者比對後，發現有許多觀點尚待釐清，例如沈尹默是否因為「眼界受限」而誤解了晉人筆法？或是沈尹默是否囿於帖學經典而走不出來？本文即試圖還原沈尹默的說法，提出筆者的觀察，並闡述沈尹默「尚法」精神在帖學史上的文化意義。

Since the late Qing dynasty, the mindset of “promoting stone inscription and downgrading hardwood calligraphy” has a profound influence on the calligraphy culture. Meanwhile, Shen Yinmo chose to interpret hardwood calligraphy in his distinctive perspectives through his aesthetic experiences. Shen learned stone inscription for a long period of time to compensate what he had lost in learning hardwood calligraphy, while he took hardwood calligraphy style as his ultimate aesthetic criteria. Nevertheless, Theses on New Hardwood Calligraphy, released by Chen Zhenlian between 2006 and 2008, include a number of criticisms against Shen’s understanding of hardwood calligraphy, some of which require clarification. This study intends to recover Shen Yinmo’s perspectives, propose what the author has observed, and elaborate the cultural meanings of Shen’s views in the history of hardwood calligraphy.

沈尹默; 陳振濂; 帖學; 新帖學

Shen Yinmo; Chen Zhenlian; hardwood calligraphy; new hardwood calligraphy