在現今流傳的晉唐書迹中，顏真卿（709–785）作品無論從數量抑或分布均罕有人比，二項兼備者又當推魯公為最。顏書這兩大特色其實自北宋即然，其時不僅墨迹眾多，石刻書迹也甚可觀，從而引起眾金石學者注意。歐陽脩（1007–1072）主張，此因顏真卿有意使其字迹傳之長久，故多用「鉅書深刻」或「託於山崖」的書石方式留下遺蹟，故「今處處有之」。本文由此觀察出發，探究隱含其後的系列問題。首先，本文認為顏真卿所以能大範圍留下遺留石刻書迹，係以其豐富的地方「宦遊」經歷為基礎。顏真卿在逾二十年的宦遊生涯中，除常受到各方邀請書石，自己也積極想透過石質媒材讓字迹久存，是以其石刻創制脈絡不僅多重，且在書寫主題、書法表現和製作方法上都較此前有所拓展與創新。不過，顏真卿雖在生前留下大量宦遊石刻，這些作品在他過世後很快就遭遇嚴峻的存續挑戰，所幸中晚唐時已有一批欽慕魯公的有識之士，致力透過各種辦法搶救、恢復與傳承其作，令魯公石刻書迹得以保有相當規模留存至北宋乃至今日。本文以為，顏真卿的宦遊石刻創制不僅在石刻史上別具意義，其多樣化實踐亦足作為石刻研究的重要參照。

Among the surviving calligraphic works of the Jin and Tang dynasties, Yan Zhenqing (709–785) has contributed both an unparalleled sheer number of pieces and a wide distribution of them. This was already noted in the Northern Song period when the epigraphers had observed Yan’s fruitful creation in calligraphy art as well as stone inscriptions. Ouyang Xiu (1007–1072), for example, attributed the abundance of such works which included a great number of stone inscriptions to the calligrapher’s ambition of spreading his works. Ouyang concluded that Yan’s intention of creating artistic legacy had led to his use of “monumental inscriptions” or “engraving on cliffs” as a medium for wide spreading of his art. Building upon this observation, this study first argues that Yan Zhenqing’s prolific output of stone inscriptions stems from his extensive and prolonged official travels when serving the government. During that time, Yan frequently received different commissions to inscribe, and he actively utilized stone as medium to create and preserve his calligraphy. Consequently, his stone inscriptions developed along with multiple contexts, showing significant expansion and innovation in subject matters, calligraphic expression, and production methods compared to earlier works. However, these numerous inscriptions faced severe threats soon after his death. Fortunately, a group of dedicated admirers and discerning individuals undertook efforts during the mid and late Tang to rescue and restore Yan’s works and to pass down his legacy. This intervention allowed a substantial quantity of Yan Zhenqing’s stone inscriptions to survive into the Northern Song and to the present day. Overall, this study asserts that Yan Zhenqing’s creation of stone inscriptions during his official travels holds unique significance in the history of stone engraving. The diverse methods he leveraged to create art offer an important point of reference for future research on stone inscriptions.

顏真卿; 石刻書迹; 宦遊; 石刻史

Yan Zhenqing; stone inscriptions; official travel; history of stone engraving