摘要
世界上很少有專門以"真僞"爲題名的探討單一藝術品的論文集.可是在東亞,從唐代以來一直被當作是最高級的一幅藝術品——王羲之《蘭亭序》,其真實性却屢受質疑.一方面是《世説新語》《藝文類聚》等歷史文獻對現存摹本製造過程的叙述過于含蓄,使歷代學者産生種種疑惑;另一方面初唐以後的文獻多是記述把《蘭亭序》與王羲之神化到極致的"傳奇"故事,對《蘭亭序》作爲一幅文學作品和書法作品而存在産生了多重影響.筆者通過客觀地梳理和解讀文獻并且結合相關史實 情况,擬對《蘭亭序》的創作語境做出合乎邏辑的探討,并指出認爲《蘭亭序》墨迹及文本爲贋品的"否定派"忽略了古代文獻的傳寫及藝術品的複製的具體問題.
Abstract
Very few works of art have entire volumes exploring the question of their authenticity dedicated to them.However,the authenticity of the most celebrated and admired work of art in East Asia since the Tang dynasty,Wang Xizhi's(303-361)Lanting Xu(Preface to the Lanting Collection),has repeatedly been doubted.On the one hand,sources like the Shishuo Xinyu(New Account of Tales of the World)(completed ca.430 and annotated ca.510-521),the Yiwen Leiju(Collected Quotations on Arts and Letters)(completed 624)and others provide only vague information on the reproduction of the Lanting Xu's original calligraphy,leading scholars from different ages to doubt its authenticity;on the other,after the early Tang many sources have mythicized both the Lanting Xu and Wang Xizhi to the extent that several legendary stories concerning them have appeared,profoundly influencing the reception of the Lanting Xu as a literary piece and as a calligraphic work.Through a comprehensive analysis of historical and philological documentation,the present paper aims to explore the context in which the Lanting Xu was created in the light of logical reasoning.By so doing,it points out that those who refute the authenticity of the Lanting Xu overlook specific questions regarding the reproduction and transmission of texts and works of art in traditional China,and that their viewpoints cannot,therefore,be taken as conclusive.
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