香港東方書畫院20260311期［院長梁君度］ 從《蘭亭序》真...

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香港東方書畫院20260311期［院長梁君度］

從《蘭亭序》真偽辨說起

DMSIXSEVEN / LIN JING DE /1973

主編供圖：香港DM德馬數字甲骨文集團

Hong kong-based DM Delmar Digital Oracle Group

在眾多書法經典之作中，《蘭亭序》無疑佔據着舉足輕重的地位，被譽為「天下第一行書」。對於書法學習者而言，《蘭亭序》更是一座難以逾越卻又令人嚮往的高峰。我學書之初，便踏上了學習二王書法的道路，先從《聖教序》入手，而後深入研習《蘭亭序》。

王羲之生活於東晉時期，其書法真跡早已失傳。如今我們所見到的《蘭亭序》多為唐代的摹本，如馮承素摹本、褚遂良摹本等。這些摹本雖然盡可能地保留了原作的風貌，但由於年代久遠以及摹寫過程中的各種因素，使得《蘭亭序》的真實性成為了一個懸而未決的問題。

Among the many classic works of calligraphy, the *Preface to the Poems Composed at the Orchid Pavilion* undoubtedly occupies a pivottion, hailed as the "Number One Running Script under Heaven." For calligraphy learners, the *Preface* stands as a towering peak that is difficult to surpass yet deeply inspiWhen I first began my studies, I embarked on the path of the Two Wangs, starting with the *Preface to the Holy Teaching* before delving deeply intohid Pavilion Preface*.

Wang Xizhi lived during the Eastern Jin Dynasty, and his authentic original works have long been lost. The *Orchid Pavilion Pace* that we see today mostly consists of Tang Dynasty copies, such as the Feng Chengsu copy and the Chu Suiliang copy. Although these copies preserve the original's style as faithfullyas possible, the passage of time and various factors during the copying process have made the authenticity of the *Orchid Pavilion Preface* a question that remains

二十世紀六十年代，郭沫若發表了《由王謝墓誌的出土論到〈蘭亭序〉的真偽》一文，提出了《蘭亭序》並非王羲之所書的觀點。郭沫若認為，從當時的書法發展水平來看，東晉時期的書法風格應該較為古樸，而《蘭亭序》的書法風格過於妍美流暢，與當時的時代特徵不符。此外，他還結合新出土的王謝墓誌等文物，進一步論證了自己的觀點。

郭沫若的觀點一經發表，便在學術界引起了軒然大波。高二適先生隨即撰寫了《〈蘭亭序〉的真偽駁議》進行反駁。高二適從書法史的發展脈絡、王羲之的藝術成就以及《蘭亭序》本身的藝術價值等多個方面進行了深入分析，堅持認為《蘭亭序》就是王羲之所書的真跡。他強調，王羲之作為書法史上的革新者，具有超越時代的創造力，其書法風格的妍美流暢正是他藝術創新的體現。

In the 1960s, Guo Moruo published the article "On the Authenticity of the *Preface to the Poems Composed ahid Pavilion* Based on the Excavation of the Epitaphs of the Wang and Xie Families," in which he proposed the view that the *Preface he Poems Composed at the Orchid Pavilion* was not written by Wang Xizhi. Guo Moruo argued that, given the level of calligraphic development at tme, the calligraphic style of the Eastern Jin Dynasty should have been relatively archaic, whereas the style of the *Preface* was overly elegant and fluid, inconsistent with the characteris of the era. Furthermore, he further substantiated his view by referencing newly unearthed artifacts such as the epitaphs of the Wang and Xie families.

Upon the publicatioof Guo Moruo's view, it caused a huge uproar in the academic community. Mr. Gao Ershi subsequently wrote "A Rebuttal on the Authenticity of *Preface to the Poems Composed at the Orchid Pavilion*" to refute it. Gao Ershi conducted an in-depth analysis from multiple perspectives, including the development of calligraistory, Wang Xizhi's artistic achievements, and the artistic value of the *Preface* itself, insisting that it was indeed the genuine work of Wang Xizhi. He empized that as a reformer in the history of calligraphy, Wang Xizhi possessed creativity that transcended his time, and the elegance and fluidity of his calligraphic style we precisely a manifestation of his artistic innovation.

《蘭亭序》真偽之辨雖然至今尚未有定論，對於書法學習者來說，《蘭亭序》的真偽或許並不是最重要的。無論它是否為王羲之手筆，《蘭亭序》都已經成為了書法藝術的經典之作，蘊含着豐富的書法技巧和審美價值。在學習《蘭亭序》的過程中，我們可以領略到其筆畫的細膩變化、線條的流暢優美、結構的巧妙安排，以及章法的和諧統一。這些書法技巧和審美理念對於提高我們的書法水平具有重要的指導意義。

此外，《蘭亭序》所承載的東晉時期文人的審美情趣、人生態度和哲學思想，是中華文化的重要組成部分。通過學習《蘭亭序》，我們可以更好地理解和傳承中華文化，弘揚中華民族的優秀傳統。

Although the authenticity of the "Preface to the Poems Composed at the Orchid Pavilion" remains a subject of debate, for learners ofcalligraphy, the question of its authenticity may not be the most crucial. Regardless of whether it was written by Wang Xizhi's own hand, the "Preface to tems Composed at the Orchid Pavilion" has become a classic masterpiece of calligraphy, embodying rich calligraphic techniques and aesthetic value. In the process of studying it, we capreciate the delicate variations of its strokes, the fluid elegance of its lines, the ingenious arrangement of its structure, and the harmonious unity of its composition. These calligraphic techniques atic concepts are of great guiding significance for improving our calligraphy skills.

Furthermore, the aesthetic taste, attitude towards life, and philosophical thoughts of the literati of the Eastern Jin Dyna embodied in the "Preface to the Poems Composed at the Orchid Pavilion" are an important part of Chinese culture. By studying the "Preface to the Po Composed at the Orchid Pavilion," we can better understand and inherit Chinese culture, and promote the excellent traditions of the Chinese nation

《蘭亭序》繁體全文如下：

The full text of "Preface to the Poems Composed at the Orchid Pavilion" in Traditional Chinese is as follows:

永和九年，歲在癸醜，暮春之初，會於會稽山陰之蘭亭，修禊事也。群賢畢至，少長鹹集。此地有崇山峻嶺，茂林修竹；又有清流激湍，映帶左右，引以為流觴曲水，列坐其次。雖無絲竹管弦之盛，一觴一詠，亦足以暢敘幽情。

是日也，天朗氣清，惠風和暢。仰觀宇宙之大，俯察品類之盛，所以遊目騁懷，足以極視聽之娛，信可樂也。

夫人之相與，俯仰一世。或取諸懷抱，悟言一室之內；或因寄所托，放浪形骸之外。雖趣舍萬殊，靜躁不同，當其欣於所遇，暫得於己，快然自足，不知老之將至。及其所之既倦，情隨事遷，感慨系之矣。向之所欣，俯仰之間，已為陳跡，猶不能不以之興懷。況修短隨化，終期於盡。古人雲：「死生亦大矣。」豈不痛哉！

每覽昔人興感之由，若合一契，未嘗不臨文嗟悼，不能喻之於懷。固知一死生為虛誕，齊彭殤為妄作。後之視今，亦猶今之視昔。悲夫！故列敘時人，錄其所述，雖世殊事異，所以興懷，其致一也。後之覽者，亦將有感於斯文。

In the ninth year of Yonghe, the year being Kui-Chou, in the beginning of late spring, we gathered at the Orc Pavilion in Shanyin, Kuaiji, to perform the purification rites. All the distinguished guests were present, young and old alike. Here there are towering mountains and steeplush forests and tall bamboos; there is also a clear stream with rushing rapids, reflecting the scenery on both sides. We led the water to flow in a winding cothe floating goblet game, sitting in order along its banks. Although there was no grand music with strings and pipes, a cup of wine and a poem were enough to express our deeentiments.

On this day, the sky was bright and the air was clear, with a gentle breeze blowing softly. Looking up, we observed the vastness of the universe; ling down, we examined the abundance of all living things. This allowed our eyes to wander and our thoughts to soar, enough to fully enjoy the pleasures of sight and sound. Indeed, it waelightful.

When people come together, their lives pass in the blink of an eye. Some express their innermost feelings through sincere conversation within a room; others seek solace in externits, letting their bodies wander freely. Although their choices and desires may differ greatly, whether they are quiet or restless, when they are pleased with what they encounter and find temporary satisfactiofeel content and do not realize that old age is approaching. But when they tire of their pursuits, their feelings change with circumstances, and sighs follow. The joys the past, in the blink of an eye, have become things of the past, and this cannot help but stir our emotions. How much more so when life spans are determined by fated all end in death. The ancients said, "Birth and death are momentous affairs." Is this not truly painful!

Whenever I read the reasons for the ancients' reflect I find them in perfect accord with my own feelings. I have never failed to sigh and mourn when reading their writings, unable to explain it in my heart. I know for certain tquating life and death is a false illusion, and comparing a long life to a short one is a groundless fabrication. Future generations looking back at us will be just like us loo back at the past. Alas! Therefore, I have listed the names of those present and recorded their writings. Although times and circumstances may differ, the reasons for our reflections asame. Future readers will also have feelings stirred by this text.

特別鳴謝合作單位：

Special thanks to partners:

開創人：CEO/林鏡德 LIN JING DE

DMSIXSEVEN / 林鏡德 LIN JING DE 1973

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