《史(shi)晨(chen)(chen)碑(bei)》是刊刻(ke)于東(dong)漢(han)(han)建寧二年(169年)的(de)一方碑(bei)刻(ke),又稱“史(shi)晨(chen)(chen)前(qian)后碑(bei)”,無撰書(shu)人(ren)姓名,屬隸書(shu)書(shu)法作品,現(xian)存于漢(han)(han)魏(wei)碑(bei)刻(ke)陳(chen)列館。
《史(shi)(shi)晨(chen)碑》為(wei)圓首碑,有額,額高34厘(li)(li)米(mi)(mi)(mi),無(wu)字(zi),碑身高173.5厘(li)(li)米(mi)(mi)(mi),寬85厘(li)(li)米(mi)(mi)(mi),厚23.5厘(li)(li)米(mi)(mi)(mi)。碑兩面(mian)(mian)(mian)(mian)刻,面(mian)(mian)(mian)(mian)向(xiang)(xiang)東為(wei)陽面(mian)(mian)(mian)(mian),俗(su)稱(cheng)(cheng)“史(shi)(shi)晨(chen)前(qian)碑”,又稱(cheng)(cheng)“魯相(xiang)史(shi)(shi)晨(chen)祀(si)孔子奏銘(ming)”等,刊(kan)刻魯相(xiang)史(shi)(shi)晨(chen)關于祭祀(si)孔子上(shang)呈朝廷的(de)奏章,后(hou)附(fu)四言銘(ming)文12韻24句;面(mian)(mian)(mian)(mian)向(xiang)(xiang)西為(wei)陰面(mian)(mian)(mian)(mian),俗(su)稱(cheng)(cheng)“史(shi)(shi)晨(chen)后(hou)碑”,又稱(cheng)(cheng)“魯相(xiang)史(shi)(shi)晨(chen)饗孔子廟(miao)碑”等,記敘(xu)了史(shi)(shi)晨(chen)到任后(hou)謁廟(miao)拜孔、修墻飾(shi)屋、疏通溝渠(qu)、植行道樹、設立會市等事跡,與(yu)《乙瑛(ying)碑》《禮(li)器碑》合稱(cheng)(cheng)“孔廟(miao)三碑”。其書法含蓄蘊藉,健勁(jing)遒逸,結構(gou)左(zuo)顧右盼,上(shang)下啟承(cheng),疏密勻稱(cheng)(cheng),提按得法,風韻自然跌宕,飛彩(cai)凝暉,法意俱(ju)全。
碑陽(“史晨前(qian)碑”)
建(jian)(jian)寧二(er)年,三月(yue)癸卯(mao)朔(shuo),七(qi)日己(ji)酉,魯相臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)晨(chen)、長史臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)謙(qian),頓(dun)(dun)(dun)(dun)首(shou)(shou)死罪(zui)(zui)(zui),上┘尚(shang)(shang)書(shu):臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)晨(chen)頓(dun)(dun)(dun)(dun)首(shou)(shou)頓(dun)(dun)(dun)(dun)首(shou)(shou),死罪(zui)(zui)(zui)死罪(zui)(zui)(zui)。臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)蒙厚恩(en),受(shou)任符守,得在奎婁,周(zhou)孔(kong)舊寓(yu)。不能(neng)闡弘德政(zheng)(zheng),恢(hui)崇┘壹變(bian),夙夜憂怖,累息屏營。臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)晨(chen)頓(dun)(dun)(dun)(dun)首(shou)(shou)頓(dun)(dun)(dun)(dun)首(shou)(shou),死罪(zui)(zui)(zui)死罪(zui)(zui)(zui)。臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)以(yi)(yi)(yi)建(jian)(jian)寧元年到(dao)官,行(xing)秋(qiu)(qiu)饗,飲酒畔宮(gong)。畢(bi),┘復(fu)禮孔(kong)子(zi)宅,拜謁神坐,仰瞻榱桷(jue),俯視幾筵,靈(ling)所(suo)馮依(yi),肅肅猶存。而無公出(chu)酒脯(fu)之祠,臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)即自(zi)┘以(yi)(yi)(yi)奉錢,修(xiu)上案食醊具,以(yi)(yi)(yi)敘小(xiao)節,不敢空(kong)謁。臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)伏(fu)念:孔(kong)子(zi)乾(qian)坤所(suo)挺,西狩(shou)獲麟,為(wei)漢制作(zuo),故(gu)《孝┘經·援神挈》曰:“玄丘制命(ming)帝卯(mao)行(xing)。”又,《尚(shang)(shang)書(shu)·考靈(ling)耀》曰:“丘生倉際,觸期稽(ji)度為(wei)赤制。”故(gu)作(zuo)《春秋(qiu)(qiu)》,以(yi)(yi)(yi)明┘文命(ming)。綴紀撰書(shu),修(xiu)定禮義(yi)。臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)以(yi)(yi)(yi)為(wei)素王(wang)稽(ji)古,德亞皇代。雖有褒成世享(xiang)之封,四(si)時來祭(ji),畢(bi)即歸┘國(guo)。臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)伏(fu)見臨璧雍日,祠孔(kong)子(zi)以(yi)(yi)(yi)大(da)牢,長吏備爵,所(suo)以(yi)(yi)(yi)尊(zun)先(xian)師重教化也。夫封土(tu)為(wei)社(she),立稷(ji)而祀(si),┘皆為(wei)百姓興利除害,以(yi)(yi)(yi)祈(qi)豐穰。《月(yue)令》:“祀(si)百辟卿士有益于民。”矧乃孔(kong)子(zi),玄德煥(huan)炳,光于上下。而┘本國(guo)舊居,復(fu)禮之日,闕而不祀(si),誠(cheng)┘朝廷圣恩(en)所(suo)宜(yi)特(te)加,臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)寢息耿(geng)耿(geng),情所(suo)思惟。臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)輒(zhe)依(yi)社(she)稷(ji),出(chu)王(wang)家谷,春秋(qiu)(qiu)行(xing)禮,以(yi)(yi)(yi)共煙祀(si),余□┘賜先(xian)生執事(shi)。臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)晨(chen)頓(dun)(dun)(dun)(dun)首(shou)(shou)頓(dun)(dun)(dun)(dun)首(shou)(shou),死罪(zui)(zui)(zui)死罪(zui)(zui)(zui)。臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)盡力思惟庶政(zheng)(zheng),報稱為(wei)效,增異(yi)輒(zhe)上。臣(chen)(chen)(chen)(chen)(chen)(chen)(chen)晨(chen)誠(cheng)惶誠(cheng)恐,┘頓(dun)(dun)(dun)(dun)首(shou)(shou)頓(dun)(dun)(dun)(dun)首(shou)(shou),死罪(zui)(zui)(zui)死罪(zui)(zui)(zui)。上┘尚(shang)(shang)書(shu)。|時副言大(da)傅、大(da)尉、司徒、司空(kong)、大(da)司農(nong)府治所(suo)部從(cong)事(shi)。┘
昔在仲尼,汁光之精。大帝所挺,顏母毓靈。承敝遭衰,黑不代倉。□流應聘,嘆鳳不臻。自衛反魯,┘養徒三千。獲麟趣作,端門見征,血書著紀,黃玉
西(xi)漢(han)自(zi)漢(han)武帝(di)開始,經董仲舒改造后的(de)儒學成為國家(jia)宗教,儒家(jia)思(si)想的(de)統(tong)治話語(yu)權(quan)得以(yi)確立。東漢(han)自(zi)漢(han)光武帝(di)開始,更(geng)是有(you)幾代(dai)君(jun)主親(qin)赴(fu)曲阜祭祀孔(kong)(kong)子,對(dui)孔(kong)(kong)子的(de)一(yi)系列祭祀禮(li)儀逐漸規范(fan)化、日常(chang)化;地方官(guan)員(yuan)更(geng)是爭先立碑紀事,宣揚祭孔(kong)(kong)、尊孔(kong)(kong)事跡,《史(shi)晨碑》即其中之一(yi)。
對刊刻(ke)時(shi)(shi)間(jian)(jian),因(yin)碑(bei)(bei)(bei)(bei)陽(yang)首(shou)云“建(jian)(jian)(jian)(jian)(jian)(jian)寧(ning)二年(nian)(nian)(nian)(nian)(nian)”而(er)(er)碑(bei)(bei)(bei)(bei)陰(yin)(yin)首(shou)云“建(jian)(jian)(jian)(jian)(jian)(jian)寧(ning)元(yuan)(yuan)年(nian)(nian)(nian)(nian)(nian)”,許(xu)多著錄者誤以(yi)為是(shi)兩碑(bei)(bei)(bei)(bei),刊刻(ke)時(shi)(shi)間(jian)(jian)也(ye)只(zhi)是(shi)根據(ju)碑(bei)(bei)(bei)(bei)文首(shou)句而(er)(er)認(ren)為碑(bei)(bei)(bei)(bei)陽(yang)刻(ke)于(yu)東漢(han)(han)(han)建(jian)(jian)(jian)(jian)(jian)(jian)寧(ning)二年(nian)(nian)(nian)(nian)(nian)(169年(nian)(nian)(nian)(nian)(nian))而(er)(er)碑(bei)(bei)(bei)(bei)陰(yin)(yin)刻(ke)于(yu)東漢(han)(han)(han)建(jian)(jian)(jian)(jian)(jian)(jian)寧(ning)元(yuan)(yuan)年(nian)(nian)(nian)(nian)(nian)(168年(nian)(nian)(nian)(nian)(nian))。但據(ju)碑(bei)(bei)(bei)(bei)陰(yin)(yin)記載,史(shi)晨(chen)(chen)(chen)(chen)在(zai)東漢(han)(han)(han)建(jian)(jian)(jian)(jian)(jian)(jian)寧(ning)元(yuan)(yuan)年(nian)(nian)(nian)(nian)(nian)(168年(nian)(nian)(nian)(nian)(nian))四(si)月十一日(ri)(ri)到(dao)任后,便選擇吉日(ri)(ri),拜謁(ye)了(le)(le)孔(kong)子的(de)舊宅,接(jie)著又向(xiang)尚(shang)書(shu)奏(zou)(zou)(zou)(zou)請在(zai)孔(kong)宅以(yi)公費祭祀的(de)事宜(yi),奏(zou)(zou)(zou)(zou)章(zhang)中(zhong)(zhong)還(huan)引用(yong)了(le)(le)符(fu)驗(yan)之(zhi)說(shuo),這樣才能施行(xing)(xing)祭祀。其中(zhong)(zhong),“乃以(yi)令日(ri)(ri)”的(de)“乃以(yi)”兩字(zi)說(shuo)明史(shi)晨(chen)(chen)(chen)(chen)的(de)到(dao)官時(shi)(shi)間(jian)(jian)和拜謁(ye)孔(kong)子并不是(shi)一天;“乃敢承祀”則說(shuo)明了(le)(le)沒有接(jie)著拜謁(ye)孔(kong)子,是(shi)因(yin)為要(yao)向(xiang)尚(shang)書(shu)奏(zou)(zou)(zou)(zou)請和參驗(yan)。可(ke)知(zhi),建(jian)(jian)(jian)(jian)(jian)(jian)寧(ning)元(yuan)(yuan)年(nian)(nian)(nian)(nian)(nian)是(shi)史(shi)晨(chen)(chen)(chen)(chen)到(dao)官的(de)日(ri)(ri)期而(er)(er)非碑(bei)(bei)(bei)(bei)陰(yin)(yin)的(de)刊刻(ke)時(shi)(shi)間(jian)(jian)。而(er)(er)碑(bei)(bei)(bei)(bei)陰(yin)(yin)又提到(dao):“刊石勒銘,并列本奏(zou)(zou)(zou)(zou)。”意思(si)是(shi)刻(ke)石記下史(shi)晨(chen)(chen)(chen)(chen)的(de)功績,并將(jiang)史(shi)晨(chen)(chen)(chen)(chen)上奏(zou)(zou)(zou)(zou)的(de)奏(zou)(zou)(zou)(zou)章(zhang)列在(zai)前面,也(ye)就是(shi)碑(bei)(bei)(bei)(bei)陽(yang)的(de)內容,由此可(ke)知(zhi)碑(bei)(bei)(bei)(bei)陽(yang)和碑(bei)(bei)(bei)(bei)陰(yin)(yin)的(de)刊刻(ke)時(shi)(shi)間(jian)(jian)應是(shi)一樣的(de)。結合(he)碑(bei)(bei)(bei)(bei)陽(yang)記載來看,魯相史(shi)晨(chen)(chen)(chen)(chen)在(zai)東漢(han)(han)(han)建(jian)(jian)(jian)(jian)(jian)(jian)寧(ning)元(yuan)(yuan)年(nian)(nian)(nian)(nian)(nian)(168年(nian)(nian)(nian)(nian)(nian))四(si)月十一日(ri)(ri)抵達任所,之(zhi)后進行(xing)(xing)祭廟、筑墻(qiang)、修(xiu)溝、立會市等(deng)活動,于(yu)東漢(han)(han)(han)建(jian)(jian)(jian)(jian)(jian)(jian)寧(ning)二年(nian)(nian)(nian)(nian)(nian)(169年(nian)(nian)(nian)(nian)(nian))三月七日(ri)(ri)上奏(zou)(zou)(zou)(zou)朝廷。揆(kui)情度理,刊刻(ke)時(shi)(shi)間(jian)(jian)應為東漢(han)(han)(han)建(jian)(jian)(jian)(jian)(jian)(jian)寧(ning)二年(nian)(nian)(nian)(nian)(nian)(169年(nian)(nian)(nian)(nian)(nian))且(qie)在(zai)東漢(han)(han)(han)建(jian)(jian)(jian)(jian)(jian)(jian)寧(ning)二年(nian)(nian)(nian)(nian)(nian)(169年(nian)(nian)(nian)(nian)(nian))三月七日(ri)(ri)上奏(zou)(zou)(zou)(zou)后不久。
一、橫法
《史(shi)晨(chen)碑(bei)》的(de)橫畫(hua)富于變化,有(you)平直的(de),如“臣”字上(shang)橫;有(you)中間部位凸出的(de),如“憂”字的(de)上(shang)橫;也(ye)有(you)中間部位凹(ao)陷的(de),如“土”字的(de)上(shang)橫。
二、波法
《史晨(chen)碑》波畫(hua)的起筆(bi)(bi)(bi)有方、圓之分,起筆(bi)(bi)(bi)法(fa)同橫,只(zhi)是(shi)起筆(bi)(bi)(bi)時(shi)稍有下探,轉翻筆(bi)(bi)(bi)鋒(feng)右行時(shi)逐漸提筆(bi)(bi)(bi),筆(bi)(bi)(bi)鋒(feng)行至(zhi)(zhi)中間(jian)位置(zhi),再逐漸加力至(zhi)(zhi)雁尾(wei)處。
三、捺法
《史晨碑》的(de)捺(na)(na)有(you)長捺(na)(na)、短捺(na)(na)之別。長捺(na)(na)出現(xian)在“教”字(zi)(zi)、“政”字(zi)(zi)等中(zhong)(zhong),寫法基本與(yu)(yu)“波(bo)”法相同。所不(bu)同的(de)是(shi)(shi)(shi)波(bo)畫是(shi)(shi)(shi)呈(cheng)水平(ping)橫置的(de),捺(na)(na)是(shi)(shi)(shi)右斜(xie)下行筆畫,而且捺(na)(na)多是(shi)(shi)(shi)處于與(yu)(yu)其他筆畫的(de)配合、交織(zhi)之中(zhong)(zhong)的(de),其效(xiao)果反(fan)不(bu)如波(bo)畫更(geng)為伸展,短捺(na)(na)如“懸”字(zi)(zi)、“報”字(zi)(zi)等之中(zhong)(zhong),起(qi)筆處無明顯頓頭,起(qi)筆后即右斜(xie)下行,至捺(na)(na)腳處加(jia)力,并(bing)改變方(fang)向(xiang)平(ping)出,整個過程,只有(you)捺(na)(na)腳處有(you)一折(zhe)筆。
四、撇法
《史(shi)晨(chen)碑》的(de)撇(pie)法(fa)有平撇(pie)、直撇(pie)之分。平撇(pie)筆(bi)勢取橫,有順寫(xie)的(de),也有逆寫(xie)的(de)。直撇(pie)的(de)寫(xie)法(fa),收(shou)筆(bi)處多回鋒,形成頓頭,如(ru)“煥”字的(de)“火”旁(pang),這種直撇(pie),起筆(bi)逆行(xing),轉、翻后筆(bi)鋒下(xia)行(xing),邊(bian)行(xing)邊(bian)提,至(zhi)中部位置(zhi),筆(bi)畫較細,再(zai)向(xiang)左下(xia)行(xing)筆(bi),逐漸加力,至(zhi)末端停筆(bi),筆(bi)鋒上提,呈方形收(shou)筆(bi),形成中間細、兩端重的(de)直撇(pie)特點。還有短(duan)撇(pie),呈起筆(bi)重、收(shou)筆(bi)輕的(de)寫(xie)法(fa),如(ru)“視”字的(de)“見”和“人”字的(de)短(duan)撇(pie),做出(chu)鋒收(shou)筆(bi),略(lve)似(si)楷(kai)法(fa)。
五、豎法
《史晨碑》的豎畫除具有力度外,尚(shang)有一種跌宕多變(bian)的筆(bi)意存在。如(ru)“祈”字中(zhong)“斤”的豎畫、“辟”字中(zhong)“辛”旁的豎畫,其(qi)輪廓不垂直,但置(zhi)其(qi)字中(zhong),卻中(zhong)心(xin)穩(wen)當,儀態多方(fang)。此外,“德(de)”字、“復(fu)”字中(zhong)“ㄔ”的豎畫與(yu)豎撇(pie)的寫法無異。
六、點法
《史晨碑》的(de)(de)(de)點多作(zuo)三角形,具有(you)(you)方向性;也有(you)(you)的(de)(de)(de)上點寫作(zuo)短(duan)橫的(de)(de)(de),如“禮”字、“社”字、“主(zhu)”字的(de)(de)(de)上點均寫作(zuo)短(duan)橫。
《史晨碑》結體端莊典雅,綽約多姿,主要有以下特(te)點:
①端(duan)(duan)莊整飭,肅穆秀(xiu)潤。《史晨碑(bei)》隸法純正(zheng),線條以圓筆為主(zhu),方圓兼得,剛柔相(xiang)濟,舒展優雅(ya),將(jiang)端(duan)(duan)莊、工整、雍容、典雅(ya)、肅穆、秀(xiu)逸集于一身,儼然有君子(zi)之(zhi)風。
②左(zuo)(zuo)(zuo)(zuo)(zuo)(zuo)舒右(you)(you)展(zhan)(zhan)(zhan)(zhan),橫(heng)(heng)向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)取勢(shi)(shi)(shi)(shi)(shi)(shi)。《史晨(chen)碑》在(zai)橫(heng)(heng)向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)取勢(shi)(shi)(shi)(shi)(shi)(shi)方面,大體有以下規律(lv):一收(shou)(shou)縮豎畫(hua)(hua)(hua),擴(kuo)展(zhan)(zhan)(zhan)(zhan)橫(heng)(heng)勢(shi)(shi)(shi)(shi)(shi)(shi)。如“上(shang)”字(zi),將豎畫(hua)(hua)(hua)收(shou)(shou)縮,波(bo)(bo)畫(hua)(hua)(hua)伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan),結(jie)體顯得寬博;“千(qian)”字(zi),將豎畫(hua)(hua)(hua)收(shou)(shou)縮,伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)中(zhong)(zhong)(zhong)(zhong)間(jian)的(de)波(bo)(bo)畫(hua)(hua)(hua),結(jie)體顯得扁平;“奉”字(zi),將下面的(de)豎畫(hua)(hua)(hua)加(jia)以收(shou)(shou)縮,奮力舒展(zhan)(zhan)(zhan)(zhan)左(zuo)(zuo)(zuo)(zuo)(zuo)(zuo)邊(bian)(bian)的(de)撇(pie)畫(hua)(hua)(hua)和右(you)(you)邊(bian)(bian)的(de)捺(na)(na)畫(hua)(hua)(hua),結(jie)體顯得寬綽(chuo);“并”字(zi),收(shou)(shou)縮兩(liang)個豎畫(hua)(hua)(hua),伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)中(zhong)(zhong)(zhong)(zhong)間(jian)的(de)波(bo)(bo)畫(hua)(hua)(hua)來(lai)發(fa)展(zhan)(zhan)(zhan)(zhan)橫(heng)(heng)勢(shi)(shi)(shi)(shi)(shi)(shi)的(de);“仰”字(zi),由(you)左(zuo)(zuo)(zuo)(zuo)(zuo)(zuo)中(zhong)(zhong)(zhong)(zhong)右(you)(you)三(san)部分(fen)組成(cheng),這三(san)部分(fen)都壓低變(bian)寬,橫(heng)(heng)勢(shi)(shi)(shi)(shi)(shi)(shi)得到最大限度地展(zhan)(zhan)(zhan)(zhan)放(fang)。二伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)波(bo)(bo)畫(hua)(hua)(hua),令(ling)字(zi)體變(bian)寬。如“百”字(zi)、“七”字(zi),伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)頂部波(bo)(bo)畫(hua)(hua)(hua)來(lai)發(fa)展(zhan)(zhan)(zhan)(zhan)橫(heng)(heng)勢(shi)(shi)(shi)(shi)(shi)(shi);“赤”字(zi)、“音”字(zi),伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)中(zhong)(zhong)(zhong)(zhong)部波(bo)(bo)畫(hua)(hua)(hua)來(lai)發(fa)展(zhan)(zhan)(zhan)(zhan)橫(heng)(heng)勢(shi)(shi)(shi)(shi)(shi)(shi);“堂”字(zi)、“丘”字(zi),伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)底(di)部波(bo)(bo)畫(hua)(hua)(hua)來(lai)發(fa)展(zhan)(zhan)(zhan)(zhan)橫(heng)(heng)勢(shi)(shi)(shi)(shi)(shi)(shi)。三(san)伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)撇(pie)畫(hua)(hua)(hua)、捺(na)(na)畫(hua)(hua)(hua),展(zhan)(zhan)(zhan)(zhan)寬字(zi)體。如“石”字(zi)、“力”字(zi),通(tong)過(guo)向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)左(zuo)(zuo)(zuo)(zuo)(zuo)(zuo)伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)撇(pie)畫(hua)(hua)(hua),加(jia)強(qiang)(qiang)(qiang)了橫(heng)(heng)向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)取勢(shi)(shi)(shi)(shi)(shi)(shi);“以”字(zi)、“之(zhi)”字(zi),通(tong)過(guo)向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)右(you)(you)伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)捺(na)(na)畫(hua)(hua)(hua),加(jia)強(qiang)(qiang)(qiang)了橫(heng)(heng)向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)取勢(shi)(shi)(shi)(shi)(shi)(shi);“戊”字(zi)、“及”字(zi),通(tong)過(guo)向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)左(zuo)(zuo)(zuo)(zuo)(zuo)(zuo)伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)撇(pie)畫(hua)(hua)(hua),向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)右(you)(you)伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)捺(na)(na)畫(hua)(hua)(hua),形成(cheng)橫(heng)(heng)向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)取勢(shi)(shi)(shi)(shi)(shi)(shi);“右(you)(you)”字(zi)、“孝”字(zi),通(tong)過(guo)向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)左(zuo)(zuo)(zuo)(zuo)(zuo)(zuo)伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)撇(pie)畫(hua)(hua)(hua),向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)右(you)(you)伸(shen)(shen)展(zhan)(zhan)(zhan)(zhan)波(bo)(bo)畫(hua)(hua)(hua),橫(heng)(heng)向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)取勢(shi)(shi)(shi)(shi)(shi)(shi)遂生;刪”字(zi)、“倒”字(zi),通(tong)過(guo)左(zuo)(zuo)(zuo)(zuo)(zuo)(zuo)右(you)(you)兩(liang)部分(fen)的(de)分(fen)張(zhang)來(lai)加(jia)強(qiang)(qiang)(qiang)橫(heng)(heng)勢(shi)(shi)(shi)(shi)(shi)(shi)。“門(men)”字(zi),除(chu)了左(zuo)(zuo)(zuo)(zuo)(zuo)(zuo)右(you)(you)兩(liang)部分(fen)的(de)分(fen)張(zhang)之(zhi)外,還將左(zuo)(zuo)(zuo)(zuo)(zuo)(zuo)邊(bian)(bian)的(de)豎畫(hua)(hua)(hua)變(bian)為撇(pie)畫(hua)(hua)(hua),從(cong)而增強(qiang)(qiang)(qiang)橫(heng)(heng)向(xiang)(xiang)(xiang)(xiang)(xiang)(xiang)取勢(shi)(shi)(shi)(shi)(shi)(shi)。
③主(zhu)(zhu)筆(bi)突出(chu),搭(da)配靈巧。如“與(yu)”字,以波(bo)畫為(wei)(wei)主(zhu)(zhu)筆(bi),波(bo)畫橫貫字中,上(shang)下(xia)兩部(bu)分(fen)高低相(xiang)差不大,大小(xiao)適中,旁(pang)附于波(bo)畫上(shang)下(xia),與(yu)作主(zhu)(zhu)筆(bi)的(de)波(bo)畫若即若離,上(shang)面(mian)(mian)部(bu)分(fen)稍寬,下(xia)面(mian)(mian)部(bu)分(fen)(一撇一點)稍微(wei)收縮,顯得緊俏勁挺(ting),全(quan)字有主(zhu)(zhu)有次(ci)(ci),主(zhu)(zhu)次(ci)(ci)分(fen)明,各司其職,氣息相(xiang)通;“式”字,主(zhu)(zhu)筆(bi)鉤(gou)(gou)畫寫作捺(na)畫,與(yu)頂(ding)(ding)端(duan)平畫搭(da)起全(quan)字骨(gu)架,舒展大方,下(xia)面(mian)(mian)的(de)工字旁(pang)玲瓏(long)可愛,依附在主(zhu)(zhu)筆(bi)構(gou)成的(de)框架之下(xia),“如老翁攜幼孫行”(包世臣語),其親密(mi)和諧俱顯其中;“元”字,兩個(ge)平畫一短(duan)一長(chang),頂(ding)(ding)戴在上(shang),下(xia)面(mian)(mian)一撇一鉤(gou)(gou),鉤(gou)(gou)為(wei)(wei)主(zhu)(zhu),撇為(wei)(wei)次(ci)(ci),鉤(gou)(gou)放,撇收,共同將頂(ding)(ding)端(duan)撐托起來,全(quan)字主(zhu)(zhu)次(ci)(ci)有序,搭(da)配得當。
《史晨碑》的章(zhang)法具(ju)有(you)以下(xia)特(te)點:
①縱(zong)有行,橫成列,布局嚴(yan)整(zheng)。《史(shi)晨碑》章法嚴(yan)整(zheng),步(bu)伍整(zheng)齊,凜(lin)不可犯(fan)。其字距與(yu)行距較(jiao)大,章法布局疏朗空靈(ling)。這一特點(dian),在同類漢碑中極為(wei)突(tu)出(chu),充分(fen)展示了其恢宏巨(ju)制(zhi)和高古典雅的(de)廟(miao)堂之氣(qi)。
②分背取勢,字(zi)(zi)疏行(xing)(xing)密,橫向(xiang)涌(yong)動(dong)。《史晨碑》結體(ti)上(shang)內收外張(zhang),突(tu)出主(zhu)筆,其(qi)波(bo)畫奮力向(xiang)左右舒展(zhan),撇畫、鉤(gou)畫盡量(liang)向(xiang)左伸(shen)展(zhan),捺畫盡量(liang)向(xiang)右伸(shen)展(zhan)。因而,字(zi)(zi)體(ti)多呈扁平(ping)形狀,具有橫向(xiang)張(zhang)力,分背之(zhi)勢十分明顯,這樣(yang),行(xing)(xing)與行(xing)(xing)之(zhi)間的(de)(de)呼應(ying)顧盼作用(yong)比字(zi)(zi)與字(zi)(zi)之(zhi)間的(de)(de)關聯作用(yong)更為強烈,因此形成正文的(de)(de)整體(ti)布局的(de)(de)字(zi)(zi)距大于行(xing)(xing)距的(de)(de)排列形式。總覽其(qi)整體(ti)布白(bai),最突(tu)出的(de)(de)特點就是一(yi)(yi)(yi)行(xing)(xing)行(xing)(xing)橫向(xiang)之(zhi)間搭肩(jian)接踵,橫看猶如一(yi)(yi)(yi)排排波(bo)浪,前呼后應(ying),一(yi)(yi)(yi)層一(yi)(yi)(yi)層地向(xiang)前涌(yong)進。
③舒曠疏朗,清新空(kong)靈(ling),靜中(zhong)寓(yu)動(dong)。《史晨碑》雖(sui)然以(yi)端莊典雅(ya)著稱,但它(ta)的筆畫(hua)是(shi)活脫(tuo)的,極具(ju)偃仰(yang)變化(hua),而且搭配靈(ling)巧,所以(yi)其字是(shi)活潑(po)靈(ling)動(dong)的,具(ju)有參差錯落的變化(hua),看似靜態,實則隱(yin)含著流動(dong)之勢,遠離刻(ke)板之累。
明末清初金(jin)石書法家(jia)郭(guo)宗昌:分法復(fu)爾雅超逸(yi),可為百(bai)代(dai)模(mo)楷,亦非后世可及。(《金(jin)石史(shi)·卷上·漢魯相史(shi)伯時供祀孔子廟碑》)
明末清(qing)初(chu)收(shou)藏家孫承澤:史(shi)魯(lu)相(xiang)有(you)(you)二碑(bei),石皆(jie)完好,字復爾雅超逸(yi),可為百(bai)世楷模,漢石之最佳者也。前碑(bei)載(zai)史(shi)姓(xing)字爵(jue)里,于建寧元(yuan)年四月十一(yi)日(ri)(ri)戌時到(dao)官(guan),乃以令日(ri)(ri)拜(bai)孔(kong)子,即(ji)修(xiu)禋祀(si),罷斂(lian)民錢(qian)。后(hou)碑(bei)史(shi)自(zi)(zi)出(chu)俸(feng)錢(qian)家谷以供(gong)禋祀(si),于建寧二年三月癸卯朔(shuo)七日(ri)(ri)上尚書(shu),時副言大傅、大尉、司(si)徒、司(si)空(kong)、大司(si)農,蓋國有(you)(you)大造,司(si)徒、司(si)空(kong)通而(er)論之。史(shi)不(bu)以案(an)食小節自(zi)(zi)忽,必(bi)上之尚書(shu)、請之天子,亦(yi)賢矣哉。(《庚子銷夏記(ji)·卷五·魯(lu)相(xiang)史(shi)晨孔(kong)子廟碑(bei)(前碑(bei)后(hou)碑(bei))》)
清代書法家萬(wan)經:兩碑字修飭(chi)緊密,矩度森然,如(ru)程不(bu)識之師,步伍整(zheng)齊,凜不(bu)可犯,其品(pin)格當在《卒史(shi)》(《乙瑛碑》)、《韓勅(chi)》(《禮(li)器碑》)之右(you)。(《分(fen)隸偶存·卷上·漢史(shi)晨饗孔廟前后兩碑》)
清代(dai)書法家王澍:①《乙瑛》雄古(gu),《韓(han)敕(chi)》變化,《史(shi)晨(chen)(chen)》嚴謹(jin),皆漢(han)隸極(ji)則。(《虛舟題跋·原卷一·漢(han)魯相為孔廟置百(bai)石卒史(shi)碑(bei)(bei)》)②吾以《孔和(he)》《韓(han)敕(chi)》《史(shi)晨(chen)(chen)》三碑(bei)(bei)舉似學者,以為遒古(gu)莫(mo)如(ru)《孔和(he)》,清超莫(mo)如(ru)《韓(han)敕(chi)》,肅括莫(mo)如(ru)《史(shi)晨(chen)(chen)》,三碑(bei)(bei)足概(gai)漢(han)隸。其實《孔和(he)》《史(shi)晨(chen)(chen)》二碑(bei)(bei)皆各就一偏而(er)詣其極(ji),唯(wei)《韓(han)敕(chi)》無美不備(bei)。(《虛舟題跋·原卷二·漢(han)魯相韓(han)敕(chi)孔廟碑(bei)(bei)》)
清(qing)代書法家何紹基:每閱(yue)是碑(bei),端謹淵肅(su),宛(wan)然見伯時(shi)躬(gong)上醊具,仰瞻俯視光景(jing)。東京分(fen)書碑(bei)尚不乏(fa),凡遇一碑(bei),則意度各(ge)別,可想古人(ren)變(bian)化(hua)之妙(miao)。要知東京各(ge)碑(bei),結構方(fang)整中變(bian)化(hua)無窮;魏、吳各(ge)刻,便形(xing)板滯矣。(《雪(xue)堂所藏金石(shi)文字(zi)薄錄·漢·史(shi)晨饗孔廟奏銘(朱少河舊藏本)》)
清代(dai)書法家方朔(shuo):書法則肅括宏深,沉古(gu)遒厚,結構與意度皆(jie)備,洵為廟堂(tang)之品(pin),八分(fen)正宗也。(《枕經堂(tang)金(jin)石(shi)跋·卷(juan)三·舊(jiu)拓(tuo)漢魯相史晨祀孔廟前后二碑(bei)跋》)
近代書法藝術家楊守敬(jing):碑下一層字(zi),嵌置趺眼,向來拓本,難(nan)于句讀。自乾隆己酉何夢華將(jiang)趺眼鑿開,從此全(quan)文遂顯。昔人謂(wei)漢(han)隸不皆佳(jia),而(er)一種古厚(hou)之氣,自不可及,此種是也。(《激素飛清閣評碑記·卷(juan)一·漢(han)·史晨奏(zou)祀孔子廟碑》)
近代書法家(jia)康(kang)有為(wei):虛(xu)和則(ze)有《乙瑛》《史(shi)晨(chen)》。(《廣(guang)藝舟雙(shuang)楫·卷二·本(ben)漢第(di)七》)
中國書(shu)法(fa)家協會顧(gu)問(wen)鐘(zhong)明善(shan):左規右矩,法(fa)度(du)森嚴,立漢碑(bei)(bei)(bei)風范的(de)。這(zhe)類碑(bei)(bei)(bei)刻在漢隸(li)碑(bei)(bei)(bei)刻中為(wei)最多。其(qi)代(dai)表(biao)作(zuo)有(you)《熹平石(shi)經》《禮器碑(bei)(bei)(bei)》《曹全碑(bei)(bei)(bei)》《乙瑛碑(bei)(bei)(bei)》《史晨(chen)碑(bei)(bei)(bei)》《華(hua)山碑(bei)(bei)(bei)》《孔(kong)宙(zhou)碑(bei)(bei)(bei)》《朝(chao)侯小(xiao)子殘石(shi)》《韓仁銘》《楊叔恭殘碑(bei)(bei)(bei)》《白石(shi)神君碑(bei)(bei)(bei)》《劉(liu)熊碑(bei)(bei)(bei)》等。歷(li)來人(ren)們認為(wei)這(zhe)類碑(bei)(bei)(bei)刻是漢隸(li)碑(bei)(bei)(bei)刻的(de)典范。這(zhe)一(yi)派在當時(shi)是開(kai)風習、樹(shu)“八(ba)分(fen)”法(fa)則的(de)革(ge)新派,后世(shi)則視之為(wei)漢隸(li)中之“館閣”。(《中國書(shu)法(fa)簡史》)
《史(shi)晨(chen)碑(bei)》刊刻后收存在山東(dong)曲阜孔(kong)(kong)廟同文門(men)下。碑(bei)下端曾嵌于(yu)碑(bei)趺的卯眼中,清代乾隆五十四年(nian)(1789年(nian)),何元錫將(jiang)碑(bei)根部(bu)提升上(shang)來,碑(bei)全貌才顯露。1978年(nian)移(yi)入孔(kong)(kong)廟東(dong)廡(wu),1998年(nian)移(yi)存漢魏(wei)碑(bei)刻陳(chen)列館(guan)。
著作 著錄名稱
名稱 作者
集古錄跋尾 歐陽修(xiu) 后漢魯相(xiang)晨(chen)孔子(zi)廟碑
金石錄 趙明誠 漢魯相史晨孔(kong)子廟碑(bei)(碑(bei)陰)
漢史晨孔子廟碑(碑陽)
隸釋 洪適 魯相史晨祠孔廟(miao)奏銘(碑(bei)陽)
史晨(chen)饗孔廟后(hou)碑(bei)(碑(bei)陰)
寶刻叢編 陳思 漢(han)史晨祠(ci)孔廟奏銘(碑陽)
漢史晨饗孔(kong)廟后碑(bei)(碑(bei)陰(yin))