<論説>董其昌の法帖刊行事業に見る権威確立への構想

Abstract

「書」文化の広がりに重大な役割を果たした法帖の刊行は、嘉靖年間に蘇州文氏一族によってその先鞭がつけられ、以後、江南地方全域に拡大していくことになる。本稿は、万暦年間後半期から明代末期に至るまで一世を風靡した、松江の董其蓋による刊行事業の実態を解明するものである。松江董氏一族が行った董其昌専帖の刊行では、応酬の代替物としての法帖、贋作鑑定の尺度としての法帖、シリーズ化した法帖、更には版権意識を表出させた法帖という、伝統的法帖とは全く異なる「個人宣伝用」の法帖が次々と生み出されていった。こういった「スタンダードの量産」と、偽刻本を含めた「贋作の氾濫」とによって、董其昌の「書」が権威づけられていったのである。また一方で、董其昌は当時の芸術市場で活躍した徽州人らと協力関係を結び、彼らが買い漁った名蹟を次々と法帖として刊行させている。このように、董其昌による一連の法粘刊行事業は、極めて計画的・戦略的な構想のもとに遂行され、「董其昌権威」の確立に多大な影響を及ぼしたのである。

The publishing of models of exemplary calligraphy, which played a critical role in the diffusion of culture of calligraphy, experienced explosive growth as it spread throughout the Jiangnan region after the Wan-li era, but this had been preceded by the efforts of the Wen clan of Suzhou in the Jia-jing era. In this article, I explicate the historical reality of a series of publications of exemplary calligraphic models of Dong Qichang of Songjiang, which superseded those of the Wen clan, and whose publication reached a peak during the period from the latter half of the Wan-li era until the last of the Ming dynasty, and I also examine how this influenced the establishment of the authority of Dong Qichang. I first consider the compiling and publishing of collections of Dong Qichang's own calligraphy such as the Baodingzhai fashu, Shuzhongtang tie, Shuzhongtang xutie, and Laizhonglou fashu by the Dong clan of Songjiang. The various models of exemplary calligraphy that appeared as the fruit of the publishing activities of the Dong clan served as an alternative means of social intercourse, as standards for appraising forgeries as serialized publications, and even as models exhibiting a conscious of copyright, and thus they differed completely from the traditional exemplary models of calligraphy. They were a new type of exemplary calligraphy model designed to promote a specific individual. Previous studies of Dong Qichang have simply stressed his laxity in tolerating the creation of forgeries. However, this reputation for having an attitude that might even be judged as "promoting forgeries" was in fact confirmed by the publication of exemplary models. With the increasing popularity of Dong Qichang's calligraphy, including his forgeries, he employed a ghost writer to create forgeries on the one hand and had his authentic calligraphy published as exemplary models by his clan over which he had complete control on the other. This "flood of forgeries" and "production of calligraphic standards (exemplary models)" were the two rails upon which the authority of Dong Qichang was advanced. In addition, Dong Qichang established in this writings on calligraphy the opposition between the Yunjian (Songjiang) school to which he belonged and the Wu (Suzhou) school to which Wen Zhengming and Zhu Yunming belonged. Furthermore, in order to prove the superiority of the Yunjian school, he became deeply involved in publishing the Chonglanguan tie and other exemplary models that extolled the Yunjian school. Next, I consider the relationship of Dong Qichang to contemporary figures from Huizhou who were active in the art market through their project to publish exemplary models of calligraphy. Dong Qichang developed a cooperative relationship with those in Huizhou who systematically purchased famous calligraphic works of historical figures and published them as exemplary models of calligraphy. Wang Xizhi's Chengqingtang tie, which was included in Qingjiantang tie, published by Wu Zhen, was inscribed on the order of Dong Qichang. One can also trace the spread of Dong Qichang's project to publish exemplary calligraphy models in his relations to these people in Huizhou. In essence, Dong Qichang's project to publish exemplary calligraphy models was carried out under a well-planned, strategic concept. Dong Qichang succeeded in establishing the "Dong Qichang Brand" by publishing his own manuals and writings on calligraphy as well as popular calligraphic models and artfully employing a web of unique human relationships that he had developed.