《与古为徒和娟娟发屋》内容简介

　　本书关心的中心问题是：什么是书法的经典？一种本不属于经典的文字书写在何种情况下才有可能成为书法的经典？《与古为徒》是吴昌硕为波士顿艺术博物馆题写的一块匾，《娟娟发屋》是重庆一个理发店的招牌。白谦慎教授借这两幅作品，思考书法的本质问题。自从清代碑学兴起以来，书法的经典体系受到了极大的冲击，一些相当稚拙、不成熟的石刻和书写遗迹被作为临习的典范。但为什么有些书法家把古代“穷乡儿女”的字迹奉为圭臬，对当下类似的书写却不闻不问？我们究竟以什么来界定“书法”？又如何看待书法中的“经典”？这些问题并不复杂，但却涉及许多社会文化的层面。比如，古与今的关系，名家书法与无名氏书刻的关系，财富与收藏的关系，学术与艺术的关系，艺术与社会体制的关系，平民与精英的关系，经典化和修辞策略的关系等等。本书通过描述和分析古今书法中的一些现象，对上述问题进行了探讨。

　　作者简介

　　白谦慎，1978年考入北京大学国际政治系，1982年毕业后留校任教。1986年赴美国罗格斯大学攻读比较政治博士学位，1990年获硕士学位后转至耶鲁大学攻读中国艺术史，1996年获博士学位。1995－1997任教于西密执安大学艺术系。1997年至2015年6月任教于波士顿大学艺术史系，2004年获终身教职。2015年7月后任浙江大学文化遗产研究院教授。

　　主要中英文著作有《傅山的世界：十七世纪中国书法的嬗变》（哈佛大学亚洲中心，2003年），《天倪——王方宇、沈慧藏八大山人书画》（与张子宁等合作。佛利尔美术馆，2003），《傅山的交往和应酬——艺术社会史的一项个案研究》（上海书画出版社，2003；广西师大出版社增订版，2015），《与古为徒和娟娟发屋——关于书法经典问题的思考》（湖北美术出版社，2003；荣宝斋出版社，2009；广西师范大学出版社精装本，2015），《白谦慎书法论文选》（荣宝斋出版社，2010），《吴大澂和他的拓工》（海豚出版社，2013）。和华人德合编《兰亭论集》（苏州大学出版社，2000）获首届“兰亭奖”编辑奖（2002）。

Brief introduction to the contents of "With the ancient for Tu and Juanjuan hair House"

The central question of this book is: What is the classics of calligraphy? Under what circumstances can a writing that is not a classic become a classic of calligraphy? "With the Ancient" is a plaque written by Wu Changshuo for the Boston Museum of Art, and "Juanjuan Hair House" is a sign for a barber shop in Chongqing. Professor Bai Qianxen uses these two works to reflect on the essence of calligraphy. Since the rise of stele in Qing Dynasty, the classical system of calligraphy has been greatly impacted, and some rather naive and immature stone carvings and writing relics have been used as models of practice. But why do some calligraphers regard the handwriting of the ancient "poor country children" as the standard, but ignore the similar writing of today? How do we define "calligraphy"? How to view the "classics" in calligraphy? These issues are not complex, but they have many socio-cultural dimensions. For example, the relationship between ancient and modern, the relationship between famous calligrapher and anonymous calligrapher, the relationship between wealth and collection, the relationship between academia and art, the relationship between art and social system, the relationship between common people and elites, the relationship between canonization and rhetorical strategies, and so on. This book discusses the above problems by describing and analyzing some phenomena in ancient and modern calligraphy.

About the author

Bai Qianshen was admitted to the Department of International Politics of Peking University in 1978, and stayed to teach there after graduation in 1982. In 1986, he studied comparative politics at Rutgers University in the United States. In 1990, he received a master's degree in Chinese art history at Yale University. In 1996, he received a doctorate. 1995-1997 Taught at the Art Department of Western Michigan University. He taught in the History of Art Department at Boston University from 1997 to June 2015, and was tenured in 2004. Since July 2015, he has been a professor at the Institute of Cultural Heritage of Zhejiang University.

His major works in both Chinese and English include Fu Shan's World: The Evolution of Chinese Calligraphy in the Seventeenth Century (Asia Center, Harvard University, 2003), and Tianyi: Wang Fangyu and Shen Huizang's Calligraphy and Painting of Eight Mountain People (in collaboration with Zhang Zining and others). Freer Art Museum, 2003), Fu Shan's Communication and Social Intercourse: A Case Study of the Social History of Art (Shanghai Painting and Calligraphy Publishing House, 2003; Guangxi Normal University Press Revised Edition, 2015), With the Ancient Weitu and Juanjuan's Fa House -- Reflections on the Classics of Calligraphy (Hubei Fine Arts Publishing House, 2003; Rongbaozhai Publishing House, 2009; Guangxi Normal University Press, 2015), Selected Essays on Bai Qianshen's Calligraphy (Rong Baozhai Publishing House, 2010), Wu Dacheng and His Development (Dolphin Publishing House, 2013). He and Hua Rende co-edited the Lanting Anthology (Soochow University Press, 2000) and won the first "Lanting Award" editor Award (2002).