孔廟(miao)三碑”是(shi)指(zhi)位于山(shan)東(dong)曲阜孔廟(miao)大成殿東(dong)廡內的三塊古(gu)碑,分別為(wei)《乙瑛碑》、《禮器(qi)碑》、《史晨碑》,它(ta)們是(shi)享譽中外的歷(li)史人(ren)文遺跡,為(wei)歷(li)代金石家、書(shu)法家奉為(wei)漢(han)隸圭臬。
《乙瑛碑(bei)》全稱《漢魯相(xiang)乙瑛請置(zhi)百石(shi)卒史碑(bei)》,又(you)稱“孔和碑(bei)”,刻(ke)立于東(dong)漢永興元年(153),無額,通高260、寬128、厚23厘米,18行,滿行40字。碑(bei)文記述司徒吳雄、司空趙(zhao)戒將前魯相(xiang)乙瑛代孔子后人之言上書(shu)(shu),奏請在孔廟(miao)設置(zhi)掌管(guan)祭祀和禮器(qi)的專職官員(yuan)“百石(shi)卒史”,桓帝(di)準允,因(yin)乙瑛時(shi)已去職,后以孔和補(bu)任。碑(bei)末刻(ke)有“后漢鐘太尉書(shu)(shu),嘉祐七年張(zhang)稚(zhi)圭(gui)按圖題記”,但據(ju)稽(ji)考,所謂鐘繇書(shu)(shu)丹,乃后人偽托之辭。
乙瑛碑法度謹嚴,骨氣凝(ning)重,兼具豪肆與秀(xiu)(xiu)(xiu)潤、沉厚與雄強之(zhi)致(zhi),方(fang)整中(zhong)有頓挫(cuo)之(zhi)勢(shi),平(ping)(ping)正中(zhong)顯秀(xiu)(xiu)(xiu)逸之(zhi)態(tai),古樸(pu)渾(hun)厚,氣象森然。其章法規矩合度,布(bu)局平(ping)(ping)實,橫(heng)成行(xing),豎(shu)成列,字(zi)距略大于行(xing)距。結體(ti)端(duan)莊勻適(shi),字(zi)勢(shi)開(kai)張,左右拓(tuo)展(zhan)(zhan),俯仰有致(zhi),向背(bei)分(fen)明(ming)。字(zi)形(xing)方(fang)圓兼顧,沉著厚重,波磔分(fen)明(ming),剛健(jian)雄勁,注重筆(bi)畫的(de)(de)曲(qu)直平(ping)(ping)斜、粗細剛柔、輕重徐疾的(de)(de)變化,講究筆(bi)勢(shi)的(de)(de)穿插(cha)避讓(rang)、高低疏密的(de)(de)關(guan)系(xi)。方(fang)筆(bi)峻利端(duan)勁,圓筆(bi)含蓄婉(wan)轉;橫(heng)筆(bi)稍(shao)稍(shao)向下(xia),形(xing)態(tai)微(wei)斜;豎(shu)筆(bi)收展(zhan)(zhan)俊逸,筋力(li)豐足;捺筆(bi)沉穩(wen)有力(li),凝(ning)練穩(wen)健(jian);點(dian)畫典雅秀(xiu)(xiu)(xiu)美,頓筆(bi)圓轉出(chu)(chu)鋒,燕尾方(fang)形(xing)挑出(chu)(chu),整體(ti)雄渾(hun)爽(shuang)秀(xiu)(xiu)(xiu),意態(tai)典重。
《禮器(qi)碑(bei)(bei)》全稱《漢(han)魯(lu)相韓敕(chi)造孔廟禮器(qi)碑(bei)(bei)》,刻立(li)于東(dong)漢(han)永壽(shou)二(er)年(nian)(156)。碑(bei)(bei)無額,通高227.2、寬102.4厘(li)米(mi),四面(mian)環刻文字(zi)。碑(bei)(bei)陽16行(xing),滿行(xing)36字(zi),記述魯(lu)相韓敕(chi)倡議修飾孔廟、增置禮器(qi)之盛事(shi),碑(bei)(bei)末有韓敕(chi)等9人題名。碑(bei)(bei)陰3列,每(mei)列17行(xing);左側3列,每(mei)列4行(xing);右(you)側4列,每(mei)列4行(xing),皆刻捐資立(li)石者的姓名和數額。
《禮器碑》莊重嚴謹,體態(tai)優美(mei),質(zhi)樸遒勁,高古逸趣。其行(xing)距緊(jin)湊,字(zi)距疏朗,結(jie)體上下精密,呈梯(ti)形(xing)(xing)狀,左右(you)伸展,橫勢寬(kuan)綽,粗(cu)細有(you)致,寓欹側(ce)于(yu)平正(zheng)中(zhong),寄疏秀在嚴密內。筆(bi)畫(hua)以方為主,略(lve)帶圓意,行(xing)筆(bi)如鋒,力注筆(bi)端。其中(zhong),平畫(hua)瘦(shou)勁剛健(jian)(jian),但(dan)瘦(shou)不露骨,勁不纖(xian)弱(ruo),端嚴峻逸;波磔稍粗(cu),尖(jian)鋒入筆(bi),逆入平出(chu),蠶頭(tou)燕尾,因字(zi)立形(xing)(xing);豎(shu)畫(hua)外(wai)柔內剛,筋(jin)骨雄強;折畫(hua)形(xing)(xing)斷勢連,渾圓飽(bao)滿;撇(pie)畫(hua)略(lve)取(qu)側(ce)勢,秀雅清勁;捺法(fa)圓潤勁險,平中(zhong)寓奇;收(shou)筆(bi)流暢穩健(jian)(jian),氣(qi)勢沉(chen)雄。碑陽部分(fen),縱(zong)(zong)有(you)序(xu)(xu),橫有(you)列,字(zi)距寬(kuan)行(xing)距密,結(jie)字(zi)秀美(mei)和諧,自然成趣;碑陰則(ze)縱(zong)(zong)有(you)序(xu)(xu),橫無(wu)列,行(xing)距適(shi)度,字(zi)距參差(cha);碑側(ce)鋒芒(mang)如新,縱(zong)(zong)橫跌宕。
《禮器碑碑陰》
《史(shi)(shi)晨(chen)(chen)碑(bei)》亦(yi)無額,通高(gao)231、寬112、厚22.5厘米(mi),因一石(shi)雙面,兩碑(bei)同刻(ke)(ke),又名“史(shi)(shi)晨(chen)(chen)前(qian)(qian)后碑(bei)”。前(qian)(qian)碑(bei)全稱《魯相史(shi)(shi)晨(chen)(chen)奏祀(si)孔(kong)(kong)子廟碑(bei)》,刻(ke)(ke)于(yu)東(dong)漢建寧(ning)(ning)二(er)年(169)三(san)月,17行(xing),行(xing)36字(zi)(zi)(因每行(xing)末字(zi)(zi)掩埋(mai)于(yu)原石(shi)座中,舊(jiu)拓(tuo)多為(wei)35字(zi)(zi)),字(zi)(zi)徑(jing)3.5厘米(mi),記(ji)載(zai)時任魯相史(shi)(shi)晨(chen)(chen)和長(chang)史(shi)(shi)李謙祭祀(si)孔(kong)(kong)子的奏章。后碑(bei)全稱《魯相史(shi)(shi)晨(chen)(chen)饗孔(kong)(kong)子廟碑(bei)》,刻(ke)(ke)于(yu)建寧(ning)(ning)元年(168)四(si)月,14行(xing),行(xing)35至36字(zi)(zi)不等,記(ji)載(zai)祀(si)孔(kong)(kong)和饗禮盛況(kuang),文后有武(wu)周正書題記(ji)4行(xing)。“史(shi)(shi)晨(chen)(chen)前(qian)(qian)后碑(bei)”迄今磨損極少,完(wan)整可誦,書風相類,筆致如出一人,傳為(wei)蔡(cai)邕所書。
《史晨(chen)碑》碑文幾及千字(zi),筆(bi)法(fa)樸厚,方(fang)圓(yuan)兼備,筆(bi)意遒勁(jing)(jing),氣象和穆。其起筆(bi)露而能藏(zang),尖而寓(yu)圓(yuan)。方(fang)筆(bi)峻削,切(qie)鋒(feng)重入后(hou)衄鋒(feng)而行(xing),寓(yu)外方(fang)內圓(yuan)之(zhi)趣,圓(yuan)筆(bi)婉麗,筆(bi)鋒(feng)輕逆后(hou)精妙(miao)運(yun)行(xing),得圓(yuan)中(zhong)有(you)(you)方(fang)之(zhi)韻;波磔(zhe)分(fen)明,雉尾(wei)開拓,后(hou)碑比前碑尤甚,頓(dun)挫抑(yi)揚,輕重徐疾,靈(ling)動活潑。橫(heng)筆(bi)取勢平穩(wen),豎(shu)筆(bi)勁(jing)(jing)挺穩(wen)健,肉中(zhong)有(you)(you)骨,直中(zhong)有(you)(you)曲,柔中(zhong)有(you)(you)剛;斜向撇捺,極(ji)意伸展(zhan);左撇收縮,右捺舒展(zhan),或弛或張,斂舒自如。結字(zi)扁平方(fang)正,呈方(fang)棱形,外松內緊,四方(fang)飽滿,穩(wen)如磐石,上下啟承,提按(an)得法(fa),應(ying)規入矩(ju)。章法(fa)布局,橫(heng)平豎(shu)直,縱(zong)橫(heng)有(you)(you)列,行(xing)距(ju)充(chong)分(fen),井然(ran)有(you)(you)序,體現(xian)出(chu)儒家(jia)崇尚“中(zhong)和為美(mei)”的審(shen)美(mei)情趣。
“孔廟(miao)三碑(bei)”作為(wei)(wei)漢(han)代中后期(qi)隸(li)(li)書(shu)鼎盛時期(qi)的(de)典范之(zhi)(zhi)作,堪稱(cheng)漢(han)碑(bei)隸(li)(li)書(shu)的(de)極(ji)則(ze)、逸品(pin),久負盛名。唐(tang)宋以(yi)降,歷代金石(shi)書(shu)家多(duo)有(you)著錄(lu),推崇(chong)備(bei)至。清(qing)翁方(fang)綱《兩(liang)漢(han)金石(shi)記》稱(cheng)“乙瑛碑(bei)”為(wei)(wei)“漢(han)隸(li)(li)之(zhi)(zhi)最可(ke)師(shi)法者”;方(fang)朔《枕經堂金石(shi)書(shu)畫題跋(ba)》贊之(zhi)(zhi)“足(zu)以(yi)稱(cheng)宗廟(miao)之(zhi)(zhi)美、百宮之(zhi)(zhi)富”。明郭宗昌(chang)《金石(shi)史》贊“禮(li)器碑(bei)”為(wei)(wei)“漢(han)隸(li)(li)當以(yi)孔廟(miao)禮(li)器碑(bei)為(wei)(wei)第一”;清(qing)王澍《虛舟(zhou)題跋(ba)》譽之(zhi)(zhi)“惟《韓敕》無美不(bu)備(bei)……自有(you)漢(han)隸(li)(li)以(yi)來(lai),莫有(you)超妙如(ru)此(ci)碑(bei)者”。清(qing)方(fang)朔《枕經堂金石(shi)書(shu)畫題跋(ba)》認(ren)為(wei)(wei)“史晨(chen)碑(bei)”“洵為(wei)(wei)廟(miao)堂之(zhi)(zhi)品(pin),八分正宗也(ye)(ye)”;孫承澤《庚子消夏(xia)記》則(ze)說“可(ke)為(wei)(wei)百世楷模,漢(han)石(shi)之(zhi)(zhi)最佳者也(ye)(ye)”。凡此(ci)種種,無不(bu)極(ji)盡(jin)贊譽。
“孔廟三碑(bei)”對我國書法(fa)發(fa)展影(ying)響深(shen)遠。古今書家幾乎眾口一(yi)詞,指(zhi)出(chu)乙瑛碑(bei)、禮器碑(bei)、史晨碑(bei)是(shi)后人學習(xi)隸書的入門范本。唐代史惟則、梁升卿,清代鄭簠以及現(xian)代馬公愚、來楚生等,于乙瑛碑(bei)都喜而臨(lin)之(zhi);“草圣”林散之(zhi)臨(lin)寫禮器碑(bei),亦出(chu)神入化(hua),一(yi)字千(qian)金,備受(shou)矚(zhu)目(mu)。