气韵西渐的节奏译法新探  

A New Exploration of Rhythm Translation in the West

作　　者：李莎[1] Li Sha

机构地区：[1]北京师范大学文艺学研究中心、文学院,北京100875

出　　处：《中国文学批评》2022年第3期104-113,191,共11页Chinese Journal of Literary Criticism

摘　　要：法国收藏家、学者杜博思20世纪30-50年代在欧美率先重估明清书画的美学价值时,以“节奏”对应“气韵”,并调和了“气韵”的另一种译法“精神回响”。这一观念受益于林语堂对中国书法美学“形式”与“节奏”的阐发。“气韵”西渐的历史体现出跨文化现代性的复杂面向。一方面,西方学者从自身文化出发选取“节奏”译介“气韵”,从而赋予“节奏”新的意义,完成了西方艺术的现代转型;另一方面,德里斯珂、林语堂等人向西方阐释中国书法的生动节奏时也意识到了中国艺术的现代意义,林语堂关于书法的万物有灵论被本雅明自觉化用于他的模仿学说,展现了中国艺术观念重塑知觉的现代潜能。In the 1930s to 1950s,the French collector and scholar Jean Pierre Dubosc was the first to reassess the aesthetic value of painting and calligraphy of the Ming and Qing dynasties.He used “rhythm” to correspond to “qiyun,” and reconciled another translation of “qiyun,” which is “spirit-resonance.”The concept of spirit-resonance benefited from Lin Yutang’s elaboration of the “form” and “rhythm” in the aesthetics of Chinese calligraphy.The Westward spread of “qiyun” reflects the complex aspects of cross-cultural modernity.On the one hand,Western scholars chose“rhythm”from their own culture to translate “qiyun,”giving “rhythm”a new meaning and completing the modern transformation of Western art.On the other hand,Lucy Driscoll,Lin Yutang and others also realized the modern significance of Chinese art when they interpreted the vivid rhythm of Chinese calligraphy to the West.Lin Yutang’s theory of the spirituality of things in calligraphy was applied consciously by Benjamin to his doctrine of imitation,and this demonstrates the modern potential of Chinese artistic concepts to reshape perception.

关 键 词：气韵 节奏 杜博思 林语堂 德里斯珂 

分 类 号：J212[艺术—美术]