汉字是书法之本体——论书法美学理论体系建构的汉字学根基  

Chinese Characters as the Noumenon of Calligraphy—On the Foundation of a Theoretical System for the Chinese Calligraphy Aesthetics

作　　者：骆冬青[1] LUO Dong-qing(School of Chinese Language and Literature,Nanjing Normal University,Nanjing 210024,China)

机构地区：[1]南京师范大学文学院,江苏南京210024

出　　处：《南通大学学报（社会科学版）》2023年第3期102-108,共7页Journal of Nantong University:Social Sciences Edition

摘　　要：汉字乃书法本体。从汉字“六书”之“书”,到“书法”之“书”,既是一个连贯的过程,又是一个质的飞跃,是从“意在笔先”的“意”中之汉字图象,到“笔”下汉字艺术的感性显现与媒介呈现。中国汉字本身具有的特殊智慧,是书法产生的前提。不固守传统造字理论,深度发掘汉字的理论蕴涵,是书法美学理论体系建构的关键环节。德里达的解构哲学对文字学的重视,从根柢上打破了以“语法”为根本对象的西方语言哲学的笼罩。“书法”与“语法”的对举,不仅提高了书法的哲学层次,更是将书写行为与生活形式密切联系,具有创造性内涵。书法美学由汉字美学出发,可以进入更为丰富的体系构造。Chinese characters should be seen as the noumenon of calligraphy.The six traditional ideas concerning the formulation of Chinese characters,which later developed into what is called calligraphy(the artistic way of writing characters)actually initiated a continuous process and a fundamental jump as well,a development from“the spirit preceding actual writing”to“the artistic perceptual presentation”on the media.In Chinese characters is connoted special wisdom,which preconditions the art of calligraphy.An in-depth theoretical exploration into the connotation of Chinese characters without a rigid adherence to traditional character coinage theories is of key importance for the formulation of calligraphy aesthetic theoretical system.Derrida’s deconstruction philosophy,focusing on character grammatology,breaks away from the western linguistic philosophy which takes grammar as its main subject.The juxtaposition of calligraphy and grammatology raises the philosophical level of calligraphy,and more importantly,it establishes the relationship between the action of writing and the forms of life,granting the former with creation connotations.The aesthetics of calligraphy may enjoy a fuller construction of its system with its starting point set at the aesthetics of Chinese characters.

关 键 词：书法 汉字 语法 替补 逸出 

分 类 号：J292.1[艺术—美术]