从接受美学角度拓展理解古代书论中的“知音”  

Expanding the understanding of "Zhiyin" in ancient calligraphy theory from the perspective of reception aesthetics

作　　者：周睿[1] 贺羽曼 Zhou Rui;He Yuman(School of Fine Arts and Calligraphy,Nanjing University of the Arts)

机构地区：[1]南京艺术学院美术与书法学院

出　　处：《湖北美术学院学报》2025年第1期80-84,60,共6页Hubei Institute of fine Arts Journal

基　　金：国家社科基金艺术学项目“中国书论范畴集解”,项目编号:20BF100;江苏高校“青蓝工程”资助;南京艺术学院美术与书法学院“中国绘画与书法艺术话语体系研究中心”项目。

摘　　要：文章梳理了古代书论中“知音”范畴内含的鉴赏主体要求,从接受美学的隐在读者和效果史角度,重新审视“知音者希”的命题,反思其局限于作者原意的狭窄视野,主张回到鉴赏的历史语境,关注知音的具体个性与差异,凸显其多元的再创造性。通过例举书法史中著名的知音事件,揭示知音的期待视野和审美标准对书法史的塑造力量,凸显知音在书法史中的主体意义,并探讨了当代多元文化场域中书法“知音”范畴的内涵变化和拓展。This paper examines the requirements for the appreciator in the category of"Zhiyin"in ancient calligraphy theory.From the perspectives of the implied reader and the history of effects in reception aesthetics,it reexamines the proposition that"knowledgeable appreciators are rare",reflecting on its narrow focus limited to the author's original intention.It advocates returning to the historical context of appreciation,paying attention to the specific personalities and differences of the appreciators,and highlighting their diverse recreative abilities.By citing famous instances of knowledgeable appreciators in calligraphy history,the paper reveals the shaping power of the appreciators'expectation horizon and aesthetic standards on calligraphy history,emphasizes the subjective significance of appreciators in calligraphy history,and discusses the changes and expansions in the connotation of the category of"Zhiyin"in calligraphy in contemporary multicultural contexts.

关 键 词：书论范畴 知音 鉴赏主体 接受美学 

分 类 号：J292.1[艺术—美术]