从二十世纪八九十年代的一场争论看书法美学意象的理论基础

发布时间：2018-07-03 09:44

本文选题：意象 + 书法美学　；参考：《南京艺术学院学报(美术与设计版)》2013年03期

【摘要】：二十世纪八九十年代,书法理论界错误地将刘纲纪的"反映论"当作"摹仿论"来批判,批判者和被批判者关于书法艺术性质的认识竟然惊人的相似。在这种误解中东西方理论杂糅,而恰恰遗漏了最具中国思维特征和审美情怀的"意象"范畴,争论中的各种问题也可以通过书法美学意象的研究得到合理的解释。在认识论层面上,书法艺术的主体、本体与客体之间需要书法美学意象这一中间环节来构成一个诗意的审美世界,而不是要把书法变成绘画,从而为古代书论中所谓"物象"式批评找到认识论基础;在价值论层面上,书法美学意象兼具本体论意义,使书法艺术成为达意、体道、抒情的意象性艺术;在方法论层面上,书法艺术的发展史也是一部书法美学意象不断分解、组合与创构的审美经验微观史。
[Abstract]:In the eighties and nineties of the 20th century, the calligraphy theorists mistook Liu's "reflection theory" as a "imitation theory" to criticize, and the critics had surprisingly similar views on the nature of calligraphy art. In this kind of misunderstanding, the theory of East and West is mixed, and the category of "image", which is the most characteristic of Chinese thinking and aesthetic feelings, is precisely omitted. The various problems in the debate can also be reasonably explained through the study of the aesthetic image of calligraphy. On the epistemological level, the subject, ontology and object of calligraphy art need the middle link of the aesthetic image of calligraphy to form a poetic aesthetic world, instead of turning calligraphy into painting. So as to find the basis of epistemology for the so-called "object image" type criticism in ancient book theory, in the aspect of value theory, the aesthetic image of calligraphy has ontological significance, which makes calligraphy art become the imagery art of meaning, style and lyricism, and at the level of methodology, The history of the development of calligraphy art is also a microscopic history of aesthetic experience, which is constantly decomposing, combining and creating the aesthetic images of calligraphy.
【作者单位】：曲靖师范学院人文学院;
【基金】：云南省哲学社会科学创新团队“云南民族文化与文艺理论研究创新团队”成果
【分类号】：J292.1

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