書論中的抽象觀研究－三篇早期文獻舉例

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Title:	書論中的抽象觀研究－三篇早期文獻舉例
Authors:	王大智
Contributors:	中國文化大學
Keywords:	文字書法書法理論抽象觀念
Date:	2008-12-01
Issue Date:	2012-03-27 10:33:31 (UTC+8)
Abstract:	文字，可以分爲聲符與意符－由聲音傳達意念，或者由形象傳達意念。世界上多數民族的拼音文字，即屬於前者。屬於後者的，以亞洲的中國、中美洲的印地安、非洲的埃及最爲有特色。簡單的講，意符－由形象傳達意念的文字－就是象形文字，也就是圖畫式的文字。中國書法是一種藝術。有人把中國書法是藝術，和中國文字是象形文字這件事，作一種不是很正確的連結；認爲中國書法必然是藝術，因爲中國文字是圖畫。這種說法在文字學上，或者有相當的道理。但是在藝術學上，它並沒有碰觸到問題的核心。因爲，中國書法之所以是藝術，並不是因爲它具象（象形）－能夠具體的表現出事物形象。而是與此相反地，中國書法之所以是藝術，乃是因爲它抽象－它複雜的結構與線條，能夠抽象的表現出事物形象，以及抽象的表現出書家本身個性與精神狀態。本文的撰寫目的，在於從早期的書法理論中，探索書家對於抽象這件事情的理解和應用；進而闡述抽象藝術在西方是新觀念，在中國是老想法的這個歷史事實。 Chinese calligraphy is a kind of art. Many people believe that Chinese calligraphy is art because Chinese characters are pictures. This kind of connection between characters and pictures is not proper; it does not touch the core of the issue. In fact, Chinese calligraphy can be seen as art due to its complex structures and strokes. The abstract characteristics of structures and strokes can express the image of our physical world and the inner spiritual status of calligraphers. The purpose of this writing is, use three early literatures as examples, to explore the understanding and use of abstract thoughts of calligraphers of ancient China. And, to explore the historical fact that abstract thoughts of art is new in the west, but old in China.
Relation:	史學彙刊 22期 P.1-18
Appears in Collections:	[Department of History-Graduate School] academic journal

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