線條象形及其表現形式

Pictographic Lines and Their Expressive Forms

書法由線條組成，而人造線條用以摹擬事物，亦即象形功能，方便記事或溝通。其後字體演變，除去歷史因素不論，可看作是線條組合及筆法不同所造成構字型態上的差異。楷書作為漢字演變的下限，可說是字體設計上簡易筆劃的組合方式，惟其簡易而失於多樣變化之可能，篆、隸因此可以作為漢字固定型態前，兩種變異功能的參考，明代傅山書法觀念即以此為取徑方向。線條在書畫發生上有歷史與型態相同的部份，然而書畫的分別發展是視覺意義不同傳達作用所致，文字為線性敘述，字的筆劃組成與意義語序皆於時段中完成；繪畫之完成可以不限制線條先後，畫面則呈現一同時間為我直觀之對象，其意義近於隱喻而待演繹，了解二者之差異有可能在漢字視覺傳達作用上，創造其他視覺語言的呈現方式或審美價值。

Calligraphic writing is composed of lines. Used for mimicking things and objects, namely for pictography, artificial lines render convenient notations or communication. The evolution of calligraphic writing, regardless of historical factors, might be regarded as transformations in the combinations of lines and strokes. So far as constituent types are concerned, the standard script (Kai-su) as the final phase of the evolution of calligraphic writing is the result of lines and strokes made simplified. Nevertheless, its simplified form also sacrifices variety and multiplicity. The seal script (Hau-su) and the clerical script (Li-su) thus serve for us two references to the transformations of Chinese characters before their finalization. Fu-shan Calligraphy in the Min dynasty takes the two scripts as its departure of study. Besides, calligraphy and painting converge on their evolving history and artistic expression. Calligraphy and painting, however, diverge from each other because of differences in visuality. Language pertains to linear narration. The layout and the meaning of words have to be conducted in a period of time, in the realm of temporality. On the contrary, painting as an artistic activity is not restricted to the temporal layout of lines. It rather appeals to simultaneity as the viewer views the work as a totality. The meaning of painting seems to approximate to a metaphor waiting for interpretation. The differences of the two might shed light on our understanding of the visuality of Chinese characters so as to create new forms of visual language and aesthetic values.