現代書法與禪學的跨文化交纏

The Cross-Cultural Entanglement between Modern Calligraphy and Zen

二次世界大戰後日本現代書法得以快速發展，西方現代性的衝擊是主因。此外，鈴木大拙（1870-1966）在西方世界的講學傳播禪學，影響了1950年代西方抽象表現主義與現代音樂的發展，鈴木以其對禪學的詮釋，強調直面當下、超脫歷史束縛的思想取向，使之成為前衛藝術的思想養分，並把筆觸的書法性視為禪思想的現實化表現。因此日本現代書法的發展便在外部有西方抽象表現主義的刺激、內部又要革新傳統書法的企圖下，積極面對書法創作，發揮自身的禪學傳統，從而出現了森田子龍（1912-1998）、井上有一（1916-1985）等至今難以超越的現代書法高峰。本文探討書法史上禪學與書論話語、作品積極呼應之處，釐清禪學作為現代書法與西方前衛藝術美學取向的差異，呈現禪對兩者在藝術實踐上的跨文化影響及侷限。

After World War II, modern Japanese calligraphy developed rapidly, a phenomenon that was mainly triggered by the impact of Western modernity. Moreover, D. T. Suzuki’s鈴木大拙(1870-1966) lectures and the spread of Zen禪學in the Western world affected the development of Western abstract expressionism and modern music in the 1950s. Suzuki’s interpretation of Zen, emphasizing a direct engagement with the present and a transcendence of historical constraints, provided ideological nourishment for avant-garde art. In addition, the brushstrokes of traditional calligraphy came to be regarded as a realistic expression of Zen thought. Therefore, the development of modern Japanese calligraphy was stimulated by Western abstract expressionism from without and the attempt to innovate traditional calligraphy from within. Consequently, many of the most accomplished modern calligraphy practitioners such as Morita Shiryū森田子龍(1912-1998), Inoue Yuichi井上有一(1916-1985) and others appeared at this time, and they are still difficult to surpass. This article explores the discourse surrounding Zen and calligraphy in the history of calligraphy and the positive echoes between these works. It clarifies the differences between Zen as modern calligraphy and the aesthetic orientation of Western avantgarde art, and further reflects upon the cross-cultural influence and limitations of Zen on the artistic practice of both.