情感與形式共舞－－論韓愈〈送高閑上人序〉之書法美學思想

The Relationship between Emotion and Form: On Calligraphic Aesthetic Thought in Han Yu’s “Song Gaoxian Shangren Xu”

本文闡發韓愈〈送高閑上人序〉以「情」為主的書法美學思想，進一步從符號美學的角度討論書法形式與情感之表現。首先，討論藝術符號的熟練，強調藝術創作的技巧與熟習，提出技巧的熟練是藝術創作者基本的要求。其次，「意象式評論方式」是文字符號在表達的過程中，試圖以意象傳達抽象意涵，此種傳統的評論方式，表現作者文采，但也限定文人閱讀圈的範疇，本文將討論意象評論方式具有的意義。再者，僧門的修行在「情感」上趨向無欲，然而，韓文舉出張旭草書感動人的原因在於表現淋漓盡致的情感，藉此突顯出書法創作「情」之重要。本文從蘇珊．朗格(Susanne K. Langer)的藝術符號論比較與對照中，反觀韓愈此文的書法美學思想，並討論書法中情感與形式的美學思想。

This paper discusses Han Yu’s韓愈calligraphic aesthetics as expressed in his piece “Song Gaoxian Shangren Xu” 送高閑上人序. The representation of form and emotion in calligraphy is also addressed, as viewed from the angle of semiotic aesthetics. In analyzing Han Yu’s views, I first discuss the need for familiarity with artistic symbols, as it is a basic premise of creative expression. The criticism of art by use of imagery is an attempt to use imagery as a medium to express abstract concepts. This traditional style of Chinese criticism is a way for the author to show of his literary refinement, while at the same time, limiting the possible circulation of the critique to literary circles only. This paper addresses the significance of Han Yu’s imagery-based criticism. Han Yu holds that the most important element in calligraphic aesthetics is emotion. He cites Zhangxu’s 張旭cursive style calligraphy, stating that the reason it is so moving is because it is replete with emotion. This paper also references Susanne K. Langer’s theory of art as a symbol, and analyzes Han Yu’s theories on calligraphy in light of her views to highlight the characteristics of his aesthetic thought and the relationship between form and emotion in Chinese calligraphy.