論書法的「抒情性」及現代意義——與「文學抒情傳統」之參證

The Lyrical Quality and the Modernity of Chinese Calligraphy: a Discussion of the Relationship of Calligraphy and Research of the Lyric Tradition of Chinese Literature

本論文探究的是，在現代批評論述中的「抒情性」及其觀念，在書法與文學之間的聯繫，以及論述「書法的抒情性」議題所具有的現代意義。書法「抒情性」的觀念視域之理論建構，可重新檢視傳統書論中諸多論述語彙，彼此之間的關係，及其與現代批評觀念中的差距、聯繫。在傳統書論與現代批評話語之間，找到對話之基礎。同時可對於傳統書法糾纏於「意」與「法」之間的複雜關係，找到一個更持平、更兼容的切入點。並可重新掘發與書法有關的各種活動形式，彼此之間的交互關係和聯繫、差異。發現其潛在預設「觀書知人」，在寫者、書跡及觀者之間的聯繫和意義。而透過書法與文學「抒情性」關係的思考，可發現兩者之聯繫在於「抒情本質上的融通」、「共同的抒情語境」、「批評語彙的近似、相互參照」、「創作抒情主體之相近」以及「抒情理想的近似」等面向，同時也注意到書法的抒情體驗比文學更純粹、更能反映抒情主體情緒變化的一面，但是在世俗接受者身上，書法的抒情性反而不如文學的抒情性般具體易理解之特質。此外，透過書法「抒情性」之強調，可讓關注於抒情主體內在性和純粹性的抒情文學研究，注意到世界是如何進入抒情主體，抒情主體如何與各種物類互動的過程。而文學抒情傳統所重視的內觀抒情主體，有助於讓強調法度的書法，重新省視自身融合形象與辭意之雙重抒情性之獨特價值。最後，在現代的情境中，強調「書法抒情性」，或許有助於各種不同書學理念之融通與對話，可以思考「傳統書法」與「現代書藝」之關係，亦可以與前輩學者關於書法之論述作對話，從而打開不同的研究視域。書法「抒情性」之觀念，或可在古與今、雅與俗之間，搭建出新的聯繫和觀察基準。

This thesis examines the field the “Lyrical Quality of Chinese Calligraphy” in order to study the relationship between Calligraphy and Chinese Literature on the basis of the lyrical quality. Research into the “Lyrical” Quality of Calligraphy”, leads to the rediscovery of the relationship and inner meaning between traditional and modern theory of Calligraphy, and to discover a new foundation which can connect the traditional concepts of Calligraphy and those of modern Calligraphy. In addition, the wide gap between the rules of imitating the book of stone rubbings and the expression of individual emotions could be overcome by examining the concepts of the “Lyrical Quality of Calligraphy”. The relationship between Calligraphy and Chinese Literature would contain the following aspects: the blend of Lyrical quality, the common culture fountainhead, the quotation and blend of critical category, the similarity in the creative experience, and the identical aesthetics and culture ideal. Moreover, the purity of “Lyrical Quality of Chinese Calligraphy” could be emphasized when making comparisons with Chinese Literature. A further benefit of a discussion of the “Lyrical” tradition of Chinese Literature” is to highlight how the process of the lyric subjectivity interacted with the world. Moreover, the “Lyrical Quality of Chinese Calligraphy” and its dual nature would be rediscovered, and can be compared to the “Lyrical Quality of Chinese Literature”. In addition, the modernity of Chinese Calligraphy and its relationship with Modern Chinese Calligraphy would become more distinct. The field of “Lyrical Quality of Chinese Calligraphy” would produce further discussion and contribute to our comprehension of the values of traditional works and the vitality and modernity of Chinese Calligraphy.