“立象以尽意、得意而忘象”：书法意象研究

“Establishing Images to Fully Express the Meaning, and Grasping the Meaning While Forgetting the Image”: Research on Calligraphic Imagery

摘要: “立象尽意”源自《易》学思想，是指可感之自然物象与虚化之思维情感，在数千年文化长河中，书法意象是中国书法艺术区别于其他艺术形式的独特美学范畴，又承载书法家主观的感情与审美，是主客体结合的产物。从西方哲学的本体看亦有意象之深度研究，从柏拉图的“洞穴比喻”到维特根斯坦早期的“逻辑图象论”，他们对“意象”的居间性推演表明了西方哲学对超自然的精神意象、对有生命律动的抽象性表意展现了一种深度认知。从中西文化交融的本质来看，生命主体的文化涵养是书法意象的核心的依托，也造就了中华文化圈璀璨的生命花朵。

Abstract: “Establishing images to fully express the meaning” originates from the thought of the “I Ching”, referring to the perceivable natural images and the abstracted thoughts and emotions. In the long river of thousands of years of, calligraphic imagery is a unique aesthetic category that distinguishes Chinese calligraphy from other art forms, carrying the subjective emotions and aesthetic sensibilities of the calligrapher, and is a of the combination of subject and object. From the perspective of Western philosophy, there is also an in-depth study of imagery. From Plato’s “Allegory the Cave” to Wittgenstein’s early “Picture Theory of Language,” their deduction of the mediacy of “imagery” demonstrates that Western philosophy has a profound understanding of spiritual imagery and the abstract representation of life rhythms. From the essence of the fusion of Chinese and Western cultures, the cultural cultivation of the living subject is the core foundation of calligraphic imagery, which also creates the brilliant flowers of life in the Chinese cultural sphere.