邱振中与中国书法现代性的两副面孔

The Two Faces Reflected in Qiu Zhen-zhong and the Modernity of the Chinese Calligraphy Aesthetics

如果说,中国当代书法论和创作的研究正是经过一个从传统到现代的工具理性分析到审美的现代性甚至是后现代性的一个历程,邱振中正是这个历程的缩影。必须给予肯定的是,邱振中一直致力于为传统书法寻找一条通往现代的出路。然而,传统与现代、本质与非本质、现代与后现代对于当代中国书法美学而言都如此的含混不清,这种含混性的血液同样流淌在邱振中的书法理论与创作中。无疑,在邱振中的身上,彰显的是中国书法美学现代性激进与折衷的两幅面孔。

If we say that the theory and the creation of contemporary Chinese calligraphy is a course that has gone through the stages from the traditional to the modem instrumental rationality analysis to the aesthetic modernity and even to postmodemity, Qiu Zhen-zhong is just a microcosm of this course. It must be affirmed that QIU Zhen-zhong has always been committed to finding a path that leads the traditional calligraphy to mod- ernism. However, whether tradition and modernity, nature and non-nature, modem and postmodem are all ambiguous in terms of the aesthetics of contemporary Chinese calligraphy. The blood of the ambiguity is also flowing in QIU Zhen-zhong＇s calligrap radical and compromising faces of the hy theory and creation. No doubt, in QIU Zhen-zhong appear the two aesthetic modernity of Chinese calligraphy.