“临摹”的文化语境与制度建构

On the Cultural Context and Institutional Construction of “Linmo”

"临摹"是我国书画领域普遍的、重要的艺术实践。"临摹"并不等同于西方著作权法下的任何一项制度,既非复制侵权,也不一概属于合理使用的范畴。我国著作权法几经修改,始终保留了"临摹"条款,这一地方性知识入法有其合理性,但是,制度设计摇摆不定,存在众多的缺陷。"临摹"的制度建构,应当顾及本土知识与外来文化的复杂差异,对临摹的适用范围、临摹的署名规则、临摹品的法律地位等问题进行规定。同时,亦应尊重这一文化现象在法律之外的自我运作理路。

“Linmo” is a kind of essential and common practice in Chinese painting and calligraphy field. It is neither a kind of infringement of the right to reproduce, nor fair use in copyright Law. Generally, there is no equivalent concept of “Linmo” in western copyright system. China＇s copyright law has been revised for several times, but the “Linmo” provision survives all these revisions. The survival of this legal concept finds its justification in local knowledge. Yet the specific design of related rules lacks coherency and consistency, thus brings about a lot of problems. The institutional construction of“Linmo”, encompassing its extent of application, its rules of attribution, the legal status of its product, etc., should take into account the sophisticated distinctions between local knowledge and foreign culture. Meanwhile, the ex lex logic and orderliness of “Linmo” should also be considered and respected.