书法美学现代性的三重变奏

The Triple Variations of Calligraphy Aesthetics Modernity

综观中国书法美学在20世纪八九十年代的现代、后现代历程,在还没消化现代性美学思潮的同时,许多学人还在为书法这门古典的美学有无现代性等问题纠缠不清的时刻,又匆匆催产出后现代的果实。在跨越新千年之后,书法美学现代性和后现代性均呈现急剧隐遁的迹象。显然,中国书法美学的复杂性远远超越我们目所能及的范围,对书法美学在现代性应激下作出的反应作细致的梳理,有助于探究其更为复杂的内核。

Looking at the history of Chinese calligraphy aesthetics in the eighties and nineties of the last century, many people are still entangled in whether calligraphy, the classic modern aesthetics, possesses modernity or not before they have even digested the trend of modernity aesthetics. There appears, however, some post-modern fruit. After the entering of the new millennium, calligraphy aesthetics of modernity and post-modernity is showing signs of a sharp reelusion. Obviously, the complexity of Chinese calligraphy aesthetics has far surpassed the scope of our vision. It is helpful to explore its more complex kernel if we sort out more meticulously the response that calligraphy aesthetics obtains under the stress of modernity.