论中国美学的“汉字学转向”

The “Hanzi- Centered Turn” of Chinese Aesthetics

美学与自然科学不同,具有人文学科特有的文化差异。中西美学的根本差异,则集中于语言文字。汉字与西方拼音文字具有的特殊"不可通约性"在美学上具有深刻的表现。汉字的独特性质,呼唤着中国美学的"汉字学转向"。"语言学转向"的深层背景就在于,其内在核心是"语言"的重要作用。追寻"哲学语法"的结果,是用逻辑方式探寻美学问题,造成一种"范畴误置"。中国传统关于汉字研究的深厚传统,则提示着"美学文字学"的诞生,即以汉字文字学的眼光,重新打量中国美学的特质。汉字美学的灵动精神,体现在汉字的"写",即"草书先于正书"的自由与规范的悖反中,这种悖反赋予了汉字"写"的生长状态,在汉字的"笔意"与"笔势"的流动中凝结。许慎的《说文解字》对汉字造字过程的描述,也体现了汉字的生长性。中国美学需要一种哲学的"说文解字"。在从"文"到"字"之间,汉字的美学探索有着更为渺远的空间。

As a subject of humanities,aesthetics is different from natural science,with its own unique cultural meaning. The fundamental difference between Chinese and western aesthetics lies in languages. Chinese characters and western alphabets are incommensurable,which has a profound performance on aesthetics. The unique nature of the characters calls for the＂Hanzi- Centered Turn＂of Chinese aesthetics. The deep background of the western＂Linguistic Turn＂is the importance of＂language＂. The result of searching for the＂philosophical grammar＂is to explore the aesthetic issues with a logical way,which creates a＂category misplaced＂. Likewise,the strong tradition of the researches of Chinese characters prompts the birth of＂Philology of Aesthetics＂,which is to re- look at the characteristics of Chinese aesthetics with the vision of philology. The smart spirit of aesthetic Chinese characters is reflected in the ＂writing＂,cuisive before regular script,which is the reversal of freedom and norm. Such reversal allows Chinese characters a kind of growth in its ＂writing＂decided by the interaction between＂the idea of writing＂and ＂the force of writing＂. Xu Shen＇s Dictionary has a description of the formative process of Chinese characters,which reflects the growth of the Chinese characters as well. Chinese aesthetics needs a turn towards a philosophical study of characters. Between＂Language＂and＂character＂,there is vague and remote space for us to explore.