作为“居间体验”的看——书法作品的现象学分析

Viewing Calligraphy as the“Mediate Experience”:Phenomenological Analysis of Calligraphy Works

中国古代“书画同论”的传统源远流长,形成了“书画同源”说,但也不乏“书画道殊”的言论,各自遵循不同的话语逻辑。在认识论层面,看文字与看图像分属符号意识与图像意识。但是,看书法既不是符号意识,也不是图像意识,更不是普通感知,而是一种“居间体验”。“居间体验”是复合的意向性行为,作为其意向客体的书法作品是一个由语词表象层、符号赋义层、字迹活跃层和意晕附着层构造的复调体。因此,作为“居间体验”的看不是胡塞尔和海德格尔所谓的“非奠基性纯粹直观”和“简单地观照”,而是既必须奠基于普通感知和含义意向,又必然破除语词表象和符号表象的意向活动。

The theory of“calligraphy homologous to painting”was formed in ancient China and is long-lasting,which means calligraphy and painting originated from the same source;however,there are also points of views about“calligraphy and painting follows different patterns respectively”,with each following different discourse logic.From the perspective of epistemology,reading characters and seeing images belong to symbol-consciousness and image-consciousness respectively,but viewing calligraphy is neither the former nor the latter,nor ordinary perception,but a kind of“mediate-experience”.It is a compound behavior of intention,and so the calligraphy work,as the object of“mediate-experience”,is a polyphonic form constructed by the layers of word-representation,symbol-assignment,handwriting activity and meaning attachment.Therefore,viewing calligraphy as the“mediate-experience”is not the so-called“groundless pure intuition”and“simple observation”by Husserl and Heidegger,but behavior of intention must be based on the ordinary perception and intention of meaning,and must break the layer of word-representation and symbol-representation.