摘要
中国书法是一门使用毛笔书写汉字且兼具绘画性、动势感、形构美的艺术。它以汉字为载体,秉承"物象为本"的原初观念,对汉字进行艺术想象和加工,力图在字的笔画、结构和章法上再造汉字的形象化意境。这种看似高深且令人费解的东方抽象艺术激发了一些美国诗人的浓厚兴趣,并在其诗作中得以直观呈现或创新改写。本文以迪克·阿伦、霍华德·奈莫洛夫、加里·斯奈德等诗人的诗作和诗性书法观为例,探讨中国书法在美国现当代诗中的接受与改写审美研究。这种诗歌实验在一定程度上解构了文学与艺术、艺术与非艺术的界限,为世界文化的多样性和互鉴交流提供了东学西渐的经典案例。
Chinese calligraphy is an art of handwriting using a brush to make Chinese written characters painterly,dynamic,and beautiful in shape.Upholding the primitive idea of pictorial ideogram as the original mind,calligraphers attempt to recreate the visual imagery of the Chinese written character in its stroke,structure and composition through vivid imagination and artistic regeneration.This seemingly profound and inexplicable Oriental abstract art aroused the keen interest of some American poets,who visually presented or innovatively appropriated such characteristics in their poetic works and thinking.Taking some American poets like Dick Allen,Howard Nemerov,and Gary Snyder as examples,this article aims to aesthetically examine the acceptance and adaptation of Chinese calligraphy in modern and contemporary poetry.It contends that this kind of poetic experiment,to some extent,deconstructs the boundaries between literature and art,and art and non-art,hence,providing an exemplary case study of transmitting the Oriental culture into the Occidental for the diversity and mutual learning of world cultures.
出处
《英美文学研究论丛》
2022年第1期175-191,共17页
English and American Literary Studies
基金
国家社科基金项目"美国生态文学进程中的中国话语研究"(19BWW010)
上海财经大学教改重点项目"中西思想文化互鉴能力培养"(2021)的阶段性成果。
关键词
中国书法
艺术性
诗性书法
审美接受
Chinese calligraphy
artistry
poetic calligraphy
aesthetic adaptation