汉字书法的真本性探析--基于古德曼的艺术语言

Exploring the Authenticity of Chinese Calligraphy Based on Goodman’s Artistic Language

古德曼在《艺术的语言》中讨论艺术形式的真本性问题时引入了两个术语:亲笔的、非亲笔的或代笔的。亲笔艺术反映了原件和赝品之间的显著差异性,代笔艺术则是可被复制的。汉字书法是从汉字的实用性书写中衍生出来的一种艺术形式,它经历了从表意功能到审美功能的倾向性转变。当人们着重关注书法的实用性特征(即内容)时,它倾向于成为一种代笔艺术。当人们把书法当作一种审美艺术来欣赏时,内容就不再重要了,即使复制品与原件有着相同的内容,但原件因其独特的艺术形式要素和精神内涵等,仍然是独一无二的艺术品,此时,书法更趋向于成为一种亲笔艺术。可以说,从实用性书写到审美艺术,汉字书法经历了真本性转变,而亲笔艺术和代笔艺术的判断标准则成为验证这种转变的依据。

Goodman’s Languages of Art:An Approach to a Theory of Symbols,introduces two concepts,namely,autographic and nonautographic(or allographic)when discussing the authenticity of art forms.The autographic art reflects the discrepancy between the original and a forgery,while the allographic art can be copied.Chinese calligraphy is an art form derived from the practical writing of Chinese characters.It has gone through variations from focusing on its ideographic function to aesthetic function.When people focus on the practical characteristics of calligraphy(i.e.,its content),calligraphy tends to be an allographic art.However,when people appreciate calligraphy as an aesthetic art,its calligraphy content will no longer be important.Even if the copy is spelled the same as the original,the original remains an individual inscription,because of its unique elements of art form and spiritual connotations.In this case,calligraphy is inclined to become an autographic art.From practical calligraphy to aesthetic art,Chinese calligraphy has experienced a change regarding authenticity;the autographic or allographic qualities become evidence for its change.