中国书法的语图“间性”及其现象学阐释

The“Intertextuality”of Language and Images in Chinese Calligraphy and Its Phenomenological Interpretation

书法的艺术意义根植于线条形式美感,但又无法脱离汉字语义系统,文意与书意如影随形,但书法如何勾连语言与图像符号系统的问题仍悬而未决,我们还需进一步思考书法与语言的内在关联,现象学提供了另一条阐释路径。现象学重返会言说的主体,认为表象上意指关系一一对应的语言符号,实际上充满诸多意义间隙,而书法正是书写过程中的不可见意义间隙的凝结。中华民族在以语言进行意义表达的过程中,同时开启书法“复象”系统,以最为切近语言符号的图像方式再次“言说”语言,指向无法进入可见秩序的“语言的本质”。语言与图像相互穿越,共同建构多维度、动态性的书法艺术意义空间。

The artistic meaning of calligraphy is rooted in the line form,but it cannot be separated from the semantic system of Chinese characters.The meaning of words and that of calligraphy are intertwined.However,the question of how calligraphy connects language and pictorial sign systems remains unresolved.Phenomenology provides another interpretive path for further thinking about the origin of calligraphy and language.The phenomenology returns to the subject of speech,and believes that language symbols with one-to-one correspondence of signifying relationships are actually full of meaning gaps,and the calligraphy is the condensation of invisible meaning gaps in the process of language writing.While expressing meaning in language,ancient Chinese started the“double image”system of calligraphy.Calligraphy,in the form of images closest to language symbols,once again“speaks”language,pointing to the“essence of language”that cannot enter the visible order.Language and image cross each other and jointly construct a multi-dimensional,dynamic and complex space of calligraphical art meaning.