“相似性”的发现与“主体性”的建构--本雅明的“思想图像”论对中国书画的观照

The Discovery of “Similarity” and the Construction of “Subjectivity” : Benjamin’s “Denkbild” Theory’s Reflection on Chinese Calligraphy and Painting

本雅明借助处在思想与图像之间的“思想图像”,觉察出书法在文人画中是作为中间性质元素的文人笔迹。中国文人画和书法成为本雅明思考中国道家思想的重要中介。本雅明在中国道家思想的生命观中进一步印证了自身的自然生命观念。本雅明的“思想图像”与中国文人画、书籍誊写术之间的碰撞主要体现为三个方面:一是中国文人画模仿自然多样化的特性,让本雅明找到了新的救赎空间,即突破法西斯“同一性”社会压抑的空间。二是在探讨文人画的摹本的基础上,本雅明认为中国的书籍誊写作为手工复制是传承中国文化的重要手段,具有不可磨灭的价值。三是在恢复西方工业文明被压制的主体性意识的尝试过程中,本雅明似乎在中国文人画和书籍誊写的笔迹中找到了一种跨越中西文化的宇宙生命的“相似性”。

With the help of the“Denkbild”located between thought and image,Benjamin realized that calligraphy is an intermediate element of literati handwriting in literati painting.Chinese literati painting and calligraphy have become important intermediaries for Benjamin to contemplate Chinese Taoist thought.Benjamin further confirmed his concept of natural life in the Chinese Taoist philosophy of life.The collision between Benjamin’s“Denkbild”and Chinese literati painting and book transcription techniques is mainly reflected in three aspects:Firstly,Chinese literati painting imitates the diverse characteristics of nature,allowing Benjamin to find a new space for redemption,that is,to break through the social oppression of fascist“identity”.Secondly,on the basis of exploring the imitation of literati paintings,Benjamin believed that Chinese book transcription,as a manual reproduction,is an important means of inheriting Chinese culture and has indelible value.Thirdly,in the process of attempting to restore the suppressed subjectivity consciousness of Western industrial civilization,Benjamin seemed to have found a“similarity”in the handwriting of Chinese literati painting and book transcription that transcended Chinese and Western cultures in the universe of life.