论达米施对中国书画中“线”的阐释

Hubert Damisch's Interpretation of the“Trait”in Chinese Painting and Calligraphy

当代法国艺术史家于贝尔·达米施在《论线》一书中从维特根斯坦语言哲学的视角阐述了西方艺术史中关于“线”的语法结构。借由“线”的视觉艺术符号,达米施将文艺复兴时期素描中的线与西方当代抽象艺术中有关平面上的线性划痕联系起来,以期重构一个以“线”为线索的非历时性叙事的艺术史体系。在这本关于“线”的艺术理论专著中,达米施用一章的篇幅迂回到中国古典绘画中毛笔所画出的线,并将中国文人书画中的线也纳入他的线性艺术语言系统之中。本文通过分析达米施在《论线》一书中的中国书画因素,探讨中西美学中“线”的问题及其两者的互释关系,以期呈现一种艺术符号学的跨文化研究范式。

art,reconstructing a non-chronological narrative system of art history.In this art theory monograph on the“trait”,Damisch devotes a chapter to a detour into the brush line in Chinese classical painting,incorporating the line in Chinese literati painting and calligraphy into his system of linear art language.By analyzing the factors of Chinese calligraphy and painting in Damisch's Traitédu trait,this article explores the issue of the“trait”in Chinese and Western aesthetics and their mutual interpretive relationship,presenting an intercultural research paradigm of art semiotics.