【作者】 王毅霖；

【导师】 张帆（南帆）；

【作者基本信息】 福建师范大学 ， 文艺学， 2013， 博士

【摘要】 上个世纪80年代美术思潮显然是点燃积蓄已久美学热情的火源,在改革开放形成的良好文化生态和社会格局的辅助之下,引发了一场巨大的美学燎原。书法现代性探讨就是在这种氛围的激励之下得以展开,美学现代性的动员迅速又广泛,在80年代引起的创作与理论热情都是空前罕见。传统的、现代的、后现代的似乎都迅速拥有了它们生存和发展的巨大空间,并申领了属于各自美学取向的口号与理论支持。许多院校的年轻师生和社会文化工作者亦投身其中且乐此不疲,并在90年代引发一波又一波的高潮。有趣的是,历史老人有如一位灵巧的变脸师,在时间转过新的千年之后,书法美学马上把现代的、后现代的脸谱统统拉下,取而代之的是惊人一致的传统面孔。尽管曾经热血沸腾地投身于书法现代性探究,被迫或自愿放弃激进与开拓性使这一部分的理论家和创作者均以不同的方式和路径回到了传统的范围之内,并导致20世纪初期以来书法美学现代性的探求止步于八九十年代。为什么书法美学现代性的进程会如此的艰难,以至于跨越千年之后书法美学现代性的探讨与研究只能躲进高校研究所寻求庇护?显然,传统书法美学与现代性形成的张力及其复杂性远远超越我们的想象与预期。因此,在许多其他门类学科(如文学、美术等)关于学科史的重构与反思已成为理论冷饭之时,笔者不惮于以浅薄的知识基础尝试通过对书法的传统与现代的关系、传统内部、现代性等维度进行分析,反思二者的行程与现状,并希望通过理论的梳理,寻找被理论家所疏忽或历史所遮蔽的理论节点,并籍以建构自己的逻辑分析系统,以新的视角与方式思考书法现代性未来发展的可能性。无疑,中国当代书法如果希冀获得新的生机,必须借助现代性的形式躯壳召唤古老的美学元神。共存于“逸格”的书法美学向度里的古老的美学元神上接古老的巫文化且感应自然宇宙的生命律动,下承文人文化及其农业文明的精神想像,且贯串整个中华数千年的文明。如此,毋庸置疑,当代书法美学的重构必须倡导回归“逸格”,以回归“逸格”开创当代书法美学的新格局是本论文的最终旨归。更多还原

【Abstract】 The ideological trend of Fine Arts in the eighties obviously ignited the fire of the long-pent aesthetic enthusiasm, and with the aid of the good cultural ecology and social structure taken shape in the reform and opening-up, triggered a huge aesthetic fire. The discussion of the calligraphy modernity was inspired to start by this atmosphere; the mobilization of aesthetic modernity was rapid and extensive; and the enthusiasm for creation and theories was unprecedented in the eighties. What is traditional, modern and postmodern seems to possess a huge space for their survival and development and to apply for the slogans and theoretical support that belong to the respective aesthetic orientation. Many young college teachers, students and social-cultural workers also took part in it and enjoyed it, and triggered a wave of climax in the1990s.Interestingly enough, history is like a smart master of Changing Faces. After the turn of the new millennium, the calligraphy aesthetics immediately pulled down the faces of modernity and post-modernity, replacing them with the stunningly similar traditional faces. Although once passionately engaged in calligraphy’s modernity research, the forced or willing waiving of radicalness and pioneering made the theorists and creators come back to the traditional range one way or another. The rapid relaxation of the traditional and modern tension makes the research on the calligraphy aesthetic modernity that started at the beginning of the20th century stop at the1980s and1990s. Many people expressed frustration and they were starting to ask why it is so difficult for the advancement of the calligraphy aesthetic modernity. Why can’t the calligraphy aesthetic modernity and post-modernity survive on the mainland in the new century? Why do the people who show great enthusiasms in many other areas are so conservative, not even afraid to put themselves under the traditionalist position so that the discussion and research of the calligraphy aesthetic modernity could only seek shelter in the university’s institutions after the entry into the millennium.Obviously, the tension derived from the traditional calligraphy aesthetics and modernity and its complexity is far beyond our imagination and expectation. Therefore, while the reconstruction and reflection of the history of the discipline among many other disciplines such as literature and fine arts have become outdated, the writer is not afraid of sharing his humble opinion by trying to reflect on the range and status quo of the traditional calligraphy aesthetics and modernity through the analysis of the relationship between the tradition of calligraphy and modernity, the traditional interior, and modernity, and hope through the combing of theories to seek what has been overlooked by theorists or obscured by history with a view to constructing his own system of logical analysis and to pondering on the possibility of the future development of calligraphy modernity from a new perspective.Undoubtedly, if the contemporary Chinese calligraphy wishes to obtain a new life, it must get the help of the form of modernity to summon the ancient aesthetic soul. The ancient aesthetic soul co-existing in the dimension of "Yige" calligraphy aesthetics is linked to the ancient witch culture and responds to the natural life rhythm of the universe, and is connected with literary culture and its spiritual imagination of agricultural civilization, which also runs through China’s thousands of years of civilization. So, no doubt, it is advocated that the reconstruction of the contemporary calligraphy aesthetics must return to "Yige". Creating a new pattern of contemporary calligraphy aesthetics by returning to "Yige" is the final purport of this paper.更多还原