【作者】 于忠华；

【导师】 庞学铨；

【作者基本信息】 浙江大学 ， 外国哲学， 2012， 博士

【副题名】现象学视野下的中国书法艺术研究

【摘要】 尽管中国书法在当代取得了长足的进步与发展,但在繁荣的背后也暴露出一些问题,甚至隐藏着危机,危机集中表现在对书写意义的遗忘。之所以遗忘了书写的意义,其原因主要有两方面,一方面是由于“古法”的丧失,使书写的源初意义被遮蔽,从而一种纯粹客体化的书法作品成为书法艺术的全部；另一方面,随着近一百年来西化的日益加重,西方近代以来的客观主义、实在论的认识论模式成为研究中国各种学科和文化现象思维范式和方法论原则,这进一步使我们远离了书写本身。这就是本文所说的书法危机之内在根源。本文首先借助现象学的方法对自宋代以来一千多年的书法史进行剖析,找寻和还原晋唐遗留的“古法”。这一书法史的探讨工作按照现象学“回到实事本身”的原则进行,就书法史和书法理论研究而言,这个“实事”就是“书写”。因而,本文研究的主要目的是赢获“书写”这一概念的本真面目,考察显现在生活世界中的“源初性”书写活动。通过对“古法”的现象学诠释,笔者认为,书法在前晋唐时期的发展过程中正是一个不断使笔、墨、纸、砚,包括汉字等存在者和此在(作为书写者的人)在书写的境遇中在场并相互缠绕的过程,是一个意义不断生成的过程。站在这样的角度看,书法就是书写世界中存在者和此在整体在敞开状态中成就自身地运作。因此,本文所主张的回到晋唐书法,回到王羲之,其真正意义就在于回到“源初性”书写。回到源初性书写实际上就是回到作为书法最高之境的“书者如也”,臻乎此境,即进入了海德格尔所言的自由之境,进入了作为去蔽过程的真理事件之中。更多还原

【Abstract】 Despite all the progress and development witnessed in the development of Chinese calligraphy in the modern times, there are some problems, and even serious crises. As a result, there is a most serious problem, the oblivion of "brush writing’". The reasons for the oblivion of "brush writing" are twofold. Due to the loss of "ancient techniques","brush writing" has been shaded, leaving the totally objectified works calligraphy the only thing in Chinese calligraphy; on the other hand, with the introduction of the thought of epistemology, which has been taken as the major methodology for different disciplines and cultural studies as well, the process of westernization in the last century has put us farther away from "brush writing". And that is the intrinsic reason for the crisis of calligraphy.This thesis aims to analyze the history of Chinese calligraphy since Sung dynasty with the methodology of phenomenology so as to explore and identify the original "ancient techniques" of the Jin and Tang dynasties. The exploration is based on the phenomenological principle of "returning to truth", and so far as Chinese calligraphy is concerned, this truth refers to "brush writing". Therefore, this thesis aims to interpret the true meaning of "brush writing" and to explore the "original writing" revealed in the world of real life. And through the phenomenological interpretation of "ancient techniques", a conclusion can be reached that, in the Pre-Jin and-Tang dynasties Chinese calligraphy had been in a truth-seeking process where beings, such as brush, ink, paper, ink stone as well as Chinese characters, and dasein (the writer), were constantly presented. Thus, from this perspective, Chinese calligraphy is a self fulfilling process of beings and dasein in an open state of mind.Therefore, the proposal made in this thesis to return to Jin and Tang calligraphy, or to return to Wang Xizhi, means to return to "original writing", which is the highest realm of Chinese calligraphy,"shu zhe ru ye"("Chinese calligraphy is like......"). Reaching this realm, a calligrapher enters the realm of freedom that Heidegger refers to as the nature of truth.更多还原