第 3 辑

本 期 文 章

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■ 中日美学交流

■ 中国古代美学范畴研究

■ 中国古代美学思想家研究

■ 中国古代审美艺术研究

■ 中国现代美学研究

■ 生态美学研究

■ 北京审美文化研究

中日美学交流

东西方之间的书法美学

〔日〕神林恒道 著 郑子路 译

摘要：这次，作为“东亚文化都市 2015新潟市”活动的一环，以“东亚‘书法美学’的传统与变容”为题的国际学术研讨会在新潟市得以成功举办，在这里，我想先介绍一下这次研讨会的意义。从古时起，东亚一直有“诗书画一致”的传统，即在审美理想上将诗文与书法以及绘画看成一体。在西方，虽然也有“诗如画，画如诗”这样的箴言，但他们却从来没有把书法看成与文学、绘画同等的艺术。如此来看，将书法美学说成汉字文化圈固有的审美意识表现也不为过。在今天的信息化社会，不管是英文字母还是汉字——以往用笔书写的文字，全部被电脑打印所取代，沦为了单纯的记号。这，对于数千年来在日常生活中广泛使用汉字的东亚各国来说，则是一种文化性的危机。在这样的状况下，我们有必要重新了解书法美学是何物。我确信，通过这次研讨会，一定可以加深东亚各国的文化互信与彼此之间交流，实现各国间的亲善友好。另外，当我们回溯书法美学在日本发展的历史之时，就会发现在日本近代化刚刚起步的19世纪，传统的书画论就被迫要与西欧的美学理论进行对决。站在西欧阵营最前端且率先出战的是小山正太郎，他认为书法并非美术，而是单纯的传递思想的记号，只不过是一种符号而已。对于这个观点，通晓东西方美术的冈仓天心立马给予了回击——他认为，书法在本质上的美与艺术性其实就是书法家人格或个性的表现，其笔下所表现出来的抽象的美就如同音乐一样。

关键词：书法 诗书画一致 美术 冈仓天心 抽象美术

Abstract：This time we have organized the international symposium named “Tradition and Transformation of Aesthetics in East AsianCalligraphy（Sho书）as one of events concerning “Culture City of East Asia 2015 Niigata”. I would like to explain the meaning of the symposium.From the ancient times people in East Asia have an aesthetic idea called “Shi-Sho-Ga-Itchi（诗书画一致）”，that is，poetry，writings andpaintings hold an artistic Ideal in common. In the West we also indicate the similar proverb “ut pictura poesis”，namely，poetry and paintingscome and go between each，however，people have never regarded writings as art compared with poetry and paintings. From this point of viewaesthetics of Sho is characteristic of the aesthetic consciousness in East Asian countries，Japan，China and Korea which use Chinese characters.In today’s information oriented society letters or characters formerly written with a pen or brush are almost changed into mere signs mechanicallyprinted through a personal computer. It may be a cultural crisis of East Asian countries generally using for thousands of years Kanji（汉字）. Onthis occasion we need to look back upon once more aesthetics of Sho based on our cultural tradition. This attempt must be helpful to promotingmutual understanding and friendship among East Asian countries in the future. At the beginning of cultural modernization in the 19th century Japanthe traditional art theory of Sho-Ga（书画）was confronted with Western art theory or aesthetics which a pioneer of Western style painting，Koy-ama Shotaro（小山正太郎）asserted. According to Koyama，Sho was not art but symbols or signs for ideas，and its work was thought of as notart work but only craftsman’s work. Immediately an art historian，Okakura Tenshi（冈仓天心）who was well acquainted with both of Eastern andWestern art，made an unsparing objection to Koyama’s one-sided opinion，and Tenshin pointed out the essential beauty of Sho in the personalexpression of a calligrapher and abstract beauty compared with music.