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如果以人类学本体论的美学观点来关照书法,书法应是审美领域“人的自然化和自然的人化”相统一的典范,也是中国古典哲学所谓“天人合一”观念的物态化形式;它是外在世界(物理)与内在世界(心理)的“力”的“异质同构”;[1]它保存、积淀在人类血肉之躯的个体之中,是个体中的社会理性。笔者之所以反复搬弄这些略显艰涩的概念,是因为书法中的确有一种与之对应的东西,它统摄着书法创作与书法欣赏的全过程,并随着时代的更迭表现出不同的形态。
If anthropological ontology aesthetics point of view to calligraphy, calligraphy should be the aesthetic field “naturalization of man and natural person ” the unity of the model, but also the so-called “harmony between man and nature” concept of Chinese classical philosophy It is the “heterogeneous isomorphism” of the “power” of the external world (physical) and the inner world (psychological); [1] the individual that it preserves and accumulates in human flesh and blood Among them, is the individual social rationality. The reason why I repeat these slightly arrogant concepts is that there is indeed a corresponding thing in calligraphy, which takes the whole process of calligraphy and calligraphy appreciation and shows different forms as the times change.