無聲之音：中國書法空間性與音樂性的交互遊戲

作者:楊博涵(國立臺灣師範大學英語研究所研究生)

卷期：55卷第2期
日期：2010年9月
頁碼：117-136
DOI：10.3966/207451922010095502005

摘要：

西方文藝批評家，諸如弗萊（Northrop Frye）、龐德（Ezra Pound）、魏爾許（Andrew Welsh）等人，皆認為詩語言與詩學作品中具有三方面的整合力量，若以龐德術語稱之，即為：聲文（melopoeia）─造聲之藝、形文（phanopoeia）─造形之藝與理／情文（logopoeia），造義之藝。筆者認為，此三元素雖為西方傳統理論架構，於今仍有助於重新檢視中國書法的詩學，拓展不同的視野。做為中國傳統書寫藝術，書法明顯的融合造形與文句，不僅空間形象鮮明，更與文詞內容互為表裡、相得益彰。本文始於探討書法中的形文與理文，提出書法藝術對其理文的解構性後，轉而關注書法的聲文與音樂性。相較於書法的功能、意義與造型而言，關於書法的音樂性的探討較少，也較難深究。本文進一步探索書法的音樂性，並提出書法可視為一種無聲之音，其音樂性寓居於書法作品的空間之中，並藉由勢的並置與節奏的重複變化，進而創造另一種空間性，亦即朱克坎德（Victor Zukerkandl）所謂「聽的空間」（auditory space）。若將書法音樂性再與其形文與理文並讀，則有多層次的美學體驗；討論書法音樂性與空間性的交互遊戲，亦有助於書法的訓練與學習。

關鍵詞：中國書法、音樂性、勢、節奏、空間性

《詳全文》

Soundless Music: The Interplay of Spatiality and Musicality in Chinese Calligraphy

Author: Po-Han Yang(Department of English, National Taiwan Normal University)

Vol.&No.：Vol. 55, No. 2
Date：September 2010
Pages：117-136
DOI：10.3966/207451922010095502005

Abstract：

Western literary critics, such as Northrop Frye, Ezra Pound, and Andrew Welsh, have presented that there are three main organizing powers in the language of poetry and poetic creation: “melopoeia,” the making of music, “phanopoeia,” the making of the bright image, and “logopoeia,” the making of the resonant word. This theoretical framework helps the researcher re-examine the poetics of Chinese Calligraphy with a different eye. As the traditional Chinese visual art of writing, Calligraphy obviously possesses the powers of spatial image and of words of poetic creation. This present study begins by reviewing the powers of “logopoeia” and of “phanopoeia” in Calligraphy and then shifts its focus to the musicality, or “melopoeia,” of Calligraphy. Compared with the discussion on the functions, meanings and forms/spatiality of calligraphy, the power of musicality seems less discussed and more difficult for people to explain. This paper further explores the musicality of Chinese Calligraphy and proposes that Calligraphy can be regarded as soundless music whose musicality not only dwells in an essentially spatial form of the work but also creates marvelous spatiality—what Victor Zukerkandl calls the “auditory space”—by using techniques such as juxtaposition of potency and repetition of the rhythm. Reading the musicality of calligraphy along with the work’s content and form, logopoeia and phanopoeia, would further provide layered aesthetic experience.The interplay of spatiality and musicality deserves a special place in the training and learning of Chinese Calligraphy.

Keywords：Chinese Calligraphy, musicality, potency, rhythm, spatiality