「如見其揮運之時」——書法臨摹的他者問題

Abstract

本文旨在探討書法臨摹活動所隱含的思想內涵。書法臨摹活動本身即建立在自我如何向他者學習之互動關係之上，然而當前此崇尚創造精神為主的趨勢之下，對於傳統臨摹裡亦步亦趨地學習碑帖，屈從他者而侷限個人之創造性，既保守又不具開創性；然而古代書論裡，普遍認為臨摹既是繼承古典，又要在繼承中完成自我之更新，所形成之開創性弔詭。因此，本文於這兩種創造性觀點所產生的張力下，透過莊子思想觸及之技藝工夫，探討臨摹的他者（碑帖）與臨摹主體間的拮抗關係，以及自我他者化等過程，如何成為主體內的先在社會性（sociality），進而與當代探討他者倫理的學術資源：法蘭克福學派學者霍耐特（Axel Honneth）之承認理論、孟柯（Christoph Menke）的幽闇美學等交織對話，確立書法臨摹活動於當代學術裡的意義。

This study aims to explore the thoughts implied in calligraphy copying. Calligraphy copying is based on the interaction to learn from others. In current trend upon creativity, traditional careful calligraphy copying means to follow others and limit personal creativity. It is conservative and less original. However, according to ancient books, copying inherits classics and accomplishes personal renovation in the heritance to result in the paradox of creativity. Thus, based on the tension between these two perspectives of creativity, through the cultivation of thoughts of Zhuangzi, this study probes into the antagonistic relationship between others (rubbing books) of copying and subjects of copying, the process to become others and how they become prior sociality of subjects to interact with contemporary academic resources of ethics of others, such as the Theory of Recognition of Axel Honneth, the scholar of Frankfort School, the Theory of the Aesthetics of Christoph Menke, in order to validate the significance of calligraphycopying in contemporary academic circle.