裂縫：漢字圖像的認知溯源

Crack: the Cognition Origin of Chinese Characters' Visual Representation

林慶文(Chin-wen Lin)

《臺北城市科技大學通識學報》 9期 (2020/03) Pp. 3-23

摘要

現代漢字書法創作傾向於圖像視覺形式的設計，文字內容則多以傳統典籍為主，少數創新者以流行歌詞、口語詞彙反映潮流及時事作為關注當代議題的用心，整體趨勢為文字敘述弱化而圖像增多，此現象或與傳播工具、巨量資訊及傳輸速度有關，本文以漢字源流，甲骨上的線條特徵—「裂縫」，作為占象與文字在觀看理解上變遷的基礎，占象與文字因觀看閱讀方法不同，得出的認知意義也不同，而「裂縫」本身具有區隔差異；又有虛擬線條的實在視覺作用，因為語言文字是社會基礎，「裂縫」這個觀念也可以用來說明人從自然到社會狀態下的差異，甚至是人自我認知上的差異，因為區隔所以需要溝通，「裂縫」的辯證認識可以作為創作上的新觀點，甚至是開展認知工具上的方法。

關鍵字

書法 ； 裂縫 ； 漢字 ； 圖像

並列摘要

Modern calligraphy tends to create visual graphics, while its contents are often derived from Classics. Some innovators borrow pop lyrics and colloquial vocabulary as means of reflecting trends and news, demonstrating their concerns about contemporary issues. The diminishing of characters and the boost of images are the general flows. Perhaps this phenomenon can be linked with communication tools, mass information and transmission speed. This paper will further detail ＂cracks＂ from the lines on oracle bones, which is the origin of Chinese characters, as the base of the revolution of reading and understanding astrology and characters. And since these two ways are diverse, the meanings they lead to differ. Additionally, ＂cracks＂ serve both the function of dividing and the result of visual purpose. Since language and characters are the foundation of the society, the concept of ＂cracks＂ demonstrates human's divergent conditions from within nature to civilization to self-cognition. Disparity acquires communication, thus discriminating ＂cracks＂ can be viewed as a new perspective on creation, or even a practice of expanding one's cognition.

並列關鍵字

Calligraphy ； Crack ； Chinese Character ； Image

參考文獻

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