“汉字图象”的美学观照

“汉字图象”是中华民族的“元书写”。“汉字学”经历了古代的深厚积淀，在现代迎来了新的拓展。当代西方学术的进展，尤其是西方哲学中的“语言学转向”和德里达的“文字学”，促使我们更为深刻地重新认识自己的“文字学”。“汉字图象”概念的提出，则呼应着当代文化的“图像转向”以及中国学术界的“文学与语言”的转变。中国美学需要注重自身的特殊性，因此，“汉字学转向”是必然趋势；其中“汉字图象”研究的展开是重要一环。构建“汉字图象美学”，需要以“汉字图象美学理论构架”为核心，展开“ 汉字图象各谱系所包涵的美学意蕴”、“汉字图象的生成与还原”两翼。在“汉字图象”研究中，“本质还原”需要经由汉字造字原初情境的直观来实现。如此，汉字图象美学的目标便指向了中华民族的精神现象学。
Hanzi tuxiang汉字图象（literally graphics of Chinese character）is the meta-writing of the Chinesenation. With its long tradition and great achievements，the study of hanzi now enjoys new possibilities.Contemporary western academic developments，especially the linguistic turn in philosophy and Derrida’sgrammatology，encourage us to review our own study of hanzi and thus attain a deeper understanding. Theidea of hanzi tuxiang comes out as a result of the“ graphic turn” of contemporary cultural studies as well asthe“ literature and language turn” in the Chinese academic circles. Chinese aesthetics needs to realize its ownparticularity，which means a hanzi-centered turn is inevitable with the study of hanzi tuxiang as an importantpart. To build the aesthetics of hanzi tuxiang，we’d better focus on the construction of a theoretic frameworkwhile studying both the aesthetic connotation of the genealogy of different hanzi tuxiang’s as well as theirgeneration and restoration. An examination of the original building process of hanzi is the key to the essencerestorationfor the study of hanzi tuxiang. In this sense，the aesthetics of hanzi tuxiang constitutes an importantapproach to the phenomenological dimension of the spirit of Chinese nation