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由中国文联、中国书法家协会主办的第七届中国书法兰亭奖系列活动于昨日在《兰亭序》诞生地浙江绍兴拉开序幕。在下午举行的兰亭论坛上，三位专家围绕书法、美学、古文字学、当代书法创作等议题交流真知灼见。以下是彭锋先生的发言，本报刊登以飨读者。
由于汉语翻译的原因，美学在中国通常被认为是“研究美的学问”。这种理解没错，但不够准确。的确，美学是以美为研究对象的，但它研究的不是一般事物的美，而是专注于研究艺术美。艺术美是由心灵产生的美，对它的欣赏需要理性与感性的和谐合作。只有理性与感性和谐共处，人才是一个完全的人。美育的目的是培养全面发展的完善人格。鉴于感性容易遭到理性的抑制，美学尤其关注感性，尤其是那种源于心灵的、完善的感性。体现在艺术中的完善感性，或者说由艺术培养起来的完善的感性，是健全人格必不可少的部分。
艺术是表现美的，一般人对此没什么异议。容易出现异议的是美的定义，或者说美的标准。如果说美没有标准，那么说艺术是表现美的，就毫无意义。然而，在美的判断上，的确存在巨大的分歧。美是人们喜欢的对象，但是人们喜欢的东西非常不同。俗话说，萝卜白菜各有所爱；西谚云，谈到趣味无争辩。在美的判断上的巨大差异由此可见一斑。
不过，如果我们能够将美区分出层次，我想关于美的分歧并没有想象的那么大。事实上，人类在审美上体现出了明显的共性。近年来，随着进化论美学研究的深入，随着商品和贸易全球化的深入，随着交通和信息技术发展而带来的不同文明之间的交往的深入，人们发现人类在审美上体现出惊人的一致性，例如都喜欢有比例、有节奏、具有和谐关系的事物。人类在审美上仿佛遵循着根深蒂固的生物法则。这种法则在人类完成进化的时候就形成了，它的信息保留在我们的遗传基因之中。
但是，这还不是美的全部。在审美上除了遵守共同的生物法则之外，还有文化习惯的影响。文化习惯影响的领域不是一般商品，而是比一般商品高级的文化产品，尤其是高雅艺术作品。例如，中国人欣赏十足的神态，欧洲人欣赏完美的形状。
除了生物法则和文化习惯之外，影响审美的还有一个因素，那就是个人策略。个人策略，指的是在审美上的标新立异。有时候这种标新立异的个人策略会与创造混同起来，但是它们之间的价值不可同日而语，因此将它们区别对待非常重要。例如，在某些场合，明星们为了显示自己的与众不同，会尽量避免“撞衫”。避免撞衫是审美上的个人策略，它追求的是差异化的效果，是为了不同而做出的选择。这种为了不同而不同的个人策略不能与创造等同起来。创造需要知识积累和掌握规律，创造的结果经得起历史的检验，会推动历史的进程。但是，大多数审美上的个人策略不具备这些价值，它们的标新立异只是满足好奇而已，往往是昙花一现。
由于个人策略参与其中，审美就变得复杂起来，甚至被认为是完全主观的事务。但是，如果我们暂时搁置个人策略，审美的普遍性便体现出来。在某些领域，审美的普遍性在某个文化圈内有效。在另外一些领域，审美的普遍性还具有跨文化的效力。
中国美学与西方美学的区别主要体现在文化习惯上。今天用中国与西方作为彼此的对照，经常会遭到异议，但是，从大的框架上来讲，这种对照仍然是有意义的。源于黄河流域的中国文化与源于希腊岛屿的西方文化，从思想深度、时间长度、影响广度、丰富程度来说，都是世界上堪可匹敌的两大体系，而且在漫长的历史过程中它们是独立发展起来的。因此，中国文化和西方文化形成了绝妙的互为参照。中西文化相互交流和学习的目的，除了借鉴彼此的优秀成分之外，还有助于深化彼此的自我认识。
进入20世纪之后，由于西方美学在中国的传播，我们有了自我认识的参照，出现了对于中国美学的概括性把握。但是，由于中国美学的历史长度和地域宽度，使得我们很难概括它的全貌，美学家们从中看到的重点有所不同。例如，李泽厚主张从“美”的角度来把握中国美学，叶朗主张“意象”和“意境”更能体现中国美学精神，旅美日裔学者稻田龟男认为中国乃至东方美学的精髓是“生动”，法国学者朱利安则看重中国美学对“不确定性”的追求，用“大象无形”来概括中国美学的特征。这些学者的研究成果，从不同方面勾勒出了中国美学的面貌。随着研究的深入和丰富，中国美学的面貌会更加清晰。
与西方美学相比，中国美学还有一个特点，那就是推崇和谐与中道，这与中国文化的整体特征有关。一百年前，梁漱溟在《东西文化及其哲学》中概括了西方、中国和印度三种文化的特征，认为它们体现的是三种不同的人生路向：西方人向前，印度人向后，中国人持中。梁漱溟乐观地看好儒家主导的中国文化的人生路向，认为它是未来人类的发展方向。在这种文化的大背景中，中国美学也体现出重视和谐、贬低狂狷的倾向。这种美学精神体现在艺术上就是对传统的继承、吸收和转换，进而形成了中国艺术的独特趣味，王国维将这种趣味概括为“古雅”。
古雅不是与优美和崇高并列的一种风格，而是在优美与崇高之外或者之上的一种风格。如果将优美与崇高视为第一形式，古雅则是第二形式，王国维称之为“形式之美之形式之美”。西方艺术追求第一形式，中国艺术在第一形式的基础上增加了第二形式，在趣味上显得更加高妙。对于古雅的表现，与其说依赖于天才，不如说依赖于学问；与其说依赖于创造，不如说依赖于修养。古雅说很好地概括了中国艺术的美学追求，同时与西方美学拉开了距离。
古雅在中国各种艺术形式中都有不同程度的表现，比较而言，以书法的表现更充分、也更典型。书法是基于汉字书写的独特艺术，西方没有这种意义上的书法艺术。随着现代性由欧洲向世界其他文化的蔓延，我们传统的艺术形式不可避免受到西方艺术和美学的影响。但是，书法是个例外。因为西方没有与书法类似的艺术，书法可以免于外来美学和艺术的干扰，保持自己的相对独立性，因此，至少从理论上讲，书法保留了纯粹的中国传统美学。而且，在大的美学观念的基础上，结合书法艺术自身的特征，中国书法美学形成了推崇中和之美、正大气象、美善统一的独特命题。
中和之美源于兼容并包。古代中国人很早就认识到“和”与“同”不同，“和”是不同事物之间形成的协调，“同”是相同事物之间的重复。“和”有生命力，“同”没有生命力。中国书法强调向传统学习、向古人学习，目的就是尽可能兼容不同风格。兼容的风格越多，书法的境界越高，体现出来的趣味就越是“淡”或者“平淡”。
正大气象源于坚守道统。中国文化追求儒道互补、阴阳和合、和而不同，但在不同的因素中也强调有主有次、有先有后、有正有奇。儒家文化体现出来的刚正大气，始终是中国文化的主流。千百年来，对道统的坚守，表现在书法风格上就是正大气象。
美善统一源于对完美的追求。尽美而未尽善，尽善而未尽美，都有缺憾。只有尽善尽美在臻于完美。在书法中，这里的完美性不仅表现在书写形式上，也体现在文字内容上。与其他视觉艺术不同，书法是建立在文字的基础之上的，而文字是有明确的意义的。形式主义美学在解释书法时会遇到困难。书法不像抽象绘画那样是有意味的形式，文字的内容会反过来影响书法的趣味、格调和境界。尽善尽美需要形式和内容两方面的完美。而书法的内容不仅包括文字的内容，还包括书法家的人格修养和精神境界。美善统一意味着书法艺术与书者人格的统一。正如刘熙载所言：“书者，如也。如其学，如其才，如其志，总之曰：如其人而已。”
今天的书法不仅要保持中国美学的传统，而且要将它发扬光大，让在书法中保存的美学精神去影响其他艺术门类，进一步影响日常生活，为广大人民群众对美好生活的追求做贡献。
（文中图片已注明来源，如有侵权，请联系删除）
（作者：彭锋，北京大学艺术学院院长、长江学者，中国文艺评论家协会理事）
延伸阅读：
中国文艺评论家协会第二届理事会理事名单
艺术学理论学科建设历程与前瞻（彭锋）
中国艺术学理论学科建设的问题与出路（彭锋）
(click "source: Wen Wei Po" under the title of this page to view the newspaper articles, and the link is: http://dzb.whb.cn/2021-04-15/12/detail-720590.html ）The 7th Chinese calligraphy Lanting award series, sponsored by the China Federation of literary and art circles and the China Calligraphers Association, kicked off yesterday in Shaoxing, Zhejiang, the birthplace of Lanting preface. At the Lanting forum held in the afternoon, the three experts exchanged insights on calligraphy, aesthetics, ancient philology, contemporary calligraphy creation and other topics. The following is Mr. Peng Feng's speech, which is published in this newspaper for readers. Because of Chinese translation, aesthetics is usually regarded as "the study of beauty" in China. This understanding is correct, but not accurate enough. Indeed, aesthetics takes beauty as the research object, but it does not study the beauty of general things, but focuses on the beauty of art. Artistic beauty is the beauty produced by the soul. Its appreciation needs the harmonious cooperation of rationality and sensibility. Only when reason and sensibility coexist harmoniously, can a person be a complete person. The purpose of aesthetic education is to cultivate a perfect personality with all-round development. Since sensibility is easily restrained by reason, aesthetics pays special attention to sensibility, especially the perfect sensibility derived from the soul. The perfect sensibility embodied in art, or the perfect sensibility cultivated by art, is an essential part of a sound personality. Art expresses beauty, and most people have no objection to it. What is easy to disagree is the definition of beauty, or the standard of beauty. If there is no standard for beauty, it is meaningless to say that art expresses beauty. However, there are great differences in the judgment of beauty. Beauty is what people like, but what people like is very different. As the saying goes, radish and cabbage have their own love; As the Western proverb goes, when it comes to fun, there is no argument. This shows the great difference in the judgment of beauty. Feng chengsu imitates Wang Xizhi's preface to Lanting (the picture comes from Wen Wei Po). However, if we can distinguish beauty from different levels, I think the differences about beauty are not as big as expected. In fact, human beings have obvious commonalities in aesthetics. In recent years, with the deepening of the study of evolutionary aesthetics, the deepening of the globalization of goods and trade, and the deepening of the communication between different civilizations brought about by the development of transportation and information technology, people have found that human beings reflect amazing consistency in aesthetics, such as all like things with proportion, rhythm and harmonious relationship. Human beings seem to follow deep-rooted biological laws in aesthetics. This law is formed when human beings complete evolution, and its information is retained in our genetic genes. However, this is not the whole of beauty. In terms of aesthetics, in addition to abiding by the common biological laws, there is also the influence of cultural habits. The field influenced by cultural habits is not general commodities, but cultural products higher than general commodities, especially elegant works of art. For example, the Chinese appreciate the full look, while the Europeans appreciate the perfect shape. In addition to biological laws and cultural habits, there is another factor affecting aesthetics, that is, personal strategy. It refers to the individual aesthetic strategy. Sometimes this unconventional personal strategy can be confused with creation, but the value between them is different, so it is very important to treat them differently. For example, on some occasions, in order to show their uniqueness, stars will try to avoid "bumping clothes". Avoiding shirt bumping is an aesthetic personal strategy. It pursues the effect of differentiation and makes choices for different purposes. This personal strategy, which is different for different purposes, cannot be equated with creation. Creation requires knowledge accumulation and mastery of laws. The results of creation can stand the test of history and will promote the process of history. However, most aesthetic personal strategies do not have these values. Their innovation is just to satisfy curiosity, which is often a flash in the pan. Because of the participation of personal strategies, aesthetics becomes complex and even considered a completely subjective matter. However, if we put aside personal strategies for the time being, the universality of aesthetics will be reflected. In some fields, the universality of aesthetics is effective in a certain cultural circle. In other areas, the universality of aesthetics also has cross-cultural effectiveness. The difference between Chinese aesthetics and Western aesthetics is mainly reflected in cultural habits. Today, the comparison between China and the west is often opposed, but from a large framework, this comparison is still meaningful. Chinese culture originated from the Yellow River Basin and Western culture originated from Greek islands are two comparable systems in the world in terms of ideological depth, time length, influence breadth and richness, and they have developed independently in the long historical process. Therefore, Chinese culture and Western culture have formed a wonderful mutual reference. The purpose of mutual exchange and learning between Chinese and Western cultures is not only to learn from each other's excellent elements, but also to deepen each other's self-awareness. After entering the 20th century, due to the spread of Western Aesthetics in China, we have a reference of self-knowledge and a general grasp of Chinese aesthetics. However, due to the historical length and regional width of Chinese aesthetics, it is difficult for us to summarize its whole picture, and the focus of aestheticians is different. For example, Li Zehou advocates to grasp Chinese aesthetics from the perspective of "beauty", ye Lang advocates that "image" and "artistic conception" can better reflect the spirit of Chinese aesthetics, Japanese scholar kurio Inada believes that the essence of Chinese and even oriental aesthetics is "vivid", while French scholar Julian focuses on the pursuit of "uncertainty" in Chinese aesthetics and summarizes the characteristics of Chinese aesthetics with "great form Is beyond shape". The research results of these scholars outline the face of Chinese aesthetics from different aspects. With the deepening and enrichment of research, the face of Chinese aesthetics will be clearer. Compared with western aesthetics, Chinese aesthetics has another feature, that is, advocating harmony and the middle way, which is related to the overall characteristics of Chinese culture. A hundred years ago, Liang Shuming summarized the characteristics of the three cultures of the west, China and India in his "Eastern and Western cultures and their philosophy", and believed that they reflected three different life directions: Westerners moving forward, Indians moving backward and Chinese holding the middle. Liang Shuming is optimistic about the life direction of Chinese culture dominated by Confucianism and believes that it is the development direction of mankind in the future. The demeaning and demeaning tendency of Chinese aesthetics is also reflected in the background of Chinese culture. This aesthetic spirit embodied in art is the inheritance, absorption and transformation of tradition, which has formed the unique interest of Chinese art. Wang Guowei summarized this interest as "ancient elegance". Ancient elegance is not a style juxtaposed with beauty and sublimity, but a style beyond or above beauty and sublimity. If beauty and sublimity are regarded as the first form, ancient elegance is the second form. Wang Guowei calls it "the beauty of form, the beauty of form". Western art pursues the first form, while Chinese art adds a second form on the basis of the first form, which is more exquisite in taste. The performance of ancient elegance depends not so much on genius as on knowledge; It depends not so much on creation as on cultivation. The theory of ancient elegance well summarizes the aesthetic pursuit of Chinese art and draws a distance from western aesthetics. Ancient elegance has different degrees of expression in various Chinese art forms. Comparatively speaking, calligraphy is more sufficient and typical. Calligraphy is a unique art based on Chinese character writing, which is not available in the West. With the spread of modernity from Europe to other cultures in the world, our traditional art forms are inevitably influenced by Western art and aesthetics. However, calligraphy is an exception. Because there is no art similar to calligraphy in the west, calligraphy can be free from the interference of foreign aesthetics and art and maintain its relative independence. Therefore, at least in theory, calligraphy retains the pure traditional Chinese aesthetics. Moreover, on the basis of the great aesthetic concept and combined with the characteristics of calligraphy art, Chinese calligraphy aesthetics has formed a unique proposition of advocating the beauty of neutralization, the atmosphere of justice and the unity of beauty and goodness. The beauty of neutralization comes from inclusiveness. Ancient Chinese people have long recognized that "he" is different from "Tong", that "he" is the coordination between different things, and that "Tong" is the repetition between the same things. "Harmony" has vitality, while "Tong" has no vitality. Chinese calligraphy emphasizes learning from tradition and the ancients. The purpose is to be compatible with different styles as much as possible. The more compatible styles, the higher the realm of calligraphy, and the more "light" or "plain" the interest reflected. Justice comes from upholding orthodoxy. Chinese culture pursues the complementarity of Confucianism and Taoism, the harmony of yin and Yang, and the harmony but difference. However, in different factors, it also emphasizes the main and secondary, the first and the second, and the positive and the strange. The upright atmosphere embodied in Confucian culture has always been the mainstream of Chinese culture. For thousands of years, the adherence to orthodoxy has been reflected in the style of calligraphy. The unity of beauty and goodness comes from the pursuit of perfection. Perfect but not perfect, perfect but not perfect, all have shortcomings. Only perfection is reaching perfection. In calligraphy, the perfection here is not only reflected in the writing form, but also in the text content. Different from other visual arts, calligraphy is based on words, and words have clear meaning. Formalist aesthetics will encounter difficulties in interpreting calligraphy. Calligraphy is not a meaningful form like abstract painting. The content of words will in turn affect the interest, style and realm of calligraphy. Perfection requires perfection in both form and content. The content of calligraphy includes not only the content of words, but also the personality cultivation and spiritual realm of calligraphers. The unity of beauty and goodness means the unity of calligraphy art and calligrapher's personality. As Liu Xizai said: "the book is like a person. It is like learning, like talent and like ambition. In short, it is just like a person." Today's calligraphy should not only maintain the tradition of Chinese aesthetics, but also carry forward it, so that the aesthetic spirit preserved in calligraphy can affect other art categories, further affect daily life, and contribute to the people's pursuit of a better life. (the pictures in the text have indicated the source. If there is infringement, please contact and delete) (author: Peng Feng, Dean of the school of art of Peking University, Changjiang Scholar and director of China literary and Art Critics Association) extended reading: list of directors of the Second Council of China literary and art Critics Association, process and Prospect of the construction of artistic theory discipline (Peng Feng) problems and solutions of the construction of Chinese artistic theory discipline (Peng Feng)