关键词: 本雅明, 潜在的相似性, 非感性的相似性, 中国书法, 笔迹学

Abstract: Benjamin defined Chinese Calligraphy as the art of “Thought” and “Image”, and elucidated its “moving” characteristic with “virtual resemblance”. This opens a unique way for the interpretation of Chinese Calligraphy, from which we can discern his thoughts of Graphology. He highlighted the concept of “nonsensuous similarity” in his “Doctrine of the Similar” and “On the Mimetic Faculty”, and he also pointed out that the unconsciousness of a writer is hidden in his handwriting. In his youth, Benjamin became interested in Graphology, and paid much attention to its development. Beginning from the “theory of three-dimensional handwriting-image” of Mendelssohn School, he described handwriting as an entrance ticket into the “big-world theater” that presents the miniature pantomime about the nature and life of human, and based on this, he further developed his criticism on Chinese Calligraphy.

Key words: Benjamin, virtualre semblance, nonsensuous similarity, Chinese calligraphy, graphology