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【随笔】 范曾心目中的“后现代” (原创)  

2011-07-16 00:20:30|  分类: 人 物 |  标签: |举报 |字号 订阅

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【随笔】 范曾心目中的“后现代” (原创) - 博雅.wolaxiao - 博雅.wolaxiao的博客

 

 范曾心目中的“后现代”

文/博雅.wolaxiao

       

        2003年11月25日上午9:30时,南开大学东方艺术系演播大厅。范曾先生做了题为《后现代,我看出你的冷漠》的精彩演讲。首先,他放了几幅中国后现代令人恶心、惊怵的艺术作品:朱昱油炸和吃死婴的行为艺术、杨志超不打麻药在肩头上种上两株草、吴高钟从牛肚子里钻出来、为无名之山增高一米的裸女叠体……
  
  范曾先生在追溯了后现代历史后,他的结论:后现代就是“失序”。

       “凡是失序的艺术,我们统称之为后现代主义,这不是一个时间概念,也不是枝杈横生、派系繁衍的内容的概念,而是一个艺术本体论或换言之艺术本质的概念。”。“天人本无二,不必言合”(程灏、程颐),此指未异化之人。“无序的同时是个混乱、怪诞、荒唐的并作,痴人说梦、醉汉狂言……”故作“怪力乱神”是“狡猾”、乃人本真之性的丧失。

        后现代,在追求“个性”中,表现出来的是“集体无个性”。想使社会承认其有个性,这是另一类媚俗。范曾先生曾发大师是“冒” 出来的禅语。此语,深得陈省身先生认同,自己也颇为得意。仿托尔斯泰在《安娜·卡列尼娜》中,对幸福和不幸家庭的经典说法,得出自己得意的句子——“失序的艺术大体相似,而合序的艺术各有各的秩序”。

        每个人的直觉是判断艺术的绝对标准。审美能力乃是一种“自性”,它不依恃“思量分别”,似佛家之“真如”。艺术只有“好”“坏”之分,而无“新”“旧”之别。得大和谐的艺术品,乃是“永恒”的,从不会使人“视觉疲劳”的。
  
  在回答观众提问后现代前途问题时,范曾先生说,后现代在西方已呈“强弩之末”,而在中国正“方兴未艾”。西方对中国往往取“俯视”之态,中国对西方往往取“仰视”之态;俯视和仰视皆非也,只有“平视”为科学。
  对后现代,范曾先生基本是取否定的态度。他从“失序”的后现代艺术作品中,完全看出了消极的意义,而无半点积极意义。  
  范曾先生气势磅礴、学识渊博、见解独到,俨然有大家之风。无疑,他是令众人钦佩和尊敬的。
  但,他关于后现代的识见,却是令人不敢苟同的。诚然,后现代艺术是“不美”的,它不是人们用“眼睛”就可以看懂的,用传统的“直觉”来看后现代艺术,不懂是必然的。后现代是一种对现实社会人生的反传统的视角,它比起粉饰现实的传统的“美”的艺术来,具有一种让当事人“恶心”、“呕吐”、“痛苦”、“疯狂”的作用,它拒绝将现实的非人性化埋藏于潜意识中,而是通过刺激人们的正常视觉,而将非人性的现实凸现在人们的意识之中,它要求人们不能仅仅用“肉眼”、用“美”的标准来看它,而是必须用“心眼”、用“丑”的标准来看它。“吃人”,是一个为人们压抑到潜意识里的“常识”,这个主题在后现代艺术中的出现,恰恰是对人们熟视无睹的现实社会“吃人”事实的表达。鲁迅先生曾在儒家满嘴的仁义道德里看出“吃人”二字,正是这两个字,成就了《狂人日记》的不朽。因此,在笔者看来,后现代恰恰不是“冷漠”的,相反,它是如此“火热”,火热得能够将麻木不仁的猥琐人生烤焦。
  
  范曾先生的长诗《庄子显灵记》,洋洋洒洒2000句,可谓博古通今,其“画论”主张“以诗为骨”亦不可谓不精彩,更以他的如神妙笔不厌其烦地画着庄子、童子、猴子等等,令人赞叹不已。

        然而,由于范曾先生在思想高度上没有超越法国思想家卢梭的水平,过分地推重天人未分之际的“自然”,因此,庄子并没有在他身上真正地“显灵”,显现的仅仅是庄子的躯壳而已。如果,我们能够像范曾先生所倡导的那样“用自己的眼睛”,而不是评论家的眼睛来判断范曾先生的作品,那么,在其酣畅淋漓、气势恢宏的笔墨中,人们不难发现,其流于精神贫乏和空虚。因为,对不二“自然”的刻意追求,最好的结果就是“形似”而非“神似”。在当今时代,绝大多数人连“形似”也难以企及的情况下,能够达到“形似”,就已经“功成名就”了。不难理解,范曾先生绝对不会认为,自己的作品只是“形似”。学庄子?庄子不可学,只可“做”。
  
  范曾先生为何会在思想上出现如此偏颇呢?毋庸讳言,在“传统”艺术道路上,范曾先生无疑是登峰造极的典范,功成名就的艺术家,他具有了傲视古今艺术家的资格,获得了话语“霸权”。可是,范曾先生的艺术创作,却又完全是在“传统”之内的。这样一来,他就与所有非传统的艺术形式格格不入,特别是不能容忍反传统的后现代。  
  范曾先生的成就是世人公认的,从他的浸透乌托邦气息的艺术作品中,我们也能够解读出“批判现实”的革命性精神。但是,这种乌托邦式的革命性精神,在今天来看,是如此虚弱和无力,甚至还具有了某种消极的因素。从范曾先生对后现代的理解来看,在思想的层面上,范曾先生可能仅仅是一个“前现代”艺术家,与“后现代”艺术家尚存在代沟和一定距离。

Fan Zeng idea of "postmodern"
Text/Boya. wolaxiao

       November 25, 2003-at Nankai University's Department of Oriental Art Studio Hall. Fan Zeng, entitled the postmodern, I see your indifference of wonderful speeches. First, he put some Chinese postmodern nasty, surprised afraid of art: art of Zhu Yu fried and ate the dead babies, Yang Zhichao without anesthetic planted on the shoulders of two strains of grass, Wu gaozhong out from the cow stomach, nameless mountain stack of nude women, elevated one meter of sth
  
  Mr Fan Zeng following the retrospective of postmodern history, his conclusions: postmodern is the "disorder".
"Art of whatever disorder we Commission called postmodernism, it is not a time concept, nor concept of branch grow wild, factions and reproduce the content, but a concept of ontology of art, or in other words the nature of art. ”。 "Heaven-this is no two without words" (Cheng Hao, and Cheng Yi), this means no alienation of the people. "Disorder at the same time be a chaos, grotesque, absurd and to give, dream, and the drunk crazy sth" pretended "deities" are "cunning", is a human really lost.
        Postmodern, in pursuit of "personality" in the show it is "collective no personality." Want to make the social recognition of their individuality, this is another category of kitsch. Fan Zeng had sent the master is "risk" out of Zen language. This language, won Shiing-shen Chern identity, he himself was feeling. In Tolstoy-like in the Anna·kalienina, happy and unhappy home classics, came to own his sentence--"similar imbalance of art, and art each have their own order in the sequence".
       Intuition is the absolute standard of judging art for everyone. Aesthetic judgment is a "self", which do not rely on "thought respectively" Buddhist "really like". Art only "good" and "bad", and not "new" "old". Harmonious work of art, but of "eternal", never make "Visual fatigue".
  
  At the time of modern problems in the future after answering audience questions, says Mr Fan Zeng, post-modern West has "spent", while in China is "ascendant". Western China often takes "top view" of the State, often take on the West of China "looking up" State of; look down and looking up is not only "head" for science.
  Postmodern, Mr Fan Zeng is basically take a negative attitude.  From "disorder" in postmodern art works, completely negative meaning, without the slightest positive.
  Unique Fan Zeng is impressive, knowledgeable, opinion seems to have all of the wind. There is no doubt that he is to make the admiration and respect of all.
  However, his insight on the postmodern, but disagree with. It is true that postmodern art is "not good", it is not something that people use "eye" can understand and use the classic "intuition" postmodern art, do not know is inevitable. Hou modern is a on reality social life of anti-traditional of perspective, it than up whitewash reality of traditional of "beauty" of art to, has a let parties "nausea", and "vomiting", and "pain", and "crazy" of role, it refused will reality of non-humanized buried Yu subconscious in the, but through stimulation people of normal Visual, and will non-humanity of reality highlights in people of consciousness among, it requirements people cannot just with "naked eye", and with "beauty" of standard view it, but must with "mind", and with "ugly" of standard view it. "Eating people", in a people suppress the subconscious is a "common sense", this theme appears in postmodern art, exactly what was on people's blind eye to the real world "eating people" expression of the facts. Mr LU Xun had seen in the Confucian virtue and morality of the mouth "carnivorous" Word is the word, make the immortality of the diary of a madman. Therefore, in the author's opinion, postmodernism is not precisely "cold shoulder", on the contrary, it is so "hot", was able to deaden the Fiery life of wretched appearance of burnt.
  
  Mr Fan Zeng's long poem the manifestation of Zhuangzi's diary, at great length 2000 words, win, its "paintings" stands for "poems for bone" is not not exciting, but also to his smart audio guide God has taken pains to draw a Zhuang Zi, lad, monkeys, and so on, are amazed at.However, as on Fan Zeng in thought highly not surpassed France thinkers of Rousseau's level, not excessively thrust heaven and man of "natural" and therefore, Chuang did not truly in him "the manifestation", presenting just Zhuangzi's body. If, as advocated by the us to like Mr Fan Zeng "with my own eyes", rather than the eyes of the critics to judge the work of Mr Fan Zeng, then in its fully and delightfully, magnificent in pen and ink, it is not hard to find, its flow in spirit-poor and empty. Because the best "natural" aim, the best result is "the shape of" instead of "likeness". In this day and age, most people even "like" to occupy some of the cases, to achieve "formal likeness", had "fame." Not difficult to understand, Mr Fan Zeng would not believe that his work is "the shape of". Learn Zhuang Zi? Zhuang Zi is not only "do".
  
  Why Mr Fan Zeng appears ideologically biased it then? It goes without saying, in the "traditional" art on the road, Mr Fan Zeng is undoubtedly the Pinnacle example of successful artist, he has the qualifications for members of ancient and modern artists, access to the word "hegemony". However, Fan Zeng's art, but is entirely in the "traditional".  In this way, he is incompatible with all non-traditional art forms, in particular, cannot tolerate anti-postmodern.
  Fan Zeng's achievement is recognized around the world, from the breath of his soaked utopia in the works of art, we can also interpret the "critique of the reality" of the revolutionary spirit. However, such a utopian, revolutionary spirit, today, is so weak and powerless, even with some negative factors. From a Fan Zeng's understanding of postmodern view, on the ideological level, Mr Fan Zeng may just be a "pre-modern" artists, and "post-modern" artist generation gap still exists and a distance.  
 
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