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新禪宗風格在當代藝術：水墨藝術的表演性=Neo-Chan Features in Contemporary Art |
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胡素馨 (著)=Fraser, Sarah E. (au.)
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| Source |
第四屆近現代漢傳佛教論壇
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| Date | 2018.01 |
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| Publisher | 財團法人聖嚴教育基金會 |
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| Content type | 會議論文=Proceeding Article |
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| Language | 中文=Chinese |
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| Note | 專題演講 |
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| Abstract | 或許禪宗在各宗派佛教裡，是最需要界定其繪畫者。主要因為從最早期以涅槃經為主開始，受兩個主要的思想影響：沒有四聖諦，也沒有證悟到涅槃之道──因為涅槃無所不在。正因缺乏傳統聖諦的負擔，寺宇中無常見的主尊，僅偶爾可見祖師像，因而禪畫很難界定。其實我們可以另闢蹊蹺，不從物品：而由其實踐法門來理解禪畫。例如禪畫常見的一些行徑怪異或貌似愚者的人物像，因為禪宗會吸引一些不拘泥傳統者。因而在禪宗興盛的地方，流傳各式各樣古怪或詼諧戲謔的人物畫。反科儀，不深思熟慮，非傳統的禪宗特性，因而畫中常見上述的人士，或嘻笑或躺臥。而另外一類人物畫，則是描繪師承關係，或寺宇歷代方丈寫真，來強調師父與弟子之間，或者以心傳心的傳承。
自1980 年以降，在現代及當代藝術圈子，禪畫甚至在非宗教藝術圈子裡，也掀起一陣風潮。其主因，甚至完全是因為禪的任運表達。在不方便完全表達的環境下，藝術家可以此方式在作品裡表述其弦外之意。例如徐冰的《天書》（1987–91）、《塵埃》（2004）；邱志傑《重複書寫一千遍蘭亭序》（1990–1995），楊詰蒼的《千層墨之一》（1994）、《深水／自畫像》（2007）、《我所忘掉的人》（2009）。本論文在探討現代藝術及未來運用禪的方式時，將聚焦在一批在國際上原來對東亞文化工作者封閉的舞台上，以非墨原料，創作出水墨效果的新近作品，如何探索及創造新的表達空間，開創中國文化新的闡釋。然而不用墨，如何創造水墨效果？通常我們談及「水墨作品」，好像「墨」應該理所當然是材料之一。如果就字面而言，好像只要有墨，就可以創作出水墨作品。換言之，墨即指涉水墨作品。除了材質之外，長年筆墨功夫的練習也要考慮。
劉建華在景德鎮的陶瓷實驗作品《嘯墻》（2011），表現出唐代書法大家懷素法師的草書。他在牆上以色陶瓷製造出流動墨汁的效果，指涉早期禪詩裡提及的雨點。另外一件「無墨」的水墨作品是徐冰的《背後的故事》（2004–2016）。這些裝置作品援引張大千的《廬山全圖》，以及黃公望的《富春山居圖》等頗負盛名的水墨畫。筆觸以現成物品，例如塑膠袋以及襯在玻璃後面的蘆葦來呈現。可以說，墨是純粹的形式，並非水墨作品必須的材質。因此，我認為在禪或道相關作品中，出現新的階段。除了借用禪的語言之外，藝術家還以新的材質來構成禪的形式，創造出全球觀眾都能看懂的平面或三度空間的作品。在此轉世，中國藝術家引用禪（與道）的詩詞，語言及符號，創造出他們獨特的中國文化與藝術，來站上國際舞台。
Perhaps no other sect of Buddhism requires so much discussion of its identity or how it defines itself visually than Chan or Zen. This is largely because from its earliest stages, with the Nirvana Sutra as the foundation, two truths were articulated for Chan: one that there are no four noble truths and there is no (path to) enlightenment because we are already nirvanic—nirvana occurs everywhere. With the burden of no conventional truth and the corresponding lack of iconic focus in most Zen temples, except for the occasional patriarchal figure, Chan/Zen art has defied easy definition. Alternatively, we might understand Zen art through its practice not through its objects. The collection of odd figures and fools in the standard Chan pictorial repertoire, might be understood as the result of Chan/Zen attracting the unconventional––various folk figures with odd or quirky twists that circulated regionally and locally in the areas Chan developed. The importance of anti-canonical, unmediated, and unconventional in Chan attracted this cohort of figures who grin and sleep in the Zen pictorial landscape. Other paintings picture the generational succession of teachers and abbots in portraits emphasizing Chan lineage and teacher to student, mind-to-mind transmission.
Since the 1980’s in Modern and Contemporary Art circles, Chan art has seen a surprising resurgence in non-religious spheres, largely for or precisely because of its flexibility of expression. It has been deployed as a cipher in a range of difficult circumstances where artists wish to suggest more than is viably expressed; e.g., Xu Bing, Book from the Sky 天書 (1987-91) and Where the Dust Itself Collect? (2004); Qiu Zhijie 邱志傑, Writing Lantingxu 1000 Times (1990-95); Yang Jiechang 楊詰蒼, 100 Layers of Ink 千層墨, No. 1 (1994); and Deep Liquid - Self Portrait 深水/自畫像 (2007); and All Those Whom I have Forgotten 我所忘掉的所有人 (2009), to name a few important works. To explore the use of Chan in Contemporary art and possible future directions, this paper will concentrate on a group of new works that use non-ink performance suggesting the presence of ink, to explore and create a new frontier of expression meant to offer new interpretations of Chinese culture on a global stage previously closed to East Asian cultural practitioners. But what remains of ink art practice without ink? It seems obvious that we when talk of “Ink Art,” that “ink” would be a necessary feature or
ingredient. If we take this term literally, then simply ink is all that is needed to make ink art possible: one implies the other. Beyond these materials one has to consider the disciplined practice and training that have long been linked to brush and ink.
Liu Jianhua’s experimentation in Jingdezhen porcelain, Screaming Walls 啸墙 (2011), references the grass-style calligraphy of the Tang dynasty monk Huaisu 懷素. Liu creates a wall dripping in black porcelain brus |
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| Hits | 214 |
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| Created date | 2020.01.15 |
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| Modified date | 2020.01.15 |
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