题名

想像的字體─布萊斯．馬登的《王紅公蝕刻》圖冊

并列篇名

The Script of Imagination: The Album "Etchings to Rexroth" by Brice Marden

DOI

10.6253/ntuhistory.2011.47.04

作者

劉巧楣(Chiao-Mei Liu)

关键词

布萊斯．馬登（Brice Marden） ； 王紅公（Kenneth Rexroth） ； 杜甫 ； 抽象藝術 ； 美國藝術 ； Brice Marden ； Kenneth Rexroth ； Du Fu (杜甫) ； abstract art ； American art

期刊名称

臺大歷史學報

卷期/出版年月

47期（2011 / 06 / 01）

页次

169 - 255

内容语文

繁體中文
中文摘要

從1985年起，紐約畫家布萊斯．馬登（Brice Marden）以中國詩與書法為素材，從字形發展為線描與豐富色彩。他在第一組中國作品《王紅公蝕刻》（Etchings to Rexroth）圖冊中，探索書法與英譯杜詩的內容。在長達二十多年期間，他藉用中國書法和文學，反省現代主義的內容。《王紅公蝕刻》的版畫與杜詩譯本的關係，以及相應的現代主義內涵，構成多層次的互文關係（intertextuality），看似邊緣的藝術交流現象，其實指向深層的知識基礎。本文探索《王紅公蝕刻》的雙重轉譯─從語言到語言、從文字到圖像─與文化意義，逐步說明馬登對現代主義的解釋、王紅公譯杜詩的特點與內容，以解釋圖冊中線描與譯詩的互動關係，並對照現代主義藝評解釋中國藝術的幾個要例，指出其間的互文關係。本文的論旨是：馬登以王紅公（Kenneth Rexroth）翻譯的杜甫詩意，突破類別界限，探索中國元素的異質性（heterogeneity），彰顯現代主義中的自我改造特點。有別於形式主義的純繪畫主張，他讓世界又進入繪畫，而這個世界的內容納入亞洲文化。
英文摘要

Since 1985, New York artist Brice Marden has utilized Chinese poetry and calligraphy in his abstract painting. He has taken these written forms and developed them into rich, colorful line drawings. In his first series of Chinese work Etchings to Rexroth, he explored calligraphic drawings in light of Kenneth Rexroth's translation of the poet Du Fu (杜甫). In a period of over twenty years he has continued to utilize Chinese calligraphy and literature introspecting the content of modernism. The relationships between the prints and poems in the album respond to modernist ideas of artistic categories, and configure multi-level intertextuality. This seemingly marginal artistic interaction refers in fact to contemporary cultural épistémè, or foundation of knowledge.This paper explores several aspects in the double transference of Etchings to Rexroth, from one language to another, and from words to images. It explains, step by step, Rexroth's translation of Du Fu's poems, the interrelation between prints and poems, and the intertextual correspondence between modernist criticism and earlier studies on Chinese art in the twentieth century. The main argument is that Marden used Rexroth's translation to breakthrough category limits by exploring the heterogeneity of Chinese artistic elements and showing that the modernist characteristics of self transformation are present. As distinct from the pure painting of formalism he allows the world to enter the painting, and this world includes Asian culture.
主题分类 人文學 > 歷史學
参考文献
  1. Phillips, Susan A. “Graffiti.” In Grove Art Online, Oxford Art Online. http://www.oxfordartonline.com/subscriber/article/grove/art/T033960 (accessed May 14, 2010).
  2. Hall, Donald. Review article, New York Times Book Section. November 23, 1980, p. 9. Excerpt in Modern American Literature, pp. 80-81.
  3. Cummings, Paul. “Interview with Brice Marden.” October 3, 1972. Smithsonian Archives of American Art. http://www.aaa.si.edu/ (accessed April 10, 2006).
  4. Fry, Roger. “Review: An Introduction to the Study of Chinese Painting, by Arthur Waley.” The Burlington Magazine for Connoisseurs 44: 250, January 1924, London, pp. 7-48.
  5. Fry, Roger. “The Significance of Chinese Art.” In Chinese Art: An Introductory Handbook to Painting, Sculpture, Ceramics, Textiles, Bronzes and Minor Arts. Edited by B. T. Batsford. London : B. T. Batsford, ltd., 1925; 1935, new ed.
  6. Soper, Alexander C. “The First Two Laws of Hsieh Ho.” The Far Eastern Quarterly 8:4, August,1949, New York, pp. 412-423.
  7. Petrucci, Raphaël. Philosophie de la nature dans l'art d'Extrême-Orient. Paris: H. Laurens, 1911.
  8. Dryden, John. “Preface,” in Ovid, Ovid's Epistles with His Amours, Translated into English Verse. By Mr. Dryden, Mr. Pope, and Others (London, 1680; London: printed for J. and R. Tonson in the Strand, MDCCLXI. [1761].) Eighteenth Century Collections Online, Gale Group, http://find.galegroup.com/ecco/ (accessed May 27, 2010).
  9. Binyon, Laurence. The Flight of the Dragon: An Essay on the Theory and Practice of Art in China and Japan, Based on Original Sources. London: J. Murray, 1911.
  10. Andre, Carl(1967).Line Work.Arts Magazine,41(7),49-50.
  11. Attridge, Derek(1995).Poetic Rhythm: An Introduction.Cambridge:Cambridge University Press.
  12. Aurier, Albert(1995).Textes critiques 1889-1892: De l'impressionnisme au symbolisme.Paris:Ecoles nationale superieure des Beaux-Arts.
  13. Barde, Robert Eric(2008).Immigration at the Golden Gate: Passenger Ships, Exclusion, and Angel Island.Westport, Conn:Praeger.
  14. Baudelaire, Charles(1976).Oeuvres complètes.Paris:Gallimard.
  15. Baudelaire, Charles,Mayne, Jonathan(Translated)(1995).The Painter of Modern Life and Other Essays.London:Phaidon.
  16. Baxandall, Michael(1988).Painting and Experience in Fifteenth-Century Italy. A Primer in the Social History of Pictorial Style.Oxford:Oxford University Press.
  17. Bergson, Henri(1986).L'évolution créatrice (1907).Paris:Presses Universitaires de France.
  18. Binyon, Laurence(1969).Painting in the Far East: An Introduction to the History of Pictorial Art in Asia, Especially in China and Japan.New York:Dover.
  19. Bois, Yve-Alain(ed.)(1994).Piet Mondrian, 1872-1944.New York:The Museum of Modern Art.
  20. Bois, Yve-Alain,Loock, Ulrich(1993).Brice Marden: Paintings 1985-1993.Bern:Kunsthalle Bern.
  21. Bürger, Peter(1981).The Significance of the Avant-Garde for Contemporary Aesthetics: A Reply to Jürgen Habermas.New German Critique,22,19-22.
  22. Bürger, Peter,Shaw, Michael(Translated)(1984).Theory of the Avant-Garde.Minneapolis:University of Minnesota Press.
  23. Burlington Magazine editorial(1972).The Post-war Interest in Chinese Painting.The Burlington Magazine,114(830),281-283.
  24. Bush, Susan(ed.),Murck, Christian (ed.)(1981).Theories of the Arts in China.Princeton:Princeton University Press.
  25. Bush, Susan,Shih, Hsio-yen(1985).Early Chinese Texts on Painting.Cambridge, Mass:Harvard-Yenching Institute by Harvard University Press.
  26. Bynner, Witter,Kiang, Kang-hu(1951).The Jade Mountain: A Chinese Anthology, Being Three Hundred Poems of the T'ang Dynasty, 618-906.New York:Alfred A. Knopf.
  27. Calinescu, Matei(1987).Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism.Durham, NC:Duke University Press.
  28. Cerrito, Joann(ed.),DiMauro, Laurie(ed.)(1999).Modern American Literature.Detroit, MI:St. James Press.
  29. Chung, Ling(1977).Whose Mountain is This?-Gary Snyder's Translation of Hanshan.Renditions,VII,93-102.
  30. Crichton, Michael(1977).Jasper Johns.New York:Abrams.
  31. Daniels, Roger(1988).Asian America: Chinese and Japanese in the United States since 1850.Seattle:University of Washington Press.
  32. Daniels, Roger(1971).Concentration Camps USA: Japanese Americans and World War II.New York:Holt, Rinehart and Winston.
  33. Davidson, Michael(1989).The San Francisco Renaissance: Poetics and Community at Mid-Century.Cambridge:Cambridge University Press.
  34. Derrida, Jacques,Bennington, Geoff(Translated),McLeod, Ian(Translated)(1987).The Truth in Painting.Chicago:University of Chicago Press.
  35. Foucault, Michel(1970).Les mots et les choses. Une archéologie des sciences humaines.London:Viking.
  36. Fried, Michael(1998).Art and Objecthood: Essays and Reviews.Chicago:University of Chicago Press.
  37. Fry, Roger(1989).Cézanne: A Study of His Development.Chicago:University of Chicago Press.
  38. Fry, Roger,Bullen, J. B.(ed.)(1998).Vision and Design.New York:Dover.
  39. Gardner, Paul(1994).Call It a Mid-Life Crisis.Art News,93(4),140-143.
  40. Garrels, Gary(ed.)(2006).Plane Image: A Brice Marden Retrospective.New York:The Museum of Modern Art.
  41. Gay, Peter(2008).Modernism: the Lure of Heresy: from Baudelaire to Beckett and Beyond.New York:W.W. Norton.
  42. Godfrey, Tony(1998).Conceptual Art.London:Phaidon.
  43. Goldstein, Ann(ed.)(2004).A Minimal Future? Art as Object: 1958-1968.Los Angeles:The Museum of Contemporary Art.
  44. Gray, Cleve,Rowley, George(1955).Chinese and Western Composition: A Conversation between an Artist and an Art Historian.College Art Journal,15(1),6-17.
  45. Greenberg, Clement,O''Brian, John(Edited)(1985).The Collected Essays and Criticism.Chicago:University of Chicago Press.
  46. Guilbaut, Serge,Goldhammer, Arthur(Translated)(1983).How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War.Chicago:University of Chicago Press.
  47. Habermas, Jürgen(1981).Modernity versus Postmodernity.New German Critique,22,3-14.
  48. Hale, Niki(1980).Of a Classic Order: Brice Marden's Thira.Arts Magazine,55(2),152-153.
  49. Hamalian, Linda(1991).A Life of Kenneth Rexroth.New York:Norton.
  50. Hay, John(1983).Values and History in Chinese Painting, I: Hsieh Ho revisited.RES: Anthropology and Aesthetics,6,73-111.
  51. Hay, John(1983).The Human Body as a Microcosmic Source of Macrocosmic Values in Calligraphy.Theories of the Arts,Princeton, N. J.:
  52. Hay, Jonathan(1998).Brice Marden, Chinese Work.New York:Mathew Marks Gallery.
  53. Hearn, Maxwell K(ed.)(2008).Landscapes Clear and Radiant: the Art of Wang Hui (1632-1717).New Haven:Yale University Press.
  54. Hill, Nic(2006).Piece by Piece: the History of San Francisco Graffiti, Documented.United States:Underdog Pictures.
  55. Hoskins, Gareth(2006).Poetic Landscapes of Exclusion: Chinese Immigration at Angel Island, San Francisco.Landscape and Race in the United States,New York:
  56. Howard, Edgar,Haimes, Theodore(1977).Brice Marden.New York:Tuckeruck Productions.
  57. Hung, William(1952).Tu Fu: China's Greatest Poet.Cambridge, Mass:Harvard University Press.
  58. Huyssen, Andreas(1981).Avant-Garde and Postmodernism in the 1970s.New German Critique,22,24-32.
  59. Keller, Eva(ed.),Malin, Regula(ed.)(2003).Brice Marden.Zurich:Daros.
  60. Kern, Robert(1996).Orientalism, Modernism, and the American Poem.New York:Cambridge University Press.
  61. Kertess, Klaus(1992).Brice Marden: Paintings and Drawings.New York:Abrams.
  62. Klein, Christina(2003).Cold War Orientalism: Asia in the Middlebrow Imagination, 1945-1961.Berkeley:University of California Press.
  63. Lai, Him Mark(ed.)(1980).Island: Poetry and History of Chinese Immigrants on Angel Island, 1910-1940.Seattle:University of Washington Press.
  64. Lee, Anthony W.(1999).Painting on the Left: Diego Rivera, Radical Politics, and San Francisco's Public Murals.Berkeley:University of California Press.
  65. Lee, Anthony W.(2001).Picturing Chinatown: Art and Orientalism in San Francisco.Berkeley:University of California Press.
  66. Lewison, Jeremy(1991).Brice Marden: Prints 1961-1991. A Catalogue Raisonné.London:Tate Gallery.
  67. Lewison, Jeremy(2006).The Quest for Content: Anselm Stalder, Helmut Federle, Terry Winters, and Brice Marden.Singular Multiples: The Peter Blum Edition Archive, 1980-1994,Houston, TX:
  68. Liu, Chiao-mei(2009).Writing on the Wall: Brice Marden's Chinese Work and Modernism.Chinese Walls in Time and Space: A Multidisciplinary Perspective,Ithaca, N.Y.:
  69. Lyotard, Jean-François(1979).La Condition postmoderne.Paris:Editions du Minuit.
  70. Marden, Brice(1991).The Grove Group.New York:Gagosian Gallery.
  71. Marden, Brice(1978).Brice Marden: Recent Paintings and Drawings.New York:Pace Gallery.
  72. Marden, Brice,Neugroschel, Joachim(Translated)(1978).Brice Marden: Recent Paintings and Drawings.New York:Pace Gallery.
  73. Marden, Brice,Rexroth, Kenneth(1987).Thirty-six Poems by Tu Fu Translated by Kenneth Rexroth, with Twenty-five Etchings by Brice Marden.New York:Peter Blum Edition.
  74. Marden, Brice,Steir, Pat(1991).Brice Marden: Recent Drawings and Etchings.New York:Matthew Marks Gallery.
  75. Martin, Marianne W.(1978).Futurist Art and Theory 1909-1915.New York:Hacker Art Books.
  76. Matthiessen, Peter(1998).Nine-Headed Dragon River: Zen Journals 1969-1982.Boston:Shambhala.
  77. Meyer, James(2001).Minimalism: Art and Polemics in the Sixties.New Haven:Yale University Press.
  78. Michael, Sullivan(1974).The Three Perfections: Chinese Painting, Poetry, and Calligraphy.New York:George Braziller.
  79. Michaux, Henri(1975).Idéogrammes en Chine.Paris:Fata Morgana.
  80. Munroe, Alexandra(ed.)(2009).The Third Mind: American Artists Contemplate Asia, 1860-1989.New York:The Solomon R. Guggenheim Museum.
  81. Nodelman, Sheldon(1978).Marden, Novros, Rothko: Painting in the Age of Actuality.Houston:Rice University.
  82. Osborne, Harold(1955).Aesthetics and Criticism.London:Routledge and Kegan Paul.
  83. Osborne, Harold(1968).Aesthetics and Art Theory: An Historical Introduction.Harlow:Longmans.
  84. Owens, Craig(1992).Beyond Recognition: Representation, Power, and Culture.Berkeley:University of California Press.
  85. Ratcliff, Carter(1975).Abstract Painting, Specific Space: Novros and Marden in Houston.Art in America,63(15),84-88.
  86. Rexroth, Kenneth(1961).Assays.New York:New Directions.
  87. Rexroth, Kenneth(1973).The Elastic Retort: Essays in Literature and Ideas.New York:The Seabury Press.
  88. Rexroth, Kenneth(1971).American Poetry in the Twentieth Century.New York:Herder and Herder.
  89. Rexroth, Kenneth(1970).With Eye and Ear.New York:Herder & Herder.
  90. Rexroth, Kenneth(1964).An Autobiographical Novel.New York:New Directions.
  91. Rexroth, Kenneth(1959).Bird in the Bush: Obvious Essays.New York:New Directions.
  92. Rexroth, Kenneth(1966).The Collected Shorter Poems of Kenneth Rexroth.New York:New Directions.
  93. Rexroth, Kenneth(1956).One Hundred Poems from the Chinese.New York:New Directions.
  94. Richardson, Brenda(1992).Brice Marden: Cold Mountain.New York:DIA Center for the Arts.
  95. Rowley, George(1959).Principles of Chinese Painting.Princeton, N. J.:Princeton University Press.
  96. Schapiro, Meyer(1979).Modern Art: 19th and 20th Centuries.New York:George Braziller.
  97. Schapiro, Meyer(1994).Theory and Philosophy of Art: Style, Artist, and Society.New York:George Braziller.
  98. Schulte, Rainer(ed.),Biguenet, John(ed.)(1992).Theories of Translation: An Anthology of Essays from Dryden to Derrida.Chicago:University of Chicago Press.
  99. Scully, Vincent(1979).The Earth, the Temple, and the Gods: Greek Sacred Architecture.New Haven:Yale University Press.
  100. Serota, Nicholas(ed.)(1981).Brice Marden: Paintings, Drawings and Prints 1975-80.London:Whitechapel Art Gallery.
  101. Shearer, Linda(ed.)(1975).Brice Marden.New York:The Solomon R. Guggenheim Museum.
  102. Shiff, Richard(1984).Cézanne and the End of Impressionism.Chicago:University of Chicago Press.
  103. Shimizu, Yoshiaki,Rosenfield, John M.(1984).Masters of Japanese Calligraphy: 8th to 19th Century.New York:The Asia Society Galleries.
  104. Shone, Richard(ed.)(1999).The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant.London:Tate Gallery.
  105. Smith, Roberta Pancoast(1973).Brice Marden's Painting.Arts Magazine,47(7),36-41.
  106. Snyder, Gary(1958).Riprap and Cold Mountain Poems.Washington, D. C.:Shoemaker & Hoard.
  107. Snyder, Gregory J.(2009).Graffiti Lives Beyond the Tag in New York's Urban Underground.New York:New York University Press.
  108. Soper, Alexander C.(1959).Review: George Rowley, Principles of Chinese Painting, second edition, 1958.Artibus Asiae,22(3),262-263.
  109. Steinberg, Leo(1972).Other Criteria: Confrontations with Twentieth-Century Art.Oxford:Oxford University Press.
  110. Steir, Pat.(1995).Brice Marden Recent Drawings and Etchings: With an Interview by Pat Steir.Matthew Marks.
  111. Steir, Pat,Yau, John(2000).Dazzling Water, Dazzling Light.Seattle:University of Washington Press.
  112. Stewart, Jack(ed.),Stewart, Regina(ed.)(2009).Graffiti Kings: New York City Mass Transit Art of the 1970s.New York:Melcher Media/Abrams.
  113. Stomberg, John(ed.)(2002).Looking East: Brice Marden, Michael Mazur, Pat Steir.Boston:Boston University Art Gallery.
  114. Sze, Mai-mai(1956).The Tao of Painting, A Study of the Ritual Disposition of Chinese Painting, with a translation of the Chieh tzu yüan hua chuan; or, Mustard Seed Garden Manual of Painting, 1679-1701.New York:Pantheon Books.
  115. Tuchman, Maurice(ed.)(1986).The Spiritual in Art: Abstract Painting, 1890-1985.Los Angeles:Los Angeles County Museum of Art.
  116. Waley, Arthur(1958).The Way and Its Power: A Study of the Tao tê ching and Its Place in Chinese Thought.New York:Grove Press.
  117. Waley, Arthur(1986).170 Chinese Poems.London:Constable and Company Ltd.
  118. Walker, Barry(ed.)(2006).Singular Multiples: The Peter Blum Edition Archive, 1980-1994.Houston, TX:The Museum of Fine Arts.
  119. Watson, William(1972).Review: Principles of Chinese Painting, revised edition, by George Rowley.The Burlington Magazine,114(830),337-338.
  120. Wei, Lilly(1987).Talking Abstract.Art in America,75(7),80-97.
  121. Wylie, Charles(1998).Brice Marden: Work of the 1990s: Paintings, Drawings, and Prints.Dallas:Dallas Museum of Art.
  122. Zeitlin, Judith T.(ed.),Liu, Lydia H.(ed.)(2003).Writing and Materiality in China. Essays in Honor of Patrick Hanan.Cambridge, Mass:Harvard University Press.
  123. Zito, Angela(ed.),Barlow, Tani E.(ed.)(1994).Body, Subject and Power in China.Chicago:University of Chicago Press.
  124. 那志良編(1970)。故宮法書選粹。臺北:國立故宮博物院。
  125. 俞劍華編(1975)。中國畫論類編。臺北:河洛。
  126. 楊倫(1978)。杜詩鏡銓。臺北:華正書局。
print cancel