起因是 Marion Milner 在她的最後一本書 Bothered by
Alligators (2012) 說
However I slowly came to realise that it was not a question of me
analysing him, but rather of his images analysing me. This meant that I had to
go on with no idea where this undertaking was going to lead me.
Milner, Marion. Bothered By Alligators (Kindle location 319-320).
Taylor and Francis. 2012, Kindle edition.
一切是從那裡開始的
再者是因為 如果寫意(xieyi)是寄情於天地 放懷於山水
Over the past 900 years, China has endured the ravages of wars,
rule under suppressive autocracies, and nomadic conquerors. The written word
was harshly censored while widespread traumas and dispossession prevailed.
Successive generations of Wen Ren, or scholar-gentlemen, thus retreated to
self-cultivation and, to evade political persecution, collectively fostered Xie
Yi, or writing–mind painting, a culture of therapy expressing Daoist philosophy
through imbued metaphors. Xie Yi, in essence, provides an evocative visual
journey that joins the artist and viewer from trauma, fragmentation to the
coherent widening of one's inner scene. This ultimately arrives at the Daoist
ideal of integration with nature, where the individual returns to being
elemental and authentic.
Richard Wu (2015)‘Xie Yi Painting as a Culture of Therapy’: Part 1
– Introduction, in Scharff, David E.(ed). Psychoanalysis and Psychotherapy in
China: Volume 1 (Kindle location 2466-2471). Phoenix Publishing House. 2015
(2019), Kindle edition.
雖然我不確定 寫意的本意 是不是僅止於避禍於亂世 如果是的話
不寫也罷
然後 這兩天 翻閱那本 史亡而後詩作 第六章講到林風眠
Lin invoked the term shuqing as early as 1926, considering it the
keyword to modernizing Chinese art. At the time, he had just returned to China
after a six-year sojourn in Europe. While he was eager to introduce
contemporary European trends, from late impressionism to expressionism and
fauvism, he was already pondering the direction Chinese artists should take.
For him, lyrical evocation constituted the core of Chinese aesthetics, as
evinced by the spectrum of articulation from xieyi 寫意, or
expressive-style painting, to multiple poetic and performing genres. (p. 376)
The Lyrical in Epic Time: Modern Chinese Intellectuals and Artists
Through the 1949 Crisis, by David Der-wei Wang, Columbia University Press, 2015
有趣的是 王德威論抒情 出發在
I ague for
rethinking lyricism critically in the postsocialist Chinese context, citing the
treatises of two contemporary critics, Li Zehou and Kao Yu-kung 高友工 (1929-2016), as points of
departure. (p. 25)
