想像的字體─布萊斯．馬登的《王紅公蝕刻》圖冊
Journal
臺大歷史學報
Journal Volume
無
Journal Issue
47
Pages
169-255
Date Issued
2011
Author(s)
Abstract
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 episteme, 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.
SDGs
Type
journal article