2015年9月30日 星期三

1001 2015 四


9點起;昨牙痛,折騰一陣子
繼續林醫師的錯譯
馬友友的愛情故事:還有人說他老爸是馬思聰。

台大午餐後,找某二手書店,買3本500元的閒書:
The British Architecture and Interior, Coordinated By Fumio Shimizu and Deyan Sudjic
The New French Architecture By Wojciech Lesnikowski
Frank O. Gehry Guggenheim Museum Bilbao By Van Bruggen
回程經台大正門,巧遇學長曹永洋先生。找他到某咖啡店、台大農產品處買飲品,路旁閒聊,再回88號2樓大聊。相約10月14日見面。
知道有一套新潮文庫的書。
我已忘記五月畫會劉國松與徐復觀的筆戰。



The Blob in Eindhoven
On ’18 September Square’ in the old city centre of Eindhoven, you will find a futuristic building that stands out among its neighbours. It is called 'The Blob' and was designed by the Italian architect Massimiliano Fuksas. The organically shaped glass and steel structure serves as the entrance to the wonderful 'The Admirant' shopping mall.
More information: http://bit.ly/1gU4Yuf



《高科技的暖人性》
我一直喜歡Google搜尋首頁,配合時節氛圍與知識的設計⋯
今日的貼切與幽默,令人看了開心⋯
10/1是傅培梅女士的生日⋯
年輕的朋友,可能不知道這位當年每天要出現在電視上,教大家做菜的媽媽了。
知道的人,可能也忘了⋯
Google沒忘,幫我們記得,這是科技可以讓人類更美的好處之一⋯
我猜,不久之後,人人都可以訂製首頁,把我們希望紀念的人事物,放在上頭了。

The Times Higher Education World University Rankings are out, and we're no. 30, up from 60 in 2010-11! http://bit.ly/1jzvQle


當代智慧人物訪問錄
  • ISBN13:9786665990955
  • 作者:JAMES NELSON
  • 譯者:林哲雄
  • 裝訂:平裝
  • 出版社:文星,1966; 水牛出版社,1988等

透過本書我們能和當代最傑出的人物作知己式的談話,這些詩人、哲學家、科學家、政治家、藝術家們,他們以自己的話親自告訴我們生命對他們有什麼意義,是什麼東西在鼓舞他們前進,同時也提出了一些對後來者必要的引導。


《當代智慧人物訪問錄》文星版,頁32 有一句: 
"他(案:蕭伯納)的這一段忠告簡短而 親切有力而坦白,活像一頭驢子在奔馳。 (ass's gallop)"
現在近半世紀之後,我們可查出受訪者 Sean O'Casey (1880-1964)的都柏林俚語的ass's gallop的意思是"一段短時間",不過沒有原文,不懂得脈絡下的意思。猜想可能是:用人生短、快、甜美的慣用語來形容蕭伯納的來信之體驗。

Ass's gallopn. phr.Brief period of time

Autobiographies II: Drums Under the Windows and ...

https://books.google.com.tw/books?isbn=0571283748
Sean O'Casey - 2011 - ‎Biography & Autobiography
Drums Under the Windows and Inishfallen, Fare Thee Well Sean O'Casey. my Journal made the ... Short and sweet, like a Christian ass's gallop! Hogan added  ...



The New Partridge Dictionary of Slang and Unconventional ...


https://books.google.com.tw/books?isbn=1317372522
Tom Dalzell, ‎Terry Victor - 2015 - ‎Language Arts & Disciplines
71, 1968 ass's gallop noun a brief period of time IRELAND • Mr. Wise had certainly perked up a lot in the initial months of his working in the shop, this had been  ...


.. Maritime—it's out in the street—and snaked over to a wineshop for some cheese and vin rouge and was back on the train again as quick as an ass's gallop.


另外一處顯然的翻譯錯誤是選擇定居得文,應是Devon,靠近蕭伯納推薦的"拉丁頓大學" ( 該段大學、學校互用,其實應該是寄宿中學Dartington Hall ( in Dartington, near TotnesDevon, England, is a country estate that is the headquarters of the Dartington Hall Trust, a charity specialising in the artssocial justice and sustainability.  https://en.wikipedia.org/wiki/Dartington_Hall#Dartington_Hall_School)

Breon O'Casey (30 April 1928 – 22 May 2011), the son of playwright Sean O´Casey, was a London-born and brought up artist and craftsman closely associated with the St Ives School of painters and sculptors.[1]





Dear  x x x x : 

This afternoon, I watched the news in wenxuecity.com and learned that, according to a survey of 500 universities worldwide that is conducted in England, the ranking of Taida (台灣大學) has fallen to 167th place.

About ten other universities in Taiwan have also been included in the survey, such as Feng Chia, Fu Jen, and Tan Chiang, but nowhere did I see the name of Tunghai.   I feel sad and furious.  Let us hope that the Board of Trustees can find and choose a really excellent candidate for Tunghai's next
president.

Best, SY

全球最佳大學排名 台大第167創新低

  英國泰晤士報高等教育特刊今天公布2015-2016年全球最佳大學排行榜報告,美國加州理工學院連續第5年稱霸,國立台灣大學排名大跌到167名,創新低紀錄。

泰晤士報高等教育特刊(Times Higher Education)今年將調查排名的大學數量,從去年的400所加倍到800所,同時更重視大學在全球的聲譽調查,雖然台灣有24大學入列全球前800名大學,但整體排名表現並不理想。

根據調查,台灣大學排名從去年的155名跌到167名,是泰晤士報高等教育特刊進行全球大學排行榜12年以來的最低水準
清華大學排名在251-300名之間,交通大學排名301-350名之間,台灣科技大學排名在301-350名之間,中國醫藥大學、成功大學和陽明大學排名401-500名之間。

中央大學、中山大學及師範大學排名在501-600名之間,600名之後不再細分排名,亞洲大學、長庚大學、中原大學、逢甲大學、輔仁大學、義守大學、高雄醫學大學、政治大學、中正大學、中興大學、台北科技大學、海洋大學、台灣醫學大學sic 臺北醫學大學
 、元智大學排在601-800名之間。

負責這項調查的主編巴堤(Phil Baty)接受中央社記者專訪時說,今年的調查結果對台灣並不是很好,但不建議與去年做密切比較,原因是今年的大學數量有800所,是去年的2倍,資料引用也更廣泛。
他說,台大跌到12年來的最低水準,排名第167,顯示全球大學的競爭愈來愈激烈,許多大學獲得政府的投資,不論是歐洲或亞洲國家的競爭都很激烈,雖然台灣的大學傳統上有很強的系統,但在面對其它國家快速大量投資高等教育的劇烈競爭時有些跟不上。

2006年,政府編列33億美元,提供台灣12所大學10年的經費,許多台灣的競爭對手都大量投資高等教育,競爭日益激烈,台灣必須加快腳步否則將會落後。

巴堤說,好消息是,台灣今年有24所大學在前800名大學榜上,加入世界大學的競爭,現在台灣需要的是更多來自政府的支持與資金,幫助台灣的大學加強競爭力,提高排名。

泰晤士報高等教育專刊的世界大學排行榜調查,使用來自產業的研究收入、聲譽調查、有博士學位教職人員人數、研究被引用次數、國際學生人數、與國際學者共同發表學術論文數量等13個指標進行分析。0930


吳學長,
謝謝資訊。我的看法:
SY學長的生氣,固然有點道理。
不過,所有的校友應該好好討論鄭清和學長近年提出的問題:過去20年,該捐錢的都給了,東海的學術地位一蹶不振。
我今年才知道物理系招進的學生是該組的80 百分點Percentile,工業工程系可能是74%.....建築系改組,是該組約24%.....
這樣的入學成績,如何進所謂全球800大。東海的滑坡是過去40多年逐漸一年不如一年、不斷擴大招生之結果。
大家無法接受的是東海以前是私校第一,現在淪為我們70年代說的學店大學。大部份人吞不下的是昔日---七零年代---的私校都贏過東海了。

我希望校友、學長們都接受事實,不要夢想董事會或新校長能變魔術,畢竟學術能力是數十年之功。



0930 2015 三





梁容若的[如何改善中文裡外來語的翻譯] ,《東海大學學報》第一期,1959
文中的一些建議,譬如說用注音符號來翻譯外國人名等,至今未得採用,所以問題沒得解決。
舉一例,梁容若、王天昌編的{書和人},國語日報社出版,1965.3.13 創刊,雙周刊。前百期,與東海大學師生的關係不小。
莊喆 [雙城記],{書和人}第一百期,國語日報社出版,1968.12.28,內有3篇:
[巴黎的故事]:這篇提到的諸多畫家,都未附原文,所以即使在近48年後資訊發達的現在,都很難還原。最有意思的是,上周莊先生2~3次談趙無極等,此文沒提到趙先生......
[紐約的故事]:
(1968.11.20)
[記威尼斯雙年展]:
(1968.12.12)



周三,"根據《壹週刊》報導....."的新聞"漸多。
這位部長上台,又是"書籍定價銷售"、"圖書消費券"等等空砲彈齊發。
本人上周在市立美術館聽他胡扯一陣子.....



晚上 牙齒問題:要在台北或苗栗拔/補、治?
忘記周三,還很高興煮3道....
知道今年是遠流、藝術家40周年.....對我的意義?還能留下一出版社嗎?不行的話,是什麼?

1004 高美講堂:「走進《藝術家》的世界--看台灣藝術現當代發展故事」;遠流40周年

建議YY:[台北] 燈燈庵自然流日式料理@ 當令食材、日籍師傅、精緻 ...




老曹為徐復觀老師編紀念文集,心中從沒有像我從胡適之先生生平中說的,徐有時怪怪的,有其陰暗面。
廖志峰新增了 6 張新相片 — 和張世忠其他 2 人
颱風天,守在屋子裡,頂樓的風特別狂烈,我始終擔心窗子飛掉。忽然起了一陣狂風,吹開了窗帘,捲翻了一把舊壺,碎了一地。風始終沒有停過,不知做什麼好,拿起了文發送我的《異鄉客》讀了起來。馬奎斯在台灣出版過的作品,幾乎都有了,獨缺這一本,文發也真是奇人,他怎麼知道我也在找這一本?書店終究是逛得不夠勤,也沒有專注在呼喊著這本書,⋯⋯
更多
讀:"張大春新增了 3 張新相片。
我大陸的朋友寄給我這一段文字,囑我溫故知新───實在很有意思。難怪馬克吐溫說:「歷史不會重演,但是會押韻。」(History doesn’t repeat itself but sometimes it rhymes.)
六十九年前,周恩來是這麼說蔣介石的:
「蔣介石說中國不能搞民主,中國需要的是一個中央集權的政黨,使中國走向穩定,只有穩定了,中國才能走向富強。這是什麼強盜邏輯啊?以穩定為由,拒絕民主,充分暴露了蔣介石這個獨裁者的本質。誰搞專制獨裁,誰就不得人心,誰就會被熱愛民主的人民打倒。」
——— 周恩來於1946年"
感想:1.中共官媒採用"民主"之名攻擊蔣介石政權的話語,應該從30年代就開始了。這直覺需要專家求證實。
2. 類似「歷史不會重演,但是會押韻。」(History doesn’t repeat itself but sometimes it rhymes.)的嘉言,不是馬克吐溫說的呢!參考:
EN.WIKIQUOTE.ORG

借書:文星叢刊莊喆;席德進;書和人---梁容若.....
還書
財團法人人文促進教育基金會
黎烈文全集4本
書名: 文字析義注. 上冊

書名: 文學的源流

書名: 朝花旬刊

書名: 甲子春秋 : 我与文学所六十年

書名: 難忘帥府園 : 民國時期美術史料札記


ABERT YANG是否為五毛?

The Chinese leader found himself outgunned at every turn by three of the world’s most compelling media figures — Pope Francis, Donald Trump and Vladimir Putin.
ON.FT.COM




So long, bitter, medicinal espresso. Brewed in the U.S. and Australia, coffee’s next wave is finally overtaking the capitals of Europe. Here’s where to find the best cups on the Continent right now.
WSJ.COM|由 KAREN STABINER 上傳

2015年9月28日 星期一

0929 2015 二梁容若、王天昌編的{書和人}


2~3點,院子很少有風呼嘯而過。
颱風假:無風無雨

11:20 蠔油牛肉之醬油不好也。



真羨慕老曹的教書生涯中,有些大器晚成的學生。更重要的,他們不忘情。
志峰寫老曹多篇,都能抓到其神情。
老曹雖然是中國文學系的,不過心靈通世界偉人:不知道他是否讀過陳繼儒(1558-1639)的箴言:"人生一日或聞一善言,見一善行,行一善事,此日方不虛生。 "  因為他選的是歌德的話:「一個人在自己的生活裡,每天要吟讀一首好詩,閱讀一本名著,聆聽一首名曲,欣賞一幅名畫,庶幾上蒼賦予你的美麗靈魂,才不致被塵俗的煩惱所蒙蔽。」
老曹佩服托爾斯泰,可能從來不疑作品中的托翁與貴族的托氏之差別。
老曹當祕書志工的史懷哲學會,會士多把羅東宜蘭當成非洲、寶地。
老曹為徐復觀老師編紀念文集,心中從沒有像我從胡適之先生生平中說的,徐有時怪怪的,有其陰暗面。




人生一日或聞一善言,見一善行,行一善事,此日方不虛生。 
---安得長者言 (明)華亭陳繼儒(1558-1639)


「一個人在自己的生活裡,每天要吟讀一首好詩,閱讀一本名著,聆聽一首名曲,欣賞一幅名畫,庶幾上蒼賦予你的美麗靈魂,才不致被塵俗的煩惱所蒙蔽。」---曹永洋「此情可待成追憶----編後記」,載《音樂界的騎士:曹永坤先生紀念文集》( The Taiwan knight of classical music : in memory of Tsao Yeong-Kun ), 曹永洋, 曹慧中編, 臺北市: 草根出版,2008,頁246,曹永坤(1929-2006)




鄭成功
 古之宰相捨功名以成事業,今之宰相既愛事業又愛功名;古之宰相如聶政塗面抉皮,今之宰相有荆軻生劫秦王之意,所以多敗。 



書和人第一輯 1969.5/1992.10


梁容若、王天昌編的{書和人},國語日報社出版,1965.3.13 創刊,雙周刊。前百期,與東海大學師生的關係不小。
莊喆  [雙城記],{書和人}第一百期,國語日報社出版,1968.12.28,
巴黎的故事
紐約的故事
(1968.11.20)
記威尼斯雙年展
(1968.12.12)






藍天白雲集(精) 1978


本書為作者退休後所寫雜文,是讀萬卷書,行萬里路後的結晶。生薑越老越辣,甘蔗越後越甜。作者倡導教育的散文,追求科學與文學的結合,專門學術的大眾化趣味化小品文化。本書有細針密縷的繡花,有海闊天空的玄想,有詼詭入骨的嘲諷,有四平八穩的說教;結局成為國語的教育的學術的文學的雜文嘗試,深入而淺出,光怪陸離而清明如止水。夫人不言,言必有中。

中國文學史研究



  好的文學史,除了是正確的歷史以外,本身還應當是文學作品,正如偉大的文學批評也一定是文學書。〈文賦〉、《文心雕龍》、《史通》都是明證。不是作家,就不能理解作家,更無從批評作家,記述也就難於得體。有志研究文學史的人,努力把文章寫好,更是最基本的訓練了。「美斯愛,愛斯傳」,「言之無文,行而不遠」。這種古訓,無論在任何時候,任何地方,任何作品,都是適用的。---梁容若〈如何研究中國文學史〉

  梁容若先生一生研究、講授中國文學史,可謂集畢生精力於此;他不但整理、擁有許多目前罕見的資料,對於文學史的研究也有獨到的見解。本書特別將這些心血結晶,完整呈現,讓前輩學人治學的風範,永成我們的借鑑。


王天昌

  臺灣師範大學學士,東海大學中文系教授。著作:《漢語語音學》、《中國文學作家作品》、《應用文書》;編有《書和人》。




2015年9月27日 星期日

0928 2015 一颱風

強烈颱風「杜鵑」直撲台灣,中秋節連假受影響,交通受阻。氣象部門警告「超級大潮」或導致低窪地區淹水。






上周本List 人物多精彩。
從周一至周五,我處都有訪客來談心、事,很難得、精彩:康志峰、戴久永、繆詠華;張華、鄧益裕、川瀨。周末和周日則是當莊喆的學生。
錦坤兄說他2周來都沉浸在"佛教經典語言";辛島教授訪台更有一系列演講,如在法鼓文理學院的講座以「佛典語言及傳承」為題.....
唐香燕Sonya (Our lightning) 發表系列見聞追想錄,譬如說"由一張畫說起的媽媽經"。經驗告訴我,這些文章到出書後就會刪文呢!這照相版的長歌行,不會有人幫我出書,所以我不會刪文的。


記些昨天27日莊喆老師的話語。
1.學生們提到兩位他認識的畫家朋友,他嘆息道,藝術家應該珍惜自己的身體.....想想多活二三十年可以多做多少事......回顧展各時期都有他當期的照相 (很多是老弟子莊靈拍的),多是美男子樣子.....其中有一幅他拿煙斗,他說,以前從抽煙進一步到抽煙斗.....後來都戒了煙。
2. 他年輕時也經常寫美術評論,1968年結集文星叢刊"現代繪畫散論"。不過他在教育部的論文升等上屢受挫折:朋友勸說論文要博採眾人看法,而不能太多主見,否則成為"宣言"......
3. 他似乎對他們夫婦同屬的五月畫會印象很好,最主要的每一位成員都順著自己的特性發展出自己獨特的藝術。
4. 他到美國數十年是靠賣畫生活的,這樣,代理人極其重要,他們可以將你的特色推出去,甚至進而可以激勵藝術家發輝其潛能。這次回顧展的許多作品都是亞洲藝術中心賣出去再找回來的。

5. 中國山水系統的山,以石為主,樹只是點綴。這種山,他在新大陸才得以見識、研究。
6. 在美國採取"鄉村包圍城市"策略:都住在鄉下和都會邊緣,才容易看到資本主義的破敗 (他的READY-MADE 雕塑材料......)。現在大藝術家都離開紐約了,他也駐進......

7. 畫中的字或一長大筆,都不採用"毛筆",而用諸如"紙"、、等材料為之。
8. 一幅畫,常在幾個月的端詳之後,再加一筆,保持平衡和層次。
9. 他的完成畫,可能還有些部分是未完成的,他投降部分:不知道如此善了處。






紐約時報的中文版似乎被攻擊;英文版已無習大人的音訊.....
下兩篇可能有"意思":
Pope Departs, After Showing a Deft Touch
By JIM YARDLEY and LAURIE GOODSTEIN
Pope Francis demonstrated a nuanced political dexterity, effectively sidestepping the familiar framework of American debate while charting his own broader path.


India Takes Over From China as Next U.S. Tech Frontier

By VINDU GOEL
With China’s president unwavering on tough Internet policies, Narendra Modi of India is sending a different message: Help India become an Internet powerhouse.


"馬英九,你對不起人民、社會、國家和教你法學的老師們,你讓他們蒙羞了。 "

當初由哈佛法學博士馬市長簽准的美河市開發案,經過地主的奔走呼號與正義人士的鼎力相助,大法官會議大前天公布解釋,當年《大眾捷運法》第7條等3項...
APPLEDAILY.COM.TW|作者:蘋果日報

Pro-independence parties have emerged with a majority of seats in the regional election in Catalonia but they fell short of their target to capture 50% of ballots cast.
(Image from Reuters)
Support for independence plateauing but still holds a warning for Madrid
ON.FT.COM

2015年9月26日 星期六

0927 2015 日 莊喆


8點半起。電腦似乎沒關......






有些朋友知道,我在研究1955-1960的東海大學學人的"學思":
牟宗三 《五十自述》, 台北:鵝湖,1989 (只前二章是新稿:末幾篇約寫於1959), 頁123-25 有關於The Life of Jesus by Ernest Renan
第19章 《耶酥熱情的激烈化》之評語與修正。

2015.9.26夜, 讀《五十自述》,竟然引用 Søren Kierkegaard的話:契爾克加德:"沒有一個世代的人能從前一代學知真正的人生,由這方面來看,每一世代都是原始的。它所負的工作並無與前一代的有什麼不同!它亦不能勝過前一代而更進步。例如沒有一個世代能從前一代學知如何去愛,除從頭做起之外,也沒有一個世代能有任何其他開始點。同樣,信仰亦是如此。......"
現在網路可找到:
“Whatever the one generation may learn from the other, that which is genuinely human no generation learns from the foregoing...Thus no generation has learned from another to love, no generation begins at any other point than at the beginning, no generation has a shorter task assigned to it than had the previous generation.”




與東海大學的"人+物"擦身而過、不期而遇
1. 昨天莊喆老師的八十回顧畫展,正是如此。今天袁學長來電,"鄧學長"說,當年女生宿舍交誼廳還留有莊老師的作品,後來"流入"某人手中.....
2. 高一時就翻過牟宗三老師的"理則學" (部定大學用書)。當時我已有大一符號邏輯 的水平,所以只讀附錄他的學生寫的關於禪宗語言的分析 (數十年之後,在網路讀過這位留在大陸的學生之追憶:在四川受牟老師照顧情形)。高中時,讀牟老師在東海的演講等集子"生命的學問" (台北:三民),印象很深;20年之後重讀,比較沒衝擊力了。1972或73年,牟老師回東海演講,銘賢堂大爆滿。我最想問的是,為什麼你們聽得懂牟老師的"國語"?
3. 牟老師常鼓勵學生生命有限,要讀的書那麼多,應專心用功.....那位教我欣賞塞尚畫的藝術家,在大肚山上告訴我,畢業之後,應該去拜師學習,因為他們的學問快與身俱去.....這,我也沒做到。
4. 那個黃昏,我們與陳其寬老師相遇文學院迴欄。當時很少人知道他寫的"相思樹頌"之類的文章。老師說,回台北,一定找他好好一聊。後來我懶,或以為是老師的客氣話,沒去找他。
5. 許達然老師聽起我大一住第七宿舍,說,當年那是助教的宿舍,他與建築系助教合住。他整天畫作不斷,三十年之後成為名建築師 (李祖原),開過畫展。"早知道,當年的垃圾不會放過....."
6. 我們大一的宿舍,亂得很可以。學長寢室(大三)則是在Open Day 候選為楷模。我們造訪它,都滿心虔誠、敬畏。許多年之後,忠樸學長病逝,他的室友從美國飛回來一拜。再過12年,我們在中原大學為忠樸設一獎學金。我跟他的室友說,東海設獎學金是你們寢室的"責任".....


"......先生既老,而聰明不衰,酬對終日,不少厭怠。......"
--- 文徵明作沈周行狀稿 (莊喆先生有一大作品是給全世界的文徵明專家參加Richard Edwards(艾瑞慈)主持的文徵明國際會議討論的....

27日下午15點到17點,莊喆老師無私地跟數十人交流:聽演講的約40人,一起聽莊喆老師"說"作品的,約20人,2/3是女性。Wikipedia  莊喆條目不夠深入,他的恩人不少,都沒提起.....
回顧展的起點是他大學時代追同班女同學為她做的塑像;與數十年之後太太畫他的像對視。
另一區是由弟弟莊靈收集的 莊喆的家人之素描 (這應該是莊喆在東海大學建築系開的課程),非常好。寫老父莊嚴的像與信已發表在雄獅版的"莊嚴"。母親的兩張一是初老,一是垂垂老矣,很好。

Wikipedia:"莊喆出身書香世家,自幼耳濡目染很早變接觸中國歷代書法真跡,培養出對書畫藝術的興趣。" 妙的是,今天有人拿一幅據說可能是他16歲臨的國畫"鑑真偽",很不錯,莊先生說那印章是父親送的,假不了..... (他青少年期的國畫水平如此,怎可能在師大選國畫組.......)





美國密西根大學 文徵明展

Memoir

Richard Edwards
Regents' Proceedings 1196
Richard Edwards, Professor of Far Eastern Art in the History of Art Department, will retire from active faculty status on May 31, 1987, following 27 years of service to The University of Michigan.
A native of Auburn, New York, Professor Edwards received his A.B. degree from Princeton University in 1939 and his M.A. degree from Harvard University in 1942. His graduate studies were interrupted by his service during World War II with the American Field Service in North Africa and Italy and as a member of the Friends Ambulance Unit in China. Following the war, he undertook further graduate study at Yale University and then at Harvard University, where he received the Ph.D. degree in 1953. He taught at. Boston University, Brandeis University, and Washington University before joining the faculty of The University of Michigan in 1960 as a professor of far eastern art.
During his career, Professor Edwards has traveled and studied extensively in China and throughout the Far East as the recipient of three Fulbright Fellowships, two Rackham Faculty Research Grants, and a Rackham Faculty Research Fellowship. He is the author of five books and numerous articles. His administrative service includes a term as chairman of the Department of History of Art from 1969-73. Professor Edwards' distinction as a member of The University of Michigan faculty was recognized by his being named the Henry Russel Lecturer in 1984.
Throughout his career, Professor Edwards has maintained a position of prominence in the study of Chinese painting, enjoying recognition from colleagues in the field both at home and abroad. Through his numerous publications, his participation in academic symposia, and his role as a teacher, he has consistently exemplified scholarly excellence, rigorous discipline, and humane wisdom. His accomplishments and presence have brought honor to The University of Michigan.
The Regents now salute Richard Edwards for his distinguished service by naming him Professor Emeritus of Far Eastern Art.

 Osvald Sirén, Chinese Painting:leading masters and principles(New York ......
Richard Edwards艾瑞慈
Richard Edwards ed. The Art of Wen Cheng-ming(14701559) with an essay by Ann de Coursey Clapp. The University of Michigan Ann Arbor 1976.
Richard Edwards(艾瑞慈), The Field of Stones: A Study of Art of Shen Chou (1427-1509) Washington: Freer Gallery of Art 1962.

Emeritus Professor Richard Edwards publishes The Heart of Ma Yuan: The Search for a Southern Song Aesthetic


By sharrell
Mar 29, 2011Bookmark and Share
Ma Yuan, one of China's best-known artists, was a key figure in the period widely celebrated as the golden era of Chinese landscape painting. The Heart of Ma Yuanoffers a careful discussion of Ma Yuan’s painting as it emerged within the sophisticated artistic environment of Hangzhou in the late twelfth and early thirteenth centuries.
Beautifully illustrated with more than 300 illustrations from leading museums and private collections around the world, the book includes discussions of Ma Yuan’s family of six generations of skillful painters, his many patrons, and his distinctive style in engaging Confucian, Taoist and Buddhist genres and his superb landscapes, including animals, flowers, and detailed studies of water.
Widely noted for his own keen eye and masterful stylistic analysis, Richard Edwards cultivates the art of looking for a broad readership, from general art lovers to specialists in art history. As a Western scholar exploring the significance of a highly refined Eastern culture, he draws on natural history, poetry, and relevant contemporary writing as well as the work of other artists.
Richard Edwards is Professor Emeritus of Far Eastern art at the University of Michigan, Ann Arbor where he taught from 1960–87.
"Ma Yuan emerges as an artist who captures the reality of season, time, and mood in a dazzlingly abbreviated style that is nonetheless utterly convincing in its rendering of the natural world." – Maxwell K. Hearn, Metropolitan Museum of Art
"Richard Edwards and Ma Yuan have something in common: both are deeply committed to the work of art and the medium of ink painting. And like Ma Yuan's brushwork, Edwards’s prose couples formal restraint with expressive power. This book is a major contribution to the literature on the art of ink painting at the Southern Song court." – Robert Sharf, University of California, Berkeley







Walter Benjamin: his life in postcards

On the 75th anniversary of the German writer’s death, we delve into his archive and discover his love for travelling—and writing home about it
by THE ART NEWSPAPER  |  25 September 2015
Walter Benjamin: his life in postcards
Walter Benjamin


Fleeing the Nazi invasion, Walter Benjamin (1892-1940), the author of The Work of Art in the Age of Mechanical Reproduction, died mysteriously in the small Catalan town of Portbou 75 years ago. To commemorate his death, we are publishing an extract from Walter Benjamin’s Archive, which Verso is releasing in paperback to coincide with this anniversary. The book is based on Benjamin’s personal collections of objects, which he posted to friends and colleagues when his life was in danger in war-torn Europe. We have focused on Benjamin’s collection of postcards.    

San Gimignano, Palace of the Pesciolini family and the twin towers of the Salvucci family
San Gimignano, Palace of the Pesciolini family and the twin towers of the Salvucci family
Buying, writing, sending, receiving, reading, and collecting picture postcards featured in Walter Benjamin’s life from childhood into his adult years. He enjoyed all the uses of a medium that was barely as old as he. The first polychrome picture postcard, manufactured according to a photographic template, appeared three years after his birth. Just two months after their introduction more than two million pictorial postcards had been bought.

But picture postcards were not only bought and sent en masse. They were also quick to become items that inflamed the passions of collectors, and Benjamin too fell victim. Over the course of the years the medium of the picture postcard itself became a focus of his philosophical interests. In 1924-25 he planned a publication that was intended to include an essay on the “Aesthetics of the Picture Postcard”. It would appear that this publishing plan collapsed, but his interest in a written confrontation with the phenomenon of the picture postcard remained.


Ibiza, Es Vedra Island. Photo by Domingo Viñets

Walter Benjamin on his postcards 

There are people who think they find the key to their destinies in heredity, others in horoscopes, others again in education. For my part, I believe that I would gain numerous insights into my later life from my collection of picture postcards, if I were to leaf through it again today. The main contributor to this collection was my maternal grandmother, a decidedly enterprising lady, from whom I believe I have inherited two things: my delight in giving presents and my love of travel. If it is unclear what the Christmas holidays—which cannot be thought of without the Berlin of my childhood—meant for the first of these passions, it is certain that none of my boys’ adventure books kindled my love of travel as did the postcards with which she supplied me in abundance from her far-flung travels. And because the longing we feel for a place determines it as much as does its outward image, I shall say something about these postcards. 


San Gimignano, Panorama dal Poggio
On San Gimignano

If one arrives from far away the town is suddenly as noiseless as if one had stepped through a door into landscape. It does not give the impression that one could ever manage to come any closer. But should one succeed, then one falls into its lap and cannot find oneself again for all the humming of grills and children’s cries.

Over the course of many centuries its walls consolidated themselves ever more thickly; barely a house is without the traces of large rounded arches over its narrow gate. The openings, in which now dirty linen cloths blow gently as a protection against insects, were once bronze doors. The remains of the old stone ornamentation have been left poking godforsaken from the masonry, which lends it a heraldic air. If one enters through the Porta San Giovanni, one feels as if one is in a courtyard, rather than on the street. Even the squares are courtyards, and one feels secure on all of them. What one often encounters in the towns of the south is nowhere more tangible than here; that, in order to get what one needs for life, one must first make the effort to visualize it, because the line of these arches and battlements, the shadows and the flight of the doves and crows make one forget one’s needs. It is difficult to escape from this exaggerated present, in the morning to have evening before one and in the night the day.


Ibiza, view of the town. Photo by Domingo Viñets
On Ibiza

I had been living for a few months in a rocky eyrie on Spanish soil. I often resolved to set out into the environs one day, as it was bordered by a ring of severe ridges and dark pinewoods. In between lay hidden villages; most were named after saints, who might well have been able to inhabit this paradisiacal region. But it was summer; the heat allowed me to postpone my resolve from day to day and I even wished to save myself from the cherished promenade to Windmill Hill, which I could see from my window. And so I stuck to the usual meanders through the narrow, shady alleyways, in whose network one was never able to find the same hub more than once. During my wanders one afternoon I came across a general store, wh ere postcards could be bought. In any case some were displayed in the window and amongst their number was a photo of a town wall. Many such walls have been preserved in numerous places in this corner of the land, but I had never seen one quite like this. The photograph had captured all of its magic: the wall swung through the landscape like a voice, like a hymn singing across the centuries of its duration. I made a promise to myself that I would not buy the card before I had seen with my own eyes the wall that was depicted on it.

The next afternoon I stumbled suddenly upon my general store. The picture postcard was still hanging in the window. But above the door I read on a sign, which I had missed before, in red letters “Sebastiano Vinez.” The painter had included a sugarloaf and bread.


Siena Cathedral
Siena Cathedral
On Siena

Ritual teaches us: the church did not build itself up by overcoming the love between men and women but rather homosexual love. That the priests do not sleep with the choir boys is the miracle of the mass (cathedral at Siena July 28, 1929)