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)

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