地方·安阳-“文字与图像论坛及田野”启幕-【文字、图像及其他】【全球、区域与地方】专题

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地方·安阳——“文字与图像论坛及田野”启幕

纸屋纸屋 2023-11-13 05:32

地方·安阳——纸屋、NAA、新金石联合项目

Location• Anyang - Paper House, NAA, New Jinshi Joint Project

文字、图像与田野

Text, Images, and Fields

前言

文字与图像所关注的是语言与视觉以及它们的关系。这种关系可视为学科之间的互动性，比如再现或象征等手法的共通，也以可见与可言、陈列与叙述、展示与解释等方式来区分之间的差异。

当然，对于地方，随着现代学术的发展与转变，我们也不得不面对新的局面。傅斯年、董作宾的发掘、搜集、整理和使用新材料研究中国，建立“科学的东方学”，以自然科学的知识、思维、方法，解释“中国民族文化的原始阶段及其形成的主动力量。”显然迥异于刘鹗、王懿荣、罗振玉等人。随着现代学科的介入，安阳甲骨迅速成为全球瞩目的焦点。

而今天，甲骨早不再只是文字学研究的对象，逐渐被纳入更为宽广的当代文化范畴，因此学科之间的互动协助必不可少。

另外，安阳与佛教石刻艺术也紧密相连，比如小南海、灵泉寺万佛沟等，一直是中国考古学的前身金石学研究的对象，文字-书法、器物-图像，进而汇集于地方文化的关系之中。此时书法已经走向视觉，图像学分析方法将书法推向另一种现代性，现代文字学研究在引入字形学观念的同时正在与图像分析形成特殊张力。

跨学论坛

文字与图像

2023.11.15-20

【地方】

1、跨学论坛文字与图像

2、人类学田野工作中的地方

殷墟

文字博物馆灵泉寺万佛沟石窟小南海石窟修定寺塔

大伾山石窟石刻

3、文字与在地艺术展

地方-第二届新金石双年展

学术主持

赵旭东（中国人民大学二级教授、博导，人类学研究所所长、新金石学研究所所长）

孔令伟（中国美术学院艺术教育与管理学院院长、教授）

总策划

周松林（策展人、NAA中心馆长、纸屋主理人，新金石学研究所执行所长）

蔡润森（哲学博士、纸屋创始人、新金石学研究所副所长）

统筹

吴杰（副教授、安阳工学院艺术设计学院副院长）

总执行

游志恒（中央美术学院博士）

白鹭（导演，制片人）

特邀嘉宾（按姓氏笔画排序）

韦国（艺术家，山东女子学院当代艺术文献研究院院长）

田振宇（中国美术学院博士、西泠印社社员）

丘新巧（上海师范大学中国书画系副主任、教授）

杨杨（故宫博物院副研究馆员、故宫研究院古文献研究所副所长）

辛德勇（北大历史系教授，北大古地理与古文献研究中心主任）

宋宁（中国美术学院博士）

张目达（艺术家、中国艺术研究院书法博士）

张孜伟（中国人民大学人类学博士）

张总（中国社会科学院世界宗教研究所研究员、研究生院教授）

张翀（中央美术学院博士，中国社会科学院副研究员）

陈则威（中国文字博物馆书画院副秘书长、教授）

陈坚（山东大学哲学与社会发展学院宗教学系主任、佛教研究中心主任、教授、博导）

赵立春（响堂山石窟研究院院长、副研究员）

赵宪章（历任南京大学学术委员会副主任、中文系主任，北京大学邀访教授）

赵雅辞（南京师范大学美术学博士，安阳工学院艺术设计学院讲师）

柯小刚（同济大学人文学院教授、博导，古典书院院长）

韩猛（中央美术学院博士）

韩瑞（中国美术学院博士）

焦琳（中央美术学院博士，鲁迅美术学院老师）

鲁大东（艺术家，中国美术学院书法博士、现代书法研究中心副主任）

曾翔（艺术家，中国国家画院研究员，云南大学昌新国际艺术学院硕导）

蔡穗玲（海德堡大学博士，中国佛教石经研究项目研究员）

校对翻译

张孜伟（中国人民大学博士）

张月（山东大学文学博士）

孔垂书（伦敦艺术大学硕士）

学术策划

纸屋书局

NAA中心

新金石学研究所

学术支持

中国人民大学人类学研究所

中国美术学院艺术管理与教育学院

北京大学礼学研究中心
山东大学佛教研究中心

中国美术学院现代书法研究中心

中国艺术研究院艺术学研究所、艺术人类学研究中心

寄语

这次我们尝试介入一个新的主题，即“地方”，将地方书法、文字、图像等艺术视为一张意义之网，探究他们的地方性知识结构。

何谓“地方”？

需要说明的是，它不是概念，它更像一种行动，而且我们也不准备提出概念，如果一定需要阐释的话，那得从我们的思考、工作方法以及工作内容中展开。

在中国传统知识体系中，“地方”即地呈方形，对应着“天圆”，在这种空间观念和视知觉经验中，方与圆相对。这一哲学迥异于发现新大陆以后的空间观念，更迥异于今天所谓的东部西部，发达落后，所谓一线、二线、三线城市等空间区隔方式。

在今天，“地方”往往被视为中心地区以外、以下的各级行政区，在这样的观念中，“地方”与“中心”相对，处于附属地位。

不过，今天知识体系的多元化，以及去中心化，将我们引向另一种极为朴素的讨论——西方是地方，东方也是地方……非洲是地方，澳洲是地方，欧洲是地方，亚洲是地方，美洲是地方……毛里求斯是地方，新几内亚是地方，巴拿马是地方，埃及是地方，法兰西是地方，美利坚是地方……纽约、洛杉矶是地方，巴黎、伦敦是地方、北京、上海是地方……

由于过度展开空间区域的阐释，我们很容易不自觉地被那个“地方”早就被叙述的“历史”吸引——这虽然能够让我们重新思考中心化的形成所带来的诸多问题，但是同时也更容易让我们的讨论陷入表面化、符号化、标签化。

事实上，地方一定有所不同，这是它在平行空间中所具备的肉身属性，尽管它具备了行动意志，但是总被简单化，而且在今天这样的社会进步发展中，附属地方被剥夺、榨取进而牺牲掉，这并不罕见。因此，我们的思考、我们的行动必将转换方向，以追求其丰富性、多样性、差异性为目标，或者说，它现在还保有的生命力、鲜活的特质就应该处于我们工作的核心。

克利福德·格尔茨（Clifford Geertz，1926-2006）的《地方性知识》（local knowledge）把地方上的人所编制的“意义之网”作为研究对象，而“不是寻求规律的经验科学”，相反应该从地方的具体的现象探寻其背后结构和意义的逻辑，因此应该从“一门寻求意义的阐释学科”出发，进而发现知识本来从特定情境中生成出来的特殊性，并对标本似的“地方”产生警惕和怀疑。

如何推进地方工作？以安阳为例。

我们的工作将从三个方面展开：论坛、田野、展览——都围绕着安阳这个地方特有的文化，让知识触地生长：一场论坛“文字与图像”；一场田野“书法人类学田野”；一场展览“地方性知识当代艺术展”。

一是文字与图像。

文字与图像所关注的是语言与视觉，以及它们的关系。这种关系可视为一种学科之间的互动性，比如都具体到再现或象征等手法的使用。因此这样的学科亦可通过可见与可言、陈列与叙述、展示与解释等方式来区分之间的差异。

自甲骨文发现至今，“文字的发展”贯穿了安阳这片土地的整个历史。因刘鹗、孙诒让、罗振玉、王国维等学人整理和研究，安阳殷墟甲骨文不仅为学界所关注，也在后来成为研究中华文明的重要工程。但是，现代学术的到来使之发生了巨大变革。也就是说，学科发展的转型，让我们重新反思古今不同语境之下的知识生成逻辑。

中国当代考古发生始于近代，傅斯年（1896-1950）与他的团队（史语所）发掘、搜集、整理和使用新材料研究中国的历史，建立“科学的东方学”。其实就是将自然科学的知识直接用于史学研究，以科学的知识、思维、方法，通过史料的发掘和探究，解释“中国民族文化的原始阶段及其形成的主动力量。”从史语所筹备期始，傅斯年就派董作宾（1895-1963）前往安阳开展殷墟田野考察和搜集甲骨，以及之后开展的15次发掘，累积出土有字甲骨24918片。这些田野工作，在世界考古史上极为罕见——安阳迅速成为全球瞩目的焦点。

当安阳因为甲骨文闻名之时，这个地方已经开始披上了其特殊的文化标签。而这个标签建构的关系，从结果来看，确实呈现了地方的特殊性和象征性，但是甲骨文和安阳的关系不仅仅是考古所能盖全。中国考古学的前身金石学已经敞开了另外两条路径：一是文字学，二是书法学，他们共同指向艺术。金石学肇始于宋，其目的是正经补史。而金石学发展到碑学，以及后来进入现代学科、现代艺术空间，书法自然走向了视觉——以图像学分析方法将书法推向另一种现代性，现代文字学研究在引入字形学观念的同时正在与图像分析形成特殊张力。这一现代性，或许依然能够证明地方的价值和意义。

二是书法人类学田野。

书法的叙事该如何展开？在我们考察现代书学研究的路径和现代书法思潮之时，你会发现，传统书法的品评结构在几千年的发展中不仅建构起一套固定化的文化价值，还将人的修养置于规则之上，且牢不可催。

然而，问题的复杂性就在于：传统书学并非一个学科，更似一门学问，而且在学问之外，它被视为余事。书法这种松散的余事结构已经说明书法背后的文化结构的开放性。尤其在开放多元的现代学科的背景下，意义和价值将随着现代学科的介入得到进一步证实。

人类学研究的核心工作之一就包含了宗教仪式，而甲骨文作为占卜仪式中的关键，指向的是人对未来意义上的精神取向和生存动力。显然，这种呈现迥异于传统文人艺术的封闭的个性化表达，他回应的是当代人的诉求，内容皆以政治、经济、战争、生育等为主体。

因此，人类学在与甲骨文相遇之时，安阳这个地方皆因意义的阐释方式得以立体化，丰富化、整体化。

三是与文字、图像有关的当代艺术展。

当双年展都以城市命名的时候，它似乎在尝试承载“地方”的使命，而地方却在这样的逻辑及叙事形式里消失了。不论你再使用何种语词，都无法挽救其瞄向中心之后所生产的与地方毫不相干的真实。所谓地方知识，已经失去了触底生长的合法性，已经成为当代作为中心的社会文化、经济、教育、医疗、住房等普遍问题的附属。

我们将地方的历史、哲学、艺术纳入地方叙事，而不是在中心——教育中心、经济中心、政治中心、医疗中心、资本中心、艺术中心、上级博物馆、上级美术馆。在当代，我们本来就应该对那些脱离“地方”的“地方性知识”抱以怀疑。

因此，我们将安阳的这次展览题名也命名为“地方”——它迥异于“在地”，地方包含了在地性，我们选择了从安阳及其周边地区成长出来的艺术家，以及与安阳及周边地区的文化能够相互阐释的当代作品——邀请河南本地生长而出的艺术家，是为了回应在地艺术家的问题，一方面他们从中心到地方进行劫取思想资源或艺术形式，另一方面他们容易携带中心地区的傲慢与偏见（其实已经内化成他们自己）到地方单方面输出的方式等。

显然，我们的工作中心并未放在方法的创造上，而是直接面对问题，跨学科并不新鲜，或者说我们在使用跨学科的方式展开的讨论、调查、展览等，尽量围绕着思想方法的奏效性展开，一个问题更适合什么样的思想方法就使用什么样的思想方法，而不是将一种方法使用在所有问题之上。(2023年9月于安阳纸屋，周松林）

Preface

The field work of this second Calligraphy Anthropology workshop will be carried out in Anyang, Henan Province.

This time, we try to intervene in a core theme, that is, "location", taking local calligraphy, images and other arts as a web of meaning, and exploring their local knowledge structure.

What is "Location "?

To be clear, it is not a concept, it is more like an action, and we are not going to propose a concept, if we need to explain it, it must be from our thinking, working methods, and what we do.

In the traditional Chinese knowledge system, "location" means that the earth is square, corresponding to "heaven is round", in this concept of space and visual perception experience, square and circle are opposite. This philosophy is very different from the concept of space after the discovery of the new world, but also very different from today's so-called east and west, developed backward, so-called first-tier, second-tier, third-tier cities and other spatial division.

In today's world, "location" is often regarded as the administrative region outside the central area, below the level, in this concept, "location" and "center" relative, in a subordinate position.

But the pluralism and decentralization of today's knowledge systems leads us to a very simple discussion - West, East, Africa, Australia, Europe, and Asia, America, as well as Mauritius, New Guinea, Panama, Egypt, France, and New York and Los Angeles, Paris and London, Beijing and Shanghai… Every one above could be regarded as a “location”.

Due to the overexpansion of the interpretation of spatial areas, we are easy to unconsciously be attracted by the "history" of the "location" that has long been narrated - although this can make us rethink the many problems brought by the formation of centralization, but at the same time, it is easier to let our discussion fall into the surface, symbolic, and labeling.

In fact, the location is different, it is not only about physical property in parallel space, but also has the will to act, and it is always simplified, and in today's social progress and development, subordinate places are deprived, extracted and then sacrificed, which is not uncommon. Therefore, our thinking, our actions will have to change direction, to pursue its richness, diversity, difference as the goal, or it still retains vitality, fresh characteristics should be at the core of our work.

Clifford Geertz's "local knowledge" (1926-2006) takes the "web of meaning" compiled by local people as its object of study, rather than "empirical science in search of regularities." On the contrary, the logic behind the structure and meaning should be explored from the concrete phenomenon of the place, so it should start from "an interpretive discipline seeking meaning", and then discover the particularity of knowledge originally generated from a specific situation, and have vigilance and suspicion of the taxonomic "location".

How to promote local work? Anyang Experiment.

Our work will be carried out from three aspects: forum, field and exhibition - all around the unique culture of Anyang, so that knowledge can touch the ground: a forum "words and images"; A field "calligraphy anthropology field"; An exhibition "Local Knowledge Contemporary Art Exhibition".

One is text and image.

Words and images are concerned with language and vision, and their relationship. This relationship can be seen as an interaction between disciplines, such as the use of representation or symbolism. Therefore, such a discipline can also distinguish between visible and speaking, display and narration, display and interpretation, and so on.

Since the discovery of oracle bone inscriptions, "the development of characters" has run through the entire history of Anyang. Because Liu E, Sun Yirang, Luo Zhenyu, Wang Guowei and other scholars collated and studied, the oracle bone inscriptions in Yin Ruins of Anyang were not only concerned by the academic community, but also became an important project in the study of Chinese civilization. However, with the advent of modern scholarship, great changes have taken place. In other words, the transformation of discipline development makes us rethink the logic of knowledge generation under different contexts in ancient and modern times.

Contemporary archaeology in China began in modern times when Fu Sinian (1896-1950) and his team (Institute of Historical Studies) excavated, collected, collated and used new materials to study Chinese history and established "scientific Orientalism". In fact, the knowledge of natural science is directly applied to historical research, and scientific knowledge, thinking and methods are used to explain "the primitive stage of Chinese national culture and the active force of its formation" through the excavation and exploration of historical materials. From the beginning of the preparatory period of the Institute, Fu Sinian sent Dong Zuobin (1895-1963) to Anyang to carry out field investigation and collect oracle bones, and after carrying out 15 excavations, a total of 24,918 pieces of oracle bones were unearthed. Such field work is extremely rare in the history of world archaeology - Anyang quickly became the focus of global attention.

While Anyang is famous for its oracle bones, the location has begun to take on its special cultural label. The relationship constructed by this label, from the result, does present the particularity and symbolism of the place, but the relationship between oracle bone inscriptions and Anyang is not only archeological. The predecessor of Chinese archaeology, metallography, has opened two other paths: one is philology, and the other is calligraphy, which together point to art. Jinshi originated in Song Dynasty, its purpose is to make up for history. While the development of epigraphy to epigraphy, and later into modern disciplines and modern art space, calligraphy naturally moves towards vision - the method of graphic analysis pushes calligraphy to another modernity. While introducing the concept of graphology, the study of modern philology is forming a special tension with image analysis. This modernity may still prove the value and significance of place.

The second is the field of calligraphy anthropology.

How to develop the narrative of calligraphy? When we examine the path of modern book study and the trend of modern calligraphy, you will find that the evaluation structure of traditional calligraphy has not only constructed a set of fixed cultural values in the development of thousands of years, but also put people's cultivation above the rules, and can not be forced.

However, the complexity of the problem lies in the fact that traditional bibliography is not a discipline, but more like a knowledge, and outside of the knowledge, it is regarded as an afterthought. This loose residual structure of calligraphy has shown the openness of the cultural structure behind calligraphy. Especially in the context of open and diversified modern disciplines, the significance and value will be further confirmed with the intervention of modern disciplines.

One of the core works of anthropological research includes religious rituals, and oracle bone inscriptions, as the key to divination rituals, point to people's spiritual orientation and survival motivation in the sense of the future. Obviously, this closed and personalized expression, which is different from the traditional literati art, responds to the demands of contemporary people, and the content is mainly about politics, economy, war and fertility.

Therefore, when anthropology met oracle bone inscriptions, Anyang was three-dimensional, enriched and integrated because of the way of meaning interpretation.

The third is the contemporary art exhibition related to text and image.

When the biennale is named after the city, it seems to be trying to carry the mission of "location", and place is lost in such a logical and narrative form. No matter what kind of words you use, you cannot save the reality that it produces after it is aimed at the center, which has nothing to do with the place. The so-called local knowledge has lost the legitimacy of bottoming out and has become a subsidiary of the prevailing social and cultural, economic, educational, medical, housing and other issues that are at the center of contemporary society.

We incorporate the history, philosophy, art of the place into the local narrative, not at the center - the educational center, the economic center, the political center, the medical center, the capital center, the art center, the superior museum, the superior art gallery. In modern times, we should be suspicious of "local knowledge" that is not "local."

Therefore, we named this exhibition in Anyang "Location" - it is different from "place", the place contains the nature of the place, we selected artists from Anyang and the surrounding area, and contemporary works that can be interpreted with the culture of Anyang and the surrounding area - invited artists from Henan province, It is in response to the problem of local artists, on the one hand, they steal ideological resources or art forms from the center to the place, on the other hand, they are easy to carry the pride and prejudice of the central region (in fact, they have internalized themselves) to the way of unilateral export to the place.

Obviously, our work does not focus on the creation of methods, but directly face the problem. Interdisciplinarity is not new, or we use interdisciplinary methods to carry out discussions, investigations, exhibitions, etc., as far as possible around the effectiveness of thinking methods, and use what kind of thinking methods are more suitable for a problem. Instead of applying a one-size-fits-all approach.（September 2023 in Anyang Zhiwu, Zhou Songlin）

纸屋

纸屋，是一所坚守民间立场、保持开放姿态的艺术与学术机构。致力于推动中国当代艺术与学术的多元发展。工作包括书籍出版、艺术策展、文化策划、学术论坛、专题讲座、影像拍摄、现场对话、田野调查、艺术衍生等。

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