跨界影响:论韩东与毛焰的艺术互动  

On the artistic interaction between Han Dong and Mao Yan

作　　者：张森[1] 戴露 ZHANG Sen;DAI Lu(College of Liberal Arts,Hunan Normal University,Changsha 410081,China)

机构地区：[1]湖南师范大学文学院,湖南长沙410081

出　　处：《中南大学学报（社会科学版）》2023年第3期185-193,共9页Journal of Central South University：Social Sciences

基　　金：国家社科基金项目“文化变局中的现代国画家诗文研究”(18BZW165)。

摘　　要：作家韩东与画家毛焰多年来的艺术交游颇具自觉意识,他们都强调与自身所处领域的“断裂”,并由此凸显跨界交流对彼此创作的重要性。在这一互动中,韩东吸取了毛焰的“慢”艺术观念,完成了由原来的“习作作家”向“作品作家”的转变,毛焰绘画的灰色语言在韩东诗歌中也有所体现,并呈现出相似的精神取向。以韩东为题材的作品《我的诗人》的出现,则促使毛焰在绘画中重视对当代人存在状态的深度表达,此外,受韩东“有距离的抒情”观念的影响,毛焰有意识地在绘画时克制欲望的表达,画面转入宁静乃至混沌之境。韩东与毛焰的互动是双向的、自觉的,并对各自的创作转型产生深刻的影响,体现了诗画互动的现代表现形式,对于考察现代语境中的文艺跨界行为也具有重要的意义。The artistic interaction between Han Dong and Mao Yan for many years has been of strong self-awareness.They both emphasize the"break"with their own fields,and thus highlight the importance of"cross-border"to their creation.In their interaction,Han Dong absorbed Mao Yan's slow art,and fulfilled his transformation from an apprentice writer to a text writer,while Mao Yan's gray language is also manifested in Han Dong's poetry,and also presented a similar spiritual trend.The appearance of My Poet which takes Han Dong as its thematic concern promotes Mao Yan to put strong emphasis on modern people's existence in painting.Besides,influenced by the concept of distanced lyricism,Mao Yan,in painting,consciously suppresses his desire for expression,and turns his painting scene into chaos.The interaction between Han Dong and Mao Yan is mutual and conscious,exerts great impact on each other's creation,and manifests modern way of expression with interaction between poetry and painting,which highlights an important significance in exploring cross−boundary interaction between arts in modern context.

关 键 词：韩东 毛焰 艺术互动 “慢”艺术 灰色 “有距离的抒情” 

分 类 号：I0−05[文学—文学理论]