Mu Xin
心的傳奇 The Legacy of Mu Xin
http://myemail.constantcontact.com/The-legacy-of-Mu-Xin--Screening-and-panel-discussion.html?soid=1101447332660&aid=d9zzcffmAJ4
心的傳奇 The Legacy of Mu Xin
Luchia Meihua Lee
Screening & Panel Discussion on the Life Legacy of Mu Xinhttp://myemail.constantcontact.com/The-legacy-of-Mu-Xin--Screening-and-panel-discussion.html?soid=1101447332660&aid=d9zzcffmAJ4
木心(1927-2011)， 一位堅毅的藝術創作者，真正的世界級藝術家。於去(2011)年12月21日過世了。木心被認為是二十世紀非常原創與極為重要的藝術家之一，然而尚有很多數的民眾不知道他。木心最大的仰慕者與支持者-知名藝術家與評論人陳丹青，認為木心是他的教師也是精神導師。他們認識了25年也在同一年代住在紐約市皇后區。而曾獲三次奧斯卡紀錄影片提名的導演Francisco Bello 與 Tim Sternberg在2010年12月曾在2010年間前往中國數次訪問木心，製作了記錄片 「木心：來自地下的筆記」（Notes from the Underground），這一個訪問見證了最後期的木心。
木心的傳奇一生將銜接了中國文革前到今日文藝橋樑。而他的藝術活躍的在東西方與古典及現代之間對話。他1927年出生於浙江烏鎮世家，本名孫璞，在14歲時發現一位遠親也是知名詩人矛盾廢棄的書房中發現文藝寶庫，他開始系統性的閱讀西洋的哲學史詩，加上從小上私塾得以深入習得中國古經典。之後在上海美院就讀。在參與一個抗爭活動中被學校退學，之後1946逃避國民政府而到臺灣， 1949回到共產黨的新中國，陷入足以讓他憂鬱致死的痛裂處境，然這種處於晦暗悲觀環境的遭遇，卻也喚起他內心的頑強的人文記憶，並讓他耽於創作中解脫困頓。他說：「文學是我的信仰，是這信仰使我渡過劫難。」
他在1971到72年間被囚禁在一個地下滿是髒水的廢棄防空壕中，18個月不見天日的地下囚牢日子，他寫下「獄中日記」（the prison notes），其中文字內容其實是他自己與西方先知哲學家者的對話，如福樓拜，尼采，孔夫子等。他用的是地下的髒水寫在氾黃的自白書紙上，留下的是66篇650,000個的密密麻麻的字，也因此讓他依靠這精神糧食而存活下來，之後他將這個自白書日記偷偷的縫在衣角藏著帶出牢獄。然而文化大革命在1976年的結束並沒有帶給他自由，1978到1979年他遭到軟禁，在煎熬的日子中他白天勞動，而晚間他轉化成為自由的靈魂，他繪製了33幅動人心弦的山水畫。現在這批作品是耶魯大學博物館的典藏品。
在1982年間，他逃離開了故鄉到了紐約。以往的沉痛記憶讓他小心翼翼的生活著，然這自由的空氣精神也轉印到一幅幅完美的傑作。2002到2003年間，他創作了兩組60與40幅微型的驚人袖珍巨作。有些僅有1-2英寸高，需藉助放大鏡方可辨識，但是是如此的完整而非凡。另外在此時段他也同時大量的寫作。
而事實上，木心的第一篇文章早在1966年在台灣聯合副刊發表，1984年台灣《聯合文學》創刊號為木心特設「散文展覽」專號，題名《木心，一個文學的魯濱遜》，木心在文壇甫一出现，即以獨有不俗的風格，引起廣大讀著强烈注目。
美國的頂尖藝術史學術界在2000年，早已注意到這一位獨特的孤寂藝術精英。他的部分散文與小說被翻譯成英語，成為美國大學文學史課程範本讀物，並作為惟一的中國作家，與福克纳、海明威作品编在同一教材中；在哈佛與耶魯這些名校主辦的《文學無國界》（Words Without Boarder）網站，木心擁有眾多忠實讀者。在2002年, 76歲的他有了人生第一次的展覽，展出他的繪畫與獄中日記，展覽由耶魯大學規劃連同芝加哥大學策劃，並巡廻展出。
而非常諷刺的，在木心一生於瀕死邊緣追逐藝術創作的尊嚴與典範，2006年在他人生的尾聲，在木心近80的年紀時，被家鄉的地方當局以英雄之姿並認定是"國寶"邀請返鄉定居，他持續在他家鄉寫作與畫畫一直到2011年12月辭世為止。現在21世紀中國的藝文圈子也逐步的在瞭解他。在他的家鄉將會建立木心美術館。陳丹青（Chen Danqing）將會擔任館長。木心的著作在中國也逐漸向公眾發表了，集結了十三篇短文的英文版"An Empty Room" 由Toming Jun Liu翻譯,新方向出版社王久安（Joanne Wang）女士代理2011年在美國出版。
木心是一個典型的藝術智識分子，精通文學，繪畫，音樂，歷史，詩詞等。他優遊在莎士比亞，福樓拜，尼采，達文西，詩經，楚辭，唐宋詩詞，范寬郭熙的山水間。我們無法用單一的藝術家身分來認定他。從1984年起，台灣皇冠，圓神、遠流等出版社陸續出版了木心作品，包括：散文集《瓊美卡隨想錄》1986、《散文一集》1983、《即興判断》1988、《素履之往》1994、《馬拉格計劃》1999、《鱼麗之宴》1999、《同情中断錄》1999；诗集《西班牙三棵樹》1988、《巴瓏》1988、《我纷纷的情欲》1998、《會吾中》1998；小说集《温莎墓園日記》1988。
他的畫作優雅，詠歎，空靈，朦朧，憂鬱，平滑而又充滿肌理，就是自然萬物宇宙共同存在的視覺感受。他的文學古典又現代，溫柔抒情而張力充滿情感與生活的痕跡。 他的創作感動了我們所有的人。
在1984年木心答臺灣《联合文学》編者問說：「一切崩潰殆盡的時候，我對自己說："在绝望中求永生" 。」 相較于木心的前半年歲在中國，現在中國的創作環境顯得是如此朝向一種開放的能量，但是似乎又必需戰戰兢兢的在不涉及敏感政治議題下存活。我們藝術圈能對中國自由創作有所期待嗎？或是去等待另一位受到壓抑的瘋狂人文藝術家的出現。
Chinese painter, writer, and intellectual Mu Xin, who recently passed away at 84, is considered by experts to be one of the most original, important yet largely unknown artists of the last century. Among his greatest admirers and supporters is famed Chinese intellectual and painter Chen Danqing, who regards Mu Xin as his teacher and mentor. They met 25 years ago when they were both living in Queens, NY.
OSCAR� and Emmy Nominated filmmakers Francisco Bello and Tim Sternberg traveled to China in December 2010 to interview Mu Xin for their film "MU XIN: NOTES FROM THE UNDERGROUND." This interview is the last living testament of Mu Xin on camera.
Mu Xin's life bridged pre-revolutionary China to the present day, and his art remains a vibrant dialogue between East and West, the classical and the contemporary. He was born Sun Pu in 1927, to an aristocratic family in Wuzhen, Zhejiang Province. Like many intellectuals of the late 1940's he rallied to Mao Zedong's vision for a new China, and gradually became disenchanted. Working by day as an industrial designer and teacher, he spent his private hours painting, and writing scores of novels, plays and poems - in secret. His works had no explicit political content, so he clandestinely worked with the knowledge that they may never be published or displayed.
In 1971, at the height of the Cultural Revolution, he was falsely accused and placed in a series of imprisonments for almost 2 years, starting in makeshift solitary confinement in the basement of a Shanghai air raid shelter, and later under house arrest where he was under constant surveillance. While imprisoned, he secretly used scraps of paper that were provided for his "self criticism," and risked his life to write the "Prison Notes." These 66 pieces are filled front to back with dialogues with great thinkers across Eastern and Western history, such as Flaubert, Confucius and Nietzsche. Further risking his life, Mu Xin then smuggled the "Prison Notes" out of captivity by sewing them into the lining of his work clothes. While under a later house arrest, at night he secretly painted his Landscape Paintings. These 33 miniatures blend both Eastern and Western techniques to recreate ancient Chinese landscapes, works that confront the viewer with their finely wrought views of worlds suspended in time. When Mu Xin was finally released from house arrest, he left for the United States where he lived until 2006. He lived in obscurity, steadily gaining an audience throughout the Chinese Diaspora as his books started to be published in the 1980's, at first in Taiwan then much later in mainland China.
In 2002, at the age of 76, Mu Xin was given his first major traveling exhibition "The Art of Mu Xin: Landscape Paintings and Prison Notes," organized by the Yale University Art Gallery and co-curated by Wu Hung and Alexandra Munroe. The first English language collection of his writings, "An Empty Room", translated by Toming Junliu and represented by Joanne Wang, was published by the prestigious New Directions imprint in 2011.
In an ironic coda to his exemplary life, Mu Xin returned to his hometown of Wuzhen in 2006 at the invitation of the local authorities. Once hounded almost to death for his artistic integrity, he was given a hero's welcome, now considered as a "national treasure." Mu Xin continued writing and painting up until his death in December 2010. His hometown of Wuzhen is in the process of building a museum in his honor, which has named Chen Danqing as its director.
QMA is honored to welcome Chen Danqing and Joanne Wang who will be speak about the importance of Mu Xin's work. Francisco Bello and Tim Sternberg will show excerpts from their film in progress, including scenes of Mu Xin reading his prose and poems. This distinguished panel will be moderated by Luchia Meihua Lee and introduced by QMA's Director, Tom Finkelpearl.
木心的傳奇一生將銜接了中國文革前到今日文藝橋樑。而他的藝術活躍的在東西方與古典及現代之間對話。他1927年出生於浙江烏鎮世家，本名孫璞，在14歲時發現一位遠親也是知名詩人矛盾廢棄的書房中發現文藝寶庫，他開始系統性的閱讀西洋的哲學史詩，加上從小上私塾得以深入習得中國古經典。之後在上海美院就讀。在參與一個抗爭活動中被學校退學，之後1946逃避國民政府而到臺灣， 1949回到共產黨的新中國，陷入足以讓他憂鬱致死的痛裂處境，然這種處於晦暗悲觀環境的遭遇，卻也喚起他內心的頑強的人文記憶，並讓他耽於創作中解脫困頓。他說：「文學是我的信仰，是這信仰使我渡過劫難。」
他在1971到72年間被囚禁在一個地下滿是髒水的廢棄防空壕中，18個月不見天日的地下囚牢日子，他寫下「獄中日記」（the prison notes），其中文字內容其實是他自己與西方先知哲學家者的對話，如福樓拜，尼采，孔夫子等。他用的是地下的髒水寫在氾黃的自白書紙上，留下的是66篇650,000個的密密麻麻的字，也因此讓他依靠這精神糧食而存活下來，之後他將這個自白書日記偷偷的縫在衣角藏著帶出牢獄。然而文化大革命在1976年的結束並沒有帶給他自由，1978到1979年他遭到軟禁，在煎熬的日子中他白天勞動，而晚間他轉化成為自由的靈魂，他繪製了33幅動人心弦的山水畫。現在這批作品是耶魯大學博物館的典藏品。
在1982年間，他逃離開了故鄉到了紐約。以往的沉痛記憶讓他小心翼翼的生活著，然這自由的空氣精神也轉印到一幅幅完美的傑作。2002到2003年間，他創作了兩組60與40幅微型的驚人袖珍巨作。有些僅有1-2英寸高，需藉助放大鏡方可辨識，但是是如此的完整而非凡。另外在此時段他也同時大量的寫作。
而事實上，木心的第一篇文章早在1966年在台灣聯合副刊發表，1984年台灣《聯合文學》創刊號為木心特設「散文展覽」專號，題名《木心，一個文學的魯濱遜》，木心在文壇甫一出现，即以獨有不俗的風格，引起廣大讀著强烈注目。
美國的頂尖藝術史學術界在2000年，早已注意到這一位獨特的孤寂藝術精英。他的部分散文與小說被翻譯成英語，成為美國大學文學史課程範本讀物，並作為惟一的中國作家，與福克纳、海明威作品编在同一教材中；在哈佛與耶魯這些名校主辦的《文學無國界》（Words Without Boarder）網站，木心擁有眾多忠實讀者。在2002年, 76歲的他有了人生第一次的展覽，展出他的繪畫與獄中日記，展覽由耶魯大學規劃連同芝加哥大學策劃，並巡廻展出。
而非常諷刺的，在木心一生於瀕死邊緣追逐藝術創作的尊嚴與典範，2006年在他人生的尾聲，在木心近80的年紀時，被家鄉的地方當局以英雄之姿並認定是"國寶"邀請返鄉定居，他持續在他家鄉寫作與畫畫一直到2011年12月辭世為止。現在21世紀中國的藝文圈子也逐步的在瞭解他。在他的家鄉將會建立木心美術館。陳丹青（Chen Danqing）將會擔任館長。木心的著作在中國也逐漸向公眾發表了，集結了十三篇短文的英文版"An Empty Room" 由Toming Jun Liu翻譯,新方向出版社王久安（Joanne Wang）女士代理2011年在美國出版。
木心是一個典型的藝術智識分子，精通文學，繪畫，音樂，歷史，詩詞等。他優遊在莎士比亞，福樓拜，尼采，達文西，詩經，楚辭，唐宋詩詞，范寬郭熙的山水間。我們無法用單一的藝術家身分來認定他。從1984年起，台灣皇冠，圓神、遠流等出版社陸續出版了木心作品，包括：散文集《瓊美卡隨想錄》1986、《散文一集》1983、《即興判断》1988、《素履之往》1994、《馬拉格計劃》1999、《鱼麗之宴》1999、《同情中断錄》1999；诗集《西班牙三棵樹》1988、《巴瓏》1988、《我纷纷的情欲》1998、《會吾中》1998；小说集《温莎墓園日記》1988。
他的畫作優雅，詠歎，空靈，朦朧，憂鬱，平滑而又充滿肌理，就是自然萬物宇宙共同存在的視覺感受。他的文學古典又現代，溫柔抒情而張力充滿情感與生活的痕跡。 他的創作感動了我們所有的人。
在1984年木心答臺灣《联合文学》編者問說：「一切崩潰殆盡的時候，我對自己說："在绝望中求永生" 。」 相較于木心的前半年歲在中國，現在中國的創作環境顯得是如此朝向一種開放的能量，但是似乎又必需戰戰兢兢的在不涉及敏感政治議題下存活。我們藝術圈能對中國自由創作有所期待嗎？或是去等待另一位受到壓抑的瘋狂人文藝術家的出現。
Chinese painter, writer, and intellectual Mu Xin, who recently passed away at 84, is considered by experts to be one of the most original, important yet largely unknown artists of the last century. Among his greatest admirers and supporters is famed Chinese intellectual and painter Chen Danqing, who regards Mu Xin as his teacher and mentor. They met 25 years ago when they were both living in Queens, NY.
OSCAR� and Emmy Nominated filmmakers Francisco Bello and Tim Sternberg traveled to China in December 2010 to interview Mu Xin for their film "MU XIN: NOTES FROM THE UNDERGROUND." This interview is the last living testament of Mu Xin on camera.
Mu Xin's life bridged pre-revolutionary China to the present day, and his art remains a vibrant dialogue between East and West, the classical and the contemporary. He was born Sun Pu in 1927, to an aristocratic family in Wuzhen, Zhejiang Province. Like many intellectuals of the late 1940's he rallied to Mao Zedong's vision for a new China, and gradually became disenchanted. Working by day as an industrial designer and teacher, he spent his private hours painting, and writing scores of novels, plays and poems - in secret. His works had no explicit political content, so he clandestinely worked with the knowledge that they may never be published or displayed.
In 1971, at the height of the Cultural Revolution, he was falsely accused and placed in a series of imprisonments for almost 2 years, starting in makeshift solitary confinement in the basement of a Shanghai air raid shelter, and later under house arrest where he was under constant surveillance. While imprisoned, he secretly used scraps of paper that were provided for his "self criticism," and risked his life to write the "Prison Notes." These 66 pieces are filled front to back with dialogues with great thinkers across Eastern and Western history, such as Flaubert, Confucius and Nietzsche. Further risking his life, Mu Xin then smuggled the "Prison Notes" out of captivity by sewing them into the lining of his work clothes. While under a later house arrest, at night he secretly painted his Landscape Paintings. These 33 miniatures blend both Eastern and Western techniques to recreate ancient Chinese landscapes, works that confront the viewer with their finely wrought views of worlds suspended in time. When Mu Xin was finally released from house arrest, he left for the United States where he lived until 2006. He lived in obscurity, steadily gaining an audience throughout the Chinese Diaspora as his books started to be published in the 1980's, at first in Taiwan then much later in mainland China.
In 2002, at the age of 76, Mu Xin was given his first major traveling exhibition "The Art of Mu Xin: Landscape Paintings and Prison Notes," organized by the Yale University Art Gallery and co-curated by Wu Hung and Alexandra Munroe. The first English language collection of his writings, "An Empty Room", translated by Toming Junliu and represented by Joanne Wang, was published by the prestigious New Directions imprint in 2011.
In an ironic coda to his exemplary life, Mu Xin returned to his hometown of Wuzhen in 2006 at the invitation of the local authorities. Once hounded almost to death for his artistic integrity, he was given a hero's welcome, now considered as a "national treasure." Mu Xin continued writing and painting up until his death in December 2010. His hometown of Wuzhen is in the process of building a museum in his honor, which has named Chen Danqing as its director.
QMA is honored to welcome Chen Danqing and Joanne Wang who will be speak about the importance of Mu Xin's work. Francisco Bello and Tim Sternberg will show excerpts from their film in progress, including scenes of Mu Xin reading his prose and poems. This distinguished panel will be moderated by Luchia Meihua Lee and introduced by QMA's Director, Tom Finkelpearl.
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