美学上的精神相遇:莫言与高更

Spiritual Encounter of Aesthetics: Mo Yan and Gauguin

绘画与文学是艺术的两种不同表现形式,但在精神的内层面,却有颇多相通之处。莫言与高更,虽然服务于艺术的不同门类,但在对艺术理念的阐述上二者可谓知音。莫言是中国新时期颇有个性的一位作家,他擅长通过主观化的色彩来增加文本张力;高更是后印象画派的杰出代表,他反对将现实进行刻板临摹,认为色彩只能是思想的主观表达。二者在创作中都掺杂进了现实考量,或多或少表现出了原始回归的倾向。他们注重原始生命力的表达,并在创作的过程中对现代文明进行了再思考。从莫言对后印象派高更的精神选择、二者对原始的精神依赖以及对现代文明的艺术反思中分析他们的艺术理念,相信对莫言和高更的研究都有所助益。

Painting and literature are two different forms of art, but in the level of the spirit, there is a lot in common. Mo Yan and Gauguin, though serving in the art of different categories, can be described as good companions as regards to the elaboration of the concept of art. Mo Yan, a Chinese writer with distinctive personality in the new era, is known by increasing tension by employing subjective colors; On the other hand, Gauguin, an outstanding representative of post-impressionism, opposed stereotyped copy of reality, but held that ideological color could only be achieved through subjective expression. Moreover, both have adopted reality considerations in their creations and more or less showed a tendency to return to the original. They focus on the vitality of the original expression and the creative process of rethinking modem civilization. It is believed valuable to study both masters from the perspective of Mo Yan＇s inclination towards Gauguin＇s higher ideals, the spiritual fondness of both of the original and the artistic reflections of modem civilization.