诗人西游与诗学转向——顾城的中西文化观及其诗画风格变化

Gu Cheng’s Journey to the West and the Poetic Change of His Overseas Poetry

顾城旅居欧美时期(1987-1993)先后参加了数十场学术讲座与诗歌朗诵会。他在回答西方读者提问中充分表达了自己的传统文化观以及作为中国诗人对汉语诗歌艺术的执着追求。他执着于寻找汉语诗歌革命的根性策略,寻觅诗歌修辞的炼金术。由于中国古典诗歌的浸淫,顾城高扬汉语诗歌的灵性,努力突进老庄道家的自由无为境界。他也深受欧洲现代主义艺术的影响,借助于“梦境记录”和“精神自动写作”策略,顾城这一时期的诗歌出现了一定的超现实主义倾向。顾城留下三百多幅简笔画作,这些画作多与诗歌同题互文,有胡安·米罗“画诗”的风格痕迹。超现实主义作为一种精神解放的艺术方法,在顾城后期诗歌里呈现的是最真实的“心电图式自我”。从超现实主义的诗学视角切入,既有助于对诗人已固化的艺术形象的去蔽,也可深入了解顾城后期诗学文化认同的努力。

Gu Cheng was invited to attend in dozens poem recital parties abroad during 1987 to 1993.In those events,he showed his view of culture and art when he had to answer questions raised by the western audience.The poetry and drawings of Gu Cheng overseas(1987–1993)present a distinct surrealistic style.It closely relates to the poet’s dedication of exploring the linguistic nature and the infl uence of surrealism under the trend of western modernism.Gu Cheng highly respected the spirituality of poetry and strived to tear the language norms and tried to achieve the no-self freedom.Based on the surrealism theory and the strategy of Unconscious Automatic Writing,Gu Cheng created lots of distinct and vivid images of which are even very magical.As a supplement and refl ection of his poetry,Gu Cheng’s drawing is deeply infl uenced by the style of Drawing Poetry of Juan Miro.Most of his drawings,as a metaphor or a symbol,convey the imprint of the poet’s life and the murmur of dreams.Regarding surrealism as a writing method of emancipating the spirit,Gu Cheng’s poetry and drawings are the most real electrocardiogram self.The surrealism is a crucial perspective to change the stereotypes of Gu Cheng’s early poetry.