“艺格敷词”与“参差对照”:从“张看”塞尚重审张爱玲的文艺观

'Ekphrasis' and 'Mixed Reference': A Re-examination of Eileen Chang’s Artistic View from Her Look at Paul Cézanne

“作家张爱玲”之外,作为现代艺术评论者的张爱玲同样值得探究。纵观张爱玲一生所谈的绘画艺术,保罗·塞尚应是她付诸笔墨最多的画家,在发表于1944年的散文《谈画》中,张爱玲即以其独特的描述方式再现了塞尚的多幅画作。借用西方文艺理论术语,张爱玲的述画文字实际上可以看作是一种“艺格敷词”(ekphrasis)实践。以“张看”塞尚为中心,将她自道的“参差对照”写作手法和其“艺格敷词”文本并置,可以发现:张爱玲不仅在谈画论艺时践行这一写作手法,同时亦在人生底蕴之真与时代氛围之异的维度上,试图与塞尚这位“现代绘画之父”达成美学与精神的沟通。而追问“艺格敷词”文本背后的观看方式和描述意图,也为重审“作家张爱玲”的文艺观提供了可能。

Apart from being a writer,Eileen Chang,as an art commentator,is also worth exploring.A look at her lifetime commentary on pictorial art,Paul Cézanne must be the artist she wrote most about.In an essay,titled,'On Paintings',published in 1944,Chang,in her unique way,represented a number of paintings by Cézanne.If we borrow a Western theoretical term,Chang’s commentary on paintings could be viewed as a practice of ekphrasis.With Chang’s look at Cézanne as the centre,and putting her own writing method of'mixed reference'with her text of ekphrasis side by side,one can find that Chang tried to communicate aesthetically and spiritually with Cézanne,the father of modern painting,not only in terms of putting this method in practice by commenting on art but also in the dimension of the genuine meaning of life as contrasted with the oddness of the environment around her.The pursuit of ways of seeing and the purpose of description behind the ekphrastic text has also provided possibilities of re-examining the artistic views of Eileen Chang as a writer.