《理水》怪诞书写的“木刻感”——论鲁迅对珂勒惠支木刻艺术的审美选择

“Woodcut Sense“of the Grotesque Writing in Harnessing the Flood:On Lu Xun’s Aesthetic Choice of Kollwitz’s Woodcut Art

在“文章为美术之一”的文艺观指导下,鲁迅在《故事新编》的创作过程中受到珂勒惠支木刻艺术怪诞风格的影响。在鲁迅的图像认知艺术观的生成途中,“语—图”处于关联阶段,图像媒介与文字媒介的交互行为表现为怪诞书写的“木刻感”,此种美学指向在《理水》中有集中且突出的表现。内生的怪诞审美贯穿于《理水》的人物形象、场域、情节、体裁的艺术建构中。《理水》文本暗含鲁迅因个人追求与社会现实的矛盾而形成的“负重者”人格,是对其“肩住黑暗的闸门”之精神形象的隐喻,沉郁苦闷的艺术特质对应着此一时期鲁迅思想观念与艺术观念矛盾变化的内在统一。

In the process of creating Old Tales Retold,Lu Xun was influenced by the grotesque style of Kathe Kollwitz’s woodcut art under the guidance of his literary and artistic view called“literature as one of the arts”.With the formation of Lu Xun’s image cognitive art view,“language-image”is in the stage of correlation,and the interaction between image media and text media is manifested as“woodcut sense”of the grotesque writing.This aesthetic orientation is concentrated and highlighted in Harnessing the Flood.Throughout the artistic construction of the character image,field,plot and genre of Harnessing the Flood,the text has an endogenous grotesque aesthetic structure.The text of Harnessing the Flood implies Lu Xun’s personality of“burden-bearer”born from the contradiction between social reality and personal pursuit,which is a metaphor for his spiritual figure of“shouldering the dark gate”.The depressed artistic characteristics correspond to the inherent unity of Lu Xun’s philosophical thoughts and artistic concepts during this period.