我的《信報》文章(2021年4月22日A22頁) 足本
《博物館「淪陷」 學校須對不文指說不》
https://www1.hkej.com/dailynews/article/id/2775025
Update ****** 本文發表後，
豎起不文手指作品的瑞士收藏家希克（Uli Sigg）
即日發聲明:
「…藏品中並非所有作品都適合公開展出…」
星島日報2021年4月23日報道
std.stheadline.com/daily/article/2352073/日報-港聞-捐爭議作品收藏家-非所有藏品適合展出
博物館淪陷，學校須對「不文手指」說不
「不文霑」是大眾流行文化創作人黄霑先生 (本名黃湛森 1941-2004，字亦芹，2003年獲香港大學頒發哲學博士學位)的綽號。但在鏡頭前，或於稠人廣眾的公開場合，黄霑不會說髒話。
即使在其暢銷書《不文集》內，行文走筆的是流暢之書面語。而書中有有這樣一個小故事:一位幼稚園老師告訴家長，他的兒子常在學校講髒話;該名父親登時(很自然地)用髒話罵兒。黄霑的結語是:「…有人說道這是因為自已對不好的事物深惡痛絕，因此不願別人重蹈覆轍 ，所以訂下雙重標準，恕己寬，責人嚴。但以不文霑的『不文之見』，這卻是徹頭徹尾的自私自利! 」
[Note 1]
三月中，有人批評M+博物館一幅展品豎起不文手指。藝發局視覺藝術小組主席陳錦成，以「可能見識少」作為迴應。
[Note 2]
帕奈提烏斯(Panaetius 公元前185-110)是將古希臘文明傳播至羅馬共和的主要哲學家之一。其貢獻包括昇華「審美」或「美學」(Aesthetics) ，成為將人類與野獸區分的「感悟」(拉丁文 motus animi) 。人類通過五官的體驗，領會到天下間，有值得窮盡一生追求的美善、優雅、和諧。而這份追求所必要具備的品德之一，乃是「行止有度、端正合儀」(decorum) 。
[Note 3]
這種觀念，與華夏文明從遠古「風雅頌賦比興」的情感表達方式(見《詩·大序》)，演變成諸項應有生活態度、理想社會狀況的儒道墨法主張，基本上沒有兩樣。
世代相傳，社會通過授課、堂訓、家教，以美為經、尚雅為綱。縱使容許通俗、庸俗出現於雅俗共賞的劇藝娛樂、流行文化，但從不允粗俗、鄙俗的髒話或猥行昂登大雅之堂、研學之地。
但在1917年，法裔美國畫家杜象(Marcel Duchamp 1887-1968)申請將一款陶瓷小便斗(俗稱公廁尿兜;據說是某名牌的工廠產品)，在紐約舉辦的一場藝術展覽活動參展，展品命名為「噴泉」。
2004年，此「噴泉」被五百名英國藝術界專業人士，選為20世紀最具影響力的藝術品首位 (畢卡索的名畫亦只能屈居次席) 。其複製品在1999年拍賣會上以176萬美元售出，買家宣稱它是當代藝術的起源。
[Note 4]
什麼是藝術？ 何謂藝術品？這些永無結論的問題不屬本文範圍。倒有兩點值得頭腦清醒的人深思。
首先是「藝術館霸權」。英國期刊 Philosophy Now 第143期(2021年4/ 5月）一篇文章，對此有一針見血的論述。
作者Peter Benson指出，自20世紀初，藝術品的鑒賞從傳統的感官性意會，轉變為當代的概念性詮釋後，「制度藝術理論」(Institutional Theory of Art) 成為主流。其實際後果是一件製品是否藝術品，由藝評人、畫廊、收藏家、藝術館等組成的「藝術世界」決定(詳見 Arthur Danto 1964年論文 The Artworld) 。
所以超市貨架上的一堆湯罐頭不是藝術，但另一堆整齊有序的湯罐頭，若經由藝術世界成員認定是「概念藝術」，便成為價值連城的藝術品。而最具權威的藝評篩選機構是藝術館管理委員會，當中表表者是倫敦的泰特現代藝術館(Tate Modern) 。
在館內陳列的展品中，沒有一件能為平常人通過五官帶來「美」的感覺。最新的展品是一幅名為《三年級》的巨型組合照片。館長按一位藝術家的指示，邀請所有倫敦小學三年級的學生來博物館拍攝全班照，然後將數百幀相同尺寸的班照隨意組合成一幅巨照。這便成為一件「了不起」的藝術品，因為管委會認為此巨照可激發學生實現夢想云云。
[Note 5]
以藝術館為首，藝評人、畫廊、收藏家等為副的這個小圈子，不僅壟斷藝術的定義權力，而且主導藝術培訓形式、操弄藝品市場價格，形成霸權。
平常人對這類所謂當代概念藝術品，若坦率訴說感到丈八金剛、晦澀難懂，會被嘲為愚昧、膚淺。結果是假裝了解概念，或從此不再進入藝術博物館參觀。年輕一代缺乏優雅的藝術媒介去感悟美善，品德培育、文明進步也無從談起。
四月初發生了一宗有趣的「撕破國王的新衣」事件。首爾市某處展出美國塗鴉藝術家Jon One五年前在南韓即興塗鴉的一幅大作(既沒有看得明白的圖案，也沒有感到秀麗的色彩，估價卻高達50萬美元)，地上還擺放了他塗鴉時的顏料及畫刷。一對參觀的年輕男女以為這是一款「互動」玩意，拿起毛刷在畫面添塗「鴉藝」，教人捧腹絕倒。
[Note 6]
另一討論點是「不文」。
西班牙畫家 Francisco Goya 於1814年發表的名畫《1808年5月3日》，使用與文藝復興時期明顯不同的構圖、著色，描繪抵抗拿破崙佔領軍的西班牙平民被士兵槍斃的情景。其革命性藝術表現風格，為反戰、反政府的創作及模仿品開闢了廣闊無邊的空間。
[Note 7]
雖然那些水平高的仍然可以保持一定程度的美感(例如 R. Hamilton 的 The State 1993、Banksy 的 Flower Thrower 2005)，但到處大量湧現的是，以矯揉造作、粗鄙不文方式表達反政府意念的作品。
[Note 8]
豎不文手指、說粗言穢語，不是什麼難事。例如堵車但沒有碰撞時，司機因不滿對方駕駛態度，先交換數回合髒話，離開現場前把不文手指伸出窗外，乃司空見慣。
有三類才能在古希臘、羅馬時期被認為是展現「美」的人類行為，其中之一是演講與辯論的技巧(eloquentia, 包括眼神、表情、手勢、措詞用字、抑揚頓挫)。因它具有濃郁的美感，帶來視覺、聽覺的藝術享受及感悟。
縱使怒髮衝冠或含冤受屈，仍然端正合儀、動之以情、說之以理，改變民眾或議會立場，甚至贏得敵人的敬重; 赫赫有名的包括Pericles(公元前495-429) 、Scipio Aemilianus (公元前185-129)。這種品質才是我們應當賞識的美，而非髒話、鄙指。
[Note 9]
對那些以不文方式，誇耀作者敢於挑戰權威的(病態)膽量的作品，健康文明的社會對此沒有「雙重標準」。學校是倡導「德智體群美」的尚禮雅堂，必須堅持對美善的追求。
儘管短期內無法撼動這個亂花納稅人金錢的當代藝術霸權，但「蒼天笑，紛紛世上潮，誰負誰勝天知曉?」(見《滄海一聲笑》，黃霑作曲作詞)。也許第一步就是在中小學，教授年輕一代對詭用藝術博物館包裝的不文手指說不!
[Note 10]
Notes
[Note 1]
zh.wikipedia.org/wiki/黃霑
zh.wikipedia.org/wiki/不文集
[Note 2]
2021-04-14 《星島日報》
std.stheadline.com/realtime/article/1547029/即時-港聞-M-網站仍展示艾未未爭議作品-徐英偉-若違法將嚴肅跟進
立法會議員容海恩今日於會上表示，她瀏覽M+博物館的網站時仍然看到艾未未對北京天安門廣場舉起中指的作品，她批評有關作品顛覆國家觀念，影響市民的國民身份認同，要求當局正視，並重新審視全港博物館的展品。
2021-03-18 《星島日報》
std.stheadline.com/realtime/article/1525405/即時-港聞-容海恩指艾未未作品或違-國安法-陳錦成稱-見識少
新民黨、立法會議員容海恩今日於電台節目時表示，留意到「M+博物館」其中一幅展品為藝術家艾未未以中指指向北京天安門廣場，她質疑有關作品或已違反《港區國安法》，要求將作品下架。而藝發局視覺藝術小組主席陳錦成則表示，艾未未的作品主要為挑戰權威，並非只針對中國，更指容海恩「可能見識少」。
[Note 3]
Wiki, Panaetius
https://en.wikipedia.org/wiki/Panaetius
zh.wikipedia.org/wiki/帕奈提乌斯
M.
van Straaten (1946), ‘Panetius, sa vie,
ses écrits, et sa doctrine’, Amsterdam, 160ff.
https://en.wikipedia.org/wiki/Decorum
[Note 4]
https://en.wikipedia.org/wiki/Marcel_Duchamp
https://en.wikipedia.org/wiki/Fountain_(Duchamp)
In
December 2004, Duchamp's Fountain was voted the most
influential artwork of the 20th century by 500 selected British art world
professionals. Second place was afforded to Picasso's Les Demoiselles
d'Avignon (1907) and third to Andy Warhol's Marilyn Diptych (1962).[52] The Independent noted in a February
2008 article that with this single work, Duchamp invented conceptual art and "severed forever the
traditional link between the artist's labour and the merit of the work".[53]
The
prices for replicas, editions, or works that have some ephemeral trace of
Duchamp reached its peak with the purchase of one of the eight 1964 replicas
of Fountain.[77] 17 November 1999, a version
of Fountain (owned by Arturo Schwarz) was sold at Sotheby's, New York, for $1,762,500 to Dimitris
Daskalopoulos, who
declared that Fountain represented 'the origin of contemporary art'.
[Note 5]
Philosophy
Now Issue 143 April/May 2021
Peter
Benson, “From Conceptual Art to Social Art”
https://philosophynow.org/issues/143/From_Conceptual_Art_to_Social_Art
Faced by this
situation, the American philosopher Arthur Danto wrote a highly influential essay in 1964 entitled ‘The
Artworld’. This was the first
clear statement of the ‘Institutional Theory’ of art…Danto asked the obvious
question: What’s the difference between these ‘art works’ by Andy Warhol and a
similar pile of boxes in a supermarket’s storeroom – which would not, generally
speaking, be considered works of art? He argued that it is the surrounding
‘artworld’, made up of critics, galleries, collectors, essays, debates, etc,
which has the magical ability to transform objects into art.
McQueen’s idea was to take a photograph,
in identical format, of the Year 3 class (seven-year-olds) of every school in
London. 70% of schools agreed to participate. The resulting hundreds of framed
photographs – much the same as the formal class photos that many schools take
each year – were installed from floor to ceiling on the walls of the huge
Duveen gallery at the centre of Tate Britain. The order of the photographs
seems to follow no specific schema, nor to have been supervised by McQueen
himself. Any patterns we might see – such as different classes wearing
similar-coloured uniforms – are purely accidental. As an important part of the project,
every photographed class was invited to visit the gallery together with their
teachers, at a time reserved for them, so that they could seek out their own
photograph amid the hundreds on the walls. Maria Balshaw said of this
installation, “This may well be the most ambitious artwork we have ever shown
at Tate Britain” (Evening Standard, 18 Sept 2018). Explaining its
intended purpose, the curator Carrie Wallis said her ambition was “for the gallery to install a mindset in
schoolchildren that they can go on to achieve whatever they want” (Evening Standard, 15 Nov
2019).
[Note 6]
2021-04-04 《星島日報》
std.stheadline.com/realtime/article/1539244/即時-國際-南韓男女毀估值390萬元畫作-誤以為-互動藝術-任意塗鴉
美國塗鴉藝術家JonOne五年前在南韓民眾面前即興塗鴉，完成一幅大型畫作，估價高達50萬美元（約390萬港元），正在首爾市松坡區樂天世界購物中心展出，地上還擺放了JonOne作畫時的顏料罐及畫刷。詎料一對年輕男女竟以為此畫是「互動藝術」，而隨手拿起畫刷在上面任意塗抹，警方透過閉路電視找到兩人，並將他們拘捕。
baike.baidu.com/item/捧腹用手捧著肚子，形容大笑的情態。
明·高啟 《題後》：
餘舊聞 達悟 善詼語……雖貴富可畏人皆狎侮之，然人不以為忤，
聞其說，莫不捧腹絕倒。
[Note 7]
https://en.wikipedia.org/wiki/The_Third_of_May_1808
The painting's content,
presentation, and emotional force secure its status as a groundbreaking,
archetypal image of the horrors of war. Although it draws on many sources from
both high and popular art, The Third of May 1808 marks a clear
break from convention. Diverging from the traditions of Christian art and
traditional depictions of war, it has no distinct precedent, and is
acknowledged as one of the first paintings of the modern era.[4] According to the art
historian Kenneth Clark, The Third of May 1808 is
"the first great picture
which can be called revolutionary in every sense of the word, in style, in
subject, and in intention".[5]
[Note 8]
WikiArt, ‘The State’1993, by Richard Hamilton
https://www.wikiart.org/en/richard-hamilton/the-state-1993
2019 July 31, Sofia Perulla, Cornell University ILR School, ‘Rage,
Flower Thrower’.
https://www.ilr.cornell.edu/post/rage-flower-thrower
[Note 9]
https://en.wikipedia.org/wiki/Pericles
It is told that when
his political opponent, Thucydides, was asked by Sparta's king, Archidamus,
whether he or Pericles was the better fighter, Thucydides answered without any
hesitation that Pericles was better, because even when he was defeated, he managed to
convince the audience that he had won.
Thucydides (the
historian), an admirer of Pericles, maintains that Athens was "in name a
democracy but, in fact, governed by its first citizen".[1] Through this comment, the
historian illustrates what he perceives as Pericles' charisma to lead, convince and,
sometimes, to manipulate.
Pericles adopted "an elevated mode of
speech, free from the vulgar and knavish tricks of mob-orators" and, according to Diodorus Siculus, he "excelled all his
fellow citizens in skill of oratory".[160][161] According to Plutarch, he avoided using gimmicks
in his speeches, unlike the passionate Demosthenes, and always spoke in a
calm and tranquil manner.[162]
https://en.wikipedia.org/wiki/Scipio_Africanus
Scipio was a man of
great intellect and culture who could speak and read Greek, wrote his own memoirs in Greek and
became also noted for his introduction of the clean shaven face fashion among
the Romans according to the example of Alexander
the Great. This man's
fashion lasted until the time of emperor Hadrian and then was revived again
by Constantine
the Great.[25] He also enjoyed the reputation of being a graceful orator, the secret of his sway being his deep self-confidence and radiant
sense of fairness.
[Note 10]
zh.wikipedia.org/wiki/滄海一聲笑
電影【笑傲江湖】主題曲
作詞：黃霑
作曲：黃霑
編曲：顧嘉輝
