摘要
在美籍华裔艺术史学者兼策展人方闻的主导下,一座中国园林被移植到美国大都会艺术博物馆中,称为"阿斯特庭院".阿斯特庭院的具体生成,超越了现有研究从园林史学与建筑学视角将其类型化为海外园林典范与文化建交象征的意义.如果将阿斯特庭院视作一个符号组构的体系并施以文学跨学科的解读,则可知阿斯特庭院被预设为展厅,负载着为中国古典艺术展品提供原生文化语境的使命,在矫正西方世界对中国艺术的认知偏颇、消解阐释相对性的层面上,体现出了方闻对艺术史书写和策展实践之间跨媒介的考量与兼顾.然而,移植一座中国园林进入博物馆,其自身的历史语境却在实际移植过程中失落了,阿斯特庭院从展厅倒转为展品,成为一个美国商品和现代技术叠合的发明,在一定程度上不可避免地迎合了西方既定的美学传统,构成一则文化悖反.
Abstract
Under the direction of Chinese-American art historian and curator Wen C.Fong,a Chinese garden was transplanted into the Metropolitan Museum of Art in the United States,named"the Astor Court".The specific genesis of the Astor Court goes beyond existing research,which typifies it from the perspectives of garden history and architecture as an exemplary overseas garden and a symbol of cultural exchange.This article views the Astor Court as a system of symbolic construction and interprets it through interdisciplinary literary analysis.The Astor Court was preconceived as an exhibition hall,tasked with providing a native cultural context for Chinese classical art exhibits.In correcting the Western world's biased perception of Chinese art and dissipating interpretive relativism,Fong's consideration and balance between art historical writing and curatorial practice are demonstrated.However,while transplanting a Chinese garden into a museum,its own historical context is lost in the actual transplantation process.The Astor Court has turned from an exhibition hall to an exhibit,becoming an invention that combines American commodities and modem technology.To some extent,it unavoidably caters to established Western aesthetic traditions,constituting a cultural paradox.
维普
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