Before The Aura -An Anthropological Approach to the Art and to the Practice of Drawing from an Indian Perspective

靈光之前－從人類學的進路看印度觀點下的草圖實踐與藝術

德尼．維達爾(Denis VIDAL)

《哲學與文化》 45卷11期 (2018/11) Pp. 3-26

摘要

From the Renaissance to this day, drawings have been valued, in Western Europe especially, for two main reasons: firstly, they were considered the most revealing expression of the inner creativity, individual style and authentic craftsmanship of artists; secondly, they were considered the best possible medium for artistic ideas and ideals, nearly independently of the specific material in which they were concretely realised. But this is however a different approach to sketch and drawings to the one that I intend to present in this paper. I will follow two methodological steps. The first one is to focus less on the Western conception of drawings than on their use and meaning of drawings in the Indian tradition of arts and crafts. The second step will be to put the emphasis on an ecological analysis of drawing: that is a methodological approach in which the art of drawing is not isolated from the general context, practical use or its various specific mediums. Doing so enables me to address three dimensions of sketching and drawing which have rarely been given a sufficient importance at a theoretical level, in India or elsewhere: the first is that to understand the use and meaning of sketching and drawing, one should begin by studying the concrete ways they are used: not for creating new designs or new styles of art but for transferring ever existing designs from one medium to another, from an existing work of art or craft to another one. The second is that it is only by studying such process that one may understand how artistic styles develop or perpetuate themselves. Finally, that one should acknowledge the fact that more often than not, it is at this stage du that innovations creep in, intentionally or not.

關鍵字

Drawing Sketching ； Indian Art ； Indian Craft ； Concept of Aura ； Anthropology of Art ； Shipbuilding

並列摘要

文藝復興以來，草圖在西歐之所以特別受重視，有兩個的主要理由。首先，草圖被認為是最能揭示藝術家內在創造力、個人風格和正宗工藝的表現；其次，草圖也被認為是具體實現藝術觀念和理想的特殊媒材之外的最佳媒介。但本文所提出的草圖研究進路，則有所不同。本文將採取兩個方法學步驟。第一個步驟的焦點比較不是西方的草圖概念，而是在印度藝術和手工藝傳統中草圖的用途和意義。第二個步驟將著重於草圖的生態分析，在這種方法學的研究進路中，草圖藝術不可脫離一般語境，實際用途或其各種特定媒介。這樣使我們得以闡述草圖的三個向度，而這三個向度的理論層面的意義，無論在印度或他處都一直未被重視。第一，要理解草圖的運用和含義，應該先從學習具體使用草圖的方式開始，不是為了創作新的設計或新的藝術風格，而是為了傳承已經存在的設計，從某種媒介轉移到另一種媒介，從現有的藝術品或工藝品轉移到另一種藝術品或工藝品。第二，只有通過研究這個過程才能理解藝術風格的發展和延續。最後，應該要承認，通常就是在這個階段，創新悄然隱入，或有意或無意。

並列關鍵字

草圖 ； 印度藝術 ； 印度工藝 ； 靈光（aura）概念 ； 藝術人類學 ； 造船

參考文獻

Archer, W. C.(1973).Indian Painting in the Punjab Hills.London:Sotheby Parke Bernet.

Arendt, Hannah(ed.),Zohn, Harry(trans.)(1969).Illuminations.New York:Schocken Books.

Bellabarba, S.(1993).The Ancient Methods of Designing Hulls.Mariner's Mirror.79(3),279-292.

Blue, L.,Kentley, E.,Mcgrail, S.(1998).Vattai Fishing Boat and Related Frame-first Vessels of Tamil Nadu.South Asian Studies.14,1-34.

Brouwer, Jan(1995).The Makers of the World.Delhi:Oxford University Press.