论文部分内容阅读
1979年,马塞尔·杜尚向“纽约独立艺术家协会”展览会送交了作品《泉》——一个随便买来的瓷质小便池。《泉》被当时的画展评审团拒绝接受,如今其复制品却成了知名美术馆的珍贵收藏。艺术为杜尚的小便池大开了方便之门,《泉》这件被称作改变了西方现代艺术进程的作品,无意中响应了中国古代庄子的齐物观念。《知北游》里庄子回答东郭子:“道,无所不在。在蝼蚁、在稊稗、在瓦甓、在屎溺。”道,亦在便溺,杜尚的艺术之道与中国古典美学思想不谋而合。
In 1979, Marcel Duchamp presented “Fountain” to the “New York Independent Artists Association” exhibition - a casually bought porcelain urinal. “Spring” was rejected by the then jury of the art exhibition, and now its replicas have become a precious collection of well-known art galleries. Art opened the door to the convenience of Duchamp’s urinal. “Spring”, a work that has changed the course of Western modern art, inadvertently responded to the concept of homogeneous objects in ancient China. “Knowing the North Tour,” where Zhuangzi replied Dongguozi: “Road, everywhere. In the ants, in the barnyard, in the tile, in the drowsiness.” Road, also in the place of poo, Duchamp’s art and the Chinese classical aesthetics Thought coincides.