Trace of Force: Lin Hwai-min’s Water Stains on the Wall

C. Hsieh
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Abstract

Drawing inspiration from the tradition of shu-fa, i.e. the Chinese art of writing, Taiwanese choreographer Lin Hwai-min has choreographed a series of dances: Cursive (2001), Cursive II (2003, later renamed as Pine Smoke), and Wild Cursive (2005). Water Stains on the Wall (2010) is the last work in the series. Although shu-fa is often translated as Chinese calligraphy it is different from the Western concept of calligraphy, of which the etymological meaning is beautiful (calli-)writing (-graphy) and which is therefore more related to »decoration« (Billeter 1990: 11ff.). In Chinese, shu-fa – in which shu means writing and fa means law or way – means the law or the way of writing. In the tradition of shu-fa, the law of writing is concerned with the ways of manoeuvring the forces that bring forth the dynamics, which make shu-fa so adored by the Chinese literati as the art of writing. In one of the most important treatises about the art of writing, Array for the Ink Brush, Wei Shuo, the shu-fa artist in the Eastern Chin dynasty, clearly indicated, »to let the brush fall onto the paper to write the strokes, one must use the force of the entire body to bring them forth« (Huang Chien 1981: 22)1. Wei Shuo explained the different ways of manoeuvring the force to write different strokes with the different imagery. For example, she mentioned writing the horizontal stroke should be like »the clouds emerging in array that ranges into the distance«, writing the dot stroke should be like »the rock’s falling from the mountain«, and writing the turning stroke should be like »the heavy bow’s being released« (1981: 22). Nonetheless, it is important to note that the imagery is not concerned with the figure of the stroke but the way of manoeuvring the force. In other words, when the shu-fa artist writes the stroke with the imagery in mind, it is not about making the figure of the stroke like the outer form of the things in the imagery but about making the force that one uses to write like the
力的痕迹:林怀民的墙上水渍
台湾编舞家林怀民从中国书法艺术的传统中汲取灵感,设计了一系列舞蹈:草书(2001年)、草书II(2003年,后更名为松烟)和野草书(2005年)。《墙上的水渍》(2010)是该系列的最后一部作品。虽然shu-fa经常被翻译为中国书法,但它不同于西方的书法概念,其词源意义是美丽的(calli-)写作(-graphy),因此与“装饰”更相关(billetter 1990: 11ff.)。在汉语中,“法”——“书”意为书写,“法”意为法律或书写方式。在书法传统中,写作的规律关注的是产生动力的力量的操纵方式,这使得书法作为一种写作艺术受到中国文人的喜爱。在关于书写艺术的最重要的论著之一《墨笔阵》中,中国东朝的书法家魏朔明确指出,“要让毛笔落在纸上书写笔画,必须用全身的力量把笔画出来”(黄坚1981:22)。魏朔解释了不同的方法来操纵力,写出不同的笔画和不同的意象。例如,她提到写水平笔划应该像“云在远处的阵列中出现”,写点笔划应该像“岩石从山上掉下来”,写转弯笔划应该像“沉重的弓被释放”(1981:22)。尽管如此,重要的是要注意到,图像与笔划的数字无关,而是与操纵力量的方式有关。换句话说,当写作者带着意象来写笔画时,他不是要把笔画的形体变成意象中事物的外在形式,而是要把写作的力量变成意象
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