【漢清講堂】 2017.3.18 心得分享與討論會
日期：2017年3月18日(周末)，10：00~ 13：00
地址：台北市新生南路三段88號2樓
電話：（02） 2365012主辦：漢清講堂
主題與方式：依照講師自選的主題，發表20~30分鐘之專論、座談會，
報名參與者：林義正、張華
講師與主題 (序)
0. . 鍾漢清先生：紀念Howard Hodgkin (1932-2017)
1. 鍾漢清先生：簡談雕塑藝術：
3 主題：
1. 我的雕塑藝術欣賞，兼談幾位英國雕塑師
2. 近來的世界雕塑舉例：兼談台灣的產、官、學、寺(教堂等)
3. Laocoön 拉奧孔 (G. E. Lessing 萊辛)與 My Laocoön (Book by Richard Brilliant)
我的藝術啟蒙地點是東海大學 (1971-75)的圖書館、校園、教室。
70年代資訊不發達，所以我讀Sir Herbert Edward Read, DSO, MC ( 4 December 1893 – 12 June 1968)他的【現代繪畫】、【現代雕塑】的翻譯本時，不知道作者已經過世了。
在英國 (1977-78)的啟蒙是讀了William G. Tucker 的 The Language of Sculpture (Thames & Hudson, London 隨後在Tate 那兒看了 H. Matisse的作品), Henry Moore: John Russell (Moore在1978年夏季倫敦的戶外展，令人印象深刻。
Laocoön 拉奧孔 (G. E. Lessing 萊辛)與 My Laocoön (Book by Richard Brilliant)
2. 蘇錦坤談：侯坤宏編著《浩劫與重生，一九四九年以來的大陸佛教》，(2012)
這是兩岸佛學界頗為迴避忌諱的議題，也牽涉到兩岸政權面對宗教及宗教研究的曖昧態度。
如果時間方便，我願於今年三月在漢清講堂報告此書。
Laocoön 拉奧孔 (G. E. Lessing 萊辛)與 My Laocoön (Book by Richard Brilliant)
G. E. Lessing 萊辛 1766 的Laocoön ，有朱光潛中譯【拉奧孔】，北京：商務，1976/2016
My Laocoön : Alternative Claims in the Interpretation of Artworks
Originally published: May 1, 2000
Analyzing the theme, provenance, and history of the Vatican Laocoön, Richard Brilliant traces the interpretation of this masterpiece of Greco-Roman sculpture through the ages, showing how these interpretations have shaped its reception. The Vatican Laocoön has suffered the vicissitudes of changing tastes, differing agendas of incompatible interpretations, and relegation to the margins of aesthetic preference. Several Laocoöns are identified in this erudite and strikingly original study: the alleged, lost "Greek original" the extant marbles sculpted in the first century; the sixteenth-century restoration and its impact; the eighteenth- and nineteenth-century topos of critical judgment; the twentieth-century re-restored artifact of ancient art. Yet, the Vatican Laocoön contains all of them in its obdurate self, and My Laocoön treats their history as a means of demonstrating an artwork's power to transcend its critical reception.
Discovered in Rome in 1506, the Laocoön stimulated the imagination of sixteenth-century artists and humanists because of the sculpture’s expressive exploitation of the human body under stress. Variations in the critical reception of the Laocoön and disagreements about what the work represented, and how it did so, came to a climax when it became the victim of the controversy between Winckelmann and Lessing. Lessing’s anti-Laocoön Laocoön, certainly one of the seminal tracts of aesthetic criticism, eventually won out. Ironically, this victory coincided with Winckelmann’s invention of the history of ancient art, which differentiated between Greek and Roman artworks and bestowed upon the former a much higher aesthetic evaluation.
This value-laden historiographical development seriously affected the Laocoön’s reception, once scholars deemed it a "Roman" work, perhaps even a copy of a lost Greek original. The Laocoön was doubly damned: it was Roman, not Greek, and its ontological credentials had been compromised, often to such a degree that the marbles were rendered almost invisible in the search for the Greek precedents. Re-restoration of the Laocoön in 1960 intensified its emotive power, but by then artists and critics had become indifferent. Brilliant tells the Laocoön story with wit and erudition, and his selection of Laocoön illustrations masterfully demonstrates the influence that this work has exerted over the centuries.
Discovered in Rome in 1506, the Laocoön stimulated the imagination of sixteenth-century artists and humanists because of the sculpture’s expressive exploitation of the human body under stress. Variations in the critical reception of the Laocoön and disagreements about what the work represented, and how it did so, came to a climax when it became the victim of the controversy between Winckelmann and Lessing. Lessing’s anti-Laocoön Laocoön, certainly one of the seminal tracts of aesthetic criticism, eventually won out. Ironically, this victory coincided with Winckelmann’s invention of the history of ancient art, which differentiated between Greek and Roman artworks and bestowed upon the former a much higher aesthetic evaluation.
This value-laden historiographical development seriously affected the Laocoön’s reception, once scholars deemed it a "Roman" work, perhaps even a copy of a lost Greek original. The Laocoön was doubly damned: it was Roman, not Greek, and its ontological credentials had been compromised, often to such a degree that the marbles were rendered almost invisible in the search for the Greek precedents. Re-restoration of the Laocoön in 1960 intensified its emotive power, but by then artists and critics had become indifferent. Brilliant tells the Laocoön story with wit and erudition, and his selection of Laocoön illustrations masterfully demonstrates the influence that this work has exerted over the centuries.
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2. 蘇錦坤談：侯坤宏編著《浩劫與重生，一九四九年以來的大陸佛教》，(2012)
這是兩岸佛學界頗為迴避忌諱的議題，也牽涉到兩岸政權面對宗教及宗教研究的曖昧態度。
如果時間方便，我願於今年三月在漢清講堂報告此書。
3 備選：. 紀念賴顯邦(2)鍾漢清、林義正 、邱振瑞等等
〈明目顯邦〉
台大附近溫州街上
明目書社
專售大陸文史哲印度等宗教書籍
明目甚奇
寄寓人天智慧的啟蒙
台大哲學系友中的冥索行者
與各方學士交流
熱心奉獻一生
半年未謀面
聞知竟永別
顯邦何在
就在明目
hc：林老師，我考慮3月18日的聚會有段紀念賴先生的時間
〈明目顯邦〉
台大附近溫州街上
明目書社
專售大陸文史哲印度等宗教書籍
明目甚奇
寄寓人天智慧的啟蒙
台大哲學系友中的冥索行者
與各方學士交流
熱心奉獻一生
半年未謀面
聞知竟永別
顯邦何在
就在明目
hc：林老師，我考慮3月18日的聚會有段紀念賴先生的時間
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