Creating Lives through Art – An Introduction to Outsider Art in China with Reflections on Outsider Art: Visionary Worlds and Trauma by Daniel Wojcik
Keywords:
outsider art, vernacular art, l’art brut, raw art, grassroots art, Hans Prinzhorn, Nanjing Outsider Art Studio, cultural ecology, mutual helpArticle Information
Creative Arts Educ Ther (2018) 4(1):3–9 DOI: 10.15212/CAET/2018/4/2Creating Lives through Art – An Introduction to Outsider Art in China with Reflections on Outsider Art: Visionary Worlds and Trauma by Daniel Wojcik
艺术创造生活 《中国原生艺术》的引言介绍及对 Daniel Wojcik《原生艺术：幻想世界与创伤》的反思
Abstract
A feature presentation of Outsider Art in China coordinated by Guo Haiping together with an exploration of Daniel Wojcik’s Outsider Art: Visionary Worlds and Trauma (2016). The introduction to the special section by Shaun McNiff places the Chinese art within a larger world context and discusses how Wojcik’s book furthers an understanding and appreciation of these artistic expressions. Emphasis is given to how the term “outsider” is misleading since, as Wojcik and Haiping show, each artist creates within a particular social context. The work is viewed positively as persons creating themselves through artistic expression and contributing to their communities – an approach which is also fundamental to the East Asian Taoist, Confucian and Chan Buddhist traditions. Chen Shushan interviews Guo Haiping who gives a history of the development of the Nanjing Outsider Art Studio and the program’s emphasis on cultural ecology and mutual help. Illustrations of the artists’ work are shown. Shaun McNiff interviews Daniel Wojcik – exploring how his involvement with grassroots and vernacular art took shape through folklore studies. The Chinese art shown in this issue is related to the larger international community with illustrations of the work of Sabato Rodia, Tressa Prisbey, Howard Finster and Ionel Talpazan.
摘要
中国艺术家郭海平通过《中国原生艺术》做了特别呈现，我们通过探讨美国教授Daniel Wojcik的《原生艺术：幻想世界与创伤》(2016) 进行了回应。对于 Shaun McNiff特别部分的介绍将中国艺术置于更大的世界背景之下，并讨论Wojcik的著作如何促进对这些艺术表达的理解与欣赏。正如Wojcik和郭海平呈现的，每位艺术家都在特定的社会背景下进行创作，我们强调了“原生”艺术这一术语会如何产生误导。这些作品被看作是积极向上的，因为通过艺术表达和贡献社区人们创造了自己，这也是东亚道教，儒家和禅宗佛教传统的基础。陈书山采访了郭海平，介绍了南京原生艺术工作室的发展历史以及该项目对文化生态和互助的重视。文章展示了原生艺术家作品插图。Shaun McNiff采访了Daniel Wojcik，探讨他如何通过民俗研究参与到基层和白话艺术的。在期刊的这一期显示的中国艺术与更大的国际社区有关，这在Sabato Rodia, Tressa Prisbey, Howard Finster, 以及 Ionel Talpazan的作品插图都有所呈现。
关键词: 原生艺术, 白话艺术, 艺术风格, 原始艺术, 草根艺术, 汉斯•普林茨霍恩, 南京原生艺术工作室, 文化生态, 互助
