Advisor(s)
Abstract(s)
A instalação Tianshu (Livro do Céu/Escrita Celeste) de Xu Bing tem dado origem a
variadas interpretações. O que pretende esta obra cujos livros, cartazes e rolos estão
repletos de caracteres inventados, sem significado literal e que nem sequer podem ser lidos?
Começo pela narração da génese do Tianshu, a sua descrição detalhada, a recepção inicial
e a compreensão do seu vocabulário visual. Avanço depois com a minha interpretação da
obra, que privilegia os aspectos artísticos assim como aspectos relevantes da cultura
chinesa, em detrimento de aspectos político-sociais e leituras à luz de pensadores ou
correntes teóricas ocidentais. Cruzo o Zen com as especificidades da escrita chinesa. O Zen
está presente no Tianshu sob duas formas: na sua confecção morosa, como um acto de
meditação; e no efeito que visa produzir, semelhante ao dos koan,breves declarações,
histórias ou perguntas paradoxais que desafiam a lógica e o senso comum. Mostro que a
remoção do significado literal dos caracteres não é, no âmbito da cultura chinesa, nem
inédita, nem ofensiva, assim como não o é a sua montagem e remontagem. Além disso, o
pensamento chinês privilegia a transmissão de ideias complexas através de formas nãoverbais,
visuais e simbólicas. E os caracteres gozam tradicionalmente de estatuto
ontológico, sobretudo as escritas esotéricas que não se destinam a transcrever a fala
humana e que apontam para níveis de significado que não o lexical. Tudo isto permite-me
argumentar que o Tianshu é acerca dos caracteres chineses e que aponta para a dimensão
visual do pensamento chinês tradicional. Por fim, procuro sopesar o valor artístico dessa
instalação e mostrar de que modo foi e continua a ser uma obra inovadora
Xu Bing's installation Tianshu (Book from the Sky/ Heavenly Script) has given rise to many interpretations. What does this work want, when its books, posters and scrolls are full of invented characters that have no literal meaning and cannot even be read? I begin by the genesis of the Tianshu, its detailed description, its initial reception and the understanding of its visual vocabulary. I then proceed with my interpretation of this artwork, which emphasizes the artistic aspects, as well as its connexion to specific Chinese cultural aspects; not socio-political aspects or readings in the light of Western thinkers or theoretical currents. I cross Zen with the particularities of the Chinese script. Zen permeates the Tianshu in two ways: in its slow production, as an act of meditation; and in the surprise effect it aims to produce, similar to that of the koan, brief statements, stories, or questions that challenge our logical thought and common sense. I show that the removal from the characters of their literal meaning is neither novel nor offensive within the framework of the Chinese culture, nor is their reassembling under new configurations. Moreover, Chinese thought privileges the transmission of complex ideas through nonverbal, visual and symbolic forms. And characters enjoy traditionally an ontological status, especially esoteric scripts, which are not intended to transcribe human speech and point to non-lexical levels of meaning. All this allows me to argue that the Tianshu is, ultimately, about the Chinese script, and points towards the visual dimensions of traditional Chinese thought. Finally, I try to ponder the artistic value of the Tianshu and to show the reasons why it is an innovative work.
Xu Bing's installation Tianshu (Book from the Sky/ Heavenly Script) has given rise to many interpretations. What does this work want, when its books, posters and scrolls are full of invented characters that have no literal meaning and cannot even be read? I begin by the genesis of the Tianshu, its detailed description, its initial reception and the understanding of its visual vocabulary. I then proceed with my interpretation of this artwork, which emphasizes the artistic aspects, as well as its connexion to specific Chinese cultural aspects; not socio-political aspects or readings in the light of Western thinkers or theoretical currents. I cross Zen with the particularities of the Chinese script. Zen permeates the Tianshu in two ways: in its slow production, as an act of meditation; and in the surprise effect it aims to produce, similar to that of the koan, brief statements, stories, or questions that challenge our logical thought and common sense. I show that the removal from the characters of their literal meaning is neither novel nor offensive within the framework of the Chinese culture, nor is their reassembling under new configurations. Moreover, Chinese thought privileges the transmission of complex ideas through nonverbal, visual and symbolic forms. And characters enjoy traditionally an ontological status, especially esoteric scripts, which are not intended to transcribe human speech and point to non-lexical levels of meaning. All this allows me to argue that the Tianshu is, ultimately, about the Chinese script, and points towards the visual dimensions of traditional Chinese thought. Finally, I try to ponder the artistic value of the Tianshu and to show the reasons why it is an innovative work.
Description
Keywords
Tianshu Xu Bing Arte contemporânea Zen Caracteres chineses Contemporary art Chinese characters