前衛藝術的精神性：談達達主義尤其是杜象的藝術

The Spirituality of Avant-garde: On Dadaism-Marcel Duchamp in Particular

格林堡(Greenberg)的論述中以形式主義藝術觀解釋現代主義，此種邏輯不僅是一種非常狹隘，且是直線式的進步論，它忽視且並扭曲了現代藝術的真實狀況，所以我認為現代主義並不代表形式主義。事實上二十世紀初，抽象繪畫運動先驅者，就像很多現代前衛藝術家一樣，並不是只有關心形色安排的形式主義者，他們很多人都是神證學(Theosophy)這個神祕主義的信仰者。第一次世界大戰期間在美國的杜象、畢卡比亞、須威特斯和阿爾普等人將東方的智慧傳到西方去，並且將它散播開來。在蘇黎世的一些達達藝術家多少都與東方思想產生關連，尤其在整個達達主義運動和東方精神性的關聯裡面，杜象才是真正的重要角色。杜象是個神秘主義者，而不單單只是所謂現代藝術「風格」的創新者，本文舉例幾件杜象作品之分析中可看出其與佛教和觀音信仰的關係。我們只有放棄形式主義的刻板教條，才會發現原來藝術有那麼高的精神層次，可以啟發我們重新思考藝術和人生的意義。

The viewpoint of Greenberg emphasizing formalism in interpreting modern art is a rather narrow perspective of linear Progressivism, which ignores and even distorts the reality of modern art. The author asserts that “modern art” does not literally mean formalism. In fact, at the beginning of the twenty-first century the pioneers of the abstract painting, as many of the avant-garde artists, are not just concerned with the arrangement of shapes and colors like formalism. Many of them are believers of the occult Theosophy. During the First World War, Duchamp, Picabia, Schwitters, and Arp conveyed and spread the Oriental wisdom to the West. The Dada artists in Zurich kept some connection with the Eastern thoughts. It was Duchamp that played a crucial role in the integral relationship between Dadaism and Eastern spirituality. Engrossed in mysticism, Duchamp is not only an innovator of Modern style, but also closely related to the belief of Buddhism and Avalokiteshvara, or Kuan-yin -- the goddess of mercy. This can be illustrated and proved by Duchamp’s art works and the related evidences. Only if rejecting the dogma of formalism, can we find the high level of spirituality in art, inspiring our re-thinking of the meaning of art and life.