藝術的「具體關係」——阿城及其小說〈棋王〉

“The Embodiment of Relationship”of art: A Cheng and his novel“Chess King”

藝術的「具體關係」是阿城在1990年代提出的一種藝術理念。旨在表明：藝術的創造有著「巫」一般的專業性。創作者在靜觀世俗的同時，也要能夠切進傳統文化的底層，逆尋超越的生命理境。 透過這樣一個理念，重新觀看阿城的成名作〈棋王〉，不難發現，這樣的一部作品不僅體現了阿城與那個時代知識青年普遍的文革遭遇，對「食」、「棋」、「武俠」等世俗文化的元素有著細膩的刻畫，也可以理解到，他正是透過「棋」這樣一種世俗的技藝，表明了藝術創作者對遙不可及理境的追求與寫作之心的隱喻。

“The Embodiment of Relationship”of art is a theory A Cheng devised in the 1990s. Enumerating it points: the creation of art is a“shamanistic”professionalism. While quietly observing the mundane world, the artist must be capable of devolving deep into the root of traditional culture and surpassing the rational state of life. Based on this theory, after we gain another glimpse at A Cheng's signature work“The Chess King”, we notice that it not only embodies A Cheng, and the final outcome of the young intellects during the time of Cultural Revolution. A Cheng's details describe the elements of popular culture, such as,“food”,“chess”and the“knight-errant”, and we come to a realization that A Cheng used mundane artistry“chess”as a metaphor of the art creator's inaccessible pursuit for a rational state and the urge to write.