印度艺术的现代主义时刻：吉塔·卡普尔读本_[印] 吉塔·卡普尔著，张颂仁，陈光兴，高士明译_9787552024265

《印度艺术的现代主义时刻：吉塔·卡普尔读本》由艺术批评家、策展人吉塔·卡普尔撰写的一篇导言和四篇长论文构成。吉塔注意到，过去几十年有关当代艺术的讨论，总是围绕“民族-现代”和“全球-本土”这些二元对立的概念展开。作者批判这种分析方法，倡导超*两分法去思考“共同生成的现代性”。作者通过分析近年来世界各地艺术展中的一些例子，结合自身的策展经历，描述了这种共同生成的艺术结构。在本书的后半部中，作者进一步将这种方法推至“身体”领域，分析了“性别”和“死亡”两个主题，体现出印度学者独特的思考维度。

缘起

“从西天到中土”是一个综合的文化交流方案，由中国美术学院展示文化研究中心和汉雅轩发起，梦周文教基金会资助研究，从学术思想和当代艺术两个角度去亲近印度，进行视觉文化和亚洲现代性的文化比较。读本中的学者于2010年秋的上海双年展期间陆续来华演讲；为了让听众进一步了解他们的思想，每位学者为我们精挑了这个选集，以中英双语出版。

当今的印度离我们既近且远，除了被西方传媒渲染的新兴经济的龙象之争和模糊偏见之外，印度不在一般国人的视野之内。印度咸称古国，但作为当代文明，一个甚至在现代西方思潮中举足轻重的印度学界，并不在普遍意识之中。作为人口的大国和现代国家，印度的经济、文化、科技皆有不可估量的前景；作为中国近邻与久远的故交，印度早就应该被中国关注。但与印度交流的当务之急不在于此；中国须要深切思考印度、亲近印度是为了自明。

中国走上现代化的道路已逾一世纪，从革命到冷战到自由资本全球化，我们的道路一直摆脱不了欧美的世界想象，话语也固定在“东西”和“中西”之说法。无怪中国百年来的各种自强运动的结果，都脱不了西方制度的模式。作为典范的欧美，中国钦羡为“先进文化”——于今天的国情已不适宜无条件借鉴。但面对中国的历史资源时，我们又往往囿于欧美范式而无法善用。如何在冷战的两种西方历史计划以外找到中国的位置，如何发掘被欧美视野冷落的历史资源，就必须放眼其他的发展经验。如果要寻找在亚洲现代化道路上与中国采取截然另途，但依我们的“富强”尺度又是成就可观的例案，我们则无法不审视印度。

中国引以自豪的现代之路是民族革命，彻底推翻过去，重新再造大一统，但结果我们离自己的历史文化越来越远。印度的道路则是摆脱殖民帝国，但在民族独立后依然承继了殖民时代机制。然而，当中国的“后革命”经验与印度的“后殖民”相遇时，我们又不能不讶于左翼革命在印度至今不衰的事实。目前各种倾向的共产党在印度尚有四十多个组织，革命经验不可谓不丰富；可是印度又是世上最大的民主国家。这让我们无法不想：中国的革命是否也与印度的殖民经验相通？而印度的“后殖民”是否为革命的另一种方式？印度现代化的历程之多样与丰富，中国无法相比；同时，在日常生活的层面，新旧文化传统并行不悖。雅利安文明的婆罗门学者和各式传统修行人似乎与工业文明不相涉地穿插在都市节奏之中。现代中国与印度相遇，感观上最受刺激的疑惑是：现代与历史（而且是多层面的历史）到底如何并存？

印度与中国的现代都因承欧美的帝国主义和资本逻辑而致，所以中印的相遇是设在欧美的大平台上，绕开欧美无法谈亚洲的现代，也无法深切交流双方的经验。但要脱略于欧美的历史经验来重新自明，不能够自闭地缅怀过去；要打开未来，我们更必须把中国经验提升为足以让欧美也能借鉴的新知识。这可能是印度当代学术最值得国人参考的一面。这系列读本的作者大多为西方学界熟悉，而且，印度学者擅长的“后殖民”理论和城市研究至今尚是西方新思潮的显学；比方在当代艺术的领域，就直接影响了近二十年的国际趋向。

“从西天到中土”的计划源于展示文化研究中心历年的一系列工作计划。2003年许江院长倡议以“亚洲”作为中国美术学院建校七十五周年纪念的议题，嘱高士明、吴美纯两位教授主持，邀我并预其事。“亚洲的双重时间”从亚洲各国的民间历与耶稣历的并行现象着墨，作为“地之缘：亚洲当代艺术的迁徙与地缘政治”越域考察和展览的基础。2008年广州三年展由高士明、萨拉·马哈拉吉和我策划的“与后殖民说再见”再次启动了对“东西”二元框架的反思。“从西天到中土”企图推进前此的探索，在亚洲内部作近距离和实质的交往。陈光兴教授在这领域已投入多年的气力，承不弃，介入高士明和我的行列，策动了他在学术圈的老关系，论坛才得以顺利成事。此中的心意非言谢可以相报，亦惟有以谢忱言表。

2010年，为了配合论坛的开幕，我们适时推出了这一系列读本的第一版，这是其中多位作者的作品首度形诸中文。为了使这些优秀的思想文本以最佳质量留存于中文世界，我们随后又对它们进行了再度校对、修订和少量的篇目的调整，其中六本在2012年—2013年期间由世纪文景再版；2017年另外两本则在上海社会科学院出版社副总编唐云松先生的支持下，由该社再版，并邀请两位作者——印度重要的艺术史家和批评家吉塔·卡普尔女士和印度女性主义学者特贾斯维莉·尼南贾纳为新版撰写的序言，并调整了部分内容。梁捷先生应邀对这两本书做了细致的校订。

印度和中国在现代境遇中相遇，不独是现代西化大潮的因缘。远在西风东渐之前，中土惟一的一次文化大变革来自汉唐的佛教东渡。佛学来华虽然远远未有近百年源自西洋的现代革命的残酷惨烈，但其影响之深远，也要历数百年的反刍，直到宋代才被彻底消化，被纳入中华文化的主体。在百年西化的意识形态革命之后，再访天竺可以提醒中国自我改造的历史记忆，并提醒我们在想象世界版图的“西方”时，尚有一个离感官更远而脚程更近的“西天”。

张颂仁记于二〇一二年秋

修订于二〇一七年夏

Foreword: Passage to West Heavens

by Chang Tsong-Zung

WEST HEAVENS is an initiative for cultural exchange developed jointly by the Institute of Visual Culture of China Academy of Art and Hanart TZ Gallery, and is supported by the Moonchu Foundation. The aim is to foster closer understanding of India through contemporary art and scholarship, and develop cross-cultural dialogue based on visual culture and notions of Asian modernity. Scholars represented in this series of Readers have been invited to lecture at the 2010 8th Shanghai Biennale and they have specially selected this anthology of representative writings to introduce their thinking to the Chinese public.

Modern India is both near China and far away. Apart from vague generalizations and supposedly Indian-Chinese economic rivalry enthusiastically promoted by Western media, most Chinese people are unaware of India. Of course we are aware of India’s rich history, but we are less familiar with its modern culture, in particular the significant role played by Indian thinkers in international academic circles. As China’s neighbour and traditional ally, India has long been deserving of China’s attention. As a large modern nation, India also has tremendous economic, cultural and technological potentials. But the most important reason for China to connect with India is to enlighten ourselves.

China has been possessed by the demon of modernization for over a century. From revolution to Cold War, and now capitalist globalism, China has been unable to shake off paradigms set by the West. Even Chinese discourse about modernity has so far been trapped by dichotomies of East/West and China/West. No wonder that efforts at developmental self-reliance have only led to increasingly Westernized economic and political institutions and lifestyles. Today the West that China emulates as the model of “advanced civilization” is no longer suitable for guidance, and yet access to China’s own historical resource has been blocked by the framework of these models. To establish a position for itself outside the two Western Cold War ideological paradigms, to develop historical resources beyond Western ideals, China must make connections elsewhere. Among Asian countries that have struck off on different paths of modernization, but still successful by the parochial standards of “prosperity”, India has much to offer its neighbours.

China’s path to modernity has been moulded by a series of revolutions, having overthrown shackles of the past to create new social forms. The damage of revolution is to become increasingly removed from our historical roots. India has adopted radically alternative ways. India overthrew colonial domination, but has uncharacteristically preserved colonial institutions after liberation. And yet, when China compares its post-revolutionary record with the postcolonial experience of India, we cannot help but be amazed by the prevalence of left wing politics in India. There are currently over forty major parties of Communism in India, engaged in varying forms of revolutionary tactic. At the same time India is also impressively the world’s biggest democracy. China’s encounter with India inadvertently raises the suspicion: whether China’s revolution harbours a latent colonial gene? Conversely, whether the Indian version of postcolonialism is in fact another form of revolution? The singularity of purpose of the Chinese state has achieved the most daunting social engineering tasks in history, but in terms of diversity and richness of historical culture the result is no match for the treasure trove of India, where old and new traditions coexist on the level of daily life. Brahmins and Sadhus of ancient descent are integrated into the fabric of industrial urban life, and indigenous ways are brought into the grammar of modern practices. In the modern encounter of two ancient civlizations, an urgent issue is being raised for China: how do modernity and history coexist?

吉塔·卡普尔（Geeta Kapur ）是生活工作于德里的批评家和策展人，她的文章被广泛选编与收录。她的著作包括《当代印度艺术家》（1978），《K. G.苏布拉曼扬》（1985），《批评家指南：在航行中实践》（即将出版）。

卡普尔是《艺术与思想》刊物的创始编辑，《第三文本》的顾问组成员，她也是Marg和ARTMargin的顾问编辑和董事。她的策展项目包括印度国家美术馆（德里和孟买）和伦敦皇家艺术学院举办的对印度现当代艺术的调查性展览。主题性展览包括：“剥夺”，约翰内斯堡双年展（1995）；“孟买”，世纪之城，泰特现代艺术馆（联合策展，2001）；“潜在地带”，世界文化宫，柏林（2003）；“美学捆绑”，Chemould 画廊，孟买（2013—2014）。她是威尼斯双年展（2005）、达卡双年展（2006）和沙迦双年展（2007）的评委会委员；她曾是纽约古根海姆美术馆亚洲艺术协会的顾问，现为香港亚洲艺术文献库和伦敦泰特亚洲研究中心的顾问委员会成员。

卡普尔在世界各地演讲，曾担任印度高等研究院（西姆拉）、尼赫鲁纪念美术馆和图书馆（德里）、剑桥大学克莱尔学院和尼赫鲁大学（德里）的访问教授。2009 年她获得印度政府颁发的莲花士勋章。

Geeta Kapur

Geeta Kapur is a Delhi-based critic and curator. Her essays are extensively anthologized; her books include Contemporary Indian Artists (1978); K.G Subramanyan (monograph, 1985); When Was Modernism: Essays on Contemporary Cultural Practice in India (2000); Critic’s Compass: Navigating Practice (forthcoming). She was a founder-editor, Journal of Arts & Ideas; member, advisory council, Third Text. She is advisory editor (and trustee) of Marg, and ARTMargins. Her curatorial projects include survey exhibitions of modern and contemporary Indian art at Lalit Kala Akademi, National Gallery of Modern Art (Delhi and Mumbai), Royal Academy of Arts (London). Thematic exhibitions include: ‘Dispossession’, Johannesburg Biennale (1995); ‘Bombay/Mumbai’, Century City, Tate Modern (co-curation, 2001); ‘subTerrain’, House of World Cultures, Berlin (2003); ‘Aesthetic Bind’, Chemould, Mumbai (2013-14). She was Jury member for the Biennales of Venice (2005), Dakar (2006), Sharjah (2007). She was advisory member Asian Art Council, Guggenheim Museum, New York; and is now advisory board member of Asia Art Archive, Hong Kong; Tate Research Centre: Asia, London. She lectures internationally and has held Visiting Fellowships at the Institute of Advanced Study, Shimla; Nehru Memorial Museum and Library, Delhi; Clare Hall, University of Cambridge; Jawaharlal Nehru University, Delhi. She was awarded the Padma Shri in 2009.

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