严力：在黄山诗歌陶艺节发言

[湖南墨音]

　　祝贺中国黄山2010年诗歌、陶艺盛会

　　严力
　　
　　先回顾一下近三十多年来的新诗歌运动，我们经历了文字狱，经历了违法的地下刊物，经历了不被允许的民间诗歌朗诵会。继续经历着自费印刷品不能买卖只能赠送的模式，但是只要这个模式能够存在，对诗人来讲就意味着可以自己来记录历史，可以跨越审查和商业的挤压，把想说出来的话说出来，因为历史所信奉的是：后代才是最终对文化遗产进行取舍的审查者。
　　
　　我认为中国文化传统中的诗画同源在新世纪的又一次回潮起源于七十年代末，是文化中国久违的盛况，而且这种盛况的产生直接来自民间，它是自然和不可逆转的，也是经过了扼杀、搏斗和坚持，才得以站立起来的，它也不是谁能领导的。
　　
　　不是谁能领导的文化在中国消失了很多年，首先由民间直接点燃了诗歌的火、艺术的火，其中就有后来的陶艺之火。在中国，陶艺的火多少年来是皇帝御用的火，我们可以看到在各种拍卖场上，高价的陶艺艺术品或日常用品全被一个个象征帝王的年号所表达，没有艺术家的名字，帝王们用御用的独裁的方式把工匠和艺术家一网打尽，最近的例子就是，拍卖场上的红色年代的各种物品，也是把艺术家消灭掉的年代，结果只能被统称为红色年代。
　　
　　如今陶艺艺术家终于把自己解放了，我们将来一定会看到拍卖会上出现的是由某某艺术家烧制的艺术品，而不是以年号来辨别的艺术品。这在中国艺术史上是一个新的文明起始点。

　　值得注意的是，这次解放是由诗人们推波助澜的，证明了诗人在人类文明的道路上正确的判断，为此诗人们值得聚会，值得欢庆。

　　更要欢迎海外的诗人们前来切磋诗歌，共享人类的文明。
　　
　　感谢周强、沈奇、李笠等人对这次盛会的付出。

　　谢谢大家。
　　
　　2010年4月。
　　
　　Felicitations for the 2010 Huangshan Poetry and Pottery Gathering
　　
　　Yan Li
　　
　　First let us look back at the new poetry movement of the past 30 years. We have lived through suppression of written works; we have lived through times when underground publications were treated as illegal; now we have entered a time when poetry readings are permitted in civil society. We are dealing with a mode whereby self-published publications can be given away but not sold. Still, as long as this mode exists, it signifies that we poets can record history for ourselves. We can go beyond pressures of censorship and commercialism; we can have our say. Our successors are the ultimate censors who will subject our cultural heritage to a selection process: this is the belief-system of history.

　　I think the re-emergence of poetry and painting as kindred forms in the late Seventies, coming out of China’s traditional culture, was a long-deferred flourishing for cultural China . This flourishing was generated directly among the people; it was natural and irreversible. It went through suppression, self-assertion, and persistence before it could stand on its own. It was not something that could be led by anyone.

　　Culture that could not be led by anyone had disappeared from China for many years. First of all, the fire of poetry and art was sparked directly among the people, and part of this was the fire of pottery-making. In China , the fire of pottery for a long time was reserved for imperial use. In various auctions we can see that high-priced pottery works and utensils were all identified by an emperor’s reign title, never with an artist’s name. By means of their imperial, autocratic way of doing things, emperors kept artisans and artists out of sight. Auctions of articles from the red era provide a more recent example of an era that also effaced artists. Since individuals could not leave their marks, it could only be summed up as the red era.

　　Nowadays pottery artists have finally liberated themselves. We will surely see works shaped and fired by certain artists, not works indentified by a reign period. This is a salutary new point of departure in the history of Chinese art. Worth noting is that poets helped initiate this trend of liberation. This proves the accurate judgment of poets along the human road to civilization. Thus it is worthwhile for poets to gather and celebrate.

　　Still more worthy of welcome are the poets from abroad who have come here to exchange views on poetry and enjoy the fruits of civilization together.

　　Thanks to Zhou Qiang, Shen Qi, Li Li and others for what they have done to make this grand gathering happen.

　　Thanks to everyone.
　　
　　April 2010