2013年，余光中來到澳門大學，談《靈感一大來 源——論藝術經驗之轉化》，為文學愛好者奉獻了一 場精彩絕倫的文學盛宴；還特別做客「余光中先生工 作坊」，為文學愛好者獨開小灶，手把手近距離地指 導文學初寫者，為他們把脈開方，和眾人分享他的創 作經驗，以及他是如何將藝術經驗轉化為靈感。 美感經驗之互通 余光中認為藝術創作必須具備三個條件，即知識、經 驗和想像。只有這樣，才能筆補造化。他認為藝術 正 如Malcolm De Chazal 所 言，「藝術就是使造化加速， 讓神靈放慢」(Art is nature speeded up and God slowed down)，也如唐代詩人李賀所 說，「筆補造化天無功」， 甚至如Oscar Wilde所認為的 「不是藝術模仿人生，而是 人生模仿藝術」(Life imitates Art far more than Art imitates Life)。 余以登山為例，輔以柳宗元、王質和自己的詩歌作例 子，說明比喻是天才之試金石，並且要以不類為類才 算高明。 寫實主義：直接經驗與間接經驗 「竹外桃花三兩枝，春江水暖鴨先知。蔞蒿滿地蘆芽 短，正是河豚欲上時。」余光中借蘇軾《惠崇〈春江晚 景〉》一段來闡明寫實主義中的直接經驗和間接經驗， 寫詩者要注重發現和吸取不同的經驗來豐富認知感受。 在講解了寫實主義之後，余光中進而通過舉達芬奇、 包慈、尚帕尼等人作畫的《最後的晚餐》，對照《馬 可福音》的記載，指出有些題材不適合寫實。 通過色彩、構圖、造型等方面，余光中和聽眾一起分 大師講座 余光中談靈感來源 Master’s Talk–Yu Kwang Chung on the Source of Inspiration During his visit to UM in 2013, Yu gave a talk entitled “A Major Source of Inspiration—On the Transformation of Artistic Experience”. He also led a workshop where he shared his experience with beginning writers and answered their questions. Transformation of Artistic Experience Yu believes that there are three prerequisites for artistic creation, namely knowledge, experience, and imagination. Only when all three are present can “art prevail where nature fails”, he quoted a line from one of the poems by the Tang dynasty poet Li He. He thinks that art is, as Malcolm de Chazal put it, “nature speeded up and God slowed down,” and contrary to popular belief that art imitates life, Yu agrees with Oscar Wilde who once observed that, “Life imitates art far more than art imitates life.” He used mountain climbing, along with his own poems and poems by Tang dynasty writer Liu Zongyuan and Song dynasty writer Wang Zhi, to illustrate that mastery of metaphor is the mark of a genius, and that truly ingenious metaphors are created by finding similarities where none seem to exist. Realism: Direct Experience VS Indirect Experienc The famous Song dynasty poet Su Shi once wrote a poem which goes like this, “Beyond the bamboo grove, several peach trees are in bloom/The river is warming, which the ducks are first to know/Beach wormwood is teeming, the asparagus just sprouting/Ah, the season when globefish are coming upstream!”1 Legend has it that some of the poet’s contemporaries took issue with the word “ducks”; why ducks had to be the first to know, they asked the poet, why not geese? Actually, explained Yu, as the title of the poem, “Inscription on Huichong’s Painting of a Spring River”, implies, this knowledge did not come from the poet’s direct experience, but from his indirect experience, which was his observation of a painting. Yu used this example to stress the importance of using both direct and indirect experience to find more sources of inspiration for poetry. But Yu also pointed out that some subjects do not lend themselves very well to realistic reproduction, citing the different versions of the painting The Last Supper by different artists including Leonardo da Vinci, Dieric Bouts, Philippe de Champaigne, etc, all of which were 藝術創作必須具備三個條件，即知 識、經驗和想像。 There are three prerequisites for artistic creation, namely knowledge, experience, and imagination. UMAGAZINE ISSUE 10 33 人物專訪．INTERVIEW
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