Nanman Syllabary 南蠻音韻考

2015-2016

Printmaking & sound installation 

Movable type woodblock - Formosan Michelia, plywood & wood stick; Pencil on graph paper; 

Digital print on matte paper; Imprint on Fabriano paper; Sound

Dimensions Variable 

Movable type woodblock - Formosan Michelia, plywood & wood stick: 185x94x4; 

Pencil on graph paper: 26.6x19.1, 16 pieces; Digital print on matte paper: 18.75x12.5, 84 pieces

Imprint on Fabriano paper: 15x15, 84 pieces; Sound: 6 mins and 20 seconds

版印聲音裝置

木刻活字版-烏心石、夾版、木條,素描方格紙本,數位輸出霧面相紙,壓印版畫紙本,聲音

依場地而定

木刻活字版:185x94x4;素描方格紙本:26.6x19.1,16件;數位輸出霧面相紙:18.75x12.5,84件;

壓印版畫紙本:15x15,84件;聲音:6分20秒

"Nanman", is how the mainland and northern tribes named the southern in ancient China. The name"Nanman" reflects the standard the mainland and northern distinguished between cultures, specifically lifestyle and politics, under the discourse of Sinocentrism. It also illustrates the way Han people defined their ethnographic boundary, in order to discriminate the alien and protect their culture from being invaded and diffused. There is also no difference between contemporary and ancient Chinese worldview. Contemporary China even further consolidates their ethnocentrism through domain expansion, culture coordination, and disdaining the other cultures. Language carries culture. So-called Nanman, its sinking language - Cantonese, was neglected. As a language being inherited only orally through generations, it is now being researched, reviewed and reexamined of its phonetics, for reconstructing the culture's subjectivity. This is also a trace and a proof of how the culture was put into silence by history and politics.

 

「南蠻」,是古代中國中原或北方人對南部一些部族的稱呼,在中國中心主義的世界觀下,一種文化分別的標準,以區分其生活習慣和政治方式,並重新建構漢族中心的文明邊界,拒斥異族或異端文明的入侵和滲透。在當代中國下的世界觀,似乎視點與古代無異,更嘗試把邊域擴展和塑造文化統一的帝國,並透過窺視異族文化,鞏固自身的文化優越感。語言是文化的載體,作為他國所指的南蠻,面對正在沉淪被漠視的南蠻語-粵語,在其口語相傳至今的歷史背景下,重新研究、檢視、考查其音韻系統,並重構碎片化的南蠻文化印象,作為她在歷史和政治洪流下被遺忘前的存在證據。


作品屬研究型創作,在現今粵語無系統的口語相傳至今的歷史背景下,從研究參考標準漢語注音符號系統的小篆簡化偏旁方法和日語假名系統的草書漢字約定俗成簡化方法,對粵語的聲母、韻母和聲調作考查,利用每個音相對應的字,並參考粵劇為押韻所創的韻尾法,選用了篆書拆解組合的方式,創作獨有的注音符號,並在符號的拆解中仍然保留中文䌓體字美感。聲調方面,粵語的九個聲調選用了民間傳統數字標示法-蘇州碼子,是香港民間還存留下來的數字符號標示法,作為本作品聲調的代表符號。
作品經過工業圖像文字設計的草稿編列,參考古代傳統的木刻活字印刷方法,製作音韻考查的木刻活字版和每一個活字,經過壓印得出每一個字的版畫,並選用對每個選用字所相關的香港印象的影像作並列對照的整體展出。

Nanman Syllabary 南蠻音韻考 - Sound Track 聲音檔
00:00 / 06:20

© 2020 copyright by Henry Chang Yue Lam.

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