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无知的游历
《无知的游历》内容简介：从2009年到2011年，陈丹青应《华夏地理》之邀，每年赴一地，先后游历了土耳其、俄罗斯、德国和匈牙利四国，并写成长篇游记，极具个人特色地勾画出了彼时彼地的人文、自然景观，牵连出此时此地的所思所想，《无知的游历》即为这四篇文字的结集。除游记本身外，本书还附有300余幅历史和现场图片，以及陈丹青旅途中所画速写手稿。
- GenresTravel
303 pages, Paperback
Published January 1, 2014
4 people are currently reading
9 people want to read
About the author
陈丹青
31 books13 followersChen Danqing (simplified Chinese: 陈丹青; traditional Chinese: 陳丹青; pinyin: Chén Dānqīng) is a Chinese American artist, writer, and art critic. He was born in Shanghai in 1953, and graduated from China Central Academy of Fine Arts. As his grandfather moved to Taiwan with the Nationalist government, he has the nationality of the Republic of China (he now travels to mainland China with the Mainland Travel Permit for Taiwan Residents). He moved to the United States in the 1980s, and became a citizen there.
Sources:
https://en.wikipedia.org/wiki/Chen_Da...
https://zh.wikipedia.org/wiki/陈丹青
Sources:
https://en.wikipedia.org/wiki/Chen_Da...
https://zh.wikipedia.org/wiki/陈丹青
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Displaying 1 - 3 of 3 reviews
May 13, 2021
陈丹青《无知的游历》
无知的游历 by 陈丹青 is a collection of travel journals about the author's trips to Turkey, Russia, Germany and Hungary from 2009 to 2011, sponsored by National Geographic China (http://www.nationalgeographic.com.cn).
陈丹青 is a prominent Chinese-American artist and art critic. The title literally means An Ignorant Journey. However, the journey is far from ignorant. Instead, it's an informative and in-depth account of Western culture and history from an unique angle.
I especially enjoyed the Russian Journals. Chen traveled to Moscow and St. Petersburg, visited cities and their art galleries, museums, house museums of famous writers, poets and artists. He combined what he saw with his own eyes with what he read from Leo Tolstoy, Pushkin, Fyodor Dostoyevsky and others, to creat a rich picture of the Old Russia, Soviet Union and the New Russia, in which the same space in different time periods morphed into one.
Memories from Chen's youth scattered in his journal. Chen he was sent to countrysides to be "re-educated" during the Cultural Revolution. During those those years he fed his hungry soul with Tolstoy's War and Peace, Pushkin's poems and several other works by whom he believed were Soviet Union "revolutionists" but later discovered from Old Russia (hence not "revolutionists"), as they were the among the very few permitted foreign authors.
During his visits to Russian, Chen "reconciled" with his fondness for Russian artists, such as Ilya Repin and Vasily Surikov. In his youth, he was inspired by and worshiped Russian artists, but later moved away to a "better", wilder range of arts and artists. Chen's visit to Russia gave him peace. By reuniting with what he loved in his youth, he somehow reconciled with his younger self.
The writing is smooth and lyrical.
无知的游历 by 陈丹青 is a collection of travel journals about the author's trips to Turkey, Russia, Germany and Hungary from 2009 to 2011, sponsored by National Geographic China (http://www.nationalgeographic.com.cn).
陈丹青 is a prominent Chinese-American artist and art critic. The title literally means An Ignorant Journey. However, the journey is far from ignorant. Instead, it's an informative and in-depth account of Western culture and history from an unique angle.
I especially enjoyed the Russian Journals. Chen traveled to Moscow and St. Petersburg, visited cities and their art galleries, museums, house museums of famous writers, poets and artists. He combined what he saw with his own eyes with what he read from Leo Tolstoy, Pushkin, Fyodor Dostoyevsky and others, to creat a rich picture of the Old Russia, Soviet Union and the New Russia, in which the same space in different time periods morphed into one.
Memories from Chen's youth scattered in his journal. Chen he was sent to countrysides to be "re-educated" during the Cultural Revolution. During those those years he fed his hungry soul with Tolstoy's War and Peace, Pushkin's poems and several other works by whom he believed were Soviet Union "revolutionists" but later discovered from Old Russia (hence not "revolutionists"), as they were the among the very few permitted foreign authors.
During his visits to Russian, Chen "reconciled" with his fondness for Russian artists, such as Ilya Repin and Vasily Surikov. In his youth, he was inspired by and worshiped Russian artists, but later moved away to a "better", wilder range of arts and artists. Chen's visit to Russia gave him peace. By reuniting with what he loved in his youth, he somehow reconciled with his younger self.
The writing is smooth and lyrical.
June 30, 2022
我念兹在兹地喜欢这本书。离职时，同事送我一本《定位》，我将《无知的游历》放在他的桌上。他是一位文质彬雅的人，很长时间再无遇到像他言行相貌好看的男人。两不相应的书籍想必非受赠者喜读，但收获同样的祝福分享。
书籍封面的三位大使，看即喜欢，多年做头像用。如作者所言：「我好喜欢他的画，这次终于得到挪用的机会」。
与人提及一本书或一部电影，被第一问的常是讲了什么。我会说谎般歉然：看过忘了。但心中的喜欢激赏一直留存，在重读时相信可以识别出来。
先生被邀请做节目时，窦文涛曾说今天要讨论的话题其实已经过时了，但只要丹青兄想谈，我们就做。本书的编辑同样写道 :「想去哪儿、想写什么、想怎么写，都行」。这些真是奢侈的信任啊。我爱这本书，爱的就是他的看，借他的眼去看我应然看到却从未看到的，我曾说看书如看一个人遇到多少灵感。
「小伙计手脚麻利卷好地毯，满脑袋细密的卷发证实古希腊雕刻有根有据，绝非胡来。」
我们走在街上，随处经验这种表象之看，眼睛扫过一个人，差不到已在心里记载大量信息。不思索旋又忘记，却罕少比对古希腊雕刻创作的人物，这句话像拉片般指点我，会心一笑。他写道「窗沿的娘姨擦玻璃、抖地毯，满面辛劳，不见苦相」。好一个不见苦相，竟有人这样去看一个穷困的人，那是天真的孩童还是艺术家才有的眼光。
雅斯纳亚·波利亚那是托尔斯泰的故居。今次重读才注意到陀斯陀耶夫斯基比托尔斯泰年长，我顽固的常识疏漏为何一直持续多年。原因之一是当年我未曾读过两位文学巨匠的作品。我们很容易错过没有亲历的讯息。核对阅读日期，我二十六岁第一次读托尔斯泰，二十七岁第一次读陀思妥耶夫斯基。丹青先生说现在的年轻人不会再读这么厚的俄罗斯文学，我不能否定他的话，因我很晚才去读，才知错过了盛宴。陀氏的书实在厚，那几年我竟接连读完译文出的一套文集。我偏爱陀思妥耶夫斯基。但我也知道，日后会继续读托尔斯泰，好东西留着读也行。
「Weimar, Weimar,一句听来近乎粗鲁的德语。」今次注意这句话是因为，一位同事曾问我法语中女士怎么说。Madame, 同事问怎么像骂人的话。次要的讯息被注意，还是如上所言，有所亲历。
《无知的游历》是三篇游记合成。文字的饱满，如光照充足的麦子。无知的游历，哪有什么无知，艺术家的修辞谦抑罢了。若解作「未知」，如书所言「真的旅行是漫长的辛苦，人与马徒步跋涉，一路迎向未知的经历」。
书籍封面的三位大使，看即喜欢，多年做头像用。如作者所言：「我好喜欢他的画，这次终于得到挪用的机会」。
与人提及一本书或一部电影，被第一问的常是讲了什么。我会说谎般歉然：看过忘了。但心中的喜欢激赏一直留存，在重读时相信可以识别出来。
先生被邀请做节目时，窦文涛曾说今天要讨论的话题其实已经过时了，但只要丹青兄想谈，我们就做。本书的编辑同样写道 :「想去哪儿、想写什么、想怎么写，都行」。这些真是奢侈的信任啊。我爱这本书，爱的就是他的看，借他的眼去看我应然看到却从未看到的，我曾说看书如看一个人遇到多少灵感。
「小伙计手脚麻利卷好地毯，满脑袋细密的卷发证实古希腊雕刻有根有据，绝非胡来。」
我们走在街上，随处经验这种表象之看，眼睛扫过一个人，差不到已在心里记载大量信息。不思索旋又忘记，却罕少比对古希腊雕刻创作的人物，这句话像拉片般指点我，会心一笑。他写道「窗沿的娘姨擦玻璃、抖地毯，满面辛劳，不见苦相」。好一个不见苦相，竟有人这样去看一个穷困的人，那是天真的孩童还是艺术家才有的眼光。
雅斯纳亚·波利亚那是托尔斯泰的故居。今次重读才注意到陀斯陀耶夫斯基比托尔斯泰年长，我顽固的常识疏漏为何一直持续多年。原因之一是当年我未曾读过两位文学巨匠的作品。我们很容易错过没有亲历的讯息。核对阅读日期，我二十六岁第一次读托尔斯泰，二十七岁第一次读陀思妥耶夫斯基。丹青先生说现在的年轻人不会再读这么厚的俄罗斯文学，我不能否定他的话，因我很晚才去读，才知错过了盛宴。陀氏的书实在厚，那几年我竟接连读完译文出的一套文集。我偏爱陀思妥耶夫斯基。但我也知道，日后会继续读托尔斯泰，好东西留着读也行。
「Weimar, Weimar,一句听来近乎粗鲁的德语。」今次注意这句话是因为，一位同事曾问我法语中女士怎么说。Madame, 同事问怎么像骂人的话。次要的讯息被注意，还是如上所言，有所亲历。
《无知的游历》是三篇游记合成。文字的饱满，如光照充足的麦子。无知的游历，哪有什么无知，艺术家的修辞谦抑罢了。若解作「未知」，如书所言「真的旅行是漫长的辛苦，人与马徒步跋涉，一路迎向未知的经历」。
November 2, 2020
初中時候讀過托爾斯泰的復活，唯一印象就是農民革命，很長的俄國名字，聶赫柳斯基，看完了應該也沒明白看了什麼。看完這篇想再看一下托爾斯泰的書，想看看德國
Displaying 1 - 3 of 3 reviews