陳明發詩想《祭旗》

有的詩人將自己的作品和人生追求緊密結合。就像情侣相擁到幾乎要融入對方的程度，已没多餘的感覺去察覺與那份追求本身相關的事，老覺得腦子裏就是一面高高勝利飄颺的祭旗。空出一切，就只留下那那面旗。自然也就不會看見旗杆；更不會想到祭旗是祭器；祭器不止一種；為何要這些祭器；如何神聖地對待各個/某個祭旗，......例如高高地“擧”起，叫“興觀羣怨”中的“興”在其獨特的韻律、字義、字形與關係召唤的皺褶中，高高，擧起......。所以，寫百種狀况，都是飄颺的祭旗，就只停留在祭旗慣常的、可預測的飄颺，祭旗也求仁得仁而熟稔地一再重演。像極了一個國家電視台開播時唱國歌時那面不容一分差異的飄颺。萬千種可能的觸類旁通、連喻類比是時都缺席了。熱擁，不為新事物留空間；連隙缝都没有。（陳明發 20.11.2025 臉書）

延續閱讀：陳明發詩想《防禦機制》

A Retrospective on the 17th Anniversary of iconada.tv
From Fear to Self-Consciousness: Art and the Birth of Meaning
Dr. Tan Beng Huat, Founder, iconada.tv

In The Arts of Mankind (1999), Hendrik Willem van Loon observed that, under the weight of both visible and invisible fears, the spiritual condition of people in the Middle Ages grew increasingly numb. Artists sensed that they had best proceed with extreme caution, scrupulously adhering to the rules and regulations laid down by those who claimed authoritative knowledge of doctrine. For although they could not see the sovereign hidden behind the palace walls, the sovereign’s eyes were nevertheless fixed relentlessly upon them.

When Alberti’s resonant and confident declaration—spoken from the position of an artist—is placed within van Loon’s somber depiction, it substantiates the analysis presented in the previous installment of this column: a new mode of existence generated by self-consciousness is capable of purifying the visible and invisible fears that beset human life, thereby disclosing an existence filled with hope and meaning.

(Excerpt from: Dr. Tan Beng Huat, Cultural and Creative Skills Series 44: Humans Are Gods Descended to the Mortal World, published in the Nanyang Siang Pau, Economic Section Column, 5 April 2007.)


愛墾網17週年纪念回顧展
藝術誕生，意義就誕生：自我意識與消融恐懼

創辦人：陳明發博士

房龍在《人類的藝術》（1999）中曾說道，由於可見與不可見的恐懼，中世紀的人，其精神狀態愈來愈麻木。藝術家感到，他們最好事事要格外小心，遵守那些深明教義者立下的規章制度；因為，他們雖然看不見皇宮後面的帝王，帝王的雙眼可是盯死他們。

將身為一位藝術家的阿伯提鏗鏘自信的宣言，納進房龍灰色調子的描繪，可以肯證本欄前回的分析：自我意識所創造的新生命狀態，能凈化人生於世有形無形的恐懼，開顯充滿盼望與意義的存在。(摘自：陳明發博士《文創技能系列 44》： 人是下凡來的神，刊于5.4.2007 南洋商報經濟版專欄)

陳明發〈濾思場〉318

歸帆與夕陽同框彌漫

晚照伴回鄉，滄浪迴腸

夜色前的餘暖格外繞樑