2026/10/24

铁拳打出了什么教育?What Kind of Education Does the Iron Fist Deliver?

 



今年,韩剧《铁拳教育》引起不少讨论。韩文原名《참교육》,“참”是“真正”,“교육”是教育,字面是“真正的教育”;但在当代韩语口语里,“참교육”又有“好好教训一顿”的意思。Netflix的英文片名作 Teach You a Lesson,中文则译成更拳拳到肉的《铁拳教育》。

从“真正的教育”到“给你一个教训”,再到“铁拳”,三个片名之间的滑移,本身就抛出一个问题:教育需要多少权威?权威到了什么程度,就变成了权力?

剧中虚构了一个“教权保护局”。当学生、家长或教师越界,学校又无力收拾残局,监察员便进驻校园,以非常手段处理冲突。按照设定,这个机构不站在教师一边,也不站在学生一边,只站在受害者一边。

拳头自然是戏剧的夸张。值得追问的是:为什么这样的铁拳,让许多观众看得痛快?一个“恢复校园秩序”的故事能跨出韩国引起共鸣,说明它碰触的不只是韩国的问题。

过去很长一段时间,我们担心的是教师权力太大。老师掌握知识、主导课堂、决定成绩,学生处在被教育、被评价的位置。于是,学生评教、申诉、投诉、反霸凌等机制逐步建立。这些制度必不可少:学生受到不公,要有说话的地方;教师的专业身份,也不该成为免于监督的特权。

然而,当学生权利越来越受重视,另一个问题浮现了:教师还有没有教育的权利?

教育权不等于处罚权。它是教师根据专业判断设计课程、指定阅读、提出要求、纠正错误、评定成果的权利,也包括在学生没有达到标准时,明白指出:“这样不行。”

倘若每一项要求都可能被视为压力,每一句批评都可能被当成冒犯,每一次不满意都直接进入投诉系统,老师最快学会的,便是少要求、少批评、少冒险,把课程做成标准件,把师生关系维持在最安全的距离。这样的课堂最不容易出事,却也最难有教育的力量。

这时,学校的角色格外关键。

师生起了冲突,问题常被简化为二选一:保护学生,还是保护老师?学校不应只是选边站的人,而应是做判断的人。有人投诉,不等于有人犯错;有人感到不舒服,也不等于对方一定行为失当。什么是权力滥用,什么只是教学理念不同;什么必须纠正,什么属于正常的专业判断,都需要调查和辨析。如果学校收到投诉,只是要求老师写一份说明,再把说明转回给投诉者,自己既不查证,也不下判断,学校就从裁判退成了传话的人。

反过来,教师也不能以专业资格为挡箭牌,拒绝被询问。学生有权问:为什么这样教?为什么这样评分?为什么非完成不可?说得出理由,本来就是专业的一部分。

所以,教育需要的是三方的平衡:学生有表达与质疑的权利,也要承担学习与选择的责任;教师接受监督,也应保有专业判断与提出要求的空间;学校设立申诉渠道,更要担起查明事实、分辨是非、保护双方的责任。

回到“참교육”这个片名:什么才是真正的教育?

把人制服,能带来戏剧的快感;因为害怕而服从,却不等于受了教育。同样,老师因为害怕投诉而沉默,也证明不了学校更进步。真正的教育,是让年轻人学会质疑权威,也学会为选择负责;知道自己拥有权利,也明白世界不会总按自己的期待运转。而教师的权威,应当经得起追问,也说得出根据。

如果有一天,学生只能用投诉表达异议,老师只能用沉默避免投诉,学校只能用程序回避判断,那么即使校园里没有一只拳头,伤害也已经发生。

教育需要的不是铁拳,而是一双肯伸出来、也敢收回去的手:能扶持,也能拦阻;能托举,也能放开。

 

2026年10月24日,新加坡《联合早报》“上善若水”专栏

 

What Kind of Education Does the Iron Fist Deliver?

I Lo-fen

This year, the Korean drama Iron Fist Education has stirred considerable discussion. Its original Korean title is 참교육 (chamgyoyuk). Literally, 참 means “true” or “genuine,” and 교육 means “education,” so the phrase may be read as “true education.” In contemporary Korean colloquial usage, however, 참교육 can also mean “to teach someone a proper lesson.” Netflix renders the title in English as Teach You a Lesson, while the Chinese title, Iron Fist Education, makes the violence even more explicit.

The shift from “true education” to “teach you a lesson,” and then to the “iron fist,” already raises a question: how much authority does education require? And at what point does authority become power?

The drama imagines an institution called the “Educational Rights Protection Bureau.” When students, parents, or teachers cross the line and schools are no longer able to contain the situation, inspectors enter the campus and intervene through extraordinary means. According to the premise, the bureau sides neither with teachers nor with students. It sides with the victim.

The fists, of course, are dramatic exaggeration. The more interesting question is why so many viewers find those fists satisfying. The fact that a story about “restoring order in schools” resonates well beyond Korea suggests that it touches a problem that is not uniquely Korean.

For a long time, our concern was that teachers possessed too much power. Teachers controlled knowledge, dominated the classroom, and determined grades, while students occupied the position of being taught, judged, and evaluated. Systems of student feedback, appeals, complaints, and anti-bullying mechanisms were therefore gradually established. These safeguards are indispensable. Students who are treated unfairly must have somewhere to speak, and a teacher’s professional status should never become a privilege that places them beyond scrutiny.

Yet as student rights have received increasing attention, another question has emerged: do teachers still have the right to educate?

The right to educate is not the same as the right to punish. It is the teacher’s professional right to design a course, assign readings, set expectations, correct errors, and evaluate outcomes. It also includes the right to say clearly, when a student has not met the required standard: “This is not acceptable.”

If every demand can be interpreted as pressure, every criticism as an offence, and every dissatisfaction immediately enters a complaints system, teachers quickly learn the safest strategy: demand less, criticize less, take fewer risks, turn courses into standardized products, and keep students at the safest possible distance. Such classrooms are the least likely to generate trouble—but they are also the least likely to possess educational force.

This is where the role of the school becomes crucial.

When conflict arises between teachers and students, the issue is often reduced to a binary choice: protect the student, or protect the teacher? But a school should not merely choose sides. It should make judgments. The existence of a complaint does not prove that someone has done wrong; the fact that someone feels uncomfortable does not automatically mean that another person has acted improperly. What constitutes an abuse of power, and what is simply a difference in teaching philosophy? What requires correction, and what falls within legitimate professional judgment? These distinctions require investigation and discernment.

If a school receives a complaint, merely asks the teacher to write an explanation, forwards that explanation to the complainant, and neither verifies the facts nor reaches a conclusion of its own, then the school has ceased to act as an adjudicator and has become little more than a messenger.

At the same time, teachers cannot use professional qualifications as a shield against questioning. Students have the right to ask: Why is the course taught this way? Why was this grade given? Why is this assignment compulsory? Being able to explain the reasons is itself part of professional responsibility.

Education therefore depends on a balance among three parties. Students have the right to express themselves and to question, but they must also accept responsibility for learning and for the choices they make. Teachers must be subject to oversight, but they must also retain room for professional judgment and for setting meaningful expectations. Schools should provide channels for appeal, but they must also assume responsibility for establishing the facts, distinguishing right from wrong, and protecting both sides.

So we return to the title 참교육: what, after all, is “true education”?

Forcing someone into submission may provide dramatic satisfaction, but obedience born of fear is not the same as education. Likewise, teachers falling silent because they fear complaints is not proof that a school has become more progressive.

True education teaches young people to question authority while also taking responsibility for their own choices; to understand that they have rights, while also recognizing that the world will not always conform to their expectations. The authority of teachers, meanwhile, should be able to withstand questioning—and should be able to explain the grounds on which it rests.

If one day students can express disagreement only through complaints, teachers can avoid complaints only through silence, and schools can evade judgment only through procedure, then harm has already occurred—even if not a single fist is ever raised on campus.

Education does not need an iron fist.

It needs a hand that knows when to reach out, and when to draw back: a hand that can support, but also restrain; that can lift someone up, but also know when to let go.

Published in the “Shang Shan Ruo Shui” column, Lianhe Zaobao, Singapore, 24 October 2026.

 

壶管上刻着她的名字 Her Name Was Engraved on the Spout

 



那套镀金铜执壶与水盘,安静地放在灯光下,壶身密布菱形凸起,坚硬又华丽。我忽然想到附近的滨海艺术中心。新加坡人习惯叫它“榴莲壳”,因为它满身尖刺,像一颗巨大果实。这把壶当然不是榴莲,可是我的目光已经被那些密密麻麻的凸纹带偏了。再仔细看,圆鼓鼓的壶腹又像一颗凤梨,壶盖上方的装饰像花朵,也像松果;长长的壶管向外伸出,末端还有一个兽首,仿佛水不是从金属管子里流出,而是从某种动物的口中倾泻而下。

站在不同角度,壶身上的菱形凸纹会显现出不同的光泽。有时像钻石,有时像切割水晶,有时又像被阳光照到的金色果皮。后来查资料才知道,这种表面效果并不是随意敲出来的装饰,而是奥斯曼 tombak 鎏金铜工艺与锤揲凸纹结合的结果。工匠先在铜胎上锤出几何凸面,再经过修整和鎏金,使整器呈现接近黄金的光泽。那一颗颗凸起并不只是花纹,也是一种光的设计。它让器物在人的移动中改变样貌,像是故意引导观众绕着它走。

我集中精神观察那根长长的壶管。水从壶腹进入壶管,再从兽首般的出口流向手掌或水盘。它本来属于一个动作:举壶、倾斜、倒水、洗手、承接。没有这个动作,壶就少了一半意义。可是进入博物馆以后,动作停止了,水不再流出,人的手也不能触碰它。我们能做的,只剩下观看、拍照、阅读展签,以及想像它曾经如何被使用。

展签说明,这套壶与水盘属于米赫丽玛苏丹 (Mihrimah Sultan,1812-1838)。她是奥斯曼苏丹马哈茂德二世(Mahmud II,1785-1839)的女儿。壶管铭文的伊斯兰历纪年显示,她拥有这套器物时,只有8岁。8岁,一个孩子已经有了刻着自己名字的金色器物。那不是童话里的魔法道具,而是宫廷生活中与洗手、洁净、礼仪有关的日用器皿。也许在某个清晨,侍女曾经拿起这把壶,为她倒水;也许水流过那根细长的壶管,落进盘里,完成一个日常而庄重的动作。

长流执壶的历史,比这位公主26岁的一生长得多。类似的长流、曲柄、梨形腹器物,可以追溯到西亚—伊朗金属器传统。早期伊朗已有长流器和兽首流器,后来萨珊、粟特、中亚、伊斯兰世界不断发展这种器形。唐代中国的凤首壶、胡瓶式执壶,也与西亚金银器的输入和丝绸之路交流有关。到了元明以后,中国陶瓷中也出现长流、曲柄、带盖的执壶。换句话说,眼前这把十九世纪奥斯曼公主壶,并不是孤立的美丽器物,而是一条漫长器形谱系上的晚期花朵。它的壶腹像梨,表面像凤梨,壶管像动物的嘴,而它真正的历史,却像水一样,从西亚流向中亚、东亚,又回到伊斯坦布尔宫廷。

博物馆保存了这件壶,也改变了这件壶。十九世纪,它的意义在使用中生成;二十一世纪,它的意义在观看中生成。过去,它控制水流;现在,它控制目光。过去,人的身体围绕它完成净礼;现在,观众的身体围绕展柜移动,寻找反光、纹样和铭文。它失去了原来的功能,却获得了另一种生命。展柜不是终点,而是一种新的开始:器物从生活用品变成艺术品,从礼仪工具变成历史证物,从公主的私人物件变成所有观众共同阅读的对象。

一件器物真正的寿命,并不只在于它曾经被使用多久,也在于它还能被多少人重新阅读。Mihrimah Sultan 的一生停在26岁,而这把壶仍在继续旅行:从宫廷到博物馆,从洗手礼仪到展柜灯光,从她的名字到我们的目光。两百年前,它属于一位公主;今天,它属于所有愿意停下来细看的人。

 

2026年10月10日,新加坡《联合早报》“上善若水”专栏

 

Her Name Was Engraved on the Spout

I Lo-fen

The gilt-copper ewer and basin rested quietly beneath the gallery lights. The body of the ewer was densely covered with raised diamond-shaped facets, giving it an appearance at once hard-edged and sumptuous. Suddenly, I thought of the Esplanade nearby. Singaporeans affectionately call the building “the durian” because its spiked exterior resembles an enormous tropical fruit. This ewer was certainly no durian, yet those tightly packed protrusions had already led my imagination elsewhere. Looking more closely, its rounded belly began to resemble a pineapple. The ornament on top of the lid looked at once like a flower and a pine cone, while its long spout extended outward and ended in an animal head, as though the water were not flowing through a metal tube at all, but pouring directly from the mouth of some creature.

Seen from different angles, the diamond-shaped relief on the surface catches the light differently. At times it resembles diamonds, at others cut crystal, and then again the golden skin of a fruit struck by sunlight. I later discovered that this shimmering surface was not simply the result of decorative hammering. It was produced through a combination of Ottoman tombak—gilded copper—and hammered repoussé. The craftsman first raised geometric facets on the copper body, then refined and gilded the surface until the vessel acquired an almost golden brilliance. Those countless projections are therefore more than ornament: they are also a design for light. As the viewer moves, the object itself appears to change, almost as if it were deliberately inviting us to walk around it.

I concentrated on the ewer’s long spout. Water once travelled from the belly of the vessel into the spout and emerged from its animal-headed opening, falling onto a pair of hands or into the basin below. The object originally belonged to a sequence of actions: lifting the ewer, tilting it, pouring the water, washing the hands, catching the water in the basin. Without these actions, half of its meaning disappears. Yet once the ewer entered a museum, movement ceased. Water no longer flowed from its mouth, and human hands could no longer touch it. All that remains for us is to look, take photographs, read the label, and imagine how it once functioned.

According to the museum label, this ewer and basin belonged to Mihrimah Sultan (1812–1838), daughter of the Ottoman Sultan Mahmud II (1785–1839). The Hijri date inscribed on the spout indicates that she was only eight years old when she owned the set.

Eight years old—and already possessing a golden vessel engraved with her own name.

It was no magical object from a fairy tale, but an everyday courtly implement associated with handwashing, cleanliness, and etiquette. Perhaps one morning an attendant lifted this very ewer and poured water for her. Perhaps water travelled through that slender spout and fell into the basin below, completing an action that was both ordinary and ceremonious.

The history of the long-spouted ewer is far longer than the princess’s brief life of twenty-six years. Vessels with elongated spouts, curved handles, and pear-shaped bodies can be traced back to metalworking traditions in West Asia and Iran. Long-spouted vessels and animal-headed spouts were already known in early Iran, and related forms continued to develop through Sasanian Persia, Sogdiana, Central Asia, and the wider Islamic world. In Tang China, phoenix-headed ewers and so-called “foreign-style” vessels were likewise connected to the importation of West Asian gold and silverware and to exchanges along the Silk Roads. From the Yuan and Ming periods onward, Chinese ceramics also adopted covered ewers with elongated spouts and curved handles.

The nineteenth-century ewer of an Ottoman princess, then, is not an isolated beautiful object but a late blossom on a very long genealogy of forms. Its belly resembles a pear; its faceted surface, a pineapple; its spout, the mouth of an animal. Yet its deeper history flows like water itself—from West Asia through Central and East Asia, and eventually back into the courtly world of Istanbul.

The museum has preserved this ewer, but it has also transformed it.

In the nineteenth century, its meaning was generated through use; in the twenty-first, its meaning is generated through looking. Once, it controlled the flow of water. Now, it controls the flow of our gaze. Once, human bodies moved around it in acts of washing and purification. Today, visitors move around its display case, searching for reflections, patterns, and inscriptions.

The vessel has lost its original function, but it has acquired another life. The museum case is not an ending but a new beginning. A domestic object becomes a work of art; an instrument of courtly etiquette becomes historical evidence; a princess’s private possession becomes something that all of us are invited to read.

The true lifespan of an object is measured not only by how long it was once used, but also by how many people are still able to read it anew.

Mihrimah Sultan’s life ended at twenty-six, but the ewer continues to travel: from palace to museum, from the ritual of washing to the light of the display case, from her engraved name to our searching eyes.

Two hundred years ago, it belonged to a princess.

Today, it belongs to anyone willing to stop and look closely.

Published in the “Shang Shan Ruo Shui” column, Lianhe Zaobao, Singapore, 10 October 2026.

 

走进敦煌:衣若芬敦煌文图学导览 Entering Dunhuang: I Lo-fen’s Dunhuang Text and Image Studies Guided Tour

 

 

来了!来了!大家期待已久的活动来了!
2026 年 11 月 6 日星期五晚上,我将在新加坡亚洲文明博物馆导览《走进敦煌》
名额有限,欢迎报名!


2026/10/07

EP6|看见迹象:伊斯兰美术的转译与本土化 Seeing the Signs: Translation and Localization in Islamic Art

 



「看见迹象:伊斯兰美术的转译与本土化」是衣若芬于2026年8月28日在新加坡亚洲文明博物馆进行的专题导览。 本次导览以伊斯兰艺术在不同地域、文化与媒介之间的流动为线索,从莫卧儿、萨法维与奥斯曼艺术出发,观察文字、图像、器物、建筑装饰与观看方式如何在跨文化传播过程中不断被转译,并形成具有地方特色的视觉语言。 「看见迹象」不仅意味着观看一件件艺术品,也意味着从细节中辨认文化交流留下的痕迹:文字如何成为图像,图像如何承载信仰,来自不同文明的形式又如何在相遇之后产生新的意义。 导览:衣若芬 时间:2026年8月28日 地点:新加坡亚洲文明博物馆(Asian Civilisations Museum, Singapore) 参看衣若芬《联合早报》专栏文章 1.汇流之外 Beyond Crosscurrents https://lofen.net/%e6%b1%87%e6%b5%81%... 2.看见迹象 Seeing Signs https://lofen.net/%e7%9c%8b%e8%a7%81%... 3.诗会在墙上 A Poetry Gathering on the Wall https://lofen.net/%e8%af%97%e4%bc%9a%... Seeing the Signs: Translation and Localization in Islamic Art is a thematic museum tour led by Lofen I at the Asian Civilisations Museum, Singapore, on 28 August 2026. Focusing on the movement of Islamic art across regions, cultures, and media, the tour explores Mughal, Safavid, and Ottoman art and examines how texts, images, objects, and architectural ornament were translated and transformed through cross-cultural encounters. “Seeing the Signs” invites us to look beyond individual artworks and discover traces of cultural exchange: how writing becomes image, how images embody belief, and how artistic forms acquire new meanings as they travel between cultures. Guide: I Lo-fen Date: 28 August 2026 Venue: Asian Civilisations Museum, Singapore @AsianCivilisationsMuseum #伊斯兰美术 #islamicart #louvremuseum

2026/10/04

EP5|看见迹象:伊斯兰美术的转译与本土化 Seeing the Signs: Translation and Localization in Islamic Art

 


"Crosscurrents: Masterpieces of Mughal, Safavid and Ottoman Art from the Musée du Louvre" 「看见迹象:伊斯兰美术的转译与本土化」是衣若芬于2026年8月28日在新加坡亚洲文明博物馆进行的专题导览。 本次导览以伊斯兰艺术在不同地域、文化与媒介之间的流动为线索,从莫卧儿、萨法维与奥斯曼艺术出发,观察文字、图像、器物、建筑装饰与观看方式如何在跨文化传播过程中不断被转译,并形成具有地方特色的视觉语言。 「看见迹象」不仅意味着观看一件件艺术品,也意味着从细节中辨认文化交流留下的痕迹:文字如何成为图像,图像如何承载信仰,来自不同文明的形式又如何在相遇之后产生新的意义。 导览:衣若芬 时间:2026年8月28日 地点:新加坡亚洲文明博物馆(Asian Civilisations Museum, Singapore) 参看衣若芬《联合早报》专栏文章 1.汇流之外 Beyond Crosscurrents https://lofen.net/%e6%b1%87%e6%b5%81%... 2.看见迹象 Seeing Signs https://lofen.net/%e7%9c%8b%e8%a7%81%... 3.诗会在墙上 A Poetry Gathering on the Wall https://lofen.net/%e8%af%97%e4%bc%9a%... Seeing the Signs: Translation and Localization in Islamic Art is a thematic museum tour led by Lofen I at the Asian Civilisations Museum, Singapore, on 28 August 2026. Focusing on the movement of Islamic art across regions, cultures, and media, the tour explores Mughal, Safavid, and Ottoman art and examines how texts, images, objects, and architectural ornament were translated and transformed through cross-cultural encounters. “Seeing the Signs” invites us to look beyond individual artworks and discover traces of cultural exchange: how writing becomes image, how images embody belief, and how artistic forms acquire new meanings as they travel between cultures. Guide: I Lo-fen Date: 28 August 2026 Venue: Asian Civilisations Museum, Singapore @AsianCivilisationsMuseum #伊斯兰美术 #islamicart #louvremuseum