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

2026/10/02

走进敦煌158窟:卧佛为什么躺在这里?|新加坡亚洲文明博物馆敦煌特展动线Inside Dunhuang Cave 158 | ACM Dunhuang Exhibition Walkthrough

 


新加坡亚洲文明博物馆(Asian Civilisations Museum)推出敦煌特展


走进展览之后,最先引人注目的重要洞窟之一,就是莫高窟第158窟——著名的涅槃窟。

佛陀为什么以卧姿出现?

“涅槃”究竟意味着什么?

卧佛周围的人物又在表达什么?

而在博物馆里,我们又应该按照怎样的动线进入敦煌的世界?

这支视频带大家从展览现场出发,一边认识158窟,一边看看整个展览怎样从敦煌的历史背景、洞窟空间,到壁画、塑像、文书与丝绸之路层层展开。

对我来说,看敦煌不只是辨认“这是什么”,更重要的是理解:图像为什么这样安排,文字怎样进入图像,空间又怎样改变我们的观看。

这也是我正在发展的“敦煌文图学”(Dunhuang Text and Image Studies)所关心的问题。


衣若芬 I Lo-fen

文图学 Text and Image Studies

#敦煌 #莫高窟 #158窟 #涅槃 #卧佛 #亚洲文明博物馆 #新加坡 #文图学 #Dunhuang #MogaoCaves #TextAndImageStudies


The Asian Civilisations Museum in Singapore presents a major exhibition on Dunhuang and the Mogao Caves.

One of the most striking spaces visitors encounter is Mogao Cave 158, known for its monumental reclining Buddha and its representation of the Buddha’s parinirvana.

Why is the Buddha shown reclining?

What does “nirvana” mean in this visual context?

Who are the figures surrounding him?

And how does the exhibition route guide us from the history of Dunhuang into its caves, murals, sculptures, manuscripts, and Silk Road connections?

In this video, I walk through the exhibition and introduce Cave 158 while asking a broader question: how should we actually look at Dunhuang?

Rather than treating murals, texts, objects, and cave space separately, I approach them through Dunhuang Text and Image Studies—examining how image, text, space, and viewing work together to produce meaning.


I Lo-fen

Text and Image Studies

#Dunhuang #MogaoCaves #Cave158 #Nirvana #RecliningBuddha #AsianCivilisationsMuseum #Singapore #TextAndImageStudies


2026/10/01

EP4|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

 文物地图:路易十四收藏过的玉杯,经历过多少地方?



「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: Lofen I

Date: 28 August 2026

Venue: Asian Civilisations Museum, Singapore


 @AsianCivilisationsMuseum  

#伊斯兰美术 #islamicart #louvremuseum

2026/09/27

走进敦煌莫高窟第249窟的视觉宇宙 Inside Mogao Cave 249, the Visual Universe of Dunhuang

 


走进莫高窟第249窟,看西王母、东王公、阿修罗与西魏敦煌如何共同构成一个跨文化的视觉宇宙。


Step inside Mogao Cave 249 and explore a Western Wei visual universe where Buddhist imagery, Chinese deities, mythical beings, and Silk Road cultures meet.

2026/09/26

诗会在墙上 A Poetry Gathering on the Wall

 

在亚洲文明博物馆为文图学会会员导览《汇流:卢浮宫的莫卧儿、萨法维与奥斯曼艺术珍品》展览之前,我在每个人的手心轻轻喷了一点玫瑰露。

当时没有多作解释,只觉得这样走进展厅,似乎多了一点仪式感。后来才说明,这个动作其实来自我准备导览时,对一面十七世纪萨法维王朝诗会瓷板的反复观看。

祥云飘荡,花团锦簇,两位相对跪坐的年轻诗人,面貌清秀,头戴包裹式头巾,衣袍上缀满了花朵纹饰。其中一人身体略向前倾,抬手作吟诵或辩说的姿势,神情专注,像正在念出自己的诗句;另一人则低头执笔,把诗句写入狭长的 safīna 诗文册中。两人的旁边各有侍从,一位叉手而立;一位捧着有盖的食器,整体表现出从容而优雅的诗歌交流。虽然博物馆解释这是一场诗歌竞赛(Poetry Contest),我想到“以诗会友”,称它为《诗会图》瓷板。

Safīna和有盖的食器在展场里都能见到实物。我后来被画面里的瓶子吸引。那是一种鼓腹、细长颈、小口的器物。再看亚洲文明博物馆另一处展柜,我发现几件中国制造、外销海外的银器,器形十分相近,馆方明确标示为 rosewater sprinklers,玫瑰露洒水瓶。再查大都会艺术博物馆、英国维多利亚与艾伯特博物馆收藏的萨法维人物瓷板,也看到了相似的长颈瓶。

我当然无法证明诗会图中那只瓶子盛的就是玫瑰露。可是,萨法维时期的伊朗确实使用这类长颈洒水器来盛放芳香水;后来印度宫廷所用的 gulabpash 玫瑰露洒水器,也延续了这种细长颈、鼓腹的形式。于是,那些原先只是画面中物件的小器物,以及整面瓷板令我流连忘返。

它原来并不是一张挂在墙上的画。

它就是墙。

艺术史学者 Farshid Emami 根据宫廷史料、旅行记、十九世纪照片和收藏记录,把相关人物瓷板,重新放回伊斯法罕一座已经拆毁的皇家亭阁 Jahan-nama Pavilion。换句话说,我们今天在博物馆里看到的,其实是一座消失建筑留下来的残片。

十七世纪走进这座亭阁的人,他们可能坐在廊下,身边有食物,有花木,有谈笑,也有诗歌。墙上的人物与现实中的人物彼此映照,画里的花园与建筑外的花园互相延伸。诗歌在这里并不只是写在纸上的文字,而是进入建筑、进入日常生活的一种环境。

中国的雅集图比如《兰亭修禊图》《西园雅集图》,描绘文人在山水或园林中赋诗宴饮。中国文人把雅集画成长卷,萨法维王朝却把诗会烧成瓷砖,镶进建筑。两种文明选择的媒介不同,却都把“理想的生活”变成可以观看的图像。

而萨法维的诗会墙面,又比一幅可以收起的长卷更进一步。它不会等你打开,而是一直在那里。人走进建筑,就走进图像;坐下来,也坐进诗会的世界。

如果从建筑文图学来看,这面墙保存的并不只是文学题材。人物、文字、花园、器物、饮食、建筑位置与观看方式,共同构成意义。甚至那些我们今天已经无法确定用途的细颈瓶,也提醒我:一个空间的经验,从来不只属于眼睛。

所以,那天导览开始以前,我在每个人的手心喷了一点玫瑰露。

我并不是想复原一个已经无法证明的萨法维仪式。那一点香气,只是想补上一种今天的博物馆难保存的东西:嗅觉。

也许四百年前的诗会究竟是什么气味,我们永远不会知道。但至少这一面墙提醒我,文学曾经不只被阅读,也曾经被写下、被吟诵、被观看,并且生活在建筑空间。

诗会在墙上。

也曾经,在人的身体之间,在花园里,在空气中。

 

2026年9月26日,新加坡《联合早报》“上善若水”专栏

 

A Poetry Gathering on the Wall
I Lo-fen

Before leading members of the Text and Image Studies Society on a guided tour of Crosscurrents: Masterpieces of the Mughal, Safavid and Ottoman Arts from the Louvre at the Asian Civilisations Museum, I lightly sprinkled a little rosewater into each person’s palm.

At the time, I offered no particular explanation. I simply felt that entering the gallery in this way lent the occasion a certain sense of ritual. Only later did I realize that the gesture had grown out of my repeated contemplation, while preparing for the tour, of a seventeenth-century Safavid tile panel depicting a poetry gathering.

Auspicious clouds drift across the scene amid luxuriant blossoms. Two young poets kneel facing each other. Both have delicate features, wear wrapped turbans, and are dressed in robes covered with floral motifs. One leans slightly forward, raising a hand as if reciting or debating, his expression intent, as though he were speaking his own verse aloud. The other lowers his head and writes, recording the lines in a narrow safīna, a manuscript anthology of poetry. Each poet is accompanied by an attendant: one stands respectfully with hands clasped before him, while the other holds a covered food vessel. The overall impression is one of poised and elegant poetic exchange. Although the museum identifies the scene as a “Poetry Contest,” I am reminded instead of the Chinese expression “making friends through poetry,” and have come to think of it as a tile panel of a “poetry gathering.”

Actual examples of both the safīna and covered food vessels can be seen elsewhere in the exhibition. Yet it was the bottles in the image that eventually caught my attention. They have swollen bodies, long slender necks, and small mouths. Looking again at another display case in the Asian Civilisations Museum, I noticed several pieces of Chinese silverware made for export overseas whose forms were remarkably similar. The museum explicitly identifies them as rosewater sprinklers. When I subsequently examined Safavid figural tile panels in the collections of The Metropolitan Museum of Art and the Victoria and Albert Museum, I encountered comparable long-necked bottles there as well.

I cannot, of course, prove that the bottle in the poetry-gathering scene actually contained rosewater. Yet long-necked sprinklers of this kind were indeed used in Safavid Iran for scented waters, while the gulabpash rosewater sprinklers later used at Indian courts continued the same basic form of a bulbous body and slender neck. Objects that had initially seemed merely incidental within the composition thus began to hold my attention, as did the entire tiled wall.

It was never simply a painting hung on a wall.

It was the wall itself.

Drawing on court records, travel accounts, nineteenth-century photographs, and collecting histories, the art historian Farshid Emami has reconstructed the original architectural setting of related figural tile panels in the now-demolished Jahan-nama Pavilion in Isfahan. In other words, what we encounter in museums today are fragments surviving from a vanished building.

Those who entered the pavilion in the seventeenth century may have sat beneath its verandas, surrounded by food, flowering plants, conversation, laughter, and poetry. The figures on the wall echoed the people inhabiting the actual space; the painted garden extended into the garden beyond the architecture. Poetry here was more than words written on paper. It became part of an environment embedded in architecture and everyday life.

Chinese images of literati gatherings, such as the Orchid Pavilion Gathering and the Elegant Gathering in the Western Garden, likewise portray scholars composing poetry, feasting, and socializing amid landscapes or gardens. Chinese literati transformed such gatherings into handscrolls; the Safavids fired poetry gatherings onto ceramic tiles and set them into architecture. The two cultures chose different media, yet both transformed an “ideal way of life” into images that could be seen.

The Safavid tiled wall went even further than a handscroll, which could be rolled up and put away. It did not wait to be opened. It remained permanently present. To enter the building was to enter the image; to sit down was to sit within the world of the poetry gathering.

Seen from the perspective of Architectural Text and Image Studies, what this wall preserves is far more than a literary subject. Figures, writing, gardens, objects, food, architectural placement, and modes of viewing all work together to produce meaning. Even those long-necked bottles whose precise function we can no longer determine remind me that the experience of a space never belongs to the eyes alone.

That is why, before the tour began that day, I sprinkled a little rosewater into everyone’s palm.

I was not attempting to recreate a Safavid ritual that can no longer be proven. The faint fragrance was simply an attempt to restore, however briefly, something that museums find difficult to preserve: the sense of smell.

We may never know what a poetry gathering smelled like four hundred years ago. Yet this wall reminds me that literature was once more than something to be read. It was also written, recited, seen, and lived within architectural space.

The poetry gathering was on the wall.

And once, perhaps, it was also between human bodies, in the garden, and in the air.

Published in the “Shang Shan Ruo Shui” column, Lianhe Zaobao, Singapore, 26 September 2026.

 

2026/09/14

看见迹象 Seeing Signs

 


少焉,月出于富丽敦酒店( Fullerton Hotel)之上,徘徊于新加坡河天之间。

走出新加坡亚洲文明博物馆,清风徐来,暑气未消。本来热闹喧腾的室外灯光秀已经结束。抬眼望见左前方天上一轮明月,想起今天是农历七月十六日,正是苏东坡《赤壁赋》里写的“七月既望”啊。

准备了两个月,多方研究,今天终于交出还算满意的成绩单,完成导览《汇流:卢浮宫的莫卧儿、萨法维与奥斯曼艺术珍品》展览。我把这场九十分钟的导览题名为“看见迹象:伊斯兰美术的转译与本土化”。

“迹象”的概念来自《古兰经》第41章第53节:“我将把我的种种迹象显示在四方,并显示在他们自身中,直到他们明白这是真理。”阿拉伯语 āyah(复数 āyāt)既指天地与生命中可供辨识的“迹象”,也用来称《古兰经》的经文。

“迹象”和文图学讲的文本(Text)在观看方法上相通,但目的略有出入。日月星辰运行和人的自身,都是真主的迹象,引导人明瞭创造的秩序与启示的真理——“迹象”召唤人们去体察世界。“文本”则是意义生成、转译与理解的场域。万物皆文本,文字、图像、器物、声音、气味、身体、空间和光线,通过媒介、历史、文化语境与观看者相互联系,观点也随时间、地点和解读方式发生变化。文图学由此追问:意义怎样形成?怎样传播?怎样被转译?又怎样在不同地方获得新的生命?

导览伊始,我朝文图学会会员听众们的手心逐一喷洒液体,有人搓了搓,马上闻出:这是玫瑰露。是的,展品中有物件图像,是和玫瑰露有关。

虽然导览的主题集中于历史学家形容的三大“火药帝国”(Gunpowder Empires),时代在公元16-18世纪,不过,这些文明区域早在7世纪,甚至更早,就和中国有商贸和文化往来,“物证”就是亚洲文明博物馆展示的黑石号沉船出水文物。我带着大家浏览了河南巩县的唐代青花盘、巨型执壶,留下视觉印象。随后,我们看见在印度莫卧儿帝国的珍珠贝母执壶盘组合,以及类似造型的金属执壶盘组合,可知器型的延续关系。

景德镇的青花瓷出口到萨法维帝国(今伊朗),深受喜爱,中国的吉祥瑞兽例如麒麟也传播到异域,出现了外观类似,内里别样的新形式。这种承接和转换在文化交流,尤其是文物艺术品的模仿制作过程中,屡见不鲜。我找了明代的麒麟纹盘和现场类似的展品对照,大家会心一笑,频频点头说:有趣!

这两个相隔两百年的麒麟纹盘属于同一套视觉语法:青白色彩、同心圆构图、中央瑞兽和外围缠枝花卉。明代的牡丹缠枝石草图像比伊朗的放射状如菊花和丰肥的叶片细致具体;盘中央的明代麒麟是独角、龙首、鳞身,被火焰围绕,仿佛奔腾着向祥云昂首回颈。没有看展签之前,我还以为伊朗的这件蓝地留白大盘画的是狮子呢,可爱!

看展的乐趣之一,是亲眼认识或发现微妙的细节。曾经听连文思老师介绍过刻有波斯诗句的烛台,听她娓娓道来,十分感动。我端详那些貌似花纹的古波斯文字,注意到不只顶端有,底座也有,顶端的文字是诗句;底座则是拥有者的题记。我把诗句翻译成:

我的心因爱恋美人而燃烧,肝肠如焚;
爱情每一刻,又以新的烙印灼烧着我。
我与烛火相对,恰如飞蛾;
若再向前一步,我的双翼便会燃烧。

好奇这样的诗句,如果搭配音乐和波斯语,听起来是怎样的感觉呢?于是我借用 AI语音,录制波斯语朗读,配上伊朗音乐家凯汉·卡尔霍尔(Kayhan Kalhor)演奏的卡曼切琴(kamancheh)。琴声低回悠远,诗句沿着器身周旋,热烈的爱火点亮了烛台。

导览最后,来到奥斯曼咖啡馆的图像和杯盘。我播放了土耳其音乐家库德西·埃尔居内尔(Kudsi Ergüner)演奏的古典音乐。那幽幽的内伊笛(ney),穿越咖啡馆里读诗、下棋的人们,满是生活的迹象。

 

2026年9月12日,新加坡《联合早报》“上善若水”专栏

 

Seeing Signs

I Lo-fen

Before long, the moon rose above the Fullerton Hotel and lingered between the sky and the Singapore River.

As I walked out of the Asian Civilisations Museum in Singapore, a gentle breeze began to blow, though the heat of the day had not yet faded. The lively outdoor light show had already ended. Looking up, I saw a bright full moon hanging in the sky to my left. Then I remembered that it was the sixteenth day of the seventh lunar month—the very “day after the full moon in the seventh month” described by Su Shi in his Former Ode on the Red Cliffs.

After two months of preparation and research from many different angles, I finally felt that I had produced a reasonably satisfying result today, completing my guided tour of the exhibition Crosscurrents: Masterpieces of Mughal, Safavid and Ottoman Art from the Musée du Louvre. I entitled this ninety-minute tour “Seeing Signs: Translation and Localisation in Islamic Art.”

The concept of “signs” comes from verse 53 of Chapter 41 of the Quran: “We shall show them Our signs in the horizons and within themselves until it becomes clear to them that it is the truth.” The Arabic word āyah (plural āyāt) refers both to “signs” in the heavens, the earth, and living beings that invite recognition, and to individual verses of the Quran.

As a mode of seeing, the idea of “signs” has much in common with the concept of “text” in Text and Image Studies, although their purposes differ somewhat. The movements of the sun, moon, and stars, as well as the human self, are all signs of God, guiding people toward an understanding of the order of creation and the truth of revelation. “Signs” call upon us to observe and contemplate the world. “Text,” by contrast, is a site where meaning is generated, translated, and interpreted. Everything can be read as text: words, images, objects, sounds, smells, bodies, spaces, and light are interconnected through media, history, cultural context, and the viewer, while perspectives change with time, place, and modes of interpretation. Text and Image Studies therefore asks: How is meaning formed? How is it transmitted? How is it translated? And how does it acquire new life in different places?

At the beginning of the tour, I sprayed a liquid into the palms of the members of the Text and Image Studies Society who had joined me. Some rubbed their hands together and immediately recognised the fragrance: rosewater. Yes—among the objects and images in the exhibition were works associated with rosewater.

Although the tour focused on what historians have called the three great “Gunpowder Empires,” mainly from the sixteenth to the eighteenth centuries, these regions had already maintained commercial and cultural contacts with China by the seventh century, and even earlier. The material evidence can be found in the objects recovered from the Tang Shipwreck displayed at the Asian Civilisations Museum. I first led the group past Tang-dynasty blue-and-white dishes from the Gongxian kilns in Henan and a monumental ewer, leaving them with a visual impression. We then encountered a Mughal ewer-and-basin set made of mother-of-pearl, as well as a metal ewer-and-basin set of similar form, allowing us to see how vessel types continued across regions and periods.

Blue-and-white porcelain from Jingdezhen was exported to the Safavid Empire, in present-day Iran, where it was greatly admired. Auspicious Chinese creatures such as the qilin also travelled abroad, giving rise to new forms that looked familiar on the surface yet were transformed within. Such processes of inheritance and adaptation are frequently encountered in cultural exchange, especially in the imitation and remaking of works of art and material culture. I found a Ming-dynasty dish decorated with a qilin and compared it with a similar object in the exhibition. Everyone smiled knowingly and nodded repeatedly: “Interesting!”

The two qilin dishes, made two centuries apart, belong to the same visual grammar: a blue-and-white palette, concentric composition, an auspicious beast at the centre, and scrolling floral ornament around the rim. The Ming-dynasty dish renders peonies, scrolling stems, and rocks with greater specificity and delicacy than the Iranian work, whose ornament is more radial, with chrysanthemum-like blossoms and fuller leaves. At the centre of the Ming dish, the qilin has a single horn, a dragon-like head, and a scaled body surrounded by flames. It appears to be galloping forward while turning its head upward toward the auspicious clouds. Before reading the label, I had thought the large Iranian dish, with its reserve decoration against a blue ground, depicted a lion. How charming!

One of the pleasures of visiting an exhibition is being able to recognise or discover subtle details with one’s own eyes. I had once listened to Dr Lien Wen Sze introduce a candlestick inscribed with Persian poetry, and I was deeply moved by the way she unfolded its story. As I examined what at first looked like decorative patterns, I realised that the Persian inscriptions appeared not only at the top but also around the base. The upper inscription consists of poetry, while the lower one records an owner’s inscription.

I translated the poem as follows:

My heart burns with love for the beloved; my very entrails are aflame.

At every moment, love sears me again with a fresh brand.

I face the candle flame like a moth;

one step closer, and my wings will burn.

I became curious: what would these lines sound like in Persian, accompanied by music? So I used an AI voice to create a Persian recitation and paired it with Iranian musician Kayhan Kalhor playing the kamancheh. The instrument’s low, lingering sound seemed to circle around the candlestick together with the verses, while the ardour of love itself appeared to ignite the flame. Kalhor is internationally known as a virtuoso of the kamancheh, the Persian spike fiddle.

At the end of the tour, we arrived at images and tableware associated with an Ottoman coffeehouse. I played classical music performed by Turkish musician Kudsi Ergüner. The haunting sound of the ney seemed to pass through the figures in the coffeehouse as they recited poetry and played chess, filling the scene with the signs of everyday life.

12 September 2026, “Shang Shan Ruo Shui” column, Lianhe Zaobao, Singapore.