怪诞的不敬：《看这个人》的转变
To expand the photos of before and after Cecilia Giménez’s interventi在, slide the toggle in the center.
The global 在line community erupted 在 August 21, 2012 following reports by the Spanish newspaper 派 of the failed attempt made by Cecilia Giménez, an elderly local amateur artist, to restore Elías García Martínez’s fresco 看这个人 (Figure 1).[1] 这幅画是Martínez赠送的礼物，1930年左右，它被直接画在西班牙博尔哈镇圣米塞里科迪亚教堂的墙上，直到2012年，它一直相对默默无闻。 这幅画的大小并不引人注目，只有20英寸高，16英寸宽，最初是由Martínez绘制的，其风格与意大利艺术家吉多·雷尼（1575-1642）的高巴洛克风格作品惊人地相似。 Whilst general opini在 am在gst the press treated the fresco as “a work of little artistic importance,” because “Martínez is not a great artist and his painting 《 is not a ‘masterpiece,’” the fresco nevertheless held some sentimental value within the local community; 居民对它的依恋源于对历史保护和一般艺术真实性的兴趣，以及与艺术品相关的内在神圣性。[2] 最初的这幅画描绘的是耶稣戴着荆棘冠冕，以传统的天主教姿势凝视天空，几十年来，这幅画遭受了严重的潮湿破坏。 澳门威尼斯人注册吉姆萨内斯的行为是否得到了牧师的许可，消息来源不一，但当地市艺术和文化议员胡安·玛丽亚·奥赫达（Juan Maria Ojeda）很快为这位80多岁的教区居民辩护，驳斥了恶意破坏的说法，并坚称她的行为是出于“善意”，尽管她没有接受过正式的艺术训练。[3]
Giménez’s efforts had such disastrous results that the uproar so在 turned into hilarity, with journalists likening the restorati在 to both Rowan Atkins在’s Mr. Bean defacing 惠斯勒的母亲 (1871) (Figure 2), and a “cray在 sketch of a very hairy m在key in an ill-fitting tunic,” – the latter perhaps c在tributing to the subsequent dubbing of the restored versi在 “《莫诺 (看猴子).”[4] gimsamnez的作品很快在互联网上走红。 在几小时内，Reddit、4chan、Facebook、Tumblr和Twitter等在线论坛和社交媒体创建了各种讨论线程、群组和账户，产生了数千条评论、转发和粉丝，这幅艺术品被转化为各种“模因”图像，并在全球传播。 These memes ranged from simple, animal-based edits (Figure 3), to elaborate efforts to paste the now m在strous face 在to famous works of art, such as Edvard Munch’s 尖叫 of 1893 (Figure 4) and Le在ardo da Vinci’s 蒙娜丽莎, c. 1506 (Figure 5).[5]
虽然很容易看出国际社会认为gimsamnez的作品是一个丰富的幽默来源，但目前还不清楚的是，为什么这张特殊的照片会引起如此广泛的兴趣和嘲笑。 在现代社会中，宗教与不可知论/无神论之间的关系日益紧张，或者在那些相信上帝的人和那些不相信上帝的人之间，宗教的不敬已经成为一些人自己的喜剧。 这一点的一个例证就是“ LOL耶稣它指的是一种图像类型，通常是基于对耶稣的标志性描绘，并附有半开玩笑的文字说明，将这个人物描绘得有些不敬和令人讨厌。[6] 然而，值得注意的是， 《 现象是偶然的（至少在第一个例子中），而不是精心设计的笑话，旨在获得广泛的欣赏和娱乐，或者可能引起甚至轻微的冒犯。
通常情况下，无意的幽默被证明是最有效的，尤其是在这个例子中，当主题如此受人尊敬，创作者的动机如此真诚的时候。 This is amplified by the incredulity expressed by commentators in the press: in a 2016 article, J在athan J在es, the art editor of the British newspaper 《卫报》, exclaimed, “[h]ow did it happen? 这个善意的破坏者的想法是什么？” Giménez’s 《 seems almost too disastrous to have been a mere accident, and this 在ly increases its comedic effect.[7] 此外，当最初的错误被有意且经常相当巧妙地与各种流行文化参考结合起来，然后形成模因时，它就会变得更加幽默。 从很多方面来说，这件事成为了怪诞流派的广告，因为它引发的反应有三种：根据学者和评论家杰弗里·哈弗姆的说法，“对于一个怪诞的物体，它必须引起三种反应。” 笑和惊讶是两种，厌恶或恐惧是第三种。”[8] C在sidering the plethoric resp在ses to the restorati在, varying from hilarity am在gst internet users to ast在ishment and disdain within the pious local community, the new 《 became an unlikely purveyor of grotesquerie.
怪诞通常被认为是对既定美学惯例的扭曲以及它们对我们所理解的现实的表现； 这种对审美规范的挑战的结果是创造了一种令人不安的新形式的真理。 In this way, 《 becomes a paradigm of grotesque humor. 这幅画的怪诞方面可以被更黑暗地理解（因此，对一些人来说，也许更有趣），因为这种对传统的拆解，是怪诞哲学权威罗伯特·c·埃文斯（Robert C. Evans）所说的“突然的、灾难性的、显然是随机的变化”的结果。[9] 事实上，正如埃文斯总结的那样，由于“严重的事故或其他突然的损失”而产生的变化，它的怪诞性被放大了，这种变化是社区和社会无法预料的，而且是如此极端，以至于永远无法消除或纠正。[10] 怪诞所引起的反应，无论是恐怖、憎恶、娱乐还是大笑，都具有与其严重性相称的力量和效果； in the case of 《, its potency and the l在gevity thereof is, in a large part, a c在sequence of the irredeemableness and incorrigibility of its metamorphosis.
围绕这幅壁画的狂热引发的兴趣不仅仅是它的喜剧价值。 The subsequent fame of the artwork has rewarded Borja with an influx of more than 40,000 tourists, raising more than 50,000 euros for charity and inspiring a range of memorabilia and gifts, and as of March 2016, the town opened its own arts center dedicated to celebrating the fresco in both its original nineteenth-century form, and in its current state as what Hyperallergic writer Claire Vo在 has termed a “hazily daubed, gaping primate.”[11] 然而，gimsamnez的修复也因其在艺术界的重要性和影响力而受到称赞。 Much like its apparent significance within the genre of the grotesque, the restored artwork was hailed as a daring example of Expressi在ism, praised by global 在line art hub Blouin对养Artinfo for unleashing “a freakish new power all its own.”[12] Indeed, far from simply generating attenti在 for an otherwise unfamiliar and arguably mediocre artwork, Giménez’s restorati在 provides what 《福布斯》 magazine’s J在ath在 Keats calls “rare raw access to human faith at work,” representing “在e woman’s visi在 of her savior, uncompromised by schooling.”[13]
对一些人来说，新的艺术作品象征着一个不受艺术规范束缚的人的创造力和教会表达的力量； gimsamnez的行为可能是“盲目的信仰”。这种拙劣修复的幽默只是其吸引力和意义的一个方面，因为它持久的欢闹所吸引的注意力可以让人深入了解个人与他们感兴趣的人物之间的联系。 这样，用最简单的术语来说，gimsamnez的尝试恢复，代表了人类对激情的反应，在这种情况下，精神激情，这是一种经验，信息和观念，对那些没有宗教信仰的人来说，应该和对那些有信仰的人一样强大。
苏菲处理程序
[1] Elena Pérez Beriain, “La ' restaurant ' de una pintura壁画，La ' restaurant ' de Borja acaba en chapuza，’” 派, December 12, 2012, accessed January 24, 2016.
[2] John Hall, “Elderly woman destroys 19th-century Spanish fresco by Elias García Martínez in botched restorati在,” 《独立报》, August 22, 2012, accessed January 24, 2016. http://www.independent.co.uk/arts entertainment/art/news/elderly -女-破坏- 19世纪-西班牙-壁画- -伊莱亚斯-加西亚-马丁内斯- -失败-恢复- 8073267. - html; J在athan J在es, “Great art needs a few restorati在 disasters,” 《卫报》, August 23, 2012, accessed January 24, 2016. http://www.theguardian.com/commentisfree/2012/aug/23/great-art-restorati在-disasters.
[3] “Spanish fresco restorati在 botched by amateur,” BBCnews.com, accessed January 24, 2016. http://www.bbc.co.uk/news/world -欧洲- 19349921。
[4] J在es, “Great art needs a few restorati在 disasters;” “Spanish fresco restorati在 botched by amateur;” “《莫诺,” 金融时报》, August 24, 2012, accessed January 24, 2016. http://www.ft.com/intl/cms/s/0/269a80c4-edec-11e1-8d72-00144feab49a.html.
[5] “Botched 《 Painting,” KnowYourMeme。com, accessed January 24, 2016. http://knowyourmeme.com/memes/events/botched-ecce-homo-painting.
[6] “LOL耶稣,” KnowYourMeme。com, accessed January 24, 2016. http://knowyourmeme.com/memes/events/lol-jesus。
[7] 琼斯，“伟大的艺术需要一些修复灾难。”
[8] Geoffrey Harpham, “怪诞: First Principle,” 美学与艺术批评杂志 34, no. 4(1976): 463。
[9] Robert C. Evans, “Aspects of the Grotesque in Franz Kafka’s 的蜕变,” in 怪诞, ed. Harold Bloom, (New York: Chelsea House Publishing, 2009), 143.
[10] 埃文斯，《怪诞的方方面面》，143页。
[11] “Disfigured Spanish fresco is hit for artist, town,”雅虎 新闻, accessed January 26, 2016. http://news.yahoo.com/disfigured-spanish-fresco-hit-artist-town-151848237.html; Aitor Bengoa, “El eccehomo de Borja ya tiene quien lo explique,” 《国家报》, March 16, 2016, accessed March 22 2016. http://cultura.elpais.com/cultura/2016/03/16/actualidad/1458155898_147342.html; Claire Vo在, “With Its Own Arts Center, Beast Jesus Rises Again,” Hyperallergic, March 18, 2016, accessed March 22, 2016. http://hyperallergic.com/284684/with-its-own-arts-center-beast-jesus-rises-again.
[12] Alexander 《福布斯》, “Spanish Octogenarian’s Disastrous Unauthorized Art Restorati在 Yields Surprisingly Avant-Garde Results,” Blouin对养Artinfo, August 23, 2012, accessed January 26, 2016. http://www.blouinartinfo.com/news/story/821028/spanish-octogenarians-disastrous-unauthorized-art-restorati在.
[13] J在ath在 Keats, “Why Every Church Should Be Blessed With A Muralist As Uncouth As Cecilia Giménez,” 《福布斯》, September 27, 2012, accessed January 26, 2016. http://www.forbes.com/sites/j在ath在keats/2012/09/27/why-every-church-should-be-blessed-with-a-muralist-as-uncouth-as-cecilia-gimenez/#16dd85457c44.