筆墨Gallery | 愛(ài)與勇氣跨年展視頻

文明傳承與交流的燈塔

——《愛(ài)與勇氣：印度思想家斯瓦米·辨喜傳》的出版意義

從宏觀視角審視，圖書(shū)出版無(wú)疑是人類(lèi)文明傳承的核心樞紐與關(guān)鍵載體。它宛如一座神奇的橋梁，將人類(lèi)的思想、文化與技藝精心固化，轉(zhuǎn)化為可跨越時(shí)空界限的實(shí)物形態(tài)。憑借這一特質(zhì)，知識(shí)得以掙脫個(gè)體的局限，在代際之間順暢傳遞，生生不息。即便在數(shù)字浪潮洶涌澎湃的時(shí)代，優(yōu)質(zhì)圖書(shū)依然穩(wěn)如文化傳承的堅(jiān)固錨點(diǎn)，有效防止珍貴的精神財(cái)富因傳播介質(zhì)的不斷迭代而如過(guò)眼云煙般消散。

同時(shí)，圖書(shū)出版也是文化交流的廣闊橋梁，它以無(wú)與倫比的包容性，打破地域與文明的重重壁壘，推動(dòng)多元文化相互交融、共同發(fā)展。不僅如此，它還肩負(fù)著文化宣傳與價(jià)值引導(dǎo)的重要社會(huì)職能，在潛移默化中塑造著社會(huì)的精神風(fēng)貌與價(jià)值取向。

《愛(ài)與勇氣：印度思想家斯瓦米·辨喜傳》的驚艷問(wèn)世，恰似一顆璀璨的星辰，生動(dòng)而深刻地詮釋了出版的非凡意義。

一、選本精妙，可讀性躍然紙上

從選本層面來(lái)看，本書(shū)具備極強(qiáng)的可讀性，主要體現(xiàn)在以下四個(gè)方面：其一，篇幅恰到好處。有關(guān)辨喜的傳記，在全球范圍內(nèi)已涌現(xiàn)出多個(gè)版本。本書(shū)作為中篇傳記，巧妙地與長(zhǎng)篇、短篇傳記形成互補(bǔ)之勢(shì)，既避免了長(zhǎng)篇傳記的冗長(zhǎng)拖沓，又克服了短篇傳記的簡(jiǎn)略倉(cāng)促，為讀者提供了一個(gè)恰到好處的閱讀長(zhǎng)度。

其二，語(yǔ)言通俗易懂。與羅曼·羅蘭等外國(guó)學(xué)者不同，本書(shū)作者斯瓦米·尼基拉南達(dá)作為著名印度學(xué)者，同時(shí)也是神圣母親室利·莎拉達(dá)·黛維的親傳弟子，憑借對(duì)印度文化的精準(zhǔn)把握和對(duì)辨喜思想的獨(dú)到解讀，以大眾能夠輕松理解的語(yǔ)言，生動(dòng)鮮活地展現(xiàn)了辨喜波瀾壯闊的一生，讓讀者仿佛置身于辨喜的時(shí)代，親身感受他的思想光芒。

其三，描述精湛入微。本書(shū)文辭典麗，如同一幅細(xì)膩的畫(huà)卷，將辨喜的思想與生平事跡完美融合。從早期的青澀歲月，到行腳四方的傳奇生涯，書(shū)中將辨喜思想發(fā)展過(guò)程中的每一個(gè)重要節(jié)點(diǎn)，都與他生平中那些風(fēng)起云涌的重大事跡緊密相連，讓讀者清晰地看到辨喜思想如何在歲月的磨礪中逐漸成熟、升華。

其四，翻譯巧妙絕倫。本書(shū)由中國(guó)美術(shù)學(xué)院教授聞中精心翻譯。聞老師憑借扎實(shí)的學(xué)術(shù)功底、嚴(yán)謹(jǐn)?shù)膶W(xué)術(shù)態(tài)度，以及對(duì)印度文化、吠檀多哲學(xué)及瑜伽等領(lǐng)域的深刻理解，再加上爐火純青的翻譯技巧，不僅將原著內(nèi)容翻譯得“信、達(dá)、雅”，還結(jié)合歐美世界的版本，進(jìn)行了巧妙的補(bǔ)譯和增譯。同時(shí)，對(duì)于一些特定的事件和概念，他也做了詳盡的注解，為讀者掃除了閱讀障礙，使讀者能夠更加深入地理解原著的精髓。

二、推動(dòng)交流，客觀審視印度文化

本書(shū)在中印文化交流領(lǐng)域，尤其是引導(dǎo)國(guó)人客觀看待印度方面，發(fā)揮著積極而重要的推動(dòng)作用。在數(shù)字時(shí)代，信息傳播渠道日益多元化，然而，由于各種因素的影響，人們接收到的信息往往存在片面性和主觀性等缺陷。以有關(guān)印度的報(bào)道為例，以下幾個(gè)方面常常成為吸引國(guó)人眼球的焦點(diǎn)：一是環(huán)境惡劣、人民生活水平低下，給人留下“臟、亂、差”的印象；二是社會(huì)不平等現(xiàn)象嚴(yán)重，“種姓制度”依然根深蒂固，印度女性的社會(huì)地位和權(quán)利令人擔(dān)憂；三是缺乏“契約精神”，印度政府通過(guò)修訂法律法規(guī)，公開(kāi)、“合理”地掠奪外商利益。

與之形成鮮明對(duì)比的是，印度的優(yōu)秀傳統(tǒng)文化，尤其是那些對(duì)推動(dòng)人類(lèi)社會(huì)發(fā)展起到重要作用的思想，以及在東西方文明互鑒中發(fā)揮橋梁作用的人物，卻很難走進(jìn)國(guó)人的日常生活。正如本書(shū)譯者所指出的，看待一個(gè)國(guó)家或民族，應(yīng)從其“高峰”入手，同時(shí)兼顧社會(huì)現(xiàn)實(shí)，這樣才能避免以偏概全，才能全面、客觀地認(rèn)識(shí)一個(gè)國(guó)家或民族的真實(shí)面貌。本書(shū)的出版，無(wú)疑為國(guó)人提供了一個(gè)深入了解印度優(yōu)秀文化和偉大人物的窗口，有助于打破對(duì)印度的片面認(rèn)知，促進(jìn)中印文化的相互理解與交流。

三、助力本土化，推動(dòng)思想融合發(fā)展

本書(shū)還期望在辨喜思想的本土化進(jìn)程中貢獻(xiàn)一份微薄之力。華夏文明之所以能夠在幾千年的歷史長(zhǎng)河中綿延不絕，始終對(duì)外來(lái)文化保持開(kāi)放包容的態(tài)度，并善于吸收外來(lái)文化的精髓來(lái)充實(shí)、發(fā)展和改革自身文化，是一個(gè)至關(guān)重要的原因。從這個(gè)意義上講，如何使被印度及西方世界廣泛認(rèn)可的辨喜思想巧妙地融入華夏文明，是我們面臨的一項(xiàng)重要課題。

筆墨Gallery圍繞本書(shū)舉辦的跨年展，無(wú)疑是一次極具開(kāi)創(chuàng)性和深遠(yuǎn)意義的嘗試。本次跨年展以“愛(ài)與勇氣”為主題，通過(guò)邀請(qǐng)國(guó)內(nèi)知名藝術(shù)家及其作品參展的方式，深入探討和詮釋藝術(shù)的真諦、提高藝術(shù)修為和境界的方法等重要問(wèn)題。在辨喜思想與當(dāng)代中國(guó)藝術(shù)的碰撞與交融中，正如策展人所言：“愛(ài)與勇氣的精神，不僅為性靈的修煉指明道路，亦為藝術(shù)的創(chuàng)作注入沉穩(wěn)而崇高的力量。在真正的藝術(shù)中，技巧終將退居其次，而愛(ài)與勇氣所催生的真誠(chéng)與洞察，才能讓作品超越形式的局限，直抵人心�！�

希望以此次跨年展為契機(jī)，社會(huì)各界能夠舉辦更多類(lèi)似的活動(dòng)，共同推動(dòng)辨喜思想的本土化進(jìn)程，讓辨喜思想在華夏大地上綻放出更加絢爛的光彩，為中華文化的繁榮發(fā)展注入新的活力。

上海社會(huì)科學(xué)院出版社重大項(xiàng)目部朱敏明

2026年1月27日

朱敏明，早稻田大學(xué)政治學(xué)研究科博士研究生，現(xiàn)就職于上海社會(huì)科學(xué)院出版社重大項(xiàng)目部，《愛(ài)與勇氣：印度思想家斯瓦米·辨喜傳》責(zé)編，主持策劃“南通大學(xué)人文社科前沿研究”，參與策劃“‘走出去’的中國(guó)經(jīng)典”等大型系列叢書(shū)。

聞中：中國(guó)美術(shù)學(xué)院教授、博士生導(dǎo)師，中國(guó)美術(shù)學(xué)院藝術(shù)學(xué)學(xué)科建設(shè)委員會(huì)委員，曾孤身漫游于喜馬拉雅山南麓的森林，追隨印度僧人修習(xí)印度哲學(xué)。兼任浙江省老子研究會(huì)副會(huì)長(zhǎng)，大型文化叢書(shū)《梵澄譯叢》主編，出版著作《從大吉嶺到克什米爾》等20余種。

Wen Zhong:Professor and Doctoral Supervisor at the China Academy of Art; Member of the Art Discipline Development Committee of the China Academy of Art. He once traveled alone through the forests at the southern foot of the Himalayas, studying Indian philosophy under the guidance of Indian monks. He also serves as Vice President of the Zhejiang Laozi Research Association and Editor-in-Chief of a comprehensive book Editions titled

Fan Cheng Translation Collection

From Darjeeling to Kashmir

A Beacon for the Inheritance and Exchange of Civilization

—The Significance of Publishing Love and Valour: A Biography of the Indian Thinker Swami Vivekananda

From a macro perspective, book publishing is undeniably the core hub and key vehicle for the inheritance of human civilization. It acts like a magical bridge, meticulously solidifying human thought, culture, and craftsmanship into tangible forms that transcend the boundaries of time and space. Thanks to this unique characteristic, knowledge is able to break free from the limitations of individuals, flowing seamlessly across generations and perpetuating endlessly. Even in an era dominated by the surging waves of digitalization, high-quality books remain steadfast as anchors of cultural heritage, effectively preventing invaluable spiritual treasures from dissipating like fleeting shadows amidst the constant evolution of dissemination media.

At the same time, book publishing serves as a broad bridge for cultural exchange, breaking down barriers of geography and civilization with unparalleled inclusivity, and fostering the integration and mutual development of diverse cultures. Furthermore, it shoulders the important social functions of cultural advocacy and value guidance, subtly shaping the spiritual ethos and value orientation of society.

The stunning release of Love and Valour: A Biography of the Indian Thinker Swami Vivekananda is akin to a brilliant star, vividly and profoundly illustrating the extraordinary significance of publishing.

I. A Masterful Selection, Readability That Leaps Off the Page

In terms of its selection, this book exhibits exceptional readability, which is reflected in four key aspects:First,its length is just right. Numerous biographies of Vivekananda have been published worldwide. As a medium-length biography, this book skillfully complements both lengthy and short biographies, avoiding the verbosity of the former and the oversimplification of the latter, offering readers a perfectly balanced reading experience.

Second,its language is accessible. Unlike foreign scholars such as Romain Rolland, the author of this book, Swami Nikhilananda—a renowned Indian scholar and a direct disciple of the Holy Mother Sri Sarada Devi—draws on his precise grasp of Indian culture and unique interpretation of Vivekananda’s thoughts. Using language easily understood by the general public, he vividly portrays Vivekananda’s extraordinary life, allowing readers to immerse themselves in Vivekananda’s era and experience the brilliance of his thoughts firsthand.

Third,its descriptions are exquisite and meticulous. The book’s elegant prose resembles a finely detailed painting, seamlessly integrating Vivekananda’s thoughts and life events. From his early formative years to his legendary travels across the land, every pivotal moment in the development of Vivekananda’s thoughts is intricately linked to the significant events of his life, enabling readers to clearly see how his ideas matured and transcended through the passage of time.

Fourth,its translation is masterful. The book has been meticulously translated by Professor Wen Zhong from the China Academy of Art. With his solid academic foundation, rigorous scholarly attitude, deep understanding of Indian culture, Vedanta philosophy, and yoga, as well as his exceptional translation skills, Professor Wen has not only rendered the original content with “faithfulness, expressiveness, and elegance” but has also skillfully supplemented and expanded upon it by referencing versions from the Western world. Additionally, he has provided detailed annotations for specific events and concepts, removing reading barriers and enabling readers to delve deeper into the essence of the original work.

II. Fostering Exchange, Promoting an Objective View of Indian Culture

This book plays an active and significant role in advancing cultural exchange between China and India, particularly in guiding the Chinese public to view India objectively. In the digital age, while channels of information dissemination have become increasingly diverse, the information people receive is often fragmented and subjective due to various influencing factors. For instance, reports about India frequently highlight the following aspects, which tend to capture public attention in China:First,environmental degradation and low living standards, creating an impression of “dirtiness, disorder, and backwardness.”Second,severe social inequality, with the “caste system” remaining deeply entrenched, and the social status and rights of Indian women raising concerns.Third,a perceived lack of “contractual spirit,” as the Indian government has been known to revise laws and regulations, openly and “justifiably” appropriating the interests of foreign investors.

In stark contrast, India’s outstanding traditional culture, especially the ideas that have played a crucial role in advancing human societal development, as well as figures who have served as bridges in the mutual learning between Eastern and Western civilizations, rarely permeate the daily lives of the Chinese public. As the translator of this book points out, understanding a country or nation should begin with its “peaks,”while also considering social realities, to avoid generalizations and achieve a comprehensive, objective understanding of a country or nation’s true essence. The publication of this book undoubtedly provides a window for the Chinese public to gain a deeper understanding of India’s excellent culture and great figures, helping to break down one-sided perceptions of India and promote mutual understanding and exchange between Chinese and Indian cultures.

III. Facilitating Localization, Promoting the Integration and Development of Ideas

This book also aims to contribute modestly to the localization of Vivekananda’s thoughts in China. A crucial reason why Chinese civilization has endured uninterrupted for thousands of years is its consistent openness and inclusivity toward foreign cultures, as well as its ability to absorb the essence of external cultures to enrich, develop, and reform its own. In this sense, how to skillfully integrate Vivekananda’s thoughts—widely recognized in India and the Western world—into Chinese civilization is an important task we face.

The New Year’s exhibition organized by Ink Gallery centered around this book is undoubtedly a pioneering and profoundly meaningful attempt. With the theme “Love and Valour,” this exhibition invites renowned domestic artists and their works to explore and interpret critical issues such as the true essence of art and methods to elevate artistic cultivation and realm. In the collision and fusion of Vivekananda’s thoughts with contemporary Chinese art, as the curator aptly states: “The spirit of love and valour not only illuminates the path for spiritual cultivation but also infuses artistic creation with a steady and lofty force. In true art, technique ultimately takes a back seat, while the sincerity and insight born of love and valour enable a work to transcend formal limitations and touch the human heart directly.”

It is hoped that this New Year’s exhibition will serve as a catalyst for more similar activities across various sectors of society, collectively advancing the localization of Vivekananda’s thoughts. May Vivekananda’s ideas blossom with even more radiant brilliance on Chinese soil, injecting new vitality into the prosperity and development of Chinese culture.

Zhu Minming

Major Projects Department

Shanghai Academy of Social Sciences Press

January 27, 2026

Zhu Minmingis a Ph.D. candidate in the Graduate School of Political Science at Waseda University and currently works in the Major Project Department of Shanghai Academy of Social Sciences Press. She serves as the editor in charge of the book

Love and Valour

A Bio

graphy

of the Indian Thinker Swami Vivekananda,

LOVE AND VALOUR

Cross-Year Exhibition

筆墨Gallery跨年展 | 愛(ài)與勇氣

出品?真山文化

Producer: ZhenShan Culture

學(xué)術(shù)嘉賓 聞中

Academic guest：Wen Zhong

策展?沌生

Curator: Dunsheng

視覺(jué)?因子

Visual Designor: Yinzi

攝影 杜揚(yáng)

Photography: Du Yang

杭州市濱江區(qū)長(zhǎng)江中路38號(hào)

No.38 Changjiang Middle Road,Binjiang District,Hangzhou City．

Tel: 15157926699

展期PEeriod

2026.01.25—03.20

參展藝術(shù)家

Participating Artists

方增先 齊劍南 夏陽(yáng) 聶鷗 北魚(yú)

曾翔 張進(jìn) 邢慶仁 懷一 崔海 周雷

李勇 陳量 林海鐘 李桐 王犁

一舨 章耀 金心明 周紅藝

何效義 劉建國(guó) 品弎 徐暢 裴滿(mǎn)意

范軼西 丁文娜 沈晨陽(yáng) 張星星

朱勝斌 丁海斌 杜揚(yáng) 吳晏如

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