藝術學研究

《藝術學研究》第七期（NCU JOURNAL OF ART STUDIES 7）

吳方正

2010年11月

目次
────

1 意大利畫家查農的中國古畫收藏及其在華的
展覽與創作活動（1928–37年）
洪再新

39 自畫像、家族像與文化認同問題
——試析日治時期三位畫家
顏娟英

97 陳澄波圖片收藏與陳澄波繪畫
李淑珠

183 寄生在日常生活中：
《一個睡覺的人》苟活（無）經驗的如歌寫照
許綺玲

213 反思性主體的反思：
侯俊明作品中的再現策略、主體觀與社會批判
盛鎧

Contents
───────
1 The Italian Painter Carlo Zanon's guhua Collection, Art Experimentation, and Exhibition in China (1928-37)
Zaixin Hong

39 Self-portraits, Family Portraits, and the Issue of
Identity: a Tentative Analysis of Three Taiwanese
Painters of the Japanese Colonial Period
Chuan-ying Yen

97 Chin To-Ha's Illustrative Plate Collection and
His Paintings
Su-Chu Li

183 Walking from Novel to Film: “A Man who Sleeps” by G. Perec and B. Queysanne
Chi-Lin Hsu

213 Reflection on Reflexive Subjectivity: The Representation Strategy, Subjective View and Social Critic in Chun-Ming Hou's Work
Kai Sheng

意大利畫家查農的中國古畫收藏及其在華的展覽與創作活動（1928–37年）

The Italian Painter Carlo Zanon's guhua Collection, Art Experimentation, and Exhibition in China (1928-37)

/ 洪再新 Zaixin Hong

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檔案下載：01.pdf

在浮游的前衛運動中，意大利畫家與收藏家查農（Carlo Zanon, 1889-?）在巴黎、上海、東京之間曾起了一定的作用。這位多年旅居巴黎的「威尼斯」畫家，雖在法國和意大利名聲平平，但進入中國的現代主義藝術流變，卻扮演了奇特的角色。從1928年至1937年，他的展覽和創作活動在媒體中頗為顯赫，贏得上海等地畫壇的高度重視。值得注意的是，其切入點不在引入巴黎前衛畫家的實踐，而是通過收藏中國古畫和日本浮世繪，漸次形成他所追求的繪畫風格，由此對中國的畫壇和藝術界形成意想不到的廣泛影響，特別是對國畫家黃賓虹繪畫探索的重要啓示。為此，本文就查農在華的展覽和創作活動，著重討論其收藏中國古畫對於介入中國前衛藝術運動的若干問題。

Carlo Zanon (1889-?) was an Italian painter and collector of guhua (ancient Chinese painting), who played an intriguing role in the art circles of Paris, Shanghai and Tokyo during the so-called floating Avant-garde movement in East Asia. Born in Schio, in the Veneto region, Zanon frequently stayed in Paris, but today he is not well known either in Italy or in France. However, his involvement in modern Chinese art was rather extraordinary. From 1928 to 1937, the art he exhibited and created in Shanghai caught the attention of the mass media in that city and elsewhere. Interestingly, Zanon's approach to modernism did not follow the examples of the avant-garde artists of Paris, but instead he painstakingly sought to develop a new painting style through collecting and studying guhua as well as Japanese ukiyo-e. Zanon's artistic approach exemplifies an alternative modernity embodied in the transformation of traditional Chinese art. Its effect on the development of Chinese painting was significant, helping to consolidate the self-confidence of guohua (national style painting) artists such as Huang Binhong (1865-1955). This paper will address the issue of modernity in East Asia by retrieving records of Zanon's exhibition and art creation in the 1920s and 30s in order to define the intriguing connection between the collecting of guhua in Europe and avant-garde movements in China.

自畫像、家族像與文化認同問題──試析日治時期三位畫家

Self-portraits, Family Portraits, and the Issue of Identity: a Tentative Analysis of Three Taiwanese Painters of the Japanese Colonial Period

/ 顏娟英 Chuan-ying Yen

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檔案下載：《藝術學研究》第七期_顏娟英.pdf

日治時期台灣，作為殖民地畫家，在作品裡表現地方色彩是別無選擇的創作之道，但表達自己獨特的想法才是畫家創作道路上的原動力。在殖民政府嚴竣的規範下，如何為自己、為家人乃至於為台灣社會文化而發聲，無疑是一項艱鉅的工作。
本文實際分析三位畫家的自畫像與家族肖像作品，發現同樣認同「台灣」、同樣發揮地方色彩，其藝術詮釋的手法卻截然不同。熱情直率而短命的陳植棋留下堅毅勇敢的台灣婦人形象。李石樵則努力琢磨學院派的語言，嚴謹地表達他冷靜而隱密的殖民地畫家的抗議，以及對社會大眾深層的關懷。陳進身為唯一女性畫家，勇敢而認真地投入男性主導的殖民地畫壇，她選擇表現純潔盛裝的美女形像，如履薄冰般，走在贏取男性社會認同與表現女性自覺的邊界上。總之，他們對於日本帝國文化價值，或融入學習經驗或是折衷認同，亦或是有時抗議甚至表現相衝突的價值觀，正說明了在社會集體認同下的個別差異性，這樣的多元與差異性也正是台灣文化認同的重要成份。

During Taiwan's Japanese colonial period, Taiwan's artists had few creative options but to express “local color,” even though the expression of one's unique ways of thinking is what drives artists on the creative route. Under the strict rules of the colonial government, determining how to give voice to oneself, one's family, or Taiwan's society as a whole was a hugely difficult task.
This article, in analyzing the self-portraits and family portraits of three artists, finds that although they likewise identified with “Taiwan” and to showing its local color, their artistic and interpretive methods were completely different. The short-lived, straightforwardly passionate Chen Chih-Chi left images of strong, determined Taiwanese women. Li Shih-Chiao expressed cold, subtle protests over his status as a painter in a colonized land as well as his profound concern for society through his efforts to refine an academic style. Chen Chin, as the only female painter, threw herself boldly into the male-dominated colonial painting community. The beautiful, chaste, well-dressed women that she chose to depict appear to tread on thin ice, walking on the border between winning the acceptance of male society and expressing their feminine self-awareness. In sum, the fact that these artists either studied and absorbed the cultural values of the Japanese empire, or compromised them, or even at times protested against them or expressed opposing values bespeaks their individual differences within the context of their collective social identity, and this itself is an important part of Taiwanese cultural identity.

陳澄波圖片收藏與陳澄波繪畫

Chin To-Ha's Illustrative Plate Collection and His Paintings

/ 李淑珠 Su-Chu Li

關鍵字：陳澄波圖片收藏、雜誌剪貼、美術明信片 Chin To-Ha's Illustrative Plate Collection, magazine clippings, picture postcards

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檔案下載：《藝術學研究》第七期_李淑珠.pdf

本文將針對油畫家陳澄波（1895–1947）生前收藏的大批印刷圖片——筆者稱其為「陳澄波圖片收藏」，具體分析、考察這批資料對於畫家畫風的影響。這批圖片資料雖然經常被用來闡述陳澄波的生平與作品，然而，到目前為止，這些引用都十分零碎而且只限於極少數的圖片，關於這批資料的整體介紹與來源調查之研究，付諸如闕。
陳澄波圖片收藏分為「雜誌剪貼」（411張）與「美術明信片」（1115張）兩大類。前者乃是剪自美術雜誌等之圖片，一部分被貼在有色襯紙上；後者主要是在展覽會場上出售的作品明信片。這些經過畫家親手整理過的印刷複製品，很明顯地是畫家作畫時的參考源泉，因此，本文將試圖闡明這些印刷品從何而來、如何透過畫家之手獲得整理，進而影響畫家畫風上的「自我成型」，也希望藉此探討印刷文化與美術作品之間的互動關係。

This paper will conduct a field survey on a large amount of illustrative plates—“Chin To-Ha's Illustrative Plate Collection” —collected by the oil painter Chin To-Ha while he was alive, in order to examine concretely the plates' influence on his style of painting. These plate materials are always used to introduce Chin To-Ha's history and his works, but until now such quotations have usually been sporadic and limited to only a few plates, and there have been no introductions of the materials in their entirety or any research regarding the investigation of their sources.
Chin To-Ha's Illustrative Plate Collection is classified into “magazine clippings” (411 items) and “picture postcards” (1,115 items). The former are illustrations clipped out of art magazines, with some plates pasted on color mounts. The latter are mainly hand-drawn postcards sold at exhibitions. These print copies were organized by Chin himself, and it is obvious that they served as reference models for his drawings. Therefore, this paper attempts to find where the printed matter came from, how it was arranged and organized by the painter, and furthermore, what kind of influence they had upon the “self-formation" of Chin's style of painting. Finally, this will be used to consider the interaction between printed culture and art works.

寄生在日常生活中：《一個睡覺的人》苟活（無）經驗的如歌寫照

/ 許綺玲 Chi-Lin Hsu

關鍵字：培瑞克、文學與電影、互文性、遁世、漠然（無動於衷）、行走、日常生活、經驗 Georges Perec, Literature and film, Intertextuality, Evasion, Indifference, Walk, Daily life, Experience

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檔案下載：《藝術學研究》第七期_許綺玲.pdf

法國作家培瑞克曾與導演凱桑合作，於1976年將其自傳性小說《一個睡覺的人》改拍成電影。這部畫、音、語、樂不同步的複調影作，以抽象化、夢境似的黑白攝影，敘事結構上時空紊亂的拼圖效果，重新詮釋了小說遁世、隱退的主題。片中唯一的人物，無來由地退出社會生活，不言不語，照吃照睡，走來走去。本文首先將簡述改編的電影對小說之重要取捨，而後逐步分析這三項行為特徵或行動（不言不語、照吃照睡、走來走去），如何與這部電影特有的「迷人」美學以及音樂性節奏感緊密結合。同時，也將透過德勒茲的電影分析、波特萊爾的互文，以及阿岡本對於現代經驗的闡釋，來重讀片中觸及現代生活核心議題的殘活（無）經驗意涵。

The French writer Georges Perec once collaborated with the director Bernard Queysanne to film his autobiographical novel Un homme qui dort (aka A man who sleeps) in 1976. This abstract, dreamlike black-and-white film, using the techniques of polyphonic cinema, reinterprets the novel's theme of avoidance or withdrawal from the world. The film's only character, a young man, inexplicably withdraws from society and goes about his life, eating and sleeping without saying a word, and almost mechanically walking back and forth. The character may be understood as representing a familiar “type” in traditional and modern literature, the “city stroller,” the “wandering Jew,” and above all Bartleby in Melville's famous short story. This essay will first briefly describe how the film substantially selects from the novel, then go on to analyze three aspects of his behavior (silence, eating and sleeping, pacing) and how they are closely linked to the rhythms of this film's distinctive “fascination” aesthetic and its musical rhythm. Meanwhile, this article will refer to the filmic ideas of Gilles Deleuze, Charles Baudelaire's poetry on modern life, and Giorgio Agamben's philosophical reflections on modern experience in order to enlighten us about this man who sleeps while living and walking in silence.

反思性主體的反思：侯俊明作品中的再現策略、主體觀與社會批判

Reflection on Reflexive Subjectivity: The Representation Strategy, Subjective View and Social Critic in Chun-Ming Hou's Work

/ 盛鎧 Kai Sheng

關鍵字：侯俊明、搜神記、版畫、怪誕、戲仿、自畫像 Chun-Ming Hou, engraving, Anecdotes about Spirits and Immortals, grotesque, parody, self-portrait

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檔案下載：《藝術學研究》第七期_盛鎧.pdf

作為曾代表台灣參加威尼斯雙年展，且作品近年來在市場上屢創高價紀錄的當代藝術家侯俊明，他的知名度乃至台灣美術史上的地位，可謂同輩間的佼佼者。但是，對於侯俊明的評論與研究，似仍有所不足：有的較看重其早期創作，認為他的《極樂圖懺》（1992）與《搜神記》（1993）中的性愛題材與怪誕畫風，勇於突破社會禁忌，正呼應了解嚴前後台灣社會之氛圍；有的則認為他近期以個人生活經歷與內心體驗為主題的創作，較為細膩且具深度。然而不論何種看法，似乎仍單純地僅從主題的角度對侯俊明的創作進行解讀，而忽略其再現方式、文字與圖像的搭配、系列作品的總體構成以及風格運用等形式要素，故只是片面地將侯俊明定位為「叛逆者」或「修行者」而已，未能更深刻闡發其再現策略（如《搜神記》對古書樣式的戲仿）與怪誕美學背後的深意，以及他的作品對現代主體意識的反思與批判。因此，本文將以侯俊明1992年的《極樂圖懺》至2007年的《侯氏八傳》期間創作的代表性版畫作品為研究重點，探討其中的再現策略與風格形式，以及當中的主體觀與反思意識等相關議題，以了解其真正批判性所在。

Chun-Ming Hou, who once was chosen to represent Taiwan in La Biennale di Venezia (the Venice Biennale), and whose prints sell at record high prices, may be described as one of the highest achievers in the history of Taiwanese art. Yet Hou has received relatively little critical attention to date. Some art critics have focused more on Hou's earlier works, pointing out how his grotesque drawings and sexual themes in Erotic Paradise and Anecdotes about Spirits and Immortals defy social taboos and resonate with the social atmosphere in pre/post-martial law Taiwan. Others believe that Hou's recent printmaking works, which reflect more of his personal experiences along with his inner thoughts, are more refined and sophisticated than ever before. In any case, the critics are more concerned with the themes of Hou's work and base their interpretation on these criteria, neglecting other aspects such as the representation of the work, the arrangement or collision between texts and images, the structure of the series, and his auteur style. The critics thus reduce Hou to a “heretic” or “Buddhist practitioner” instead of exploring his strategy of representation (an example of this may be seen in Anecdotes about Spirits and Immortals in which he imitates Chinese script in a parody called “Liu Jiao Hou Shih” or “Mr. Hou with Six Feet”), the meanings behind his grotesque aesthetics, and how his work provides reflects or critically reviews individual consciousness in our modern state. In this article, therefore, I will focus on the representational strategies and styles of Hou's prints to explore issues pertaining to individual consciousness and self-reflexivity so as to offer a fuller art critical understanding of his art.