藝術學研究

《藝術學研究》第八期（NCU JOURNAL OF ART STUDIES 8）

周芳美

2011年05月

目次
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1 魯東的自然意象與精神演化論
曾少千

71 創傷年代的美學感同與見證
葛莉賽達．波洛克（Griselda Pollock）著，倪明萃翻譯

127 從追逐現代化到反思文化現代性：日治文人魏清德的文化認同與對臺灣美術的期許
謝世英

205 二十年（1990–2009）來臺灣關於中國宮廷圖繪的研究
馬雅貞

Contents
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1 Odilon Redon's Nature Imagery and Spiritual Evolution
Shao-Chien Tseng

71 Aesthetic Wit(h)nessing in the Era of Trauma or Art as Compassion (Chinese)
Griselda Pollock, translated by Ming-tsuey Ni

127 From Chasing Modernization to Introspection on Modernity: Wei Qingde's Cultural Identity and His Expectation on Taiwanese Art during the Colonial Period
Shih-ying Hsieh

205 Pictorial Art in the Chinese Court: Two Decades (1990-2009) of Research in Taiwan
Ya-chen Ma

魯東的自然意象與精神演化論

Odilon Redon's Nature Imagery and Spiritual Evolution

/ 曾少千 Shao-Chien Tseng

關鍵字：魯東、自然、象徵主義、演化論、宗教、裝飾、舒禾、巴舍拉 Odilon Redon, nature, Symbolism, evolutionism, religion, decoration, Edouard Schure, Gaston Bachelard

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檔案下載：《藝術學研究》第八期_曾少千.pdf

十九世紀晚期科學和宗教界對於自然的態度分歧，象徵主義畫家魯東發展豐富的自然意象，映照演化論和宗教信仰之間的辯證。關於魯東的自然圖像研究，大多著重其思想的探源，或對於不同階段的作品採取斷裂的看法，而很少討論魯東如何交涉科學、文學和宗教之間的差異，以及他的自然觀和美學的演變。本文考察魯東的風格實驗，以及藝術家自述、傳記、藝評等第一手資料，檢視演化論在法國的接受情況、象徵主義美學論述等面向。首先將討論魯東的自然書寫如何和藝術史對話，尤其是達文西的畫論和浪漫主義的自然哲學。本文闡析《起源》系列版畫混合拉馬克和達爾文的演化論，改造古典神話，表現原始生物的心理意識。魯東的水中景象粉彩、油畫和屏風作品，將以裝飾美學和哲學家巴舍拉的夢幻詩學詮釋作品。最後將論證泛靈植物和神聖人物的畫作，呼應作家舒禾的精神演化論，可視為和解科學與宗教衝突的藝術途徑。

In the late nineteenth century, science and religion adopted different attitudes toward nature. The Symbolist painter Odilon Redon developed a complex nature imagery that reflected the dialectic between evolutionism and religion. The studies on Redon's nature imagery have mostly traced the sources of his ideas or emphasized the rupture between distinct phases of his oeuvre. Scholars seldom discuss how Redon negotiated the differences among science, literature, and religion, and how his views of nature and aesthetic evolved. This paper examines Redon's stylistic experiments and words, the biographies and reviews, the reception of evolutionary theory in France, and the Symbolist aesthetic discourse. First, I will explore the dialogue between Redon's nature writing and art history, especially Leonardo's theory of painting and Romantic Naturphilosophie. Then, I elucidate how the lithographic series Les origines is informed by evolutionary theories of Lamarck and Darwin, engaged in modernizing classical mythology, and expressive of the psychological states of primitive creatures. The pastels, paintings, and screen of underwater scenes will be analyzed in light of decorative aesthetic and Gaston Bachelard's poetics of reverie. Finally Redon's paintings of pantheist nature and sacred figures will be interpreted as an artistic approach to reconcile science and religion as the spiritual evolution proposed by Edouard Schure.

創傷年代的美學感同與見證

Aesthetic Wit(h)nessing in the Era of Trauma or Art as Compassion (Chinese)

/ 葛莉賽達．波洛克（Griselda Pollock）著，倪明萃翻譯 Griselda Pollock, translated by Ming-tsuey Ni

關鍵字：創傷、美學、母體式陰性、當代西方繪畫 trauma, aesthetics, the matrixial feminine, contemporary Western painting

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檔案下載：擷取_Pollock.pdf

以色列裔法國藝術家、精神分析理論家艾婷爵曾說：「在今日的藝術，我們已經從幻象移轉至創傷。當代美學正從陽具崇拜結構轉變為母體界。」本文分析艾婷爵這一席話的意義，試圖結合女性主義及後殖民文化理論的發展成果，來討論當今國際社會所關注的創傷、記憶與美學等議題。要理解二十世紀作為一個災難的世紀，需要在理論上關切創傷等概念，正如深負倫理責任感的藝術家，以創傷產生的影響之議題，喚起文化上的覺醒，並且經由藝術作品傳遞的美，潛在地提供尋找創傷痕跡的路徑。本文將介紹、闡釋、並分析艾婷爵作為一個創傷、美學與性別差異理論家的貢獻。此外，文章也深入探討她所同時發展的母體界美學實踐的概念，透過後觀念繪畫，重新改變監控、記錄和存檔等技術的結果，作為通往一個願意接受、分擔、處理並轉化創傷的未來的管道。從我們試圖去瞭解、承認，並走出那導致我們處於後創傷時代的災難所要面對的主要挑戰，本文論證艾婷爵母體界理論具有對陽具中心主義的想像層和象徵層增補之雙重功能。

Israeli/French artist and psychoanalytical theorist, Bracha Ettinger has declared: “In art today we are moving from phantasm to trauma. Contemporary aesthetics is moving from phallic structure to matrixial sphere.” In analysing the significance of this claim, this article will bring together the legacies of feminist, post-colonial cultural theories in relation to the current focus on trauma, memory and aesthetics in an international context. The understanding of the twentieth century as a century of catastrophe demands theoretical attention be given to concepts such as trauma, as artists with deep ethical commitments bring issues of traumatic legacies to the surface of cultural awareness and potentially provide through the aesthetic encounter a passage from the traces of trauma. This article introduces, explains and analyses the contribution of Bracha Ettinger as a major theoretician of trauma, aesthetics and above all sexual difference. In addition, it elaborates on her parallel concept of a matrixial aesthetic practice, enacted through a post-conceptual painting, that retunes the legacies of technologies of surveillance and documentation/archiving, as a means to effect the passage to a future that accepts the burden of sharing the trauma while processing and transforming it. The article demonstrates the dual functions of Ettingerian theories of a matrixial supplement to the phallocentric Imginary and Symbolic in relation to the major challenges we face as we seek to understand, acknowledge and move on from the catastrophes that render our age post-traumatic.

從追逐現代化到反思文化現代性：日治文人魏清德的文化認同與對臺灣美術的期許

From Chasing Modernization to Introspection on Modernity: Wei Qingde's Cultural Identity and His Expectation on Taiwanese Art during the Colonial Period

/ 謝世英 Shih-ying Hsieh

關鍵字：臺灣美術、日治時期、魏清德、多重現代性、南畫、文化認同 Taiwanese art, Japanese colonial period, Wei Qingde, multiple modernities, nanga, cultural identity

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檔案下載：《藝術學研究》第八期_謝世英.pdf

魏清德是日治時期《臺灣日日新報》的漢文記者，自1910年起至1940年之間任職報社，在報上發表漢詩、偵探小說、遊記。身為當時大報記者，成為臺灣人與世界知識的橋樑，具有文明啟蒙思想，推崇漢詩，愛好書畫，在當時文藝界頗為活躍。
魏清德處在一個現代／傳統文化衝突、掙扎中發展的關鍵時期，南畫風格是魏清德個人書畫收藏的主要方向，然而南畫不僅是他個人偏好之獨特品味，其中也隱含魏清德對身處時代的回應與文化上的期許。在中國、日本、香港的數次旅行中，魏清德觀察到這些地區現代化帶來的改變，他知悉在西方霸權的威脅下，要國家富強必須現代化，他深切體會學習西方的必要性，所以支持日本為首的大東亞共榮圈思想，以與西方抗衡；但在文化、美術上的現代化發展，魏氏認為臺灣美術的發展，不可忽略現代的因素，但更要的是建構出自己獨特的特色；他認為在文化上一味洋化，只會導致與西洋的相似性，主張只有建構獨特的美術文化形式，才足以超越西方，因此堅持臺灣鄉土藝術，要朝向具有東方文化特徵的南畫風格發展。
本文以魏清德的書寫探究其收藏背後文化認同的選擇與其對臺灣美術的期許，由《臺灣日日新報》上魏氏的旅行書寫與評論臺灣美術發展之撰述，解析魏清德對現代化的理解與文化現代性的反思。

Wei Qingde was one of the most influential journalists working for Taiwan nishi nishi shimpo from 1910 to 1940, during the Japanese period. His writings include traditional Chinese poetry, travel articles, and Chinese translations of Western fiction. As a journalist he was a bridge between the people of Taiwan and the rest of the world, influencing Taiwan's movement toward modernity. In addition, he was active in Taiwan art circles and had expertise in traditional ink paintings and calligraphy.
Wei Qingde lived through a period of conflict between traditional and modern cultural values. His preference for the nanga style over the nihonga style was reflected in his collection, which also reflected Wei Qingde's views on both modernization and modernity in Taiwan. The idea of modernity affected his view on the development of Taiwanese art during the colonial period.
Wei's travel writings were composed during several trips to mainland China, Hong Kong and Japan; his art critiques on the annual Taiwanese art exhibition were published in his newspaper. This study aims to investigate Wei's published ideas on modernization and modernity in Taiwan's colonial period. Wei Qingde recognized the need of modernization, so he supported the idea of Pan-Asianism to counterbalance European imperialism. On the other hand, Wei strongly emphasized the establishment of a distinctive art that retained an element of “Taiwaneseness”: Wei convincingly illustrated in both his writings and collection strategy that nanga, in the traditional ink style, was the real representation of modernity in Taiwan. Although he realized Taiwan's need for modernization; that modernization for him would not necessary be accomplished through the Westernization of culture.

二十年（1990–2009）來臺灣關於中國宮廷圖繪的研究

Pictorial Art in the Chinese Court: Two Decades (1990-2009) of Research in Taiwan

/ 馬雅貞 Ya-chen Ma

◎ 點閱：28 ▼ 下載：38

檔案下載：《藝術學研究》第八期_馬雅貞.pdf