藝術學研究

【2012年被遴選為 THCI Core】《藝術學研究》第十期（JOURNAL OF ART STUDIES 10）

周芳美

2012年05月

目次
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1 作偽的剖析——濟汀偽作帕麥爾畫作事件
李淑卿

87 二十世紀初西洋眼光中的文人畫：費諾羅沙的理解與誤解
巫佩蓉

133 日治臺展新南畫與地方色彩：大東亞框架下的臺灣文化認同
謝世英

209 大眾文化中的圖像詮釋──從一幅表現魯迅論戰精神的漫畫說起
陳德馨

Contents
───────
1 An Analysis of Forgery: Tom Keating's Forgery of Samuel Palmer's Works
Shwu-Ching Lee

87 A Western View of Literati Painting in the Early 20th Century: Fenollosa's Understanding and Misunderstanding
Pei-Jung Wu

133 New Nanga and Local Color in Art under Japanese Rule: Taiwan's Cultural Identity Within the Greater East Asian Framework
Shih-ying Hsieh

209 The Interpretation of Images in Mass Culture—Study of a Cartoon Expressing Lu Xun's Disputatious Spirit
Te-hsin Chen

作偽的剖析——濟汀偽作帕麥爾畫作事件

An Analysis of Forgery: Tom Keating's Forgery of Samuel Palmer's Works

/ 李淑卿 Shwu-Ching Lee

關鍵字：帕麥爾、濟汀、索倫、《泰晤士報》、偽作 Samuel Palmer, Tom Keating, Shoreham, Times, Forgery

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檔案下載：01 李淑卿.pdf

古今中外皆有偽作藝術品事件，且是層出不窮。作偽現象愈來愈猖獗已是不爭的事實，而真偽混雜辨識不易的現象，常阻礙藝術史家對藝術家風格的研究。十九世紀英國畫壇已屢見偽作，但並未有特別受注意的作偽者。至二十世紀下半期則出現一位震驚藝術界的作偽者濟汀，他抗議且愚弄藝術界，不僅是西方藝術史上作偽者寫自傳的首例，亦開啟作偽者在電視講解古代大師的例子。因濟汀極具代表性且尚未被學術界所重視，本文即以1976年濟汀偽作帕麥爾畫作事件為主軸，企圖探究與其相關的各種面向。因作偽者與其偽作絕不可能孤立於歷史文化的時空脈絡中，藉對此重要實例的剖析，我們除得以實際瞭解作偽事件所可能牽涉到的複雜問題，尤其是其與當時藝術環境及藝術史發展的關連性，亦可經由真偽作品的比較，得以對帕麥爾早期畫風的瞭解更為清晰。

本文探討的主要面向有三，一是分析濟汀個人學習歷程，及其作偽動機、題材、方法與技巧、實例等；二是從各角度討論濟汀為何選擇帕麥爾早期的畫作作偽，其中特別探究帕麥爾的早期畫風與他在當時畫壇的影響力；三是論述事件披露後學術界、藝術界與濟汀本人的迴響，主要分析發表於《泰晤士報》近百篇的文章。最後，論述濟汀事件對學術界與藝術界有何重要意義與影響。

Picture forging had been increasing in Britain through the nineteenth century, but no single forger had drawn special attention until Tom Keating (1917-1984) emerged in the second half of the twentieth century. Keating, who protested against the art establishment by fooling it, was the first forger in the history of art to write an autobiography; he even spoke about the old masters on television. This paper attempts to discuss various aspects of the Keating affair, centering on Keating's forgery of Samuel Palmer's (1805-1881) works, particularly with a view toward analyzing its relationship with the art world at the time and the development of art history.

This article thus discusses primarily three aspects of the case. Keating's background and art education is analyzed first, as well as his motivations, themes, techniques, and several examples of his forgery. Secondly, this article discusses why Keating chose to forge a large number of Samuel Palmer's early “Shoreham period” works, with special attention to the impact those works were having among painters of the time. Finally, the reactions of the academic world, the art world, and Keating himself after the forgeries' discovery are thoroughly traced through nearly one hundred articles and letters published in The Times. Finally, the importance and significance of the Keating case in the art world is discussed in the conclusion.

二十世紀初西洋眼光中的文人畫：費諾羅沙的理解與誤解

A Western View of Literati Painting in the Early 20th Century: Fenollosa's Understanding and Misunderstanding

/ 巫佩蓉 Pei-Jung Wu

關鍵字：費諾羅沙、芬諾洛薩、文人畫、東西文化交流、中日交流、傳日中國畫 Ernest Francisco Fenollosa, literati painting, cultural exchanges, Chinese paintings in Japan

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檔案下載：02 巫佩蓉.pdf

活躍於十九世紀末、二十世紀初的美國人費諾羅沙（Ernest Francisco Fenollosa, 1853-1908，又譯為芬諾洛薩），在東西美術交流史上，扮演相當重要的角色。他於西潮風行的明治時代（1868-1912），受聘至東京帝國大學教授哲學及經濟學；不過，至日本之後，卻對東亞的美術產生極大的興趣。費氏晚年著作Epochs of Chinese and Japanese Art一書，對東亞及西方世界皆有相當重要的影響。今日，無論是探討西方思維方式如何開始影響東亞學者的美術史研究，或是探索二十世紀前後，西方世界如何看待東亞美術作品，都不可忽略費諾羅沙的著作。

現今學界有關費諾羅沙與美術的研究，多偏重於美學理念的探討；筆者則企圖採不同的切入點，著重分析費氏所處時代得見的畫作與其立論之關係。本文探究費諾羅沙著作中對於文人畫的見解，究竟主要是針對理論層次，或是畫作視覺意象呈現的方式？若是後者，費氏批評的對象是哪些具體的畫作？他對某些畫風的意見或偏見，是基於西洋的眼光，或是所謂日本的眼光？費氏對於文人畫的見解，對於日本及西方各有什麼影響？這些議題，不僅關乎費諾羅沙，亦有助於我們進一步瞭解二十世紀前後的美術史觀，以及中日美術交流史中不同的鑑賞觀。

Ernest Francisco Fenollosa (1853-1908), was a key person in the cultural exchange between the East and the West. He was among the few Western scholars to be invited to teach in the Meiji period (1868-1912) Japan. Although Tokyo Imperial University hired him to teach philosophy and economics, he developed a strong interest in traditional Chinese and Japanese art after arriving in Japan. The book that he wrote in his later years, Epochs of Chinese and Japanese Art, had a great influence in both the East and the West.

In this paper, I will focus on Fenollosa's opinions on literati painting. I will discuss whether his views were based primarily on theory or on his experience of viewing paintings. If it were the latter, which were the paintings that provoked his critical comments? Did these views result from his Western education, or did they come from so-called “Japanese taste”? What were the influences of Fenollosa's opinions in Japan and the West? This study will help us understand the art historical views of the early twentieth century and give us a different perspective on the history of artistic exchanges between China and Japan.

日治臺展新南畫與地方色彩：大東亞框架下的臺灣文化認同

New Nanga and Local Color in Art under Japanese Rule: Taiwan's Cultural Identity Within the Greater East Asian Framework

/ 謝世英 Shih-ying Hsieh

關鍵字：地方色彩、南畫、東洋文明、日治臺灣美術、殖民、大東亞文化認同 Local color, nanga, Eastern culture, Taiwanese art under Japanese rule, colonization, greater East Asian cultural identity

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檔案下載：03 謝世英.pdf

日治時期臺灣美術的地方色彩，描繪臺灣特有的天候、地理、自然、人情與風俗等地方特徵，然而臺灣鄉土藝術（地方色彩）意味的不僅是在於題材的選擇，也是文化特徵的組合，除努力製作臺灣題材之外，小澤秋成、石川欽一郎等西洋畫家在油畫、水彩作品中，運用屬於南畫手法的筆墨線條、構圖留白、簡筆筆觸等，創出具有東洋藝術意味的台灣風景。另一方，林玉山、結城素明等東洋畫家，雖然使用傳統媒材，但西畫式的技巧如塗抹、鳥瞰構圖等，作品被當時的評論家評論為失去東洋藝術價值。

本文主張被殖民處境下的臺灣文化認同，屬於大東亞文化認同的脈絡，具有兩個相互重疊的層面，一是建基於亞洲國家同質性的亞洲共同體，大東亞文化認同連結亞洲不同地區，並且建立彼此之間命運共存共屬的歸屬感。南畫（水墨畫）是亞洲地區的共同文化傳統，南畫筆墨線條、留白、氣韻生動等特徵，成為東洋藝術精神的體現。不論是使用東（傳統）、西洋（現代）媒材，創出具有東洋藝術精神的作品，是日治臺灣美術的主要方向。另一層面，臺灣在大東亞文化認同中的脈絡的定位，其獨特性是建立在與亞洲其他地區的差異處之上，反映在題材上，與北國日本的對照，日本優雅、臺灣粗曠，南國風情的芭蕉、水牛、相思樹成為台灣特色，彼此特色倚賴在與對方的差異性上。大東亞文化框架下台灣文化認同，不但需尋求亞洲地區之間的同質性，也需尋求異質性，兩個層面各自獨立但又互相重疊，構成臺灣文化認同的複合、多元性的複雜結構。

本文由日治《臺灣日日新報》上對臺展的評論與主張，探討日治南畫風格發展的不同層面，透過文本、公共論述與歷史文獻的鋪陳，輔以具體作品的分析，理解地方色彩、新南畫在大東亞框架下臺灣文化認同的意涵、建構與發展，勾勒出日治時期臺灣美術中追尋文化主體性的過程與面貌。

“Local color” in art during Taiwan's Japanese colonial period refers to the depiction of distinctively Taiwanese features—scenes, climate, natural features, customs, and so on. However, local color was not only a matter of choice of subject-matter but also a construct of cultural characteristics. Western-style painters such as Ozawa Akinari (1886-1954) and Ishikawa Kin'ichirō (1871-1945) incorporated techniques of traditional ink paintings (which they referred to as nanga or “southern painting”) in their oils and watercolors to create Taiwanese landscapes with an East Asian flavor. Meanwhile, Eastern-style painters such as Lin Yushan (1907–2004) and Somei Yūki continued to use traditional materials but borrowed Western techniques such as impasto and bird's-eye perspective, but they were criticized as lacking the essence of Eastern painting, as their finished works looked more like Western paintings.

This study argues that Taiwan's cultural identity as a Japanese colony had two overlapping contexts within the broader context of East Asian cultural identity. The first was based on the establishment of this greater East Asian cultural identity, made possible by the commonalities among Asian countries and linked with a shared sense of belonging among different regions in Asia. Nanga or ink painting, with its emphasis on line, its use of void spaces, and so on, was the common cultural heritage of the region; it became representative of the spirit of Eastern art. The second context was based on presenting Taiwan as distinctive from its Asian neighbors. This was reflected in the selection of the materials used: in comparison with elegant Japan, Taiwan was coarse. Artists selected “southern” Taiwanese subject-matter that contrasted with that of “northern” Japan (banana trees, water buffaloes, acacia trees, etc.). Taiwanese cultural identity under the broader East Asian cultural framework had to search for aspects of homogeneity with other Asian regions but also aspects of heterogeneity—the two layers were independent, yet overlapping. In this way, Taiwan's pluralistic, diverse, and complex cultural identity was formed.

Drawing upon critiques and articles on the Taiwan Fine Arts Exhibition (Taiten) in the Taiwan Nichinichi shimpō and other texts and historical documents, besides the artworks themselves, this study intends to explore various aspects of Taiwan's developing cultural identity during the Japanese colonial period, including the meaning of local color and new nanga. In so doing, the search for cultural subjectivity in Taiwanese art during this period is delineated.

大眾文化中的圖像詮釋──從一幅表現魯迅論戰精神的漫畫說起

The Interpretation of Images in Mass Culture—Study of a Cartoon Expressing Lu Xun's Disputatious Spirit

/ 陳德馨 Te-hsin Chen

關鍵字：魯迅、林語堂、漫畫、叭兒狗、費厄潑賴、陳源、徐志摩 Lu Xun, Lin Yutang, cartoon, Pekinese dog, fair play, Chen Yuan, Xu Zhimo

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檔案下載：04 陳德馨.pdf

「魯迅打叭兒狗」，是魯迅著名的英雄形象。這個形象是1925年12月28日，魯迅為攻擊論敵時，發表〈論「費厄潑賴」應緩施行〉一文，主張打擊敵人不要手軟，要打倒在地為止所創造。這種睚眦必報、絕不妥協的作風，成了日後魯迅論戰精神的最佳寫照。
當時參與論戰的林語堂，曾繪製出第一幅〈魯迅先生打叭兒狗圖〉，藉此激化論戰的火花。但是這幅關鍵性的漫畫，日後卻不再被世人知曉。相較於魯迅〈論「費厄潑賴」應緩施行〉，成為家喻戶曉的名篇，兩者命運大不相同。為什麼會造成這個結果？以及這個結果反映什麼文化意義？便是本文主要探索的重點。

本文藉由對林語堂漫畫的圖像分析，重新恢復他的思路歷程及諷刺重點，說明這個新的漫畫構思，對論戰雙方帶來的刺激與影響，並進而導致魯迅落敗的原因。由於這個結果，以及漫畫所引發「魯迅當官」的事實，與日後左翼青年形塑魯迅為一名反叛權威的文化英雄形象不合，所以被刻意遺忘。

林語堂所畫「魯迅打狗」的英雄形象，以報紙快速印刷的方式，深入世人眼目。但卻也提供讀者自由解讀這幅漫畫的機會，傳統中國畫家繪圖贈人時，雙方所保持的互信與私密，在此轉成公開及多義解釋，成為中國現代化的一大特徵。

Lin Yutang's cartoon, “Lu Xun Beats a Pekinese Dog,” presents one of the most well-known positive images of Lu Xun. This image originated with the publication on Dec. 28, 1925 of Lu Xun's essay, “On Deferring Fair Play,” which argued that in attacking one's enemies one should not pull one's punches but continue until they are knocked to the ground. Later on, during Lu Xun's disputes with other writers, he became best known for his absolutely uncompromising style when fighting back even over the most trivial of matters.

Lin Yutang, a participant in the debates of the time, drew his first “Lu Xun Beats a Pekinese Dog” to add fuel to the flames. However, this crucial cartoon was almost completely forgotten, while Lu Xun's essay became something known to all. Why did the two works encounter such different destinies? What does this outcome say about culture? These are the main questions this paper will be exploring.

This paper will analyze Lin Yutang's caricature of Lu Xun, recover the pathways of his thought and his satirical focuses, and explain his new cartooning concept, how it triggered and influenced the dispute between the two men, and why Lu Xun eventually lost in the dispute. The caricature's suggestion of Lu Xun behaving like an official was at odds with the heroic, anti-authoritarian image of Lu Xun that left-wing youth at the time had shaped for him, so it was deliberately forgotten.

The heroic image that Lin Yutang drew in “Lu Xun Beats a Pekinese Dog” left a lasting impression in the public mind through the fast medium of newsprint. But it also provided readers an opportunity for free interpretation. In the traditional Chinese painting tradition, mutual trust and secrecy were maintained between the artist and viewer, but this cartoon transformed the relationship into one of openness and multiple meanings, which was a mark of China's modernization.