12 《藝術學研究》第十二期（JOURNAL OF ART STUDIES 12） 周芳美 2013年09月 目次 ─────── 學術論文 1 How Real is Real: The Thirteenth Century Painter's Eye Richard Edwards 43 Pictorial Shanghai (Shanghai huabao, 1925-1933) and Creation of Shanghai's Modern Visual Culture Julia F. Andrews 129 A Modern Showcase: Shidai (Modern Miscellany) in 1930s Sanghai Kuiyi Shen 171 Multi-medium, Site, and Dream-World: Aspects of Shanghai Pictorials of the 1920s and 1930s Richard Vinograd 書評 215 南宋宮廷繪畫的普世價值：讀艾瑞慈《馬遠的心：尋覓南宋美學》 洪再新 其他論文 235 江兆申給艾瑞慈夫人的一封信並附上其印譜 江兆申 Contents ─────── Articles 1 How Real is Real: The Thirteenth Century Painter's Eye Richard Edwards 43 Pictorial Shanghai (Shanghai huabao, 1925-1933) and Creation of Shanghai's Modern Visual Culture Julia F. Andrews 129 A Modern Showcase: Shidai (Modern Miscellany) in 1930s Shanghai Kuiyi Shen 171 Multi-medium, Site, and Dream-World: Aspects of Shanghai Pictorials of the 1920s and 1930s Richard Vinograd Book Review 215 The Universal Value of Southern Song Court Painting: Review of Richard Edwards' The Heart of Ma Yuan: The Search for a Southern Song Aesthetic Hong Zaixin Other Article 235 A Letter with a Collection of Seal Impressions to Mrs. Vee Edwards from Chiang Chao-shen Chiang Chao-shen 何真即為真：十三世紀畫家之眼 How Real is Real: The Thirteenth Century Painter's Eye / 艾瑞慈 Richard Edwards   關鍵字：馬遠、馬麟、宋畫、感知  Ma Yuan, Ma Lin, Song painting, Perception ◎ 點閱：49  ▼ 下載：58   檔案下載：第12期01-RichardEdwards.pdf     這篇文章乃是敘述十三世紀中國畫家在感知與表達其周遭山水時，所發生的一種轉變。在簡短回顧如宗炳 （375-443）、郭熙 （約1023-1085）和韓拙 （約活動於1095-1123）等人的著名畫論，以說明當時畫家對於「距離」愈趨複雜的觀點後，我們的注意力被帶到一些具代表性十三世紀中製作的小尺寸扇面畫作，而這些作品也反映了此種改變。實際上，此種感知上的變化，導致一種走向格式化及逐漸強調理想圖像的趨勢。雖然此種改變之符碼在作品中的確是顯而易見的，如馬遠（1190-1235）《柳岸遠山圖》；馬遠之子馬麟（約1220-1260）的作品，更凸顯出此種改變，如《靜聽松風圖》、《蘭花圖》、《夕陽山水圖》、《坐看雲起圖》。   This article describes the transformation that occurred during the thirteenth century in the way Chinese artists perceived and presented the landscapes around them. After briefly reviewing well-known writings from figures such as Zong Bing 宗炳 (375-443), Guo Xi 郭熙 (ca. 1023-ca. 1085), and Han Zhuo 韓拙 (act. ca. 1095-1123), to illustrate the increasingly complex views artists had concerning “distance,” our attention is directed toward a number of representative small-scale paintings from the thirteenth century that reflect this change. In practice, the shift in perception led to a tendency toward greater stylization and an increasing emphasis on the idea-image. Although signs of this change are already visible in works such as Ma Yuan's馬遠 (1190-1235) Bare Willows and Distant Mountains, the change becomes more pronounced among works by Ma Yuan's son, Ma Lin馬麟 (1220s-1260s), such as, for example, Listening to the Wind in the Pines, Orchid, Evening, and Watching the Time the Clouds Arise.   《上海畫報》（1925-1933）與 上海的現代視覺文化之創造 Pictorial Shanghai (Shanghai huabao, 1925-1933) and Creation of Shanghai's Modern Visual Culture / 安雅蘭 Julia F. Andrews   關鍵字：上海畫報、視覺藝術、現代性、國畫、1920年代、女性藝術家、江新、劉海粟  Shanghai huabao, visual culture, modernity, guohua, 1920s, women artists, Jiang Xin, Liu Haisu ◎ 點閱：50  ▼ 下載：51   檔案下載：第12期02-Julia F Andrews.pdf     本文考察了1925年至1933年間出版的《上海畫報》 （Pictorial Shanghai）中的中國新文化與社會的誘人圖像。此畫刊為每三日出版，刊登名人時事和社會新聞軼事的攝影插圖，為其讀者家庭帶來了最新的資訊、時尚與有關藝術、劇場、文學、音樂、教育、體育、出版、攝影的信息，也間或涉及政治題材。報刊的許多編輯、設計師、攝影師、漫畫家與專欄作家們，皆與上海美專有密切的關聯，多是教授或校友。《上海畫報》版面上所展現的新文化世界，不僅反映了編輯人員的社群關係與生活經歷，還反映了他們對都市瞬息萬變的視覺形象和情緒走向的藝術敏感以及高度個人化的想像創造。 由於其與上海美專的密切關係，《上海畫報》籍由富於特性的文字和圖像反映了中國藝術精菁和受其激勵的青年們的展覽，表演和個人生活，創造出一個使其讀者備受誘惑的複雜且構成豐富的生活方式。出現在其頁面上的照片、軼聞、宣傳與評論，提供了生動的材料使我們更好地去理解1920年代這一現代藝術的初創年代的（男、女）藝術家們。隨著時間的推移，這本出版物創造了一個新的中國的現代性之視野，界定了那些可與引進的生活方式元素適宜地結合的傳統社會和藝術實踐領域。《上海畫報》為我們提供了對於1920年代晚期文化心理的生動洞察，當時的作者們可以既受過中國古典文化的教育又得到歐洲文化的薰陶，同時高談道家的避世又闊論歐人的倦怠。然而，本文將在最後論證，儘管《上海畫報》於表面上並置著隨機性的文章與圖像，但其有效地服務於創造與紀錄一個都市中國文化的新的品味。這種都市文化把它的痕跡一直留至今日上海的文化中。   This paper examines the seductive images of China's new culture and society that emerge from the pages of the tabloid periodical Shanghai huabao (Pictorial Shanghai) from 1925 to 1933. The newspaper, published every three days, printed a photographically illustrated mix of celebrity and society news and gossip, bringing the latest information, fashions, and rumors about art, theater, literature, music, education, athletics, publishing, photography, and, occasionally, politics, into the homes of its readers. Many of the newspaper's editors, designers, photographers, cartoonists, and columnists were closely associated with the Shanghai Art Academy, either as professors or as alumni. The new cultural world created on the pages of Shanghai huabao reflected not only the social connections and life experiences of its editorial staff, but also the artistic sensitivity and highly personal imaginative creations of the city's constantly changing visual imagery and emotional tenor. Closely connected to Shanghai Art Academy, Shanghai huabao, by featuring in words and images the exhibitions, performances, and personal lives of both China's artistic elite and its aspiring youth, created a complex and richly textured lifestyle into which its readers were lured. The appearance on its pages of photographs, gossip, publicity and reviews offers vivid material for better understanding artists, both male and female, of the formative decade of the 1920s. Over time the publication created a vision of a new Chinese modernity, demarcating those areas of traditional social and artistic practice that might suitably merge with elements from an imported lifestyle. Shanghai huabao offers vivid insight into the cultural psychology of the late 1920s, when writers might be both classically-educated and European-trained, and simultaneously speak in a tone of Neo-Daoist escapism and European ennui. Yet, this paper will finally argue that Shanghai huabao, despite the seeming randomness of the articles and images it juxtaposed, served effectively to create and to document the new tastes of a cosmopolitan Chinese culture, a culture that has left its traces in that of Shanghai's cultural world today.   一個現代的展示櫥窗： 1930年代上海的《時代畫報》 （Modern Miscellany） A Modern Showcase: Shidai (Modern Miscellany) in 1930s Shanghai / 沈揆一 Kuiyi Shen   關鍵字：《時代畫報》、現代、現代性、視覺文化  Shidai, modern, modernity, visual culture ◎ 點閱：32  ▼ 下載：37   檔案下載：第12期03-KuiyiShen.pdf     大開本的月刊《時代畫報》（Modern Miscellany）於1929至1937年間出版，橫跨了國民政府大力提倡建立一個新的、現代中國之方案的時期。跟著推翻最後一代王朝後的二十年政治混亂，這本雜誌似乎為國家進步的新潛力而歌頌。它是一個上海文化世界的展示櫥窗，並透過視覺影像來探討中國已然成為一個現代社會的許多層面。藉由運用醒目的圖像設計、引人注目的封面圖像、最新的版面、新的文字編排與字體設計、以及先進的印刷技術，《時代畫報》既成功地代表了中國的視覺文化現代化，其本身也是當中的一部分。該雜誌將當代文化中最具視覺性效力的層面引介給國內觀眾，試圖向外界展示一個現代國度。《時代畫報》同時也引領了一股新的趨勢，運用令人驚豔的圖像去呈現當前世界與國家活動、名人與電影明星的新聞、影評、體育新聞、藝術展覽、女性時尚、以及連環畫與漫畫。 本文認為，在其存在期間，由著名的藝術家與作家們所編纂的《時代畫報》，傳達了當時上海一些文藝界人士的文化理想，其共享了建立一個新的現代的社會和國家的使命。然而在《時代畫報》所展示的，不是空洞的政治宣傳，而是當時上海文化界的期望與建構現代國家的政府努力的共現。   The large format monthly Shidai (Modern Miscellany) was published between 1929 and 1937, spanning a period during which the Nationalist government vigorously promoted its agenda of building a new, modern China. After two decades of political chaos that followed overthrow of the last dynasty, the magazine seemed to celebrate the new potential for national progress. It was a showcase of the cultural world of Shanghai, and explored through visual images the many ways in which China had become a modern society. By using striking graphic design, compelling cover images, up-to-date layout, new typography and lettering, and sophisticated printing technology, Shidai both successfully represented, and was itself part of, China's modernizing visual culture. The magazine introduced the most visually powerful aspects of contemporary culture to its domestic audience, but at the same time tried to show a modern nation to the outside world. Shidai led a new trend of using stunning images to present current world and national events, news of celebrities and film stars, movie reviews, sports news, art exhibitions, women's fashion, and comic strips and cartoons. This paper suggests that Shidai, edited throughout its existence by well-known artists and writers, conveyed the cultural ideals of Shanghai's literary circles. Its contributors shared the nation's mission of building a new modern China. What was printed on the pages of Shidai, however, was not government propaganda, but demonstrated the convergence, for a time, of the hopes of Shanghai's cultural world with the political agenda of the new national government.   多重媒材、地點與夢想世界： 1920至1930年代間上海畫報的面向 Multi-medium, Site, and Dream-World: Aspects of Shanghai Pictorials of the 1920s and 1930s / 文以誠 Richard Vinograd   關鍵字：上海、畫報、照片短文、多重媒材、夢想世界  Shanghai, pictorials, photo-essay, multi-medium, dream-world ◎ 點閱：53  ▼ 下載：47   檔案下載：第12期04-RichardVinograd.pdf     此篇論文是在討論上海地區於1920年代晚期至1930年代早期所出版的畫報，主要聚焦於《上海漫畫》（1928-30）及《良友》。研究旨在探索此類報刊中，有關編輯結構與讀者／觀者經驗的互動關係，以及彼此的相互斡旋。結構特徵包含封面功能、篇幅、重複性的插曲式專題、標題，以及側文本要素，例如內容目錄及編輯評論。讀者／觀者經驗則包括內容的堆疊、透過報刊引導、浮奢美感，甚至心理的視野亦取決於刊物內容與視覺圖像。《上海漫畫》中的圖畫、連環漫畫、文本以及照片等一系列多重媒材，促進了1930年代早期的《良友》邁向重視照片短文的發展。《上海漫畫》依舊對於表現形式的複雜相互作用，和特別是封面藝術的轉變，投以關注眼神，這喚醒了欲望和幻想兼具的都市夢想世界。   This essay discusses pictorial journals published in Shanghai in the late 1920s and early 1930s, with a particular focus on Shanghai Sketch (Shanghai manhua 上海漫畫, 1928-30) and The Young Companion (Liangyou 良友). The study explores the interaction of editorial structure, reader/viewer experience, and mediation in these journals. Structural features include the cover function, the spread, repeated episodic features, headings, and paratextual elements such as tables of contents and editorial comments. Reader/viewer experiences involved layering of content, navigation through the journals, an esthetic of surplus, as well as psychological horizons conditioned by journal contents and visual presentation. The full multi-medium array of Shanghai Sketch, including drawings, cartoons, text, and photographs, moved in the early 1930s Young Companion toward an emphasis on the photo-essay. Shanghai Sketch remains of interest for its complex interplay of media forms, and for the particular inflections of its cover art, which evokes an urban dream-world of desire and fantasy.   南宋宮廷繪畫的普世價值： 讀艾瑞慈《馬遠的心：尋覓南宋美學》 / 洪再新 Hong Zaixin   ◎ 點閱：47  ▼ 下載：50   檔案下載：第12期05-洪再新.pdf     江兆申給艾瑞慈夫人的一封信 並附上其印譜 A Letter with a Collection of Seal Impressions to Mrs. Vee Edwards from Chiang Chao-shen / 江兆申 原著 Chiang Chao-shen   ◎ 點閱：26  ▼ 下載：29   檔案下載：第12期06-江兆申原著.pdf     編者按：此信是前故宮副院長江兆申先生寫給艾瑞慈教授夫人，林維貞女士（1919-1992）的信。江先生得知艾夫人將把其展覽中的印鑑譯成英文，因此親自作了印譜，並附上詳細的說明。 近日司馬堂先生協助艾教授整理舊柬，揀得此信。今獲得艾教授首肯，抄錄此信並翻成英文， 讓此信見證了艾教授夫婦與江先生近三十年亦師亦友的情誼。可惜由於信封未存，無法得知其寄出年代，但是從信中內容推敲可能完成於1986到1992年間。   Editor's note: This letter was written by the former Deputy Director of the National Palace Museum, Mr. Chiang Chao-shen, to Mrs. Vee Edwards (Chinese name: Lin Weizhen, 1919-1992), the wife of Prof. Richard Edwards. Mr. Chiang learned that Mrs. Edwards was about to translate his seals into English for an exhibition of his works, so he prepared a table of his own seal impressions and added detailed explanations. While assisting Prof. Edwards put his old correspondence in order, Mr. Thomas E. Smith came across this letter. Now, with Prof. Edwards' permission, we have transcribed this letter and translated it into English, so that it may serve as a testimonial to the almost thirty-year friendship between Prof. and Mrs. Edwards and Mr. Chiang Chao-shen. Unfortunately, since the envelope was not preserved, it is impossible to determine when the letter was sent. However, from the content of the letter we can infer that it may have been written between 1986 and 1992.     聯絡信箱 ：JournalofArtstudies@gmail.com, ncu3650@ncu.du.tw•傳真：(03) 42255098 © 2008 國立中央大學藝術學研究所 版權所有 Copyright ©Graduate Institute of Art Studies, NCU.