藝術學研究

《藝術學研究》第十三期（JOURNAL OF ART STUDIES 13）

周芳美

2013年12月

目次
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學術論文

1 十八世紀日本之「市民美術」？：由圓山應舉之

評價探討江戶美術史觀

巫佩蓉

79 混搭現代性與傳統價值：日治時期臺灣美術中的

女性形象1927-1945

謝世英

141 塵埃迷濛了你的眼：黃明川、陳芯宜與臺灣電影

中的墟形魅景

孫松榮

Contents
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Articles

1 Rethinking “Civic Art” in the Early Modern Japan:

Focusing on the Issues of Maruyama Ōkyo

Pei-Jung Wu

79 Modern in Appearance and Traditional in Value:

Pictures of Women in Taiwanese Official

Exhibitions of the Japanese Colonial Period

Shih-ying Hsieh

141 Dust Gets in Your Eyes: Ming-Chuan Huang, Singing

Chen and Ruinscapes as Phantom Scenes in Taiwan

Cinema

Song-yong Sing

十八世紀日本之「市民美術」？：由圓山應舉之評價探討江戶美術史觀

Rethinking “Civic Art” in the Early Modern Japan: Focusing on the Issues of Maruyama Ōkyo

/ 巫佩蓉 Pei-Jung WU

關鍵字：圓山應舉、費諾羅沙、江戶繪畫、市民美術、東西交流 Maruyama Ōkyo, Ernest Francisco Fenollosa, Edo painting, civic art, East-West cultural exchanges

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檔案下載：第13期 01-巫佩蓉.pdf

美術史書中，對於十八世紀活躍於京都地區的畫家圓山應舉有些固定評價：一是主張他透過學習西洋作品，開創嶄新的寫生／寫實畫風，而此畫風反映了客觀主義或科學精神；二是指出應舉廣受十八世紀後期京都市民（町人、庶民、平民）的喜愛。有些更進一步推論，強調應舉藝術的時代意義，在於體現新興階層對當代當地事物的興趣。如此書寫，不僅是對圓山應舉個人的評價，更反映了廣泛的江戶美術史觀。然而，這些評價須被檢驗的問題甚多。本文擬探討此史觀之源頭與發展歷程，並思考專業研究與美術通論之間的論述策略。
本文包括「圓山應舉的評價及其『代表作』」、「近世美術觀的首倡者」、「寫實、市民、近代性：1960至70年代學者的論述」及「尚未反映在通史書寫的新史觀」等部份。首先將以美術通史及美術全集之類的書籍為例，分析現代學者的書寫要點，以及選取插圖之策略，如何形塑圓山應舉的特定形象。接著，比較數種二十世紀初期之著作，包括費諾羅沙、岡倉天心、藤岡作太郎之著述，及日本官方編纂的美術史，探討此特定形象論述之源頭。之後討論1960、70年代的著作，如何發展所謂日本「近世」美術特點，並將應舉推為「近世」美術代表。最後則探討1990年代以來，學者提出的嶄新見解，包括對既有美術史觀的反思。其中最值得深思的，便是原史觀中對於東亞近世美術的評述，過於仰賴西方的思考模式。然而，筆者也將對比現今通行的美術通史書籍，指出新史觀並未在通史書寫中清楚呈現，並探討今後之課題。

Art historical books provide certain conventional appraisals on Maruyama Ōkyo, a painter active in Kyoto in the eighteenth-century Japan. One argues that through learning Western art works, Ōkyo pioneered an entirely new realistic style reflective of the objectivism and scientific spirit of his time. A second points out that he was widely appreciated by ordinary Kyoto residents. Some scholars even argue that Ōkyo's works are expressive of their time, particularly in revealing the interest of the newly rich in the things around them at that time. These comments concern not only Ōkyo's art but also reflect widely held views of Edo painting history. However, these appraisals should be further examined. This paper will examine the origins and the development of these views and discuss the differences in writing strategies between specialized research studies and art survey books directed to the general public.
This paper includes the following topics: “The appraisal of Ōkyo and his representative works,” “The initial stage of the arguments for the early modern art history,” “Realism, citizens, and modernity: the arguments of the 1960's and 70's,” and “New views not yet reflected in the survey books.” I will first examine several survey books to shape the generally accepted view about Ōkyo and his time. Then I will compare several art historical books written in the early twentieth century, including the works by Ernest Francisco Fenollosa, Okakura Tenshin, Fujioka Sakutarō, and an official version of art history published by the Japanese government, and identify particular perspectives on Ōkyo. Following that is a discussion on how these discourses further developed in the 1960's and 70's. I will argue that although new research studies present a much more complex views of Edo art history, the simplified view, in which early modern East Asian art is evaluated through Western ways of thinking, still prevails in most of the survey texts.

混搭現代性與傳統價值：日治時期臺灣美術中的女性形象1927–1945

Modern in Appearance and Traditional in Value: Pictures of Women in Taiwanese Official Exhibitions of the Japanese Colonial Period

/ 謝世英 Shih-ying, Hsieh

關鍵字：日治時期、臺灣美術、女性形象、現代性、良妻賢母、父權體制 Japanese colonial period, Taiwanese art, images of women, modernity, good wife and wise mother, patriarchy

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檔案下載：第13期 02-謝世英.pdf

摩登女子是廿世紀初現代性的象徵，反映了亞洲文化的進步，以及日本大東亞帝國的權力象徵。日治時期臺灣官辦展覽會畫作中裝扮時髦，燙捲短髮、腳踩高跟鞋、著西式洋裝，甚至露臂等的摩登形象，活動與生活卻侷限在花園中拍蝴蝶、摘花，或在深閨中閒適地玩樂器、沈思，似不愁吃穿、不需工作，成為外貌摩登但內在氣質溫婉的傳統女性特徵。有研究質疑這類女性形象與當時婦女解放運動中反抗父權、反抗殖民權威的「新女性」形象相比，其差異性是值得探討的複雜議題。
本文探討所謂代表「三十年代臺灣女性」的理想形象，以官辦展覽會作品中的女性形象作為分析對象，這類女性形象是當時的時尚代言，但具溫婉氣質，被視為摩登（modern）女性。本文分析臺府展作品中女性形象的髮式、衣袖、衣裙等外表妝扮，以及從事的活動與生活場景的陳設安排，指出現代、新女性，仍受到當時社會主流價值「良妻賢母」的影響，產生這類混搭現代性與傳統價值的理想女性形象。藉由《臺灣日日新報》上對於時尚的各種評論，理解日治時期現代（摩登）與傳統的衝突；次之，探討影響理想女性形象的各項因素，包括當時女子教育，以及買賣婚姻市場；經由女性形象探究臺灣社會矛盾的文化認同建構，以及背後殖民帝國意識形態的複雜影響。

During the early 20th century, the images of modern women reflected the progress of modern of Asian countries as well as symbolized the power of the Japanese empire. These images appeared in Taiwan's official art exhibitions during the Japanese colonial period. They are fashionably dressed, with short permed hair, Western-style clothes, and sometimes high heeled shoes. However, in these paintings these modern women were always restricted to domestic settings, such as private garden or family rooms, doing activities such as catching butterflies, reading books, playing musical instruments, or simply doing nothing. They were seen as modern. But when these images of women are compared to the “new woman” images of recent times, which are reflective of the anti-patriarchal, anti-colonial aspects of the women's liberation movement, there is clearly a great difference between them.
This study analyzes images of women in works shown in the official exhibitions, particularly the “Taiwanese women of the 1930s”. This type of woman was modern in outer appearance, yet charged with a traditional inner sentiments. They express an idealized traditional woman who is a “good wife and wise mother”
despite the modern appearance. The study revisits visual codes including women's apparel, hair styles and accessories, as well as postures, activities, and their spatial settings in paintings. In addition, this study focuses on the critiques of woman's fashion in the Taiwan Nishinishi shimpo to find the often conflicting issues between modern and traditional. It examines women's education and arranged marriages in Taiwan during the Japanese colonial period. Through this analysis of women's images, this study leads to a new way of understanding important issues surrounding the construction of Taiwanese identity and colonialism's impact on Taiwan.

塵埃迷濛了你的眼：黃明川、陳芯宜與臺灣電影中的墟形魅景

Ming-Chuan Huang, Singing Chen and Ruinscapes as Dust Gets in Your Eyes: Phantom Scenes in Taiwan Cinema

/ 孫松榮 Song-yong Sing

關鍵字：反生態性、廢墟、雕像、無居所性、黃明川、陳芯宜 Anti-Ecology, Ruinscapes, Statues, Noninhabitability, Ming-Chuan Huang, Singing Chen

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檔案下載：第13期 03-孫松榮.pdf

自電影創始以降以迄當代，生態一詞所表徵的居所與生活區域，賦形為自然、風景與土地，一直以來它們即是刻劃與體現人性、情懷與思想的重要圖景。歷經原爆與集中營的戰後歐美現代電影，一反常態，以突變難堪的環境、反常敗壞的棲息之所，結合預言性（科幻性）、社會性（寫實性）及政治性（辯證性）的生態性影像創置，激烈省思人本主義的影像意義。
1960年代以來的臺灣電影亦曾有零星作品流露出此種反生態性的影像精神，1989年黃明川獨立電影的出現，不僅重新繼承此一影像遺產，更將之推向至一種反人類本位論（包含反漢化主義等）導致主體失落的另類生態性影像創置。此種尤其凸顯地方的廢島化與神偶廢墟的批判路線，爾後啟迪了青年導演陳芯宜將家之廢墟與魅景的政治美學視域開展兼具抵拒與反思、倫理與詩學的創作蹊徑。總體而言，由黃明川至陳芯宜的作品，一方面擴展了臺灣電影現代性過往鮮少被持續開發與深化的社會意識，另一方面則體現出新一代臺灣電影另種迥異於青春熱血、庶民在地、奇觀懷舊的當代影像意志與格局。

From the genesis of cinema to the present, the habitats and living spaces that are symbolized by the term “ecology” and shaped through nature, scenery, and landscape have always served as important vistas for depicting and expressing human feelings and thoughts. However, contemporary European and American cinema
after the era of the atomic bomb explosions and concentration camps completely reversed what had been the status quo and began using mutated, unbearable environments and abnormal, ruined habitats combined with the creation of prophetic (science-fiction), societal (realistic), and political (dialectic) eco-images in order to reflect intensively on the meaning of humanistic imagery.
A few isolated Taiwanese cinematic works after the 1960s have also revealed the spirit of this kind of anti-ecological imagery. Ming-Chuan Huang's independent films, which emerged in 1989, not only carried on this imagery heritage but also pushed it further to the creation of a kind of alternate eco-imagery in which the loss of subjectivity results from an antihuman standard (including anti-Sinification and so on). This creative approach, in which local islands in ruins and destroyed idols were prominently featured, later inspired the young director Singing Chen to use the politicized aesthetic vision of wasted homes and ruinscapes to develop a creative approach that is expressive of resistance, introspection, ethics, and poetics all at once. Generally speaking, artists from Ming-Chuan Huang to Singing Chen have, on the one hand, expanded upon social ideologies that had rarely been continuously explored and deepened in modern Taiwan cinema and, on the other hand, manifested a contemporary visionary impulse and style within the new generation of Taiwanese cinema that is completely at odds with the usual expressions of youthful passion, indigenous folklore, and prodigious nostalgia.