藝術學研究

《藝術學研究》第十四期（JOURNAL OF ART STUDIES 14）

周芳美

2014年09月

目次
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學術論文

1 「無聲」（Silence）的音樂詮釋：

以武滿徹《十一月的腳步》為例

楊小華

45 片場裡的隨創者──

胡金銓與1960年代的邵氏新派武俠片

黃猷欽

99 侯俊明《亞洲人的父親》中的

檔案藝術與對話美學

盛鎧

159 何謂艾茉莉‧卡爾？：

加拿大西岸藝術的共時代性

洪敏秀

Contents
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Articles

1 Silence: A Study of Takemitsu's November Steps

Hsiao-Hua, Yang

45 King Hu and the Shaw Brothers' “New” Style

Martial Arts Films of the 1950s:

A Bricoleur in the Film Studios

Yu-chin, Huang

99 Visual Archive and Dialogical Aesthetics in

Chu-Ming Hou's The Asian Fathers Interview Project

Kai, Sheng

159 What is Emily Carr?: Contemporaneity in

the West Coastal Art of Canada

Min-Hsiou, Hung

「無聲」（Silence）的音樂詮釋：以武滿徹《十一月的腳步》為例

Silence: A Study of Takemitsu's November Steps

/ 楊小華 Hsiao-Hua Yang

關鍵字：武滿徹、凱吉、無聲、十一月的腳步、四分三十三秒 Toru Takemitsu, John Cage, Silence, November Steps, 4'33''

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檔案下載：第14期 01-楊小華.pdf

武滿徹出生於東京，成長於深受西化影響的日本社會，創作初期展現出認同西方音樂風格的傾向，加以對日本參與二戰的不滿，壓抑對自身傳統文化的興趣。直至1960年代，受到美國作曲家約翰‧凱吉音樂的衝擊，武滿徹才開始肯定長期不被重視的日本傳統文化，並嘗試在作品中結合東西方截然不同的音樂理念。其1967年於美國紐約首演的《十一月的腳步》，由日本傳統樂器尺八與琵琶擔任主奏，與美國紐約交響樂團一同擔綱演出，是作曲家第一首企求跨越東西文化界線的作品。
然而，日本樂器與西方樂團分屬兩種不同的音樂傳統，如何讓這兩種不同的音樂主體既能展現各自的特性，又能在曲中相互融合，是一件困難的任務。本文探討的焦點即在於，武滿徹如何將「音色」作為一個重要的聯結橋樑，透過西方當代音樂喜用音堆與日本傳統音樂強調單音的同質性，找出溝通兩種音樂世界的途徑。該音色包含了兩個概念，即日本傳統美學中所謂的「間」（ma）與「觸」（sawari）。「間」指兩音之間的空間，即一般音樂中的休止，但在日本音樂美學中，這個「無聲」段落包含了無數存在於自然的聲音，其地位甚至高於演奏出來的樂音。「觸」意指噪音，是日本傳統聲樂或器樂所追求的一種不純淨、無確定音高的最高境界。二者密不可分，為大自然整體的一部分。此處亦可見凱吉與武滿徹之相似性，凱吉於1952年發表《四分三十三秒》，在此三樂章的作品中，凱吉讓樂譜空白，宗旨卻不在於四分三十三秒長純粹無聲的表達，而正巧相反，凱吉刻意讓聽眾在此時間內，傾聽周遭所有的聲音。凱吉將周遭環境的一切聲音皆視為音樂，而武滿徹進一步賦予這些自然聲音一個音樂上的實質意義。

Born in Tokyo, Toru Takemitsu (1930-1996) grew up in a Japanese society heavily influenced by Western culture. In his early career, Takemitsu demonstrated a tendency to submit to Western musical styles, suppressing the interest of his own traditional culture, and more, protesting Japanese participation in World War II. It was not until the 1960s that Takemitsu, affected by the American composer John Cage (1912-1992), began to affirm the essence of Japanese traditions and tried to combine the different music philosophies of East and West in his works. His composition November Steps, premiered in New York in 1967 and performed with the Japanese traditional instruments shakuhachi and biwa as solo instruments, accompanied by the New York Philharmonic, is Takemitsu's first work to attempt crossing over the cultural boundaries of East and West.
However, Japanese solo instruments and Western orchestra belong to two different musical traditions. It is a difficult task to display the characteristics of the two traditions respectively, and also merge them together. The purpose of this essay is to examine how Takemitsu found the possibilities to communicate these two music worlds by using "timbres" as important link bridges, i.e., through affinity of clusters of western contemporary music and single tone, traditional Japanese music. The timbre contains two concepts, namely the traditional Japanese aesthetics of ma and sawari. Ma means the space between two tones, like the musical rest. But in Japanese music aesthetics, this silent moment contains numerous natural sounds, which are even more important than the tones themselves. Sawari means noise, with the non-pure and non-precise tones. It is the highest level of traditional Japanese vocal or instrumental music. Inseparable, these two aspects are also an integral part of nature. Here we can see similarity between Cage and Takemitsu. Cage created 4'33' in 1952. In this three-movement musical composition, the score was made empty. It is not for the audience to hear pure silences, but rather, Cage deliberately let the audience listen to all the sounds around them for the entire duration. Cage considered all sounds of the surrounding environment are music; Takemitsu further gave a real musical meaning to these natural sounds.

片場裡的隨創者——胡金銓與1960年代的邵氏新派武俠片

King Hu and the Shaw Brothers' “New” Style Martial Arts Films of the 1950s: A Bricoleur in the Film Studios

/ 黃猷欽 Yu-chin, Huang

關鍵字：隨創者、胡金銓、邵氏片場、武俠電影、電影美術設計 bricoleur, Shaw Brothers Studio, King Hu, martial arts film, production design

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檔案下載：第14期 02-黃猷欽.pdf

香港邵氏電影公司在1965年推展新派武俠片，當時致力革新此一片種的主要導演有徐增宏、張徹與胡金銓。其中號稱武俠片宗師的張徹，畢生幾以邵氏片場為拍片基地；而胡金銓在拍攝完《大醉俠》（1965）之後，便赴臺加入聯邦電影公司製作《龍門客棧》（1967），該片之完成係仰賴外搭景和臨時攝影棚，並未使用新建成之大湳片場。
本文認為胡金銓對電影美術設計的要求與同時期邵氏武俠電影導演有著極大差異，並顯著地表現在下列兩個面向。一方面，有別於邵氏片場將美術設計視為消耗品，他對道具物件挪用的設計，改變了道具作為片場財產的呆板用途，而以遊戲的方式操弄這些道具符號。另一方面，胡金銓安排劇中人物以隨創方式製作機關陷阱，解構了邵氏武俠電影慣用之機關場景，因而帶有顛覆性的實踐的意義。本文最後將指出，胡金銓抗拒強勢主導的片場制度的態度，與其對常民藝術與活動的偏好，乃至於他對當代中國政治的反思，實有其內在之關聯性。

In 1965, Shaw Brothers (Hong Kong) Ltd. initiated a new style of martial arts films which revolutionized the genre. Directors such as Xu Zenghong, Zhang Che, and King Hu were the leading contributors that developed this emerging film genre. Zhang Che, the so-called old master of the martial arts movie, became well-known for his long and productive career producing films with the Shaw Brothers. On the other hand, King Hu seemed unenthusiastic about making movies in any established film studio. After his success with Come Drink with Me (1965), Hu left Hong Kong for Taiwan's Union Film and directed Dragon Gate Inn (1967). However, instead of filming in the newly-built Danang Studio, Taoyuan, Hu shot most of the scenes in outside set constructions and temporary studios.
This paper examines the very different approaches to production designs in 1960s martial arts films by King Hu and the Shaw Brothers Studio. First, unlike the purpose-built Shaw Brothers Studios which used props and sets as expendable and disposable objects, Hu adopted a “free-play” approach that appropriated the original meanings and intended usage of these same studio props. Second, there existed a seeming distinction between Hu's bricoleurs laying booby traps and the Shaw Studios' engineers constructing various kinds of mantraps. Hu's concept of bricolage can thus be deemed as subversive practices in opposition to the dazzling mass-produced, yet homogeneous death traps by Shaw Studios. Furthermore, this research suggests that Hu's resistance to the globalizing film industry was parallel to his lifelong concern for ordinary people's arts and everyday culture as well as to his revulsion against totalitarian power in contemporary Chinese politics.

侯俊明《亞洲人的父親》中的檔案藝術與對話美學

Visual Archive and Dialogical Aesthetics in Chun-Ming Hou's The Asian Fathers Interview Project

/ 盛鎧 Kai Sheng

關鍵字：侯俊明、亞洲人的父親、視覺檔案、對話美學、互文性 Chun-Ming Hou, The Asian Fathers Interview Project, Visual Archive, Dialogical Aesthetics, Intertextuality

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檔案下載：第14期 03-盛鎧.pdf

2008年在日本橫濱美術館駐館期間，臺灣藝術家侯俊明以一對一的訪談方式，將受訪者談論父親及他們之間關係的內容與圖畫，創作成《亞洲人的父親》，並於該地展覽。其後，2009年侯俊明亦以同樣方式，在臺灣完成另一系列的作品，並展出日臺兩地的創作。2010年侯俊明更前往曼谷進行第三系列的訪談，並於當地畫廊展出日、臺、泰三國的作品。對侯俊明來說，《亞洲人的父親》是個開放且持續發展的作品，每當加入某地另一系列的新創作，就是在積累且豐富這項作品。
並且，就總體構成而言，《亞洲人的父親》既是某種視覺性的檔案，同時也是在藝術家的計畫導引下，所集體創作的帶有互動性的觀念藝術。其中個別受訪人對父親的感受、回憶甚或想像，不僅呈現出個人的自我認同，亦反映現代家庭中的親子關係，以及亞洲文化中父親形象對子女的影響。在臺灣乃至亞洲當代藝術的脈絡下，侯俊明《亞洲人的父親》的創作構想、呈現方式以及涉及的多方面議題，都具有相當的開創性。而且，其中亦蘊含多重的對話，如藝術家與受訪者的對話、藝術家與異國文化的對話、受訪者與內在自我的對話、受訪者與內心中的父親形象的對話等等，從而交織構築出這項饒富多樣意涵的作品。

Chun Ming-hou's The Asian Fathers Interview Project originated during a residency program and exhibition at the Yokohama Museum of Art in 2008, and followed up during his retrospective exhibition in Taiwan. In 2010, Hou went on the third phase of his interview project and exhibition in Bangkok. According to his plan, Hou collaborated with volunteer individuals in one-on-one exchange sessions, then assembled his artistic output through interviews and sketches based on the recollections of the relationships between the interviewees and their fathers.
In its overall form, this project is not only a kind of conceptual art with an interactive creation plan but also a collection of visual memory archives. The interviewees' affection toward their fathers, their memories, or even imaginations concerning their fathers all involve the issues of self-identification and the parent-child relationships in modern families, as well as the influences of father images on children. The Asian Fathers Interview Project is rather innovative in Taiwan and Asian contemporary art and deserves exploration.

何謂艾茉莉‧卡爾？：加拿大西岸藝術的共時代性

What Is Emily Carr?: Contemporaneity in the West Coastal Art of Canada

/ 洪敏秀 Min-Hsiou Hung

關鍵字：艾茉莉‧卡爾、勞倫斯‧保羅‧尤克斯威樂騰、加拿大西岸藝術、共時代性 Emily Carr, Lawrence Paul Yuxweluptun, West Coastal Art of Canada, Contemporaneity

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檔案下載：第14期 04-洪敏秀.pdf

本論文研究加拿大藝術家艾茉莉‧卡爾（1871–1945）崛起的創作背景，並以同時代性一詞中「多時共在」的概念解釋她對加拿大西岸藝術的影響力。第一部分介紹卡爾成為加拿大圖像，主要來自大量學術研究與文化複製，包括溫哥華藝術館經常重複的卡爾展演。第二部分探討卡爾在加拿大西岸藝術歷史的可見性其實蘊藏不可見，涵蓋諸如十九世紀末、二十世紀初多重社會、文化、歷史敘事等多時共在脈絡。卡爾穿梭其間，她的書寫與畫作也都表現她與其時代或同儕的連結與斷裂關係。第三部分以當代加拿大西岸藝術代表人物勞倫斯‧保羅‧尤克斯威樂騰（1957–）及其作品為例，討論他的創作即在闡明卡爾影響下的歷史及其陰影，而尤克斯威樂騰所批判的卡爾，反而成為加拿大西岸藝術創作反覆出現的精神指標。本論文以卡爾為例所提出的共時代概念，依舊影響該地區藝術家，卻也是他們的創作持續推陳出新的力量。

This essay describes the emergence of Emily Carr (1871-1945) as a Canadian icon and the rise of her contemporary influence on the West Coastal art of Canada. It first draws upon Carr's biographical accounts to examine how she generates artistic creativity in the West Coastal landscape tradition. In the written narrative of her encounter with Aboriginal culture, she offers an account of her discovery in Aboriginal art of the expression of a purely figural perspective while providing a seemingly current consideration of her epoch—an expression of the larger forces that continue to shape West Coastal art. Alongside this introduction to Carr's constitution of her time, this essay explores the contemporaneity—here defined as the condition of co-existing with others of multiple temporalities—found in a series of conceptually similar exhibitions at the Vancouver Art Gallery. The curators at the Gallery have unrelentingly emphasized Carr's intersection with other artists of different time periods in the larger B.C. artistic world, thus situating Carr's work in the West Coastal art historical tradition while simultaneously producing a potentially new Carr. Each of the artistic events, as established in each exhibition, reveals a creative crisis, which is saliently witnessed in the work of the Salish-Okanagan artist Lawrence Paul Yuxweluptun (b. 1957). In political and historical spheres, he demonstrates West Coastal contemporaneity in the late twentieth century, as initially expressed by Carr. Carr's artistic vision, as expressed in painting and writings, contains an innovative and recollective dimension of the Canadian Victoriana exhibited in expressions of an artist's disjointed yet coalescent relationship with her epoch; in this respect, Carr continues to provide inspiration and invigoration for the renewal of contemporary North American Coastal artistic practices.