藝術學研究

《藝術學研究》第十六期（JOURNAL OF ART STUDIES 16）

曾少千

2015年06月

目次
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學術論文

1琉球畫家殷元良（座間味庸昌，1718-1767）

的中國繪畫學習

黃立芸

37 德國與臺灣的相會：

1950-1970德國科倫方濟會省

在臺南新營教區的教堂建築

于禮本

131 森萬里子與日本「可愛」文化的全球化：

一九九零年代的藝術與流行文化

李秀眞

169 從雕塑電影邁向論文電影：

論動態影像藝術的敘事傾向

江凌青

Contents
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Articles

1 The Rykyūpainter In Genryō

(Zamami Yōshō, 1718-1767) and

His Study of Chinese Painting

Li-Yun Huang

37 German and Taiwan Encounters:

Church Architecture of the German Franciscan

Province Colonia in Tainan's Xingying Region

during 1950-1970

Li-Pen Yu

131 Mariko Mori and the Globalization of

Japanese “Cute” Culture:

Art and Pop Culture in the 1990s

SooJin Lee

169 The Shift from Sculptural Film to

Essay Film: On the Narrative Tendency

of Moving Image Art

Ling-Ching Chiang

琉球畫家殷元良（座間味庸昌，1718-1767）的中國繪畫學習

The Rykyūpainter In Genryō (Zamami Yōshō, 1718-1767) and His Study of Chinese Painting

/ 黃立芸 Li-Yun Huang

關鍵字：殷元良、孫億、吳師虔、琉球繪畫、東亞繪畫史 In Genryō, Sun Yi, Go Shiken, Ryukyu painting, East-Asian painting history

◎ 點閱：89 ▼ 下載：65

檔案下載：第16期 01-黃立芸.pdf

本文從東亞地區文化交流的觀點出發，剖析琉球畫家殷元良（座間味庸昌，1718-1767）的幾件作品，追溯其參照的中國繪畫和學習的方式，探討其在琉球繪畫發展中具有的地位及意義。十七世紀後期開始，琉球出現了幾位以官派或個人身分親往中國學習、遊歷的宮廷畫家，如吳師虔（山口宗季，1672-1743）、弟子殷元良等人。和吳師虔留學福州地區不同，殷元良在1752-1754年間作為進貢使團的一員赴中，足跡從福州遠至北京。作者指出殷元良的作品主要沿襲了中國畫家孫億（1638-1712？）的畫風，更重要的是，在較為人熟知的琉球與福州地區繪畫之關係外，其作品尚透露出了和杭州地區繪畫之關聯性，為東亞地區文化交流之一例。

This paper examines the paintings of Ryukyuan court painter In Genryō (殷元良, Zamami Yōshō 座間味庸昌, 1718-1767) in the context of artistic and cultural exchanges within east Asia and analyzes the historical meaning of his paintings. In the late seventeenth century, several Ryukyuan court painters visited China, most prominently Go Shiken (吳師虔, Yamaguchi Sōki 山口宗季, 1672-1743) and his disciple In Genryō. Go Shiken resided in Fuzhou (福州) for four years (1704-1708), where he studied under Sun Yi (孫億, 1638-1712?), a painter almost unknown in China but famous in Ryukyu, while In Genryō went to China in the company of other royal envoys and traveled from Fuzhou to Beijing. This paper considers the closely related styles of Sun Yi and In Genryō, and the connection between the style of In Genryō and a painting style common in the Hangzhou (杭州) area.

德國與臺灣的相會：1950-1970德國科倫方濟會省在臺南新營教區的教堂建築

German and Taiwan Encounters: Church Architecture of the German Franciscan Province Colonia in Tainan's Xingying Region during 1950-1970

/ 于禮本 Li-Pen Yu

關鍵字：方濟會科倫會省、現代教堂建築、基督教藝術、禮儀改革運動、文化涵化 Franciscan Province Colonia, modern church architecture, Christian art, Liturgical movement, accommodation

◎ 點閱：68 ▼ 下載：52

檔案下載：第16期 02-于禮本.pdf

臺灣的天主教宣教事工因著第二次世界大戰之後大陸地區西方傳教士的外移而有新的發展。其中，德國的科倫方濟會省負責了臺南新營教區的工作，並在1950年至1970年間興建了許多形式各異的教堂，它們有的具有歐洲現代教堂建築風味，有的則呈現濃厚的中國風格或中西元素混合樣貌。這些教堂背後的設計者既有著名的德國建築師與活躍於亞洲宣教的神父建築師，也有非建築專業的神父與修士，因此也反映出歐洲與亞洲在宗教、藝術、文化層面上的複雜交錯關係。

本文將透過對這些教堂建築的剖析，釐清它們所蘊含的設計理念、梳理它們與歐洲教堂建築風格及宗教禮儀改革之關係，探討其中所流露的宣教政策與文化涵化的嘗試，並檢視當時信眾對天主教中國化與基督教藝術本土化之回應，以呈現這段臺灣─歐洲文化交會之樣貌，同時凸顯這些教堂做為珍貴有形文化資產在教會史、文化史與藝術史上的重要價值。

Toward the end of the Second World War, the Catholic mission in Taiwan was greatly revived by the arrival of numerous European missionaries fleeing mainland China. One such missionary society, the German Franciscan Provence Colonia, was responsible for missionary work in the Tainan Xinging region, and built many churches between the 1950s and 1970s. These churches, designed by either a well-known German architect, passionate priest-architect in Asia, or amateur lay-brother, are representative of various styles, from modern European, to typical Chinese fashion, or some mixture of western and Asian elements. As such, in cultural, religious and artistic aspects, these churches embody complicated tensions between European and Taiwanese worlds.

This study investigates the artistic ideas embodied in the architecture of these churches, how they correlate with modern European church architecture and the liturgical movement, causal effects of missionary strategies regarding accommodation, and the responses of Taiwanese Catholics. The understanding embedded in these buildings indicates something of the interactions between Europe and Taiwan during 1950-1970, and reveals the significance of these precious, tangible, cultural heritages in mission, cultural and art histories.

森萬里子與日本「可愛」文化的全球化：一九九零年代的藝術與流行文化

Mariko Mori and the Globalization of Japanese “Cute” Culture: Art and Pop Culture in the 1990s

/ 李秀眞 SooJin Lee

關鍵字：森萬里子、村上隆、軟實力、藝術與流行文化、日本式的可愛（卡哇伊）、日本式的酷、美少女戰士 Mariko Mori; Takashi Murakami; soft power; art and pop culture; Japanese cute (kawaii); Japanese cool; Sailor Moon

◎ 點閱：111 ▼ 下載：110

檔案下載：第16期 03-李秀眞.pdf

本文將以歷史文化的角度探究日本藝術家森萬里子（Mariko Mori, 1967-）的重要性，以及森萬里子在1990年代如何以藝術明星的姿態在國際間嶄露頭角。1995年森萬里子首次於紐約藝廊展出後，即迅速享有盛名並成為二十世紀末全球化日本的代表人物。當年她展出了《日本製造》(Made in Japan)系列，以廣告看版大小的彩色照片，顯示自己身穿各種可愛的、如電玩遊戲角色般的未來服裝。我認為森萬里子的《日本製造》系列作品是在日本創作，並且於歷史中一個非常特殊的時刻，接收於西方主導的藝術世界。在這個時刻，國際開始將當代日本藝術與流行文化視為日本軟實力的象徵和要素。大部分對於此系列作品的重要書寫皆出版於1990年代末，然而有問題的是，其中西方的著作顯露了對於森萬里子如何使用當代日本文化指涉的理解尚未成熟且欠缺均衡。我將在本文中檢視此西方藝術界的接收，並且提供一個逆向的詮釋，分析《日本製造》中的照片與日本流行文化的關係，特別討論森萬里子藝術與個人形象中所具備的「可愛」此日本大眾文化的美學。在這個過程中，我將提供森萬里子與日本流行的動畫人物的類比，特別是美少女戰士。為了進一步的論證日本當代藝術與流行文化潮流的相關性，我將解釋村上隆（Takashi Murakami, 1962-）如何在1990年代繼森萬里子的全盛期後崛起，代表了日本的全球化形象由商品文化的「可愛」夢境轉移到「酷」夢境。

This essay offers a cultural-historical exploration of the significance of the Japanese artist Mariko Mori (b. 1967) and her emergence as an international art star in the 1990s. After her New York gallery debut show in 1995, in which she exhibited what would later become known as her Made in Japan series—billboard-sized color photographs of herself striking poses in various “cute,” video-game avatar-like futuristic costumes—Mori quickly rose to stardom and became the poster child for a globalizing Japan at the end of the twentieth century. I argue that her Made in Japan series was created (in Japan) and received (in the Western-dominated art world) at a very specific moment in history, when contemporary Japanese art and popular culture had just begun to rise to international attention as emblematic and constitutive of Japan's soft power. While most of the major writings on the series were published in the late 1990s, problematically the Western part of this criticism reveals a nascent and quite uneven understanding of the contemporary Japanese cultural references that Mori was making and using. I will examine this reception, and offer a counter-interpretation, analyzing the relationship between Mori's Made in Japan photographs and Japanese pop culture, particularly by discussing the Japanese mass cultural aesthetic of kawaii (“cute”) in Mori's art and persona. In so doing, I proffer an analogy between Mori and popular Japanimation characters, especially Sailor Moon. To further argue for a correlation between contemporary Japanese art and pop culture trends, I will explain how the rise of Takashi Murakami (b. 1962) following Mori's heyday in the 1990s, embodies the shift of Japan's global image from “cute” to the “cool” dreamland of commodity culture.

從雕塑電影邁向論文電影：論動態影像藝術的敘事傾向

The Shift from Sculptural Film to Essay Film: On the Narrative Tendency of Moving Image Art

/ 江凌青 Ling-Ching Chiang

關鍵字：藝術與電影、動態影像藝術、雕塑電影、移動的觀者、論文電影、敘事 art and cinema, moving image art, sculptural film, mobile spectatorship, essay film, narrative

◎ 點閱：126 ▼ 下載：127

檔案下載：第16期 04-江凌青.pdf

本文的研究分為兩個部分，第一是從「藝術與電影的交會」這個論述脈絡出發，探討動態影像藝術這個自60、70年代開始就建立起明確的「反敘事」、「反幻象」之傳統的藝術形式，如何處理「敘事」的概念；第二是要以上述的演變脈絡為基礎，分析目前在當代藝術場域（美術館、藝廊與雙年展等有別於制式電影院的空間）中，出現越來越多具有明確敘事企圖與結構、也因此與過去那些強調以雕塑型的裝置來製造動態的觀者經驗的作品不同的動態影像藝術，並且論證這樣的敘事轉向證明了「電影與藝術的交會」已經走到了一個新的階段，使得「敘事」的有無不再是區分領域的簡易標籤或定調論述形構的憑藉，而「敘事的有無是以何種形態來被突顯、實踐、甚至成為主導影音佈署的原則」，才是現代主義式的媒介特性論已然失效之後的、後媒介時代的動態影像藝術必須回應的問題。

This research is divided into two parts. The first part takes the discourse of “the intersection of art and cinema” as its starting point, with the specific aim of exploring the transformation of narrative modes in moving image art, which has, since the 1960s and 1970s, developed anti-narrative and anti-illusionist traditions. Taking the historical inquiry posited by the first part as foundation, the second part explores moving image works in the context of contemporary art, focusing on those with obvious tendencies to construct narratives and fictions, and thus standing in stark contrast with those which focus on sculptural models of installation and generate a mobile mode of spectatorship. The argument is that the narrative turn of moving image art ushers in a new phase in the intersection of art and cinema, where the presence, or absence, of narratives no longer provides crucial reference points by which to categorize a work, and the focus should be directed to how the presence or absence of narratives is emphasized, practiced, and even how this aspect of a work determines the arrangement of audio-visual elements. In the post-medium era, in which the modernist model of medium specificity is no longer valid, this is the key question still awaiting an answer in the practices of, and research into, moving image art.