藝術學研究

《藝術學研究》第十七期（JOURNAL OF ART STUDIES 17）

曾少千

2015年12月

目次
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學術論文

1 跨越文化與時空的宗教符號──魔羯魚

洪莫愁

45 宗教、歷史與當代性：

重探布朗《耶穌為彼得滌足》（1852）

黃桂瑩

115 關愛何事：三部1970年代的瓊瑤片

沈曉茵

153 文學改編、媒介特質與自我解構：

〈蘋果的滋味〉的比較敘事學研究

謝世宗

Contents
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Articles

1 Religious Symbolism Across

Cultures and Time: Makara

Moh-Chour Horng

45 Religion, History and Contemporaneousness:

Revisiting Ford Madox Brown's

Jesus Washing Peter's Feet (1852)

Kuei-Ying Huang

115 Home of Romance:

Three Qiong Yao Films of the 1970s

Shiao-Ying Shen

153 Film Adaption, Media Specificity and
Self-deconstruction:

A Comparative Narratologic Study of

“The Taste of Apples”

Elliott Shr-Tzung Shie

跨越文化與時空的宗教符號──魔羯魚

Religious Symbolism Across Cultures and Time: Makara

/ 洪莫愁 Moh-Chour Horng

關鍵字：摩羯魚、印度教藝術、佛教藝術、古巴比倫、宗教符號 makara, Hindu art, Buddhist art, Babylon, religious symbol

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檔案下載：17期 01-洪莫愁.pdf

「摩羯魚」在印度宗教藝術表現的形象中，曾扮演輔助闡述部分的教義教理，隱喻的圖像亦曾理所當然地被理解。但是，當宗教信仰的延續性受到阻礙，宗教藝術也因而不彰顯，形象失去原有的文字說明之後，部分宗教圖像就漸漸失去其符號的功能。摩羯魚留下了大量歷史見證的形象，這些不同的造型摩羯魚是筆者回歸其意涵的重要基礎。
筆者在追溯摩羯魚的起源時，發現印度宗教藝術中的摩羯魚與發源於西亞古文明的黃道十二宮之摩羯座有深厚的淵源。本文將試圖從遙遠的古巴比倫追尋其蹤跡，思索摩竭魚在印度宗教藝術中的表現與意涵，並將分析摩羯魚在印度的佛教與印度教藝術的造型與表現，摩羯魚（摩羯座）的輾轉流傳為古代文化交流提出文字以外的例證。
前輩學者對摩羯魚藝術表現的討論多限於裝飾部分，吠陀經典與史詩對摩羯魚均甚少著墨，佛經的相關敘述亦不多。筆者透過藝術造型中與摩羯魚互動或關聯的其他元素，包含神祇、植物…等等，或是摩羯魚所在建築的關鍵位置，由解讀畫面來試圖還原摩羯魚可能的象徵意含。筆者以為分析摩羯魚造型的演變與其在宗教藝術中所扮演的角色，有助於我們補足文獻佚失的部分。

“Makara”, an Indian religious image similar to the Capricorn of the western zodiac, once played a supplementary role in the elaboration of doctrine, and its metaphorical image was understood accordingly. With the decline in religious observance and continuity, religious art has waned, and in the absence of accompanying original textual explanations for such images, some religious images have gradually lost their symbolic function. Nonetheless, a large number of images of ancient makara remain, providing historical testimony. These makara provide an important basis for the author's efforts to discover their original meanings.
When tracing the origins of makara, the author found that the makara of Indian religious art has a profound kinship with the Capricorn of the Western zodiac, which originated in the ancient civilizations of western Asia. In this article, the author attempts to find makara's traces starting in the distant Babylonian civilization, to identify its meaning and expression in Indian religious art in India, leading to further analysis of the style and performance of makara art in Buddhism and Hinduism. The makara's (Capricorn's) outward spread provides a non-textural illustration of ancient cultural communication.
Many previous scholars' discussions of artistic expressions of the makara are limited to the decoration alone. There were some few discussions of makara in the Vedas and the Epics, as well as in Buddhist scripture. Through other elements related to, and interacting with, makara in art, including gods, plants and so on, or the key position in the building where a makara is located, the author, through an analysis of the makara's evolving shape and role in religious art, tries to fill in some of what is missing from the existing literature.

宗教、歷史與當代性：重探布朗《耶穌為彼得滌足》(1852)

Religion, History and Contemporaneousness: Revisiting Ford Madox Brown's Jesus Washing Peter's Feet (1852)

/ 黃桂瑩 Kuei-Ying Huang

關鍵字：布朗、前拉斐爾派、滌足、早期藝術、歷史畫、宗教畫、憲章運動、維多利亞時期英國 Ford Madox Brown, Pre-Raphaelitism, feet-washing, early art, history painting, religious painting, Chartism, Victorian England

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檔案下載：17期 02-黃桂瑩.pdf

福特‧梅鐸克斯‧布朗（Ford Madox Brown，1821-1893）的《耶穌為彼得滌足》（1852）常被認為是前拉斐爾畫派式的復古主義習作，或是他呈現當代社會議題的《工作》之前奏，而多忽略此作的宗教畫本質，及布朗對此聖經主題的詮釋與風格轉化。透過深入的圖像分析並參照十九世紀中葉英國歷史背景，本研究首度對此作提出完整的視覺性與文化性考察。本文首先追溯早期藝術對此作的啟發，分析布朗如何結合復古形式與學院理論以打造戲劇化的視覺形式，並將自身的歷史畫論述運用在宗教題材上，企圖調和真實性與神性這兩種看似衝突的元素。本文接著探討此作以滌足場景與裸身基督為命題的緣由，論證布朗如何有意識地揀選當時工人運動中代表性的宗教議題與視覺語彙，對維多利亞中期的宗教與階級議題提出積極的回應，亦賦予此幅宗教作品強烈的當代性，勾勒出關於教會、階級與社會關係的理想願景。

Ford Madox Brown's Jesus Washing Peter's Feet (1852) has often been regarded as an attempt at Pre-Raphaelite revivalism, and a prelude to the painter's socially engaged masterpiece Work (1852-65). Working from these conclusions, the present study examines the painting's complex intertextuality from pictorial, religious, and social perspectives to further reveal its cultural nuances. By first exploring its stylistic innovations, this article investigates the way in which Brown accommodated the requisite of realism and spiritualism through historicising religious painting. The article then situates Jesus in its mid-Victorian social-religious context to bring forth Brown's involvements in contemporary issues such as Chartism and religious controversies. It argues that, through an unconventional treatment of a biblical scene, Jesus demonstrates the extent to which religious themes serve to embody the artist's commentaries on art, religion and society, in which profound contemporaneousness and emotionally-charged humanity define a new mode of Victorian religious painting.

關愛何事：三部1970年代的瓊瑤片

Home of Romance: Three Qiong Yao Films of the 1970s

/ 沈曉茵 Shiao-Ying Shen

關鍵字：宋存壽、李行、白景瑞、《庭院深深》、《碧雲天》、《人在天涯》 Song Cunshou, Li Xing, Bai Jingrui, You Can't Tell Him, Posterity and Perplexity, Far Away from Home

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檔案下載：17期 03-沈曉茵.pdf

根據資料，臺灣1970年代改編自小說的文藝片有51部，其中改編瓊瑤小說的占了21部。那年代國語文藝片重要導演們中，李行拍了6部瓊瑤片，白景瑞4部，宋存壽2部；三人總共12部，超出了70年代瓊瑤片的半數。換言之，要探討臺灣70年代的文藝片，不能忽視瓊瑤片，而那時代文藝片代表性的導演們都搭上這「瓊瑤熱」，研究他們的瓊瑤片可說就是研究70年代的文藝片。本文選擇宋存壽的《庭院深深》（1971），李行的《碧雲天》（1976），白景瑞的《人在天涯》（1977）；它們分別凸顯了文藝片中的母女情、宗族情、家國情，呈現了那年代瓊瑤電影「多情」卻又「關愛何事」的樣貌。本文藉由類型、作者、電影史的稜鏡觀看這三位男性導演的瓊瑤片，探索瓊瑤電影王國裡的文藝風貌及情感糾結。

In the 1970s, Taiwan's aiqing wenyi pian ruled supreme. At the time, Taiwan's romantic melodramas were screened in theaters wherever Chinese communities amassed. This study looks back at the 1970s, revisits this era of Taiwan cinema, and reconsiders this popular film genre. The paper highlights how those romantic dramas, adapted from Qiong Yao's romance novels, allowed audiences to indulge in escapism, and to work through the many challenges modern romantic love presents. By looking into films by major Mandarin film directors of the period, this article traces how love and romance were questioned, traditional values queried, and mobility in modernity incorporated into the Qiong Yao films of the 1970s. This study explores Song Cunshou's You Can't Tell Him (庭院深深1971), a film in which love and romance are tested against feminine familial bonds; investigates Li Xing's Posterity and Perplexity (碧雲天1976), in which traditional familial pressure for posterity challenges the modern sense of romance and marriage; and concludes with an examination of Bai Jingrui's Far Away from Home (人在天涯1977), a film in which romance of uprooted Taiwan couples is contested by the trials posed by European settings and culture.

文學改編、媒介特質與自我解構：〈蘋果的滋味〉的比較敘事學研究

Film Adaption, Media Specificity and Self-deconstruction: A Comparative Narratologic Study of “The Taste of Apples”

/ 謝世宗 Elliot Shr-Tzung Shie

關鍵字：黃春明、萬仁、〈蘋果的滋味〉、改編、媒介特性 Huang Chunming, Wan Ren, “The Taste of Apples,” adaptation, media specificities

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檔案下載：17期 04-謝世宗.pdf

臺灣新電影在萌芽之時，小說成了現成的素材，提供新電影導演一個關懷社會、批判現實的視角，其中，鄉土文學作家黃春明的多篇小說尤其受到青睞。本文以黃春明的小說〈蘋果的滋味〉以及萬仁改編、執導的同名電影為例，透過比較敘事學的方法，重新詮釋兩部經典作品。首先，本文釐清小說跟電影的媒介差異性，認為萬仁在拍攝電影《蘋果的滋味》時，已經清楚意識到影像的獨特性，並為此進行創意的改編。其次，透過比較原著與改編電影相似但又相異的結尾，本文認為黃春明的〈蘋果的滋味〉具有解構主義者所說的自相矛盾、自我解構的特質：小說以蘋果「假假的」隱喻臺灣得到的美援，但故事中阿發一家的確藉此進入現代化的行列，反而傳達出當時臺灣人禍福相依、無可奈何的政治情境。

At the beginning of the New Taiwan Cinema, Taiwanese fiction served as raw material for the New Cinema directors, with its focus on social reality and critical perspective. As a prominent Nativist writer, Huang Chunming had several of his short stories adapted for the screen and was deeply involved with filmmaking at the time. This paper examines Huang's short story “The Taste of Apples” and its adaptation as a short film of the same title, arguing that while turning the story into a film, the director Wan Ren had well understood the media specificities of fiction and film and therefore produced an adapted film that was faithful to the original and artful in terms of visual presentation and film language. In addition, comparing the adapted film and the original text, this paper suggests Huang's “The Taste of Apples” be reread as self-deconstructed as the story labels the American financial support of Taiwan as false and dishonest at the same time that the protagonist's family was truly benefitting from the support, and thereby participating in the trajectory of modernity.