藝術學研究

《藝術學研究》第十八期（JOURNAL OF ART STUDIES 18）

曾少千

2016年06月

目次
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學術論文

001 八仙的變身：狩野山雪《群仙圖襖》的相關問題

林聖智

065 熒輝映照，心之昕昕──
初探艾伯特‧威德爾（Albert Wider）的公東高工聖堂彩窗系列

于禮本

135 陳玉勳的喜劇轉折：一種數位時代的思考

林克明

185 當代臺灣客家三大調的美感經驗：
以竹東鎮客家山歌比賽與流行音樂為例

林子晴

Contents
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Articles

001 The Metamorphosis of the Eight Immortals:
A Study of the Taoist Immortals by Kano Sansetsu
(1590-1651) dated 1646 A.D.

Sheng-Chih Lin

065 Illuminating Light, Illuminated Mind –
A Study of Albert Wider's
Kung-Tung Chapel Stained Glass

Li-Pen Yu

135 A Turn on Yu-Hsun Chen's Comedy Film:
A Digital-Age Perspective

Ke-Ming Lin

185 Aesthetic Experience of
the Three Major Hakka Song Types:
Zhu-Dong Song Competitions and
Contemporary Popular Music

Tzu-Ching Lin

八仙的變身：狩野山雪《群仙圖襖》的相關問題

The Metamorphosis of the Eight Immortals: A Study of the Taoist Immortals by Kano Sansetsu (1590-1651) dated 1646 A.D.

/ 林聖智 Sheng-Chih Lin

關鍵字：狩野派、狩野山雪、八仙、南極老人、變身 Kano School, Kano Sansetsu, Eight immortals, the Old Man of the Southern Pole, metamorphosis

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檔案下載：第18期 01-林聖智.pdf

本文主要以狩野山雪（1590-1651）《群仙圖襖》（美國明尼亞波里美術館）作為考察對象。此襖繪為山雪的晚期畫作，也是江戶前期具代表性的八仙圖像。本文重新將《群仙圖襖》中的樹下老人比對為南極老人，其餘的八仙人物由右而左分別是：劉海蟾、韓湘子、李鐵拐、徐神翁、鍾離權、呂洞賓、藍采和、曹國舅。此襖繪的特點在於其八仙形像、組合並不完全依循中國明末清初的八仙圖譜，部分模式可追溯到更早的金、元八仙圖像原型。狩野山雪的畫史認識在其塑造《群仙圖襖》的八仙形像之際具有關鍵性的地位。

This paper studies Kano Sansetsu (1590-1651)'s Taoist Immortals, dated 1646 A.D., and currently preserved in the Minneapolis Institute of Arts. This four sliding panels are presented in Kano Sansetsu's late style, and are representative of how the Eight Immortals are portrayed in the early Edo period. The god sitting under the tree is identified as the Old Man of the Southern Pole and appears
with eight figures, from right to left: Liu Haichan, Han Xiangzi, Li Tieguai, Xue Shenwong, Zonglin Quan, Lü Dongbin, Lan Caihe and Cao Guojiu. Differing from newer images of the Eight Immortals created in the late Ming and Qing dynasties, the Eight Immortals painted on the panels resemble the earliest prototypes from the Jin and Yuan dynasties. Kano Sansetsu's understanding of the history of painting played a critical role in his making of these images of the Eight Immortals.

熒輝映照，心之昕昕── 初探艾伯特‧威德爾（Albert Wider）的公東高工聖堂彩窗系列

Illuminating Light, Illuminated Mind – A Study of Albert Wider's Kung-Tung Chapel Stained Glass

/ 于禮本 Li-Pen Yu

關鍵字：艾伯特‧威德爾、公東高工、彩繪玻璃、白冷會、達興登 Albert Wider, Kung-Tung Chapel, Stained Glass, Bethlehem Mission, Justus Dahinden

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檔案下載：第18期 02-于禮本.pdf

公東高工是瑞士白冷會（Bethlehem Mission）在1953年來到臺灣宣教後在臺東所籌建的技職學校。當建築師達興登（Justus Dahinden, 1925-）接受委託設計此學校建築時，他委請了瑞士藝術家艾伯特‧威德爾（Albert Wider, 1910-1985）在1960年為學校聖堂設計其內的教堂藝術，如彩繪玻璃、苦像，聖體櫃，與祭桌等。本文以此聖堂內的「苦路（stations of the cross）十四景」系列彩繪玻璃為探討對象，釐清它們的技術特質、風格特色、圖像創新，以及所反映出的歐洲現代教堂藝術發展趨勢，及瑞士海外宣教運動。上述議題的探討顯明，威德爾的苦路系列彩窗遵循了瑞士德語區的教堂彩繪玻璃趨勢，以色玻璃與鉛條鑲嵌技術為主，突顯材質特色。溫和的抽象性人物造形與幾何線條設計除了流露出表現主義與新客觀主義風格的影響，還保留了在1950年代被視為教堂藝術中不可或缺的易讀性。這些彩繪玻璃無論在風格或內容上，都與空間內的苦像、祭桌，與教堂建築相輔相成，形塑一個有助於深化信仰經驗及禮儀專注之整體藝術氛圍。這樣的設計不但彰顯出
藝術家個人對教堂藝術暗示性功能的堅持，也流露出當代歐洲禮儀改革運動的訴求。別具意義的是，公東高工是瑞士「宣教建築師協會」（Bund der Missionsarchitekten/BMA）支援海外宣教的實例，為瑞士藝術界與宣教工作的互動、並嘗試在異國樹立具典範性基督教藝術的努力留下珍貴紀錄。

This study investigates the 14 stations of the cross in stained glass in the Kung-Tung chapel, examining the material characteristics, unique style, iconographic invention, and how the work is reflective of European church art development and the overseas mission movement in Switzerland. The background of the Kung-Tung chapel can be traced to the Kung-Tung Technical Senior High School founded by the Swiss Bethlehem Mission, present in Taiwan since 1953. When the architect, Justus Dahinden (1925-), was entrusted with the task of designing the school and its chapel, he invited the artist Albert Wider (1910-1985) to create the whole set of church art, including the stained glass, crucifix, altar, tabernacle, etc. Following contemporary trends in modern religious stained glass in the German-speaking part of Switzerland, Wider used traditional techniques to shape the colored glass mounted in strips of lead to reinforce the aesthetic impact of the material. While the subtle abstraction and geometrical designs of the images reveals the influence of Expressionism and New Objectivity, this modern stained glass work sustains the legibility of the motifs: an indispensable function of church art during the 1950s. The style and content of Wider's stained glass complement the crucifix, altar, and the rest of the church architecture, with the entire set of the windows playing an important role in forming a Gesamtkusntwerk (a synthesis of the arts) which enhances the impact of the liturgy and deepens the religious experience for visitors. The design of the stained glass reflects the artist's belief in the role of church art in conveying clear messages, and the aims of the European liturgical movement. It is particularly noteworthy that the school with its chapel were realized by the “Bund der Missionsarchitekten” (Society of Architects for the Mission), and bear witness to the collaboration between Swiss artists with the overseas mission, and their efforts to establish inspiring models of Christian art in non-Christian countries.

陳玉勳的喜劇轉折：一種數位時代的思考

A Turn on Yu-Hsun Chen's Comedy Film: A Digital-Age Perspective

/ 林克明 Ke-Ming Lin

關鍵字：陳玉勳、喜劇電影、數位時代、後人類 Yu-Hsun Chen, Comedy Film, Digital Age, the Posthuman

◎ 點閱：66 ▼ 下載：57

檔案下載：第18期 03-林克明.pdf

臺灣喜劇電影導演陳玉勳，在1997年推出他的第二部喜劇電影《愛情來了》之後，由於票房失利而離開電影界。2010年重返電影界，陸續拍攝《茱麗葉》之〈還有一個茱麗葉〉（2010），《10+10》之〈海馬洗頭〉（2012），以及喜劇長片《總舖師》（2013）。基於他的電影創作生涯中有長達十三年的中斷，使他的喜劇表現有了極大轉變，本文因此將聚焦在他喜劇電影的轉折。
從諾斯（Michael North）對於機器時代喜劇電影的研究發現，由於喜劇是最能顯現社會真實的電影類型，因此機器時代的喜劇電影所反映的正是一種機器性。從這個角度出發來思考陳玉勳的喜劇轉折：在他離開電影界的十三年中，正是數位科技革命性地影響社會所有層面的時代。數位時代的喜劇形式因此成為本文探索他喜劇轉折的主要焦點。基於此，本文首先比較陳玉勳早期與後期電影的喜劇表現，並將此置入數位時代的框架中思考，以掌握數位時代對於喜劇表現的可能影響。透過此一分析，本文得以發現陳玉勳近年來的三部喜劇正反映出某種數位時代的特質。但是正如諾斯的分析所顯示的，機器時代喜劇是基於機器性出發，而發展出超越傳統的喜劇形式。同樣地，數位時代喜劇如果作為一種反映數位社會真實的喜劇，其表現必然與過去有所不同，因此單純從過去喜劇表現方式來論證陳玉勳電影所反映的數位時代特質，事實上是值得商榷的。問題在於如何掌握這種新的喜劇的可能？對此一問題，本文從後人類的角度出發，透過檢視人與機器連結的發展，以思考從機器時代喜劇過渡到數位時代喜劇的可能變化，而陳玉勳的喜劇則提供一個探索此一變化的適切場域。

Yu-Hsun Chen is one of the new generation of Taiwanese directors, famous for his comedy films. After his second comedy, Love Go Go (1997), failed at the box office, Chen
decided to stop making movies. He returned to directing in 2010, and soon shot three comedies, including the short film Another Juliet (2010), a five-minute mock horror short film, Hippocamp Hair Salon (2012), and a long film, Zone Pro Site (2013). Due to the thirteen-year hiatus in Chen's film career, there are many obvious differences between his earlier and later films. These differences and their implicit meanings will be the chief concerns of this project.
According to Michael North's study on machine-age comedy, given that comedy maybe an especially significant genre in revealing social realities, it is to be expected that machine-age comedy will display a mechanical nature. Consistent with this view, Chen's recent comedies might be expected to reveal the nature of the digital age, in which rapid technological development has changed all aspects of society during the thirteen-year gap of his film career. In this regard, the paper first compares the comedy gags and forms in his films before and after this thirteen-year interruption, with specific attention paid to the influence of digital technologies on the selection of the gags and forms employed. The findings confirm that Chen's recent three films are indeed of a digital nature. However, as North points out, machine-age comedy developed into a new form beyond that of traditional comedy due to its mechanical displays. For the same reason, digital-age comedy should create its own distinct form of comedy. This makes analyzing Chen's new comedies in terms of traditional gags and forms problematic, and raises the question: in which way is it possible to identify digital comedic forms? To answer the question, the paper, inspired by post-human theory, examines the possible change from machine-age to digital-age comedy, with a particular concern for the relationship between human and machine. Chen's comedy films will be appropriate research objects for investigating this change.

當代臺灣客家三大調的美感經驗：以竹東鎮客家山歌比賽與流行音樂為例

Aesthetic Experience of the Three Major Hakka Song Types: Zhu-Dong Song Competitions and Contemporary Popular Music

/ 林子晴 Tzu-Ching Lin

關鍵字：客家、三大調、流行歌曲、美感、新創傳統 Hakka, mountain song, popular music, aesthetics, reinvented tradition

◎ 點閱：32 ▼ 下載：50

檔案下載：第18期 04-林子晴.pdf

臺灣客家三大調「老山歌」、「山歌仔」及「平板」源於田間勞動時人與人之間的呼喊。三大調有其特定的曲調旋律架構，允許演唱者變換虛字聲韻轉折，進而形成源遠流長獨特的歌體。過去在客家採茶戲及民間人情交往中，山歌曾因其寓意褒貶的俚俗表現手法讓媒體諷為不雅。自1962年始臺灣客家社會陸續成立「客家歌謠研究會」等改良曲調歌詞外，還在1964年後於新竹縣竹東鎮舉辦目前臺灣最具歷史傳統、規模最大的「客家山歌比賽」。隨後在大眾媒體及山歌教唱班的推波助瀾下，過去五十年來客家山歌的新創與傳唱儼然已成為客庄日常經驗，而且流行歌曲的創作也與三大調的韻味緊密結合：例如老山歌散板的愁苦感嘆、山歌仔穩定的鏗鏘敘事、以及平板委婉轉折的傳承祖宗言，成為客家山村到都會生活中的共同美感體驗。
本研究從曲調、聲韻與詞義來爬梳客家山歌美學的生成脈絡。三大調從模仿語言旋律的吟唱特質出發，在半世紀的地方展演競賽中，累積豐沛的音樂性，形塑自我詠歎與地方公議，逐步地唱出「情意、心腸、乃至萬理揚」（老山歌），並搭配固定曲調形式與情感用字，達到「山歌◎緊唱心緊開◎（虛字）」的情緒抒發。以2014-2015年間竹東山歌比賽的117首為例，參賽者在山歌歌詞與三大調之選搭方式，進一步呈現「開聲愛韻、聲清字明、解憂愁、選將才、保存客家音」的積極企圖（山歌子）。
「山歌唔唱唔記得，老路唔行草生塞」（平板）這類例子更彰顯了客家三大調的美感經驗中介了當代客家地方社會的時空變遷感受。客家美感核心概念從模仿聲景動情，轉向表現與想像脈絡，架構出新創歌曲的美學手法，成為近十年來流行客曲中顯著之文化實踐。山歌藉由聲腔實虛襯托、詞曲整體搭配的講究安排，如斯地映射出美感生成脈絡的一致性，誠如「流到厓介心肝肚◎」一般，客家三大調的詞曲一脈綿延著口傳經驗，彌合了時間和空間的變遷，反覆練習了社會生活中的各種人情義理狀態。

Three major Hakka song types – Laoshange, Shangezi and
Pingban – are rooted in emotional expression and field work accompaniment. These song types typically include particular melodic frames and pseudo-word ornamentation, and assume particular musical forms. During the Japanese colonial era, Hakka tunes were criticized heavily for their folk style, however, in recent decades, local communities have gradually promoted greater freedom and gracefulness in lyrical choice and content, leading to the creation of unique songs with aesthetics that differ from traditional Hakka mountain tunes. Since the 1960s, singing competitions featuring Hakka mountain songs have been held in northern Taiwan: the largest and most lasting of these occurs in Zhu-Dong. Drawing the attention of Hakka public media and musical students, the lyrical content of Hakka mountain songs have been reinvented in diverse ways, yet continue to exemplify Laoshange, Shangezi and Pingban musical aesthetics.
During a 2014-2015 field study, I examined the melodies, rhythms, and texts of 117 mountain songs during the Zhu-Dong song competitions. The Laoshange tunes have been transformed from free-styling songs of struggle, while the Shangezi take up a story-telling format with a stable tempo and clear articulation. Pingban songs speak to the common experience of ancestral reminiscence, employing such slang as “revisiting old roads,” in an attempt to articulate traditional tunes in forms more commonly associated with modern Hakka ethnomusicology.
In contemporary Hakka popular music, traditional tunes have been revitalized, and the creativity of a new generation, more familiar with urban life suddenly became a public concern. In an example of aesthetic continuum, participants old and young continue to shape their self-representational lyrics by publicly sharing theirs stories and memories. In the last decade, the three Hakka song types have offered compelling interactive frameworks for sharing experiences. To summarize, traditional Hakka songs, and more recent popular songs, have thoroughly appropriated and adapted the major song types so as to give voice to the modern movement of New Hakka peoples.