藝術學研究

《藝術學研究》第二十一期（JOURNAL OF ART STUDIES 21）

巫佩蓉、曾少千

2017年12月

目次
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學術論文

001「選擇」及「轉譯」:
全球史視野下的「西洋」多層木套杯

施靜菲

077十九、二十世紀之交英文著作中的東亞畫史建構：
以對宋代與室町宗教人物畫評價為例

巫佩蓉

125展演女性氣質：
海沃頓家庭相本與維多利亞少女形象

黃桂瑩

209亞洲極簡主義的詩學：
小津安二郎、侯孝賢、是枝裕和電影的長鏡遠景美學

吳怡芬

Contents
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Articles

001 Perspectives of the Qing Court on Wooden Nesting Cups from the “Western Ocean”

Ching-fei Shih

077 Western Writings on the History of East Asian Paintings at the Turn of the Twentieth Century: Issues in Song and Muromachi Religious Paintings

Pei-jung Wu

125 Performing Femmininity: Images of Victorian Girlhood in Lady Hawarden's Family Album

Kuei-ying Huang

209 The Poetics of Asian Minimalism: Long Take/Long Shot Stylistics in the Films of Ozu Yasujiro, Hou Hsiao-Hsien and Kore-eda Hirokazu

I-fen Wu

「選擇」及「轉譯」: 全球史視野下的「西洋」多層木套杯

Perspectives of the Qing Court on Wooden Nesting Cups from the “Western Ocean”

/ 施靜菲 Ching-fei Shih

關鍵字：全球史、物質文化、西洋、木套杯、清宮、乾隆皇帝 global history, material culture, Western Ocean, wooden goblet, Qing court, Qianlong Emperor

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檔案下載：第21期 01-施靜菲.pdf

遊歷全球的西洋木套杯不但承載了豐富的全球史訊息，同時也參與了不同區域視覺文化的形塑及知識的建構。它們在今日博物館中不同敘事脈絡的展示，顯示了它們被觀看、詮釋的共通或不同的角度。同樣的，木套杯在十七到十八世紀時跨越大半地球區域上的流通，亦受到某些共通或相異的對待，藉著這樣的遊歷，它們拉近了歐洲與中國間的遙遠距離，也串起所經之處人與物的種種故事。
本研究即在述說這樣一個全球史時空脈絡下物件的文化史，來自「西洋」的木套杯可作為一個案例、一個切入角度，透過分析其多樣及豐富的經歷，能幫助我們更細緻檢視近代早期珍奇物品的製作、流通、收藏與展示；進一步對盛清時期帝王之認識帶來可能的啟發，看乾隆皇帝如何透過收拾、製匣、陳設與收藏，對全球性物品進行詮釋。如同當代博物館中的策展人，藉由對展品的詮釋、陳列、組合，將我們帶入經過研究、設計所展演出來的敘事脈絡。
研究主要的目標有二：一、透過遊歷全球的西洋木套杯案例，促進器物史研究與物質文化、全球史研究的跨領域對話；二、由清宮收藏及展示西洋木套杯的幾個脈絡，試圖初步探求乾隆皇帝對清宮所藏西洋文物的態度，以及背後可能的一些概念。

The wooden nesting cups of the Qing court are a series of stacked cups (50, 100 or 150 in a set), paper-thin and graduated in size, that were carved entirely from wood and assembled within a wooden goblet. The cups were crafted in southern Germany and traveled extensively, along varied trajectories, from Europe to China in the 17thand 18thcenturies. Such nesting cups are richly endowed in meaning from the perspective of global history and would have impacted visual culture and related knowledge across a wide range of regions.
How they are displayed in contemporary museums reflects how they are viewed, interpreted, and organized by curators today; similarly, examining the presence of these wooden nesting cups at the Qing court and the location and manner of their display within the palace grounds provides insight as to how they were regarded in their own time.
Who are and were the person(s) most responsible for these perspectives? What impact did these unique objects have on the interaction between China and Europe, at the time of their appearance and in later history? These are some of the specific questions this study will explore.
The greater objectives of this study are twofold. First, it aims to use stacked wooden cups as a case study to promote interdisciplinary dialogue across the fields of global history, art history, and material culture studies. Second, it attempts to present the Qianlong emperor's general attitude towards objects from the “Western Ocean” and, by specifically exploring the context in which the wooden cups found themselves at the Qing court, to determine the thoughts underpinning that attitude.

十九、二十世紀之交英文著作中的東亞畫史建構：以對宋代與室町宗教人物畫評價為例

Western Writings on the History of East Asian Paintings at the Turn of the Twentieth Century: Issues in Song and Muromachi Religious Paintings

/ 巫佩蓉 Pei-jung Wu

關鍵字：李公麟、明兆、安得森、賓揚、翟理斯、東亞繪畫史 Li Gonglin, Mincho, William Anderson, Laurence Binyon, Herbert A. Giles, history of the East-Asian painting

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檔案下載：第21期 02-巫佩蓉.pdf

本文以William Anderson（安得森，1842-1900）、Herbert A. Giles （翟理斯，1845-1935）及Laurence Binyon（賓揚，1869-1943）的著作內容，探討十九、二十世紀之交西方人撰寫東亞畫史時，知識架構的形塑特性。
近年學界對東亞美術史學發展歷程的研究十分熱絡，然大部份學者對十九、二十世紀之交的萌芽期往往簡略帶過。並且，在當前學科細分的影響下，多數美術史學史研究以國別為界，並未充分探討早期作者經常並置中日美術於一書之中的意義。
本文首先指出：Anderson 1886 出版的《日本繪畫藝術》，書名中雖無「中國」，卻開啟了西方人評價中日宗教人物畫的模式。他兼重日本傳統文獻記載與實存畫跡，研究取徑近於今日美術史學科。其次，對比Anderson 與Giles 著作內容特性，可發現這兩位分別居於日本與中國多年的作者，在研究方法上頗為不同。筆者認為此須歸因於中日兩地，在世紀之交，文化環境上的巨大差異，尤其牽涉到古代畫史中的名作是否可見。
Binyon則代表另一類型的作者。他在1908年出版《遠東繪畫》之前，未曾踏入亞洲。本文亦探索海外作者可能掌握的資料，試析來自中國與日本資料的不同特性，進一步探討影響西方作者書寫角度的因素。

In this study, I focus on three English writers, William Anderson (1842-1900), Herbert A. Giles (1845-1935), and Laurence Binyon (1869-1943), whose books on East Asian painting were published during the late 19th and the early 20th centuries.
Many researchers have investigated the historiography of the East Asian art history, but only limited attention has been paid to developments at the turn of the 20th century. Most publications deal either the art history of China or Japan, with only limited attention paid to the relationship between the two.
Anderson published The Pictorial Arts of Japan in 1886. Even though this book was on Japanese painting, the author's discussion established a new way of viewing the East Asian religious figure painting and greatly influenced later writers. Relying on both documents and art works, Anderson approached writing his book in a manner similar to that of today's art historians. Moreover, comparing Anderson and Giles, we find that Westerners living in Japan and China employed different research methods when writing about East Asian painting histories. I consider the major reason for their distinctive means of studying was due to the differing availability of ancient paintings in different areas.
Binyon represents another type of writer. When he published his book, Painting in the Far East, in 1908, he had no experience of traveling in the East Asia. This paper will also probe the issue of the type of materials available to overseas Westerners. I consider whether materials from China and Japan were of different natures, and what were the key elements influencing Western writers' approaches to East Asian art histories.

展演女性氣質：海沃頓家庭相本與維多利亞少女形象

Performing Femininity: Images of Victorian Girlhood in Lady Hawarden's Family Album

/ 黃桂瑩 Kuei-ying Huang

關鍵字：維多利亞時期，攝影，家庭相本，居家概念，女性氣質，家中天使，時尚，戲劇 the Victorian era, photography, family album, domesticity, femininity, angel in the house, fashion, theatre.

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檔案下載：第21期 03-黃桂瑩.pdf

身為英國最早的女性攝影家之一，海沃頓（Clementina, Lady Hawarden, 1822-65）在近七年的創作生涯中，以青春期的女兒們為焦點，拍攝近八百幅作品。在居家背景中，海沃頓藉由服裝、光影變化與表情姿態，讓女兒們在鏡頭前流暢地轉換為各種身份，打造出強烈的戲劇感。過往研究雖注意到海沃頓的獨特風格，但相關詮釋仍屬有限。本文則將其作品回歸原初創作脈絡，指出家庭相本特有的私密性，是促成此類戲劇性展演的關鍵背景。透過參照比對各式文本、視覺材料，可知海沃頓作品不僅是紀錄少女成長的家庭文件，更大量採納當時居家概念、性別區隔與時尚儀節中的重要元素，以高度自覺創作而成。此外，維多利亞時期豐富多樣的戲劇文化，也啟發海沃頓女兒們的跨階級、跨性別展演。最終，當家庭相本的私人脈絡，與攝影的真實指涉性相互結合，海沃頓作品中的各式少女形貌，遂成為一場有意為之的紙上嘉年華。真實與戲耍的邊界逐漸模糊，最清晰驗證的，則是她們主動展演、建構的女性氣質。

As one of the first lady amateur photographers in England, Clementina, Lady Hawarden (1822-65) produced over 800 works during the last seven years of her life. Focusing on her adolescent daughters, Hawarden created her oeuvre at the family's house in London. This domestic setting was transformed into a background for their private tableaux-vivant, and was further dramatized via her manipulation of costumes, contrast of light and shadow, as well as the Hawarden girls' lively performances in front of camera. Existent studies have noted the theatricality in her photographs, but they still await a culturally-contextualized interpretation. This article retrieves the original context of Hawarden's works, that is, the Victorian family album, arguing that the privateness of album is the key to understand the Hawarden's photographic creation. It not only served as a family document recording images of her daughter's girlhood, it also offered a poetic license with which the Hawarden girls could freely adapt and amalgamate various visual elements from popular cultures into their performances. Through examining contemporary ideas of domesticity, femininity, and the ways in which these ideologies were transmitted through fictions, fashion plates, conduct books, and dramas, this article indicates that Hawarden had created deliberate performances of femininity. These were not, however, simple confirmations of existent ideals of womanhood. Rather, through their masquerade and playful interpretation, the Hawardens had made their images into parody, which blurs the boundaries between the real and the performed, and makes clear the constructive nature of femininity.

亞洲極簡主義的詩學：小津安二郎、侯孝賢、是枝裕和電影的長鏡遠景美學

The Poetics of Asian Minimalism: Long Take/Long Shot Stylistics in the Films of Ozu Yasujiro, Hou Hsiao-Hsien and Kore-eda Hirokazu

/ 吳怡芬 I-fen Wu

關鍵字：長鏡頭／遠景鏡頭、亞洲極簡主義、小津安二郎、侯孝賢、是枝裕和、非人中心主義 Long Take and Long Shot, Asian Minimalism, Ozu Yasujiro, Hou Hsiao-Hsien, Kore-eda Hirokazu, Non-anthropocentrism

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檔案下載：第21期 04-吳怡芬.pdf

這篇論文試圖為長鏡頭（Long take）和遠景鏡頭（Long shot）在東亞電影的呈現尋找另一種註解。日本大師小津安二郎（Ozu Yasujiro）與台灣導演侯孝賢（Hou Hsiao-Hsien）以遠距離的攝影機架設，疏離觀察的拍攝風格，以及省略性的敘述方式（elliptical narrative），影響了一些亞洲年輕世代的電影工作者。這些新世代的導演將小津與侯孝賢的鏡頭風格做了一些微妙的變化，用以呈現他們對於現代亞洲社會文化的觀察。竄升於90年代的新銳，如日本的是枝裕和（Kore-eda Hirokazu），擅長以長鏡拍攝電影，自承或多或少受到侯孝賢與小津的影響。這篇論文以小津與侯孝賢的電影風格作為前提，連結是枝裕和的作品，重新思考長鏡頭和遠景鏡頭於東亞電影的意涵。
侯孝賢建立了長鏡與遠景鏡頭的表現內涵，使其帶有濃厚的亞洲色彩，David Bordwell 稱之為「亞洲極簡主義」（Asian Minimalism）。對於亞洲電影工作者而言，長鏡的使用創造一種現實時空完整性的效果，反映人們日常生活的自然表現。因此，當代亞洲導演偏好長鏡與遠景鏡頭的使用，並不全然只是鏡頭美學的考量，似乎更是一種「生活經驗」的呈現。有鑑於西方學者在解讀亞洲電影時偏重於電影語言、形式技巧的著墨，甚少將歷史文化因素涵蓋於鏡頭拍攝的分析中，這篇論文提出，小津、侯孝賢與是枝裕和三位亞洲導演擅長的極簡風格，可能塑形於相似的歷史因素與相互的文化影響。換言之，長鏡與遠景鏡頭在這三位導演的電影中所呈現的不只是電影美學，而是一份文化內涵。這篇論文試圖論述三位導演對於長鏡與遠景鏡頭的使用，除了是一種拍攝風格的發展，保存了現實的時間與空間的完整性，長鏡和遠景鏡頭在他們電影的呈現，其實蘊含了東亞歷史文化經驗的記憶，豐富了影像的人文深度。

This paper attempts to flesh out suggestions about the use of the long take and long shot in East Asian Cinema. Such stylistic features attest the quick mobility of popular cultural influence in contemporary East Asia, and imitation among directors. The shooting style that Ozu Yasujiro and Hou Hsiao-Hsien have employed through their distanced and fixed camera positioning, and their preference for the long take, has resurfaced in the work of a few younger filmmakers in Asia. In particular, Hou has established the distant long shot and static long take as expressive and denotative devices in themselves, laying the basis of a regional style that David Bordwell has called an “Asian Minimalism.”
Considered to be influenced by Ozu's and Hou's style, the films of Kore-eda Hirokazu are linked by stylistic concerns. Indeed, Kore-eda's films help in any reconsideration of the use of the long take/long shot in contemporary Asian cinema. The three Asian filmmakers' favoured use of the long take/long shot seems to be a product of shared cultural/historical experience and not exclusively attributable to authorship. Starting by questioning an aesthetic tendency that seems so prevalent in recent East Asian films, this paper probes cultural meanings conveyed by use of the long take and long shot beyond the assumption of western film theory, in hopes of explaining “Asian Minimalism” better and tracing its significance.