藝術學研究

《藝術學研究》第三期（NCU JOURNAL OF ART STUDIES 3）

吳方正

2008年05月

目次
1 法國十九世紀後期對於中國陶瓷的書寫與鑑賞研究
張婉真

73 石川欽一郎台灣風景畫中「地方色彩」概念的建構
楊永源

131 妥協的現代性：日治時期台灣傳統廟宇彩繪師潘春源
謝世英

171 書評：《哥德式建築的黎明》
吳方正

Contents
1 Writings and Critical Research on Chinese Ceramics in Late
Nineteenth Century France
Wan-chen Chang

73 The Formation of the Idea of ‘Local Color' in Kin'ichirō
Ishikawa's Landscape Paintings of Taiwanese Scenery
Yung Yuan Yang

131 The Negotiation with Modernity: Taiwanese temple painter
Pan Chunyuan of the Japanese Period
Shih-ying Hsueh

171 Review
Jacques Henriet, A l'aube de l'architecture gothique
Fang-cheng Wu

法國十九世紀後期對於中國陶瓷的書寫與鑑賞研究

Writings and Critical Research on Chinese Ceramics in Late Nineteenth Century France

/ 張婉真 Wan-chen Chang

關鍵字：法國之中國瓷器書寫、法國之中國瓷器收藏、十九世紀後期、目錄式寫作 French writings on Chinese ceramics, French collections of Chinese ceramics, the late nineteenth century, catalogue-style writing

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檔案下載：《藝術學研究》第三期_張婉真.pdf

十九世紀的後五十年，法國陸續出版數本以中國陶瓷為書寫對象的著作。這些早期的出版物，呈現相近的寫作形式，內容相互指涉呼應，清楚呈現了法國理解與研究中國陶瓷的歷程。本文擬以這些出版物為對象，說明法國當時對於中國瓷器的書寫與鑑賞。本文擬藉助文學理論中文體與語體的概念分析這些著作寫作的方式，乃至於其中展現的思想內容。本文的撰寫目的在於探究當時法國鑑賞中國瓷器的態度與方法。

本文將說明法國於此一時期將中國瓷器自一種奇珍異玩或室內陳設的異國物件轉型為中國藝術品的科學研究對象之歷程。自此一時期起，法國對中國瓷器的研究從材質與技術面的角度逐步轉向藝術品的角度，並且試圖以中國人的欣賞標準鑑賞中國瓷器，但又同時保有法國人獨特的品味與美感。

During the late nineteenth century, much was published in France on the subject of Chinese ceramics. These early publications, resembling each other in both form and content, clearly reflect France's progress in studying and understanding Chinese ceramics. This article aims to outline the French writings and criticism of the time on Chinese ceramics. It aims to analyze the manner in which these works were written ─ in terms of the literary and linguistic aspects of literary theory ─ as well as their conceptual content. The purpose of the article is to explore the attitudes and methods with which the nineteenth century French appreciated Chinese ceramics.

It will explain the process by which Chinese ceramics were transformed in France from curiosities or foreign items for decorating interiors to objects of scientific research. From this era onwards, the French perspective toward ceramics research gradually changed from a preoccupation with material and technique towards a view of the items as works of art, and it attempted to appreciate Chinese ceramics through the critical standards of the Chinese themselves, while maintaining the unique taste and aesthetic sensibility of the French.

石川欽一郎台灣風景畫中「地方色彩」概念的建構

The Formation of the Idea of ‘Local Color'in Kin'ichirō Ishikawa's Landscape Paintings of Taiwanese Scenery

/ 楊永源 Yung Yuan Yang

關鍵字：地方色彩、石川欽一郎、鹽月桃甫、Sir Alfred East、明治美術會 local color, Kin'ichirō Ishikawa, Tōho Shiotsuki, Sir Alfred East, Meiji Fine Art Society

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檔案下載：第3期-楊永源.pdf

石川欽一郎對台灣藝術啟蒙之地位，和其英國風水彩畫藝術之成就，在台灣藝術史早有相當廣泛的研究。石川與英國藝術之關係，始於英國畫家Sir Alfred East 於1889年赴日本寫生，並應邀赴「明治美術會」演說的一連串影響。East以西洋藝術理論觀點，質疑日本畫的裝飾和模仿性格，並認為日本畫並非藝術而是裝飾。演講會後，曾經受到日本國粹主義排斥的西洋畫家，頗受East演講的激勵，石川也得知East上述的主張。

1906年East出版了油畫風景畫論，此書部分內容後來由石川譯成日文，並在雜誌上連載。石川所發表過的文章顯示，East風景畫論曾對其藝術實踐產生影響，他並以East為其師承。

石川繪畫在觀念與技法上雖然有西洋藝術之根基，他的文章與繪畫卻強調表現台灣「地方色彩」之重要性。石川在台與返日後所發表的關於台灣風光的文章，多數仍與地方色彩的概念有關，可視為他影響台灣美術之關鍵。有關「地方色彩」之問題，學界已有各種論辯，唯對何以使用外來語「ローカル・カラー」所隱含之歷史意義，並無申論。本文擬剖析石川的地方色彩觀，並試圖以英國藝術理論中「地方的」(local)與「共同的」(universal)之觀點，對台灣美術中的地方色彩概念之研究忝作補充。

Kin'ichirō Ishikawa's position as an initiating instructor of art in the 1910s and the 1920s in Taiwan and as a watercolorist in the English style has been well studied in Taiwanese art history. His relationship with English watercolors started when he met Sir Alfred East, who had traveled to Japan in 1889 and accepted an invitation to speak at The Meiji Fine Art Society (明治美術會). East, speaking from a Western art perspective, expressed doubt about the decorative and imitative nature of Japanese painting, and stated his belief that Japanese painting was not art but decoration. East's argument was warmly welcomed by artists who painted in the Western style, who were generally excluded from the Japanese nationalist mainstream. Ishikawa also probably learned about what East had argued in his speech.

In addition, Ishikawa translated parts of Alfred East's book The Art of Landscape Painting in Oil Colour (1906) into Japanese and published them serially in journals. Ishikawa also published articles in which he stated that East's discourse on landscape painting had also had an influence on his own artistic practice, and he once praised East as ‘Master of art' (畫伯), the most prestigious title among the ranks of Japanese painters.

Although Ishikawa's artistic concepts and techniques were based on those of the West, he frequently emphasized the importance of bringing out Taiwanese ‘local color' in his tutorial remarks and in his own artistic practice. Most of his articles continued to express this idea even after he retired and returned to Japan, and this is key to why he was so inspirational to his Taiwanese followers. Although many scholars have discussed the term ‘local color,' which is written in Japanese Katakana as ‘ローカル・カラー', indicating a term of foreign origin, none has delved into its historical meaning. This article thus analyzes Ishikawa's concept of ‘local color' and attempts to place it in its original context of perspectives on ‘local' and ‘universal' in English art discourse, so as to round out Taiwanese research on the ‘local color' concept in art.

妥協的現代性：日治時期台灣傳統廟宇彩繪師潘春源

The Negotiation with Modernity:Taiwanese temple painter Pan Chunyuan of the Japanese Period

/ 謝世英 Shih-ying Hsieh

關鍵字：日治、現代化、混雜、潘春源、台灣傳統彩繪師 Japanese colonization, modernity, hybridity, Pan Chunyuan, Taiwanese temple painter

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檔案下載：《藝術學研究》第三期_謝世英.pdf

潘春源被稱為「台灣本土第一代廟宇彩繪師」，以地方傳統門神廟宇彩繪的成就為人所知，現今許多的研究都著重在他廟宇彩繪的成就，然而在日治時期的台灣美術展覽會上，潘春源也有很好的成績，他連續6年以《牧場所見》、《武帝》等作品獲入選。潘春源於日治時期受過三年的公學校教育，沒有留學日本的經驗，純粹「本土」根源，以潘春源的背景，他沒有直接的管道去學習當時新潮流的寫生風格或是東洋畫技巧，更遑論西方觀念如寫實、創造性及個別性。但是潘春源入選台展的作品，不論是以關公作為繪畫主題，或是著台灣裝束美人畫等，都具台灣「地方色彩」特徵，符合現代寫實面貌。

本文以傳統廟宇彩繪師潘春源的藝術生涯與作品作為分析場域，來探討台灣美術在日本殖民主義下，現代化的過程中所呈現文化混雜的多樣面貌。本文分為兩個部分：一、潘春源藝術生涯的重新檢視，包括台展的參與以及廟宇彩繪工作，探討他如何在台展及廟宇彩繪兩方面的成就；二、對潘春源作品的分析討論：他如何運用現代/傳統不同的藝術傳統元素，在作品中表達出合乎當代的現代性。

This paper examines the life and career of Pan Chunyuan, a leading artist in the Tainan area. During the colonial period, Pan was a painter of wall and door decoration in temples and was also active in the Taiten. His case is especially interesting because he had only a few years in the colonial education system, where most Taiwanese artists of his generation first encountered modern artistic trends. The more privileged of them pursued further studies in Japan. In either case, they went on to disseminate modern Japanese culture in Taiwan. Pan, by contrast, was self-taught and never went to Japan. Yet he became one of the most successful Taiwanese artists of his time. This paper argues that it is important to pay attention to the works of artisan-painters like Pan, their responses to new trends, and their use of techniques from their centuries-old artisan practice.

This paper starts by examining the many varieties of works in Pan Chunyuan's artisan practice, from his mounting shop to his temple wall and door painting. What was Pan's response to the new styles and trends he encountered in the official exhibition? With very limited academic art training, how did he use the techniques and subject matter of the artisan tradition in works reflecting Japanese taste? In answering these questions, I shall be looking at artisans who worked on a flat two-dimensional surface—that is, at paintings on paper, silk, walls and doors. The artisans who created these works were, in a sense, painters. Other temple decorations, such as sculptures, carving and crafts, are not discussed. The paper is in two parts: the first is a biography of Pan Chunyuan, including his profession as a mounter and temple wall and door painter, and it also looks at the diversity of subjects and styles in artisan practice. The second part is an analysis of the paintings Pan exhibited in the Taiten.

《哥德式建築的黎明》

Jacques Henriet, A l'aube de l'architecture gothique, Besancon : Presses universitaires de Franche-Comte ; Paris: diff. Picard, 2005. (25-Baume-les-Dames : Impr. moderne de l'Est).ISBN : 2-84867-117-3, 366 pages

/ 吳方正 Fang-cheng Wu

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檔案下載：《藝術學研究》第三期_吳方正.pdf