藝術學研究

《藝術學研究》第二期（NCU JOURNAL OF ART STUDIES 2）

周芳美

2007年08月

目次

1 從舞劇《香妃》探討江文也融合中西音樂之手法
宮筱筠

33 古人會的推手—林內爾
李淑卿

99 鞏固爾兄弟的中國藝術收藏
張婉真

Contents

1 The Fusion of Western and Chinese Music in Jiang Wenye's
Dance Drama “Xiangfei”
Hsiao-Yun Kung

33 The Promoter of “The Ancients”－John Linnell
Shwu-Ching Lee

99 The Chinese Art Collection of the Goncourt Brothers
Wan-chen Chang

從舞劇《香妃》探討江文也融合中西音樂之手法

The Fusion of Western and Chinese Music in Jiang Wenye's Dance Drama“Xiangfei”

/ 宮筱筠 Hsiao-Yun Kung

關鍵字：民族風格、中西融合、主導動機、變奏手法 “Chinese-national” musical style, fusion of Western and Chinese Music, leitmotiv, variation technique.

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檔案下載：《藝術學研究》第二期_宮筱筠.pdf

二十世紀以來，華人現代作曲家經歷了取經師法於西方音樂，到嘗試走出一條自己的路。然而他們在創作時面對的依舊不只是一個悠久的西方音樂傳統和不斷求新的現況，還有自身的音樂傳統及文化。不同的或許只是在於，他們在多大的程度上去探索了融合這兩種音樂傳統的可能性。即便作曲家江文也大多數重要的作品已完成於二十世紀上半葉，他在這點上的成就無疑是突出的。他不但徹底鑽研了這種可能性，更可以說是成功地融合了中西音樂的要素。

　　江文也在各種的音樂體裁中皆有嘗試追求一種新的「民族風格」，而大型舞台作品或許就屬舞劇《香妃》（作品編號33）最為突出。《香妃》運用西方舞台作品中慣用的主導動機手法，象徵戲劇人物、暗示情節發展。同時又用變奏對動機做細微變化，深入刻畫人物的心理轉變，加強戲劇張力和多樣性。然而整首曲子基本上建立在以五聲音階為主的旋律素材上。旋律不但展現了生動的描繪性，對傳統中國音樂的變奏技巧更有精湛純熟的運用。此一變奏手法不單只是作曲的技法，更被用來做為大段場景開展進行的結構原則。此外，線性音樂思維結合了多樣的複調音樂手法以及東方音樂的枝生複音法（heterophony），更創造了豐富的音響層次。

Since the beginning of the 20th Century, Chinese composers had been experiencing a similar creative process: they first imitated and applied the Western model, but later tried to develop their own compositional language. In this long evolution they still confronted the Western music tradition, which was constantly growing and changing, as well as their own musical culture and tradition. The major difference between these composers was to what extent did they try to explore the possibilities of combining Western and Chinese materials in their compositions. The Chinese composer Jiang Wenye (1910-1983) had a significant contribution in this aspect in the history of Modern Chinese Music: most of his important works were completed in the first half of twentieth-Century, yet they showed Jiang's talent in not only investigating the possibilities mentioned above thoroughly, but also fusing Western and Chinese musical elements in a subtle way.

Jiang Wenye pursued a “Chinese-national” musical style in all of his musical genres. Among the stage works the Dance Drama “The Princess Xiangfei” is particularly representative. It utilizes the technique of leitmotiv from Western operas in order to symbolize the characters and indicate the development of plots. In addition, the use of variation technique in this work makes the motives variable, enables expressions of contrasting emotions of protagonists and enforces the dramatic intensification. In terms of melody, the whole work is almost based on pentatonic materials. The melodies not only represent vivid descriptions, but also utilize the technique of Chinese-style variation technique. This technique is not merely a compositional method, but also a fundamental principle to connect consecutive scenes. Furthermore, the technique of linear progression is also applied in this work. Combined with polyphony and heterophony it created an amazingly rich sonority.

古人會的推手－林內爾

The Promoter of “The Ancients”－John Linnell

/ 李淑卿 Shwu-Ching Lee

關鍵字：古人會、林內爾、帕麥爾、布雷克、瑞奇蒙德、卡爾沃特、梭爾罕 The Ancients, John Linnell, Samuel Palmer, William Blake, George Richmond, Edward Calvert, Shoreham

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檔案下載：《藝術學研究》第二期_李淑卿.pdf

近二十年來古人會漸受重視，然因古人會僅留下零星活動資料，故至目前以古人會為議題的研究仍相當有限。有關古人會何時形成、如何形成、發展情形和式微原因等問題都尚待探討。而這些問題皆與本文主角林內爾息息相關，但未見任何論文以林內爾角度切入分析這些議題。本文的主旨乃在探究林內爾在古人會形成及發展過程上所扮演的真正角色，藉此古人會的原始面貌始可呈現得更清晰完整。林內爾雖非古人會成員，但他不僅首先打開家門與古人會聚集討論藝術及文學，且為布雷克和古人會搭起橋樑，他亦參與他們在梭爾罕的活動，並共享他們互畫肖像的樂趣，及為古人會立下一轉化宗教情懷於風景畫的楷模。更重要的是，他對古人會的領袖帕麥爾畫風的塑造產生深刻影響，林內爾實是古人會的推手。

The Ancients started to attract scholars' attention since the last twenty years, but the studies on the group are very few as it left very limited records about its activities. Therefore, many questions need to be discussed, for instance, when the group formed, and how it developed and declined. These issues can not be fully understood, if we ignore the real relationship between Linnell and the Ancients. This essay attempts to explore the crucial role played by Linnell during the period while he was involved with the group. We realize that Linnell did not only open his house as the first meeting-place for the Ancients, but also introduced Blake to these young artists. He enjoyed attending their gatherings and sharing their interest of making portraits for one another. Moreover, he set an example of transforming religious enthusiasm into landscape to the Ancients. Most of all, he had significant influence on Palmer, who was the leader of the group.

鞏固爾兄弟的中國藝術收藏

The Chinese Art Collection of the Goncourt Brothers

/ 張婉真 Wan-chen Chang

關鍵字：鞏固爾兄弟、法國之中國藝術收藏、十九世紀後期 Goncourt Brothers, French collections of Chinese art, the latter half of the nineteenth century.

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檔案下載：《藝術學研究》第二期_張婉真.pdf

素以擁護熱愛日本藝術聞名的鞏固爾兄弟對於中國藝術亦持有高度興趣與關心。其遠東藝術收藏中包含一批以瓷器為主的中國文物，在其著述中亦不乏對於中國藝術的見解。但相對於日本文物廣泛受到重視，其中國文物收藏卻長期為人漠視，學界亦未見專文討論。有鑑於此，本文首先擬考證鞏固爾收藏的中國藝術之內容、來源管道以分析當時中國藝術交易的市場概況。其次擬自鞏固爾兄弟對於中國藝術的評論分析其對中國藝術的鑑賞觀，並同時將其看法放置於當時法國對於中國藝術的研究進展加以觀照。本文主要希望透過此一代表性例子的分析，展現法國認識中國藝術歷程中一段較為隱晦的歷史，並說明此段歷史應更受重視的理由。

The Goncourt brothers, who had always been famous for their passionate love for Japanese art, also had a high level of interest in and concern for Chinese art. Their collection of Far Eastern artifacts included a set of Chinese items, mainly porcelains, and their writings are not short on insights into Chinese art. But, while their Japanese items have received extensive attention, their Chinese collection has long been ignored; there has apparently been no specialist discussion of it even within academic circles. In view of this situation, this article will first provide an appraisal of the Goncourt brothers' collection of Chinese artifacts, including its origins and the channels through which it was supplied, in order to analyze the state of the market at the time for transactions in Chinese art. It will then analyze the Goncourt brothers' critical perspective on Chinese art, on the basis of their commentaries on the subject, and, at the same time, use their opinions to shed light on the state of development in France of research into Chinese art. The author's main hope is, through the analysis provided by this representative excerpt from history, to expose a somewhat little-known aspect of the story of France's acquaintanceship with Chinese art, and to illustrate that this period in history should receive greater attention.