藝術學研究

《藝術學研究》第一期（NCU JOURNAL OF ART STUDIES 1）

周芳美

2006年06月

樂種觀念及其理論思考

The Concept of Musical Genre and Theoretical Reflections Concerning Genre

/ 曾瀚霈 Hannpey Tseng

關鍵字：樂種、樂種觀念、樂種理論、樂種史、樂種史書寫、音樂分類 Musical Genre, Genre, Theory of Genre, Musicalische Gattung, Gattung, Gattungstheorie, Gattungsgeschichte, Gattungsgeschichtsschreibung, Musical Taxonomy, Musical Classifica

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檔案下載：第1期-曾瀚霈.pdf

樂種在音樂論述中已是一個普遍的用詞，但卻仍是一個未被充分探討的觀念，多數時候人們對它的了解與音樂分類沒什麼區別，甚至學術著作中也有此現象，所以樂種的觀念必須重新審視，雖然可找到的定義不多，但作者做了一些闡釋並對其個人過去發表的相關文字重新審視。此外，作者也剖析了音樂分類與樂種列舉的關聯，特別指出兩者之不同，使樂種觀念終能跳脫邏輯思考的困窘。樂種的鑑別則是以一些西方樂種為例，提出樂種的成立與歸屬的論點，以免觀念上之混亂。在西方音樂文化中，樂種的名稱，以及場所與樂種的發展關聯，具有一些可資清楚觀察的特點，而樂種與創作、樂種與文化、樂種與美學、樂種與經濟、社會、政治等的關聯性思維，則可提供音樂研究者看待樂種的態度和想法。

Musical genre is a widely used term in musical discourse, but it remains a concept that has not yet been fully explored. People usually do not make any distinction between it and musical classifications, and this even appears in some scholarly writing. Hence the concept of musical genre needs to be reexamined. Although not many definitions can be found, the present writer has interpreted some of them and conducted a review of relevant texts he has published in the past. In addition, the writer dissected the particular connections between musical genre and musical classification, especially pointing out the differences between the two, so that the concept of musical genre can finally escape its difficult position in logical thought. When identifying a musical genre, one raises an argument on the establishment and classification of musical genre, based on a few examples of Western musical genres, in order to avoid conceptual confusion. In Western musical culture, the names of musical genres, as well as their connections with certain places in their development, can offer clarification. Moreover, the connections between musical genre on the one hand and thought on creativity, culture, esthetics, economics, society, and politics on the other can provide musical researchers attitudes and ways of thinking with regard to musical genre.

中國西畫家的「東方主義」?——第二次世界大戰時中國少數民族的形象

The Chinese Frontier—Images of Minorities during World War II

/ 周芳美 Fang-mei Chou

關鍵字：東方主義、上海漫畫、少數民族、中國化、龐薰琹、吳作人、張道藩 Orientalism, minorities, Pang Xunqin, Wu Zuoren, Sinicization of Western painting, Shanghai

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檔案下載：《藝術學研究》第一期_周芳美.pdf

二十世紀初受西學的影響，中國也興起民族誌的調查。一些通俗畫報雜誌開始刊載描繪少數民族生活圖像的作品和介紹他們的生活習慣及節慶。民國二十六年對日抗戰開始後，中國的西部成為政府的新重心，民族學的研究也突飛猛進，少數民族的文物亦成為展覽的重點。曾赴歐留學的西畫家們隨著他們所任教的美術學校逃難遷徙到中國的西部，使得他們有機會實地觀察雲貴川藏地區少數民族的生活。透過西方訓練中的寫生要求，邊地人民的生活成為入畫的題材。雖然沒有文字上的確切明示，但從作品的風格分析比較中，我們發現一些畫家的取景角度和內容近似於西方十九世紀中的「東方主義」作品。二十世紀初當這些畫家們仍在歐洲留學時，他們都有機會看到一些歐洲「東方主義」的藝術作品，因此這個現象也許可以視為是他們對西學的一種反芻。

令人深思的是這些畫家們對西方此一藝術表現思潮之瞭解是止於形式上的模倣，或是能夠深入其文化上的意涵？亦即他們所作的只是形式上的置換而已，或是文化上的換喻。中國畫家在選擇此種題材時，只是單純的表達寫生概念、一昧的倣效西方畫壇，或是意欲表達其背後的華夷之分、大中華意識？

本文以龐薰琴和吳作人為例，說明在此時期如何表達和解讀少數民族的形象已被摻入審美觀、中西藝術融合、政治立場和高官朋黨的提攜等因素。從時空背景的轉移中，藝術家的原創意圖，反而常因政治的炒作而隱晦不顯。時至今日當我們探尋其參照的母題（motif）或風格時，亦不失為逐步還原全貌的途徑之一。

In the early 20th century, China, under the influence of the West, also began undertaking ethnological surveys. Some popular illustrated magazines began printing pictures depicting the lives of minority groups and introducing their customs and festivals. After the War of Resistance against Japan started in 1937, China's West became the new center of government. Great advances were made in ethnological research on the people of this region, whose handiwork also became the focus of numerous museum exhibitions. Artists who had gone abroad to study oil painting followed the schools that employed them to China's West, where they had the opportunity to observe the lives of minorities on-site in Yunnan, Guizhou, Sichuan, and Tibet. As a result of their Western training, frontier life became suitable subject matter for them. Some artists' works, in their selection of scene, perspective and content, resembled the Western “Orientalist” works of the mid-19th century, though the artists themselves never admitted this in writing. European Orientalist works were in fact readily available for viewing and analysis while these artists studied in the West. Thus their depictions of minorities may be seen as an outgrowth of their studies in Europe.

Some thought-provoking questions about this phenomenon include: was these artists' understanding of the “Orientalist” strain of Western art limited to emulating its form? Or were they able to delve into its cultural significance but chose instead to execute works that may be described as a kind of formalistic substitution or cultural metonymy? When Chinese artists chose this subject matter, was it a pure expression of the “depiction from life” idea, an emulation of a Western style done in ignorance of its significance, or did they intend to convey both the background differences between Chinese and barbarian and a “Greater Chinese” consciousness?

In this essay I discuss the wartime works of Pang Xunqin and Wu Zuoren to elucidate various factors that affected how images of China's minorities were expressed and interpreted: esthetic considerations, the blending of Chinese and Western artistic traditions, political policies, and artists' relations with high officials. If we consider these artists' accomplishments with a view to understanding how they combined Western and Chinese techniques, we find that Wu Zuoren still used as his starting point the techniques of oil painting. Wu's works directly convey to the viewer a positive image of a beautiful frontier, which suddenly functioned as the “new center” and an important supply source for China during World War II. Through these paintings, a Chinese viewer would see not only what he or she would consider “exotic” but also a utopian realm unlike that of the rest of the war-torn country. No wonder people thought they represented the reappearance of beautiful landscapes, a redefinition of Chinese territory, an indicator of “the Sinicization of Western painting.” Pang Xunqin, on the other hand, was limited by the availability of materials and had to pick up once more the methods of traditional Chinese painting. However, his paintings, compared with Wu's, are subdued in tone, and the people he depicted seem to be uniformly emotionless—to the point that one official criticized the paintings as “injurious to the nation's prestige.” Ironically, Pang's works attracted Western buyers at the time.

在英雄殞落之後的英雄：Gericault 的《梅杜莎之筏》

Heroes after the Death of the Hero: Gericault's Raft of the Medusa

/ Gregor Wedekind Gregor Wedekind

關鍵字：Theodore Gericault、梅杜莎之筏、英雄 Theodore Gericault, Raft of the Medusa, hero

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檔案下載：第1期-Gregor Wedekind.pdf

在1819年，沙龍展出由Gericault所畫的《梅杜莎之筏》，呈現了對歷史繪畫的抨擊，而歷史畫類主要是將英雄形象概念化的繪畫類別。Gericault 的繪畫違反了所有歷史繪畫不可或缺的美學範疇，這類的範疇確立了廣泛且普世隱含的寓意。然而在同時，巨幅的型式以及Gericault對於人體獨具風格的處理，無疑地使這幅畫意圖達到歷史繪畫的高尚情操。縱使Gericault筆下的新英雄激起了觀賞者的同情，他這些新英雄絕非是供人認同的嶄新形象。畫中對立的美學結構並不允許以如此單一明確的解讀。他英雄化了一種人類企圖透過藝術去激發的特定情感，而此種情感並非以傳統的英雄再現便可以達成的。這已經不再是以往那些著名的英雄人物，甚至也不是單一的無名英雄，取而代之的是英雄式人體的聚合，企圖展現英雄式苦難，並使人信服。實際上，這樣的效果是由圖畫整體所達成的。有鑑於此，圖畫本身的美學價值便躍然眼前。從一開始，這幅畫的評論便來回於超人的尺寸與力量的描繪，以及創作本身必備的超人尺寸與精力，也就是擺盪於主題與創作過程之間。Gericault在此巨幅作品當中呈現的宏偉姿態，乃試圖超越歷史繪畫的傳統。他所選擇的篇幅和構圖，將富有爭議性的主題擴大為傑出的藝術，這些都傳遞了別出心裁的訴求，直接傳達了他對於功成名就的渴望。作品的創作者，也就畫家本人，儼然顯現於畫作之後，成了真正的英雄。
（翻譯：李鎧伊）

Gericault's Raft of the Medusa, exhibited in the Salon of 1819, represents an attack on the picture genre in which the image of the hero is primarily conceptualized: the history painting. Gericault's painting offends all aesthetic categories that indispensably belong to history painting, categories that guarantee it its generalizing and universalizing connotations. Yet at the same time, the tremendous format and Gericault's stylistic treatment of the bodies depicted leave no doubt that this is a painting that would like to attain the dignity of history painting. Even if Gericault's new heroes arouse the sympathy of the viewer, they are in no way any use as new figures of identification. The antagonistically aesthetic structure of the picture does not allow for such an unequivocal reading. Gericault's heroicizing of that which is human intends to trigger certain emotions by way of art, emotions that would not have been attainable with the representation of a conventional hero. It is no longer the hero known by name, no longer even the single anonymous hero, but instead a conglomerate of heroic bodies which are meant to demonstrate heroic suffering and make it plausible. In fact, it is the picture as a whole that achieves this effect. For this reason, however, the aesthetic merit of the painting itself comes into view. From the start, the reception of the painting switched between the statement of superhuman size and energy as a depiction and the superhuman size and energy that were necessary to create this depiction. The magnificent gesture that Gericault makes with his enormous painting was intended to surpass the tradition of history painting. The chosen format, the composition, and the inflation of the scandalizing subject to great art refer directly to the artist and his absolute desire for fame and greatness. The creator of the picture, the artist himself, becomes visible behind the depiction as the actual hero.

作為英雄的藝術家─ 作為英雄史的藝術史

The Artist as Hero: Art History as the History of Heroes

/ Hubert Locher Hubert Locher

關鍵字：英雄、英雄式藝術家、藝術史學史、現代主義 hero, heroic artist, art historiography, modern

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檔案下載：第1期-Hubert Locher.pdf

這篇文章涉及19和20世紀藝術家的形象，並探索在什麼意義上，現代藝術家能被理解，或理解其自身為英雄。作者試圖證實，在18世紀晚期和19世紀早期一種新類型的藝術家出現：這類藝術家視對抗最為惡劣的環境為己任，不僅透過其藝術謀生，更透過其藝術促進社會的發展。在引介德國詩人席勒與哲學家黑格爾的「英雄」定義之後，本文討論Rudolf和Margot Wittkower兩本書中的英雄式藝術家的概念，以及由Ernst Kris和Otto Kurz在早期現代史學史中所描述的藝術家英雄化過程。文章接著從德國繪畫史中列舉一些實例：包括Asmus Jacob Carstens、Johann Christian Reinhart及Joseph Anton Koch，這些藝術家即是新古典主義「英雄式風景」的創始者，且在特定意義上他們自己也是「英雄式」的藝術家。Hans van Maree被呈現為最精粹的「英雄式藝術家」典型，在其死後經由Julius Meier-Graefe重要且具影響力的著作《現代藝術的歷史和發展》，以及他題獻給藝術家的三大冊專著而被偶像化。在Julius Meier-Graefe的書寫中，英雄式藝術家成為前衛（藝術）史學史中的核心特徵。本文也同時觸及20世紀的其他「英雄式藝術家」，透過快速瀏覽現代繪畫史最為重要的通史書籍之一，即Werner Haftmann的《20世紀繪畫史》，來思索這些藝術家是如何出現在史學史當中的。
（翻譯：王聖閎）

This essay is concerned with the image of the artist in the 19th and 20th century, and investigates in what sense the modern artist can be understood or understands himself as a hero. The author tries to show that in the late 18th and early 19th century a new type of artist appears on the scene who thinks it is his task to fight against the most unfavourable circumstances, not only to gain a living but also to advance society through his art. After introducing the definition of the hero by the German poet Friedrich Schiller and the philosopher G. W. F. Hegel, the article discusses the conception of the heroic artist in two books by Rudolf and Margot Wittkower and the heroization of the artist in early modern historiography as described by Ernst Kris and Otto Kurz. The article then cites some examples from the history of German painting, including Asmus Jacob Carstens, Johann Christian Reinhart and Joseph Anton Koch, the latter inventors of the neo-classical “heroic landscape” and themselves “heroic” artists in a specific sense. Hans van Marees is presented as the quintessential “heroic artist,” one who has been idolized after his death by Julius Meier-Graefe in his important and influential “History of the development of modern art” (1904) and in a monumental three-volume monograph dedicated to this artist. In the writings of Julius Meier-Graefe the heroic artist became a central feature of avant-garde historiography. The article also considers other “heroic artists” of the twentieth century and about how they appear in historiography by taking a quick look at one of the most important surveys of the history of modern painting, Werner Haftmann's “History of painting in the 20th century.”

重新評估媚俗──文化他者

A Reassessment of Kitsch, Cultural Other

/ 金嬉英 Hee-young Kim

關鍵字：媚俗、前衛、自主性、原創性、流行文化、科技、主體性、轉變、媚俗批判、文化工業、非同一性 Kitsch, avant-garde, autonomy, originality, popular culture, tech-nology, subjectivity, transformation, kitsch criticism, culture industry, non-identity.

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檔案下載：第1期-金嬉英.pdf

儘管有許多努力持續著重新劃分藝術與文化的界線，在當代藝術實踐的手法中，對於原創性的傳統概念卻是堅持不變的。關於原創性的論述當中，將那些使用複製手法所做出次級藝術的各式作品，普遍稱作媚俗，或是相對於前衛的「後衛」。如此的分類方法，顯示了現代主義與大眾文化，兩者互為對立關係的爭論議題。由於簡易的內容與平實的價格，大眾文化具備無人能抵的吸引力，同時也成了現代主義最強大的威脅。此一威脅激起某些論述體系將大眾文化定位為現代主義的文化他者。本篇論文視被邊緣化的媚俗範疇為爭論場域，進而檢視壓抑媚俗的論述。本文將分析此種捍衛藝術原創性與自主性，以及相對地把媚俗貶低為次等且危險的文化類別之思維架購。格林伯格將媚俗等同於工業化的附屬產物之概念，逐漸演變成倡導藝術自主性的論調。法蘭克福學派的學者們，特別是阿多諾及霍克海默，則提出近似的文化批判。他們將焦點放在大眾文化，諸如電影，廣播，以及電視，而非聚焦於藝術作品，批判解析了大眾文化的體系，並且理論化了媚俗的無所不在所引發的負面意涵。另外一方面，有些評論者意識到在文化發展當中，大眾文化的成長將會開啟更多的可能性。班雅明和羅森伯格認為大眾文化中，社會文化的動力彰顯了在現實與主體裡頭持續轉變的潛能。他們認為科技的進步改變了創作的狀態，同時也成就了媒材之間的直接互動。藉由詳細審閱對於媚俗的矛盾觀點，本文希冀能夠重新評估那些「汲取外緣力量」的藝術。
（翻譯：李鎧伊）

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or “rear-guard,” the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines the critical debate on the subject, which intends to win over the legitimacy of the discourse on art and culture. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg's concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw “the forces of the outside.”