藝術學研究

《藝術學研究》第四期（NCU JOURNAL OF ART STUDIES 4）

吳方正

2009年04月

目次
────

1 文部省美術展覽會的開幕與觀眾
五十殿利治

53 尋找《明室》中的〈未來的文盲〉…
許綺玲

87 二十世紀初中國醫療廣告圖像與身體描繪
吳方正

153 書評：《英國藝術史1600-1870》
謝佳娟

Contents
────

1 The First Bunten and its Viewing Public
Omuka Toshiharu

53 In Search of “the Future Analphabets” in Camera Lucida
Chi-Lin Hsu

87 Medical Advertising Images and Depictions of the Body in
Early 20th Century China
Fang-cheng Wu

153 Review: David Bindman (ed.), The History of British Art
1600-1870
Chia-chuan Hsieh

文部省美術展覽會的開幕與觀眾

The First Bunten and its Viewing Public

/ 五十殿利治 Omuka Toshiharu

關鍵字：受容史、文展、櫻俱樂部、東京勸業博覽會、展覽審查、展示空間、藝術評論、大眾文化 history of reception, Bunten, Ministry of Education Art Exhibition, Sakura Club, Tokyo Kangyo Exhibition, exhibition space, art criticism, mass culture

◎ 點閱：20 ▼ 下載：30

檔案下載：第4期-五十殿利治.pdf

1907年（明治40年）開幕的文部省美術展覽會（簡稱文展），從眾多面向而言都是近代日本美術史上極其重要的事件。展覽的成立包含了展覽內容、觀者與展覽本身，本文以文展開設與觀眾的問題為中心，從受容、鑑賞史的角度，考察文展在近代日本文化中所扮演的角色。

文展的成立有其歷史條件，本文討論兩個面向。首先是1906年12月由東京都所有新聞社的美術記者聚集成立的櫻俱樂部；櫻俱樂部在1907年5月推動「公立美術院」的成立，藉著新聞媒體，他們的訴求產生了不可忽視的影響。其次，文展並非日本最早的美術展覽，因此本文探討文展前與美展相關的各種展覽，其中最大宗者為勸業博覽會。將同一年相隔數月舉行的文展與東京勸業博覽會合併比較分析，將更容易理解前者的性質。無論在展覽評審、觀眾對展覽的接受與藝術批評，東京勸業博覽會都可說是文展的前驅。

文展在當時的公共意見中被普遍認為是成功的，本文探討這個所謂成功的內涵。相對於東京勸業博覽會，文展的展示空間改善，審查規則更為嚴謹，但更重要的是開始出現針對「審查的審查」與有關「批評的批評」，這些實踐本身的自我批評顯示文展與之前的展覽相較，已經有了極大的質變。文展確立後，藝術展覽將更深入並形塑大眾文化。

The opening of the first Ministry of Education Art Exhibition (commonly called the Bunten) in 1907 was an extremely important event in modern Japanese art history. Aside from the exhibited objects and the exhibition itself, I consider “the audience” an essential element of an exhibition. Therefore, this article will mainly concern the viewers and the Bunten exhibition. It will consider the role of Bunten within modern Japanese culture by exploring the history of reception and connoisseurship.

Since the Bunten was not the first fine art exhibition in Japan, it is necessary to discuss some events before it. First, in December 1906, certain reporters from major newspaper publishers in Tokyo founded the Sakura Club. This Club promoted the establishment of the “Public Art Institute” in May 1907. With the power of mass media behind them, their appeal had deep influence. Second, the Exhibition for Encouragement of Industry (Kangyo Exhibition), held in Tokyo several months before Bunten, served as a prelude to the Bunten. A comparison of the two exhibitions yields an improved understanding of their characters in terms of the roles of the judges' reviews, their reception by the audience, and critiques from the public.

The Bunten, in the public opinion of that time, was considered successful. This article will also discuss which aspects contributed to the success. Compared with the Kangyo Exhibition, the Buten had a much better display space, and the rules of judgment were stricter. More importantly, however, there also appeared critiques of the judgments and of criticism itself. These show that the first Bunten was a milestone in exhibition culture, since it marked the time that art exhibitions began to play a significant role in shaping mass culture.

尋找《明室》中的〈未來的文盲〉…

In Search of “the Future Analphabets” in Camera Lucida

/ 許綺玲 Chi-Lin Hsu

關鍵字：羅蘭巴特、華特班雅明、攝影文學、現代攝影美學、靈光、刺點、時間、互文性 Keywords: Roland Barthes, Walter Benjamin, photo literature, modern photo aesthetics, Aura, Punctum, time, intertextuality

◎ 點閱：20 ▼ 下載：26

檔案下載：《藝術學研究》第四期_許綺玲.pdf

羅蘭巴特在1970年代末寫《明室》（La Chambre Claire）一書，當時攝影尚未成為人文領域學術研究的一項客體，法國大學對攝影的理論性研究方興未艾。巴特探討攝影的興趣，伴隨了他二、三十年的寫作生涯。他作為社會符號學家、文本理論家、作家、甚至晚年以接近哲學家的關注透過攝影思考生命問題，對於提昇攝影作為學術研究客體有不容忽略的鼓舞作用。在此背景之下，思及攝影論述之發展，令人好奇的是，當巴特在寫《明室》前，是否讀過班雅明有關攝影的重要文章？事實上，班雅明〈攝影小史〉的法文譯文節錄，曾刊於1977年的《新觀察者》（Le Nouvel Observateur）畫報攝影專刊內，正是巴特寫《明室》時相當重要的參考源頭，隨文走的數幅影作更為巴特提供了影像部份的思辨元素，同被納入其論證發展中，尤其是探索「刺點」定義的章節。巴特雖然在書中並未直接引用〈攝影小史〉的內文，也不曾提到班雅明其人其文，可是從幾個大的章節主旨，也從字裡行間，關鍵字鑰，皆可揣想兩者之間低抑或激烈的迴響，迂迴之對話有跡可尋，構成了隱性的互文。本論文以初探的嘗試，先了解《新觀察者》版本之原貌，再對《明室》與〈攝影小史〉進行文本對照閱讀，檢視巴特如何批評1920、30年代以來奠定的「現代攝影」理論與創作，如何回應班雅明所曾提出的幾個關鍵字鑰。

While Roland Barthes wrote Camera Lucida in the end of 1970s, photography was not yet considered an object of serious human sciences research in French universities. Throughout his career as writer and social-semiology researcher, Barthes took a deep interest in photography, which finally led to him using it to ponder life's philosophical meaning. Certainly he contributed significantly to the elevation of photography to something deserving of scientific research. In this context, one may reasonably wonder if Barthes, while writing his Camera Lucida, had already read Walter Benjamin's essay, “Little History of Photography.” Indeed, Barthes' bibliography lists a special issue of magazine Le Nouvel Observateur that did contain an incomplete version of Benjamin's text. Barthes admitted that in this magazine he found many photographs that served to bolster the argument of his book. Nevertheless, he had not quoted or made any evident reference to Benjamin. But we can still glimpse between the lines many intertextual responses, perhaps in a manner not so easy to classify. Consequently, this article will begin by examining the version of Benjamin's essay in Le Nouvel Observateur in order to find what Barthes might have read in it, and then go on to make a comparison between these two texts, focusing on certain keywords that may be in dialogue from one text to the other.

二十世紀初中國醫療廣告圖像與身體描繪

Medical Advertising Images and Depictions of the Body in Early 20th Century China

/ 吳方正 Fang-cheng Wu

關鍵字：醫療廣告、電帶、健身、身體描繪、再現、展示性、新式教育、接受史 Medical advertising, depictions of the body, representation, presentability, new methods in education, history of reception

◎ 點閱：22 ▼ 下載：33

檔案下載：《藝術學研究》第四期_吳方正.pdf

本文以1905年4月起《申報》上一系列的「長命洋行的衛生電帶」廣告圖像為研究對象。這一系列廣告持續約有半年，廣告伴隨著一個個健壯的半裸男性圖像。這些男性身體圖像在中國圖像史中一樣是個新事物。

本文探討這一系列醫療廣告與圖像的三個面向。首先是這些圖像所再現的身體與醫療的概念，這個再現如何在另一個文化心智中發生作用？其次是在將再現手段視為一種文化建構，探討圖像再現的條件或限制，它如何跨越文化藩籬？第三個探討面向關係到再現的動因，身體再現與再現圖像如何取得展示性而被推入公共空間？本研究將指出，使得這些圖像得以被觀看的脈絡相當大程度與新式教育有關。因此本文的重點不在於這些圖像的後續影響，而在於從接受史的角度，探討這些圖像所以能在文化中散播的條件。

This article directs its research on the images in a series of advertisements for “Dr. McLaughlin's Electric Belt,” printed in Shenbao starting in April 1905. This series continued for approximately half a year, and each advertisement was accompanied with an image of the nude upper torso of a strong healthy male.

Three aspects of these advertisements and images are discussed. First, as the body and medical concepts represented in these images came from the West, how were they conveyed to another culture? Next, after considering representational means as a kind of cultural construct, the conditions and limitations on the representation of images is explored: how did they cross the cultural barrier? The third aspect relates to the motivation behind their representation: how did the representation of the body and the reproduced images acquire presentability and get pushed into the public space? This study will point out that the context to the viewing of these images relates to a large degree to new methods in education.

This article's focus is not on the later influence these images had but on their history of reception. It explores the conditions that enabled these images to be disseminated within the culture of that time.

書評：《英國藝術史1600-1870》

Review: The History of British Art 1600-1870

/ 謝佳娟 Chia-chuan Hsieh

◎ 點閱：30 ▼ 下載：39

檔案下載：《藝術學研究》第四期_謝佳娟.pdf

在藝術史單篇論文、專題研究蔚為主流書寫之當今，為一國的藝術史發展撰書立說的意義何在？如何進行？甫於2008年底出版的《英國藝術史》 (The History of British Art) 提供了一個近例。該套書共三冊，《英國藝術史1600-1870》上銜《英國藝術史600-1600》，下接《英國藝術史1870至今》，由世界上致力於英國藝術之收藏展示、保存詮釋的兩大機構—倫敦的Tate Britain以及New Haven的Yale Center for British Art—所發起，由倫敦大學大學院 (University College London) 藝術史系榮譽退休教授David Bindman擔任總編輯，召集英國藝術史領域多位專家學者共同合力寫成。雖然Bindman教授在前言中表明這套書絕非「官方版本」的英國藝術史 (p.13)，但是以該二機構以及諸位學者在英國藝術史領域的專家地位來看，這套書的出版具有相當程度的指標性意義。就規模而言，這次通力合作的三巨冊貫穿了十四個世紀，打破了以往由個別學者撰寫斷代史或專題研究的模式。就學術研究的承先啟後而言，這套書竭力勾勒了近年來英國藝術史的研究領域，並企圖提出更廣闊的前瞻視野。即便如Bindman教授所坦承，以該書之廣，仍舊無法包羅萬象，書中所討論的藝術家或議題畢竟是有所選擇的，但這些卻也都反映了學界當前所關心的面向—而這個「學界」在此不免展現出某種程度的權威性。

David Bindman (ed.),
The History of British Art 1600-1870
(London: Tate Publishing, in association with Tate Britain and Yale Center for British Art, 2008)
ISBN: 978-1-85437-651-0, 248 pages