藝術學研究

《藝術學研究》第六期（NCU JOURNAL OF ART STUDIES 6）

吳方正

2010年05月

目次
────

1 論宮布理希對中國繪畫的看法
David Carrier

31 江文也第四號鋼琴奏鳴曲《狂歡日》中的傳統與創新
宮筱筠

63 由「情」至「幻」─明刊本《西廂記》版畫插圖探究
徐文琴

161 1933-34年芝加哥世界博覽會中華民國和日本藝品之展示
周芳美
231 近十年中國佛教美術的研究動向(1998-2008)
—英文、日文部分
林聖智

Contents
────

1 Ernst Gombrich's Account of Chinese Painting
David Carrier

31 Tradition and Innovation in the Fourth Piano Sonata “Festa”of Jiang Wenye
Hsiao-Yun Kung

63 From Passion to Illusion─Studies of the Woodblock Print Illustration to Romance of the Western Chamber Published in the Ming Dynasty
Hsu Wen-Chin
161 Chinese and Japanese Art Exhibited in the 1933-34 Chicago World's Fair
Fang-mei Chou
231 Buddhist Art in China: The State of the Field(1998-2008)─Principally the U.S.A. and Japan
Sheng-chih Lin

論宮布理希對中國繪畫的看法

Ernst Gombrich's Account of Chinese Painting

/ David Carrier

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檔案下載：01-David Carrier.pdf

宮布理希宣稱提供一個具象藝術發展的普遍理論。他只討論了歐洲藝術，但如果他的解釋是正確的，則這個解釋應該也可以施用於中國藝術。在簡述其分析概要後，我使用一系列的例子來評估這個解釋如何能施用於中國繪畫。同時我也討論一些中國作者對圖式幻覺主義所提出的說法。接著我轉而分析宮布理希這套解釋（或理論）的政治意涵。根據宮布理希，追求幻覺的藝術出現在高度關注實驗科學與科技發展的文化中。那麼，中國無法持續一致地發展出自然寫實繪畫，和中國在科技發展上的停滯（這為中國從十八到二十世紀帶來許多問題），此二者間是否有關連呢？對這個問題的探討，讓我們能夠將宮布理希對於藝術史的解釋連接上更廣的世界藝術史。

（翻譯：謝佳娟）

Ernst Gombrich claims to offer a general theory of the development of figurative art. He only discusses European art, but if his account is correct it should apply also to the art of China. After sketching his analysis, I use a sequence of examples to consider how this account could apply to Chinese painting. And I discuss the accounts of pictorial illusionism developed by writers in China. I then turn to analysis of the political implications of this account. According to Gombrich, illusionistic art is found in cultures with an interest sympathetic to experimental science and development of technology. Is there a connection, then, between the failure of China to consistently develop naturalistic painting and the stasis, which in the eighteenth through the twentieth centuries created such problems for that country? Discussion of that question allows us to link Gombrich's account of the story of art with a broader world art history.

江文也第四號鋼琴奏鳴曲《狂歡日》中的傳統與創新

Tradition and Innovation in the Fourth Piano Sonata “Festa”of Jiang Wenye

/ 宮筱筠 Hsiao-Yun Kung

關鍵字：江文也、第四號鋼琴奏鳴曲《狂歡日》、民歌《蘭花花》、汪立三、民族音樂風格、音樂分析比較 Jiang Wenye (Chiang Wen-Yeh), Piano Sonata “Festa”, Folk song “Lan Huahua”, Wang Li-San, National music style, Musical analysis of comparison

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檔案下載：《藝術學研究》第六期_宮筱筠.pdf

綜觀整個中國新音樂的發展史，絕大多數的中國作曲家以及廣義上的華人作曲家，莫不是在努力探索結合西方音樂與本國傳統的各種可能性；如何藉由西方音樂技術，創造出一種嶄新的民族音樂風格，或是說如何藉由民族音樂的特色，創造出中國的新音樂，一直是華人作曲家最大的課題。而作曲家們的困境也在於，如何在創作中融合這兩種截然不同的中西音樂傳統。
江文也的第四號鋼琴奏鳴曲《狂歡日》一方面以標題結合中國民間音樂，另一方面則嚴肅地探索了西方奏鳴曲形式的特殊之處。本文意欲藉著詳盡的音樂分析探討江文也如何將民間要素與具高度發展性的奏鳴曲式結合。在追求現代的民族風格時，傳統和創新之間如何調和，傳統的價值如何被展現，傳統的地位又在多大的程度上被重新再造，皆是本論文意欲探究的問題。中國作曲家汪立三和江文也以同樣的一首民歌為本，創作了一首鋼琴小品《蘭花花》。比較兩人的作品將會是一個有趣的課題，也或許更能凸顯出江文也和其他作曲家的不同之處。

A general survey of the history of the development of Chinese new music would show that most Chinese composers made great efforts to explore the various possibilities of combining Western music with Chinese traditions. How to create a Chinese national music style with Western musical techniques, or how to create modern music with Chinese characteristics, has always been the greatest issue among modern Chinese composers. The Chinese composers' predicament has stemmed from creatively blending the Chinese and Western musical traditions, which are entirely different.
The fourth sonata “Festa” of Jiang Wenye (1910-1983) combines Chinese folk music on the one hand while seriously exploring the characteristics of the Western sonata form on the other hand. This paper analyzes Jiang Wenye's sonata in detail to investigate how the folk elements are combined with the highly developed sonata form. The questions explored in this paper include: how tradition is balanced with innovation; how traditional values are displayed; to which extent is tradition reconstructed. Wang Lisan (1933*), a contemporary of Jiang, composed a piano piece, “Lan Huahua,” based on the same folk song as Jiang's work. A comparison between these two composers' works may also highlight the differences between Jiang Wenye's work and those of other composers.

由「情」至「幻」─明刊本《西廂記》版畫插圖探究

From Passion to Illusion─Studies of the Woodblock Print Illustration to Romance of the Western Chamber Published in the Ming Dynasty

/ 徐文琴 Hsu Wen-Chin

關鍵字：全文式插圖、齣（折）目插圖、詩詞曲文插圖、「自由體」式插圖、王驥德、李贄、湯顯祖 ‘picture above - text below', Illustrations to ‘Act', Illustrations to the songs (prose), ‘Mixed type' illustrations, ‘Free style' illustrations, Wang Jide, Li Zhi, Tang Xianzu

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檔案下載：《藝術學研究》第六期_許文琴.pdf

這篇論文將明朝時期所出版的「西廂記」版畫插圖，依其內容、功能及可能出版的形式分成以下五類，逐一加以討論：一、全文式插圖。二、齣（折）目插圖。三、詩詞曲文插圖。四、「自由體」式插圖。五、單行本。每一種類插圖摘取一個或數個版本作代表，進行比較詳細的分析研究。
研究中發現「西廂記」插圖依其性質又可分為「說明性插圖」及「鑑賞性插圖」兩種。第一種類插圖目的在於表達故事情節，交代劇情，有幫助讀者按圖吟唱、了解劇本關目發展及協助演員舞台演出的功能和作用。在第二種類插圖中，優美的曲文或相關詩文的欣賞成為插圖的主題。經由曲文或詩文的選擇，以及圖畫表現方式，可以呈現插畫家對劇本的欣賞角度、鑒評，甚或藉以表達其人生觀。這一類插圖的內容有與文本愈行愈遠的傾向，並已超越純粹插圖的功能。根據此種發展情勢，本論文推論1640年閔齊伋刊彩色版畫以單行本形式發行。
由弘治本全文插圖到閔寓五本的單行本，《西廂記》插圖無論在版式或表現手法上都變化多端，沒有其他的文學作品插圖可以與之抗衡。其內容則表現了明朝人的哲理和人生觀，同樣不容忽視。

This article divides the woodblock print illustrations to illustrated editions of The Romance of The Western Chamber published in the Ming period into five categories and studies them in sequence: (1) illustrations to the entire text; (2) illustrations to acts in the play; (3) illustrations to poems, songs, and prose passages in the play; (4) “free-style” illustrations; (5) woodblock prints published independently, not as illustrations in a book. For each kind of illustration, examples from one or several editions of The Romance of the Western Chamber are chosen for more detailed study and examination.
It is discovered that, according to their functions and nature, the illustrations to this play can be further classified into “explanatory illustrations” and “appreciative illustrations.” Explanatory illustrations seek mainly to depict the story episodes or highlights in a clear, graceful or dramatic manner, so as to enhance the readers' interest, and to increase their understanding or appreciation of the play. “Appreciative illustrations” focus on the songs and relevant poems in the play. The selection of songs or poetic passages, and they way they are illustrated, reveals what the illustrators evaluated and appreciated, or even their personal opinions on the play. Subjects not related to the play, such as bird and flower paintings or landscape paintings, are sometimes included amongst the illustrations; as they tend further from the play's content and text, they also go beyond the function of pure illustration. At the end of this article, I suggest that the color woodblock print album engraved in 1640, in the collection of the Koln Museum, Germany, was published independently, not to illustrate any single edition of the play.
The Xixiangji woodblock print illustrations published in the Ming dynasty are unparalleled in its demonstrations of wide variety of styles, forms and expressive techniques. The later Ming editions also reflect more and more of the anti-Confucian sentiments, pessimistic thoughts, and passive attitudes of Buddhism and Taoism that prevailed at that period.

1933-34年芝加哥世界博覽會中華民國和日本藝品之展示

Chinese and Japanese Art Exhibited in the 1933-34 Chicago World's Fair

/ 周芳美 Fang-mei Chou

關鍵字：博覽會、中日關係、藏傳佛教藝術 International Exposition, World's Fair, Sino-Japanese, Tibetan Buddhist Art

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檔案下載：《藝術學研究》第六期_周芳美.pdf

正值美國經濟谷底，芝加哥仍於1933年5月27日到11月1日和1934年5月26日到10月31日舉行世界博覽會，主題是「一個世紀的進步」。透過展場中不同的主題館和遊樂園強調過去一百年來科學的進步，使得人們可以憧憬未來的生活，不僅提振了芝加哥經濟活動，也慰藉人們無助的心靈。此次展覽由芝加哥藝術館負責策畫和展出官方的各國藝術品展覽，中國和日本的藝術品雖未正式受邀參展，但在博覽會舉行的期間芝加哥藝術館在兩個展間展出由Clarence Buckingham收藏的日本版畫。在博覽會會場上的一個主題館是瑞典探險家 Sven Hedin 在中國熱河省發現的普陀宗乘之廟中的萬法歸一殿，由芝加哥企業家Vincent Bendix出資複製運到會場重建，內部陳設蒐集來的藏傳佛教文物。此外，中日已因為偽滿洲國一事交惡，而日本更在此次博覽會舉行前出兵侵略熱河省而受到國際指責，故兩者在官方館的展示皆不如過去的盛大。中國官方的藝品以一個翡翠雕成的寶塔和漆像最受到注意報導。Parish-Watson & Co. 於1934年6月在上海街展示了為乾隆帝祝壽而鑄的18件金製文玩，紋飾內容亦與漢藏文化相關，大會還特別為這批文玩的入駐舉行活動，以招攬注意。日本則是以貝殼和珍珠黏貼成的美國華盛頓總統在Mount Vernon房舍模型、絲製品和茶道來吸引觀眾。總之，從參觀人次和詳被研究報導的內容來看，此次遠東文物的展覽中應屬藏傳佛教文物最廣為人知，可能流布影響最大。

From May 27th to November 1st, 1933 and from May 25th to October 31st, 1934, during the depths of the Great Depression, Chicago hosted a World's Fair entitled “A Century of Progress.” Through differently themed halls and amusement parks, the fair emphasized the scientific progress made during the previous century, so that visitors would look forward to life in the future. It not only stimulated Chicago's economy but also served to comfort people at a time when they felt helpless. The Art Institute of Chicago was in charge of curating and displaying the art in the official exhibition. Although Chinese and Japanese art was not formally included, the Art Institute devoted two galleries during the fair to an exhibition of Japanese prints in the collection of Clarence Buckingham. The main fair venue also featured a carefully reconstructed Chinese lamaist temple, the “Potala of Jehol,” that the Swedish explorer Sven Hedin had discovered; Vincent Bendix provided funding for the temple's shipping and reconstruction. Tibetan Buddhist artifacts were also displayed inside. Because hostilities between China and Japan had already broken out over Manchuria, and Japan's invasion of Jehol just before the fair had drawn international condemnation, the two country's displays shrank compared with earlier international expositions. The most important artworks in the Chinese pavilion were an elaborate jade pagoda and lacquer busts of historical figures. In June 1934, Parish-Watson & Co. also arranged for the display of 18 gold treasures that had been made as a birthday gift for the Qianlong emperor. The objects' decorative motifs related to both the Han Chinese and Tibetan cultures. The fair organizers further promoted this exhibit through various activities. The Japanese pavilion meanwhile drew visitors with enactments of the tea ceremony, silk products, and a model of George Washington's Mount Vernon home made of shells and pearls. In sum, considering the attendance numbers, the brochures and newspaper reports, the Tibetan Buddhist art had the greatest visibility and perhaps the widest impact of all the varieties of Asian art on display.

近十年中國佛教美術的研究動向(1998-2008)—英文、日文部分

Buddhist Art in China: The State of the Field (1998-2008)—Principally the U.S.A. and Japan

/ 林聖智 Sheng-chih Lin

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檔案下載：《藝術學研究》第六期_林聖智.pdf