| 摘要: | 提要 中國漫畫之父—豐子愷(1898-1975)，一生創作不輟，漫畫作品風格獨到，不同於同時代漫畫發展主流，豐氏以毛筆為媒材，單幅作品為主的方式，在中國現代漫畫這一領域中，在形式和風格上開創出極具個人風格與中國傳統文化特色的作品。他之所以如此的原創，正是因為他是如此的傳統，本文即從中國傳統文化的面向探索、詮釋豐氏漫畫。 「文人」即指中國傳統知識份子，豐子愷豐厚的文化素養、人格特質與個性、及文學、佛學等其它藝術修養，皆源源不絕提供他漫畫創作所需的靈感與視野。是以本以採取中國傳統畫中「畫品即人品」—藝術家之人格、性情、思想，無一不展現在作品中—之美學觀，為觀察要點之一。其次「抒情」是中國文化美學主流，豐氏作品以此為主要表現方式。就風格而言，豐子愷的漫畫介於「國畫」與「漫畫」之間，筆墨的形式風格可上接中國文人減筆畫脈絡，風格率意自然、構圖簡潔明暢、線條疏淡灑落，「中國趣味」是豐子愷漫畫美學的焦點。在他的中國式漫畫中，中國傳統繪畫獨有的筆墨韻味、詩情哲理、文學素養，以及簡化、象徵、變形等形式手法等，在他漫畫作品中得到充分的繼承和發展。 本文第一章論述豐子愷文人背景養成過程，包括影響他一生創作重要的時機與學習對象。第二章以漫畫發展為縱軸，將民初漫畫發展始末的大致情況作簡要說明，目的是襯托出豐氏漫畫與眾不同之處。其次分析豐氏最初創作漫畫的機緣及風格源由，日本畫家竹久夢二(1884－1934)與陳師曾(1876-1923)皆為他敬仰學習的對象，同時陳師曾之〈文人畫價值〉亦為參考論點。同時並討論豐子愷漫畫作品三期風格變化。第三章論述「文人抒情」之定義與特質，並佐以大量圖像分析。「抒情」則分為題材與表現手法二層次討論，「畫題」的使用則可見豐子愷如何善用文字介入圖像。最後以《漫畫阿Q正傳》為結，他以知識份子對社會懷抱的淑世理想與同情心理，貼近魯迅(1881~ 1936)創作動機，更可見豐氏作品「文人抒情」之特質。 結論：將文學性注入漫畫圖像、雅俗共賞的藝術成就、文人抒情美學。以此三點總括豐氏漫畫作品特質，希望可以論証中國漫畫的風格特色，同時對豐子愷漫畫提出一個新的詮釋面向。 Abstract Feng Zikai (1898-1975) is the father of Chinese cartoon, and he had devoted all his life to art creation. The style of his cartoon works is so unique that distinguishes from the mainstream of the cartoon from the same period. In the field of modern Chinese cartoon, by using “mao bi’ (Chinese writing brush) and painting in one column, Feng Zikai created his work, both in form and in style, with a characteristic of extremely personal color and Chinese traditional culture. It is his traditional character that makes his creativity so original. This study is going to probe and interpret “Feng’s Cartoon” on the basis of Chinese traditional culture. “Wen ren” means Chinese literatus Feng’s disposition and character, his plentiful cultural cultivation and long-term engagement of literature, Buddhism and other arts are the source which provide without fail the inspiration and landscape that he needs for painting cartoon. Traditionally, Chinese painters views that “Paintings are what one’s character presents”, i.e., a person’s work is the reflection of his the character, disposition, and thought. This study would like to take such perspective of aesthetics as one of the key observations. On the other hand, “lyric” is the mainstream of Chinese cultural aesthetics, and this is also the major manifestation of Feng’s work. Feng’s cartoon style lies between “traditional Chinese painting” and “cartoon”. His stroke and brush-wielding inherits the trend of simplicity among Chinese scholars. This trend of simplicity appears relaxed and natural style, pithy and smooth skeleton, and scattered and genial lines and these are also what composes the so called “Chinese fancy” in which lies the focus of Feng’s cartoon aesthetics. Feng Zikai’s Chinese cartoon fully represents and develops which are exclusive to Chinese painting, i.e., the aroma of brush-wielding, poetic rhythm, Chinese philosophy, literature, and the manifestation of simplification, symbol, distortion, etc.. The first chapter of this thesis discusses the process of how Feng Zikai cultivated as a literatus, including the very important opportunity and learning objects that influenced his work very much. On the basis of the development of cartoon, the second chapter starts with a brief summary of the general situation of cartoon developed in early years of the Republic to serve for contrast the Feng’s cartoon‘s unusualness. It goes on to analyze the motivation which inspired Feng Zikai to work on cartoon and the source of his painting style. Japanese painter 竹久夢二 (Yumeji Takehisa, 1884－1934) and 陳師曾(Shizheng Chen, 1876-1923) are both Feng’s respectable learning objects, and Chen’s “the value of literati’s painting” is a considerable reference for Fen Zikai. The third section discusses the evolution of Feng’s cartoon in three stages. The third chapter elaborates the definition and essence of “literati lyric” and analyzes with the assistant of plenty of pictures. In this chapter, we are going to discuss “lyric” from the two standpoints, topic and manifestation. Further to discuss Feng Zikai’s “ topic of painting” in which the observation is made that how well he introduces words into paintings. Finally, the thesis ends with the comment of “Cartoon of the True Story of Ah Q”, Feng’s work, where much more color of “literati lyric” is seen. In this work, Feng got closer to the motif of Lu Xun’s creation (魯迅, 1881~ 1936) by his passion and compassion for the society as a scholar. The following three phrases may fully depict the main characters of Feng Zikai’s work: cartoon infused with literature, art achievement admired by scholars and laymen alike, aesthetics of literati lyric. This thesis is also to prove the particular style of Chinese cartoon as well as to bring up a brand new interpretation to Feng Zikai’s cartoon. |
