| 摘要: | 昭和三年（1928）11月24日至12月20日，日本外務省與宮內省聯合舉辦「唐宋元明名畫展覽會」。本論文以本展覽為例，探討這種凝聚並呈現歷史意識的展覽模式、這個展覽在二十世紀二○年代中日藝術交流中扮演的角色、中日雙方對傳統藝術現代化的認知，以及從歷史角度觀看現代與傳統的關聯、藝術在文化外交中所佔據的地位。本文首先試圖還原展覽創立的原點，接著探討日本的主辦人員到中國尋訪名畫的過程，分析日本的展覽空間與展覽評論。該展的展覽圖錄出版，被視為中國藝術史視覺資料大量出現的一個高峰。另一方面，本文也從國際中國古畫主題展先驅的角度，探討唐宋元明展扮演的角色。由於「唐宋元明名畫展覽會」的籌畫與展出脈絡是1921至1931年間的中日聯合繪畫展覽會，本文接著透過五次中日繪畫聯展回顧二○年代中日畫家的交流，藉由報刊上的展覽評論，探討國畫、日本畫以及西畫彼此在公共展覽空間中的位置和矛盾。中日雙方編織的東方藝術願景、古今繪畫並行展出模式的建立，直接導向1928年的唐宋元明展及1931年的元明清名畫展覽會。本文最後分析日本實際推動、贊助、規劃展覽的機制與組織。1928年的唐宋元明展的中國方面展品主要來自民間收藏，它是透過中日結盟的藝術組織—東方繪畫協會籌畫的，如果說東方繪畫協會在中國的對應組織—中國畫學研究會在成立之初曾經獲得北洋政府的支持，中國官方對唐宋元明展的支持其實相當隱而不顯，相對之下，日本官方對中日藝術交流的涉入程度卻是與日俱增。最後，中國以「文化侵略」的宣言對日本的政策做出回應，導致中日合作的終止。本文探討在這個合作終止之前，唐宋元明展在日本對華文化政策中的定位。1931年九一八事件爆發，中日聯展畫下句點。但是回顧十餘年中日藝術交流，中國對於藝術展覽機構的建設、美術史的整理，也可說是受惠於唐宋元明展甚多，而這個歷史意義正是本論文所試圖發掘的目標。The Exhibition of Masterpiece Paintings of the Tang, Song, Yuan and Ming Dynasties, sponsored by the Japanese government from 24th November to 20th December 1928（3rd year of Sh?wa）, was organized by an exhibition committee constituted expressly for this purpose, including Ministry of Imperial Household（宮內省）and the Ministry of Foreign Affairs（外務省）. This thesis aims at exploring via this exhibition the following issues: how an exhibition of ancient Chinese paintings implying a certain kind of historical consciousness could take place at this moment, and in Japan instead of in China? Secondly, what is the role played by this exhibition in the Sino-Japanese art exchanges of 1920s? Thirdly, what were the conceived and perceived relation between traditional and modern paintings for both Chinese and Japanese? And lastly, what is the importance of art exhibitions in cultural relationship between China and Japan?Based on the above considerations, this article will mainly survey through three aspects. In the beginning, I will try to trace back to the origin of the exhibition, to investigate the process of Japanese sponsors collecting the masterpiece paintings when they went to China. I will also analyze Japan’s display space and exhibition critiques. On the other hand, the 1928 exhibition catalog was regarded as a peak of the emergence of Chinese art visual data. The 1928 exhibition being one of a series of Sino-Japanese joint exhibitions between 1921 and 1931, I will trace back to the cultural exchanges between Chinese and Japanese traditional painters. Further, by means of examining the exhibition critiques from newspaper, I will discuss the status and conflicts between Chinese paintings, Japanese paintings and yoga in public sphere. The ideal vision which China and Japan attempted to weave for the Orient, the adoption of the mode of displaying simultaneously ancient and modern paintings, both contributed to the realization of the 1928 exhibition and the 1931 exhibition. The last part of this thesis is devoted to study of the promotion and funding organizations of this exhibition. The Chinese contribution to the 1928 exhibition came mainly from private collections. While the institutional organ was the Association of Oriental Painting（東方繪畫協會）funded by Japanese government, it seems that Chinese government never provided full support to the 1928 exhibition. In contrast, Japanese official interferences in exhibition affaires did not cease to amplify all along the organizing process. In the end, China concluded with the term "cultural invasion" as a response to the above policy, which led to the rupture of the Sino-Japanese cooperation.On 18th September 1931, Japan invaded Manchuria, and this made the Sino-Japanese exhibitions come to an end. Nevertheless, by reviewing Sino-Japanese cultural exchange of 1920’s, we realize that the establishment of art displaying institution and the study of art history in China benefited in some way largely from the 1928 exhibition. This is the very historic significance this thesis aims to explore. |
