葉淺予(1907-1995)1937年前服裝畫分析;The Fashion Prints by Ye Qianyu(1907-1995) prior to 1937

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Title:	葉淺予(1907-1995)1937年前服裝畫分析;The Fashion Prints by Ye Qianyu(1907-1995) prior to 1937
Authors:	張文薰;Chang, Wen-Hsun
Contributors:	藝術學研究所
Keywords:	葉淺予;服裝畫;《良友》;《上海漫畫》;《時代》;Ye Qianyu;fashion prints;The Young Companion;Shanghai Sketch (Shanghai manhua);Modern Miscellany(Shidai)
Date:	2017-05-23
Issue Date:	2017-10-27 16:22:33 (UTC+8)
Publisher:	國立中央大學
Abstract:	民國初年上海中西文化交匯，大量外國雜誌、服裝商與外資紡織廠的輸入，間接影響了上海服裝款式的多元性。在此中西交融的服裝風格下，許多服裝畫出現在出版物中。藝術家們接受服裝公司的委託，將服裝畫安排在不同刊物的版面上，巧妙的運用服裝畫與製衣廣告、女性用品、配件等廣告在同一版面，達到引起觀者購買的慾望。本論文研究對象為葉淺予1937年前服裝畫，取材範圍包括《三日畫報》、《良友》、《上海漫畫》、《時代》與《玲瓏》雜誌。這些服裝畫不僅記錄葉淺予服裝設計理念的轉變，也顯示當時婦女服飾與西方服裝元素之關聯，甚至牽引出當時服裝設計師定位之討論。本論文分為三章論述。第一章從葉淺予早年經歷開始，討論家庭與學歷給予他藝術的紮根，並討論他的繪畫技法與畫風成因。從他較早期在《三日畫報》與《良友》的服裝畫開始分析，包括畫面人物造型、姿態與時裝細節比對。第二章分析的對象以《上海漫畫》上葉氏的服裝畫為主，由於數量較多，分為旗袍、大衣與禮服三個小節作更詳盡的分析。討論的重點為畫面的整體氣氛營造與人物姿態的對比，在此時期服裝畫多數如櫥窗一般，給予觀者對於服裝有更多想像空間與嚮往。第三章延續《上海漫畫》後期出刊的《時代》和〈上海服裝研究社〉發表於《玲瓏》的服裝畫，觀察到此時期的服裝畫更偏向於服裝打樣的性質，而非服裝廣告畫，服務的群眾大多為中產階級或中高階層活躍的婦女。從葉淺予服裝畫每個階段的演變，展現出他在當時服裝畫中獨樹一格的特色。;With the integration of Chinese and Western cultures in early Shanghai in the Republic of China, large numbers of foreign magazines, clothing companies, and foreign-funded textile factories affected the diversity of Shanghai fashion. As Chinese and Western clothing styles were blended, many costume pictures appeared in printed materials. Artists were being engaged by apparel companies to arrange costume pictures in different publications. They cleverly used fashion illustrations in clothing ads, feminine care products, accessories, and other advertising on the same page to cause readers to purchase them. The main idea of this thesis is about Ye Qianyu’s fashion prints before 1937, including Three day pictorial(Sanri huabao), The Young Companion, Shanghai Sketch(Shanghai manhua), Modern Miscellany(Shidai), and Ling Long Women’s Magazine. These fashion prints not only recorded the changes of Ye Qianyu’s concepts of clothing design but also showed the association of women′s clothing and Western outfits. It even pulled out the discussion of the position of fashion designers. Chapter1 focuses on the early experiences of Ye Qianyu, discusses the family and the education that gave him the root of art, and explains his painting techniques and styles. The analyses begin from his earlier Three day pictorial(Sanri huabao) and The Young Companion, including screen character modeling, gestures, and fashion detail comparison. The second chapter goes to Shanghai Sketch (Shanghai manhua) on fashion prints. Because of the large number, I divide them into qipao, coat, and dress for detailed analyses. Discussions focus on the overall atmosphere of the picture to create a contrast with the attitude of the character. During this period, costume paintings are like shop windows, giving the viewer more imagination and a greater longing for clothing. Based on Modern Miscellany(Shidai), published by Shanghai Sketch (Shanghai manhua), and the clothing painting which Shanghai Garment Research Institute published in the Ling Long Women’s Magazine, Chapter 3 shows this period of clothing painting focused more on clothing proofing than on clothing advertising painting, serving mostly the middle-class or socialites. Ye Qianyu’s fashion prints at each stage of development show he was a unique figure in the fashion prints.
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