Mary August Mullikan, 一位1920年到1946年在華活動的美國女畫家;Mary August Mullikan, an American Artist in China, 1920-1946

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Title:	Mary August Mullikan, 一位1920年到1946年在華活動的美國女畫家;Mary August Mullikan, an American Artist in China, 1920-1946
Authors:	周芳美
Contributors:	國立中央大學藝術學研究所
Keywords:	穆瑪麗;Anna M. Hotchkis;旅行寫生;中國科學和美術學會;Mary Augusta Mullikin;Anna M. Hotchkis;travel painting;The China Society of Science and Arts
Date:	2018-12-19
Issue Date:	2018-12-20 14:22:06 (UTC+8)
Publisher:	科技部
Abstract:	美國女畫家Mary August Mullikin (穆瑪麗，1874-1964) 1920年4月來到中國天津定居，一直到1946年戰後才加入英國撤僑行動離開中國。她在中國的26年歷經了北伐戰爭的混亂、國府的建設時期、日本佔領天津時的限制生活。她曾被上海租界區的西方藝評家評為是當時在華的一流洋人畫家，而她的作品亦在天津、北平、上海公開展覽出售。由於她作品受到歡迎，她不像一些專職藝術家必須全職教書、替報刊畫漫畫插畫，反而可以全心準備長途旅遊，從事寫生活動。1931年到1936年間，在戰亂和現代文明破壞完中國古老的宗教建築物之前，她和另一位英國女畫家Anna M. Hotchkis (1885-1984)歷盡艱苦參訪了雲岡石窟和中國九座聖山，實地寫生，以畫筆呈現它們靜謐崇高之美。透過她生花妙筆所描述的宗教建築物歷史、民國時期的保留狀況和她們的旅程，再配上兩人的素描和水彩作品，她們為後人留了下兩本英文藝術圖文書。這個壯舉至今尚未有任何藝術家可以匹敵，在對外介紹中國佛、道教的文化和藝術上，她們其實亦有功勞。本計畫將透過分析一手文獻資料和畫作的風格分析，解答二個面向的問題：(1) 斷定穆瑪麗的風景畫風格及其是否曾在中國風景畫壇佔有一席之地，或影響中國畫家；(2) 她的作品在回到美國本土時是否受到注意。 ;The American woman artist, Mary August Mullikin (1874-1964) came to China in April, 1920 and settled in Tianjin. She did not leave China until 1946, when she joined the British as they withdrew their nationals from China. During the 26 years of her stay in China, she lived through the chaos of the Northern Expedition, the establishment of the Nationalist government, and Japanese occupation of Tianjin. Western art critics in Shanghai’s International Settlement regarded her as the first rate foreign artist in China, and her works were exhibited and sold in Tianjin, Beijing, and Shanghai. Unlike many other artists, she did not need to teach full-time or do newspaper and magazine illustrations due to the popularity of her works, so she could devote her full energies to traveling and depicting what she saw. From 1931 to 1936, before war and modern civilization had destroyed much of China’s old religious architecture, she and another woman artist, Anna M. Hotchkis (1885-1984) overcame many hardships and obstacles to visit the Yungang Caves and all of China’s nine sacred mountains, where they did paintings on-site and sought to express the lofty, tranquil beauty of these places. Their exquisite oil paintings, drawings, and watercolors, as well as Mullikin’s descriptions of the history and state of preservation of the religious buildings, and their travel accounts were preserved in two illustrated English-language books. No other artist has quite matched this accomplishment, and they did much to introduce Chinese Buddhist and Daoist art and culture to the West.This research project will seek to answer two questions through an analysis of first-hand textual materials and a stylistic analysis of the paintings: (1) identify Mullikin’s style and determine whether she had once occupied a position of preeminence in Chinese scenic painting circles or had influenced any Chinese artists; (2) whether her works had received any attention after she returned to the United States.
Relation:	財團法人國家實驗研究院科技政策研究與資訊中心
Appears in Collections:	[Graduate Institute of Art Studies] Research Project

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