| 摘要: | 大多數人都同意：印刷媒體在中國現代化啟蒙過程中扮演了一個重要角色。印刷使得一群更廣大的讀者可以獲取知識，並且在前人知識成就上增加新的累積。如果印刷媒體包含了所有文字與視覺傳達的各種印刷形式，長時間以來後者所吸引的印刷文化研究遠不及前者，有如文字是唯一適切的知識傳遞管道。今天我們相信圖像不僅也具有傳遞知識的功能，更能夠組織我們的視覺習慣，後者又在我們賦予視覺經驗意義的行為中產生作用。本計畫的研究對象是中國在採用新式的圖像複製印刷技術後蓬勃發展的圖畫報刊。本計畫獲益於近年來大量清末民初圖畫報刊的重印，時間涵蓋範圍從十九世紀末至二十世紀中。如果再加上稍早重印的《點石齋畫報》，這些圖畫報刊構成一個龐大連續的資料庫，即使重印本未必窮盡所有，這些豐富資料正等待一個系統化的探討。本計畫將聚焦在三個議題。首先，在圖畫報刊中—如同在學校教育與學堂展覽會中—大量出現的博物圖像，如何承載並傳遞了寫實風格的正面價值，這個寫實價值在 1920 年代的藝術論辯中構成一個核心論據。其次，在圖畫報刊中大量出現的風景名勝圖像—中國與外國皆有，如何在國家與文化認同的形塑上起作用？第三，在能夠有效摹擬灰階的圖像複製技術之前與之後，藝術品—中西皆有—圖像的複製如何影響大眾對藝術的認知？甚麼又是與藝術品認知密切相關的視覺技巧種類？本計畫試圖從一個廣義的視覺文化研究角度，對上述三個議題做系統化的探討。 It is commonly assumed that the print media played an important role in the process of Chinese modernization and enlightenment. Print gave a broader range of readers access to knowledge and enable generations to build on the intellectual realizations of earlier ones. While print embodies all form of printed text, as well as printed forms of visual communication, the latter has been relatively overlooked by print culture scholars, as if word were the only appropriate vehicle for transmission of knowledge. Nowadays, we believe that man-made images are not only able to convey knowledge, but also are able to alter and articulate our visual habits, which in turn will give shape to our visual experiences. This project aims at exploring early Chinese pictorials which flourished after the advent of new mechanical image reproduction technologies in late nineteenth century. This project benefits from recent reprint of early Chinese pictorials, ranging from the end of the nineteenth century to the mid twentieth. With addition of the earlier reprint of Dianshizhai Pictorial, they constitute an almost all-encompassing, though certainly not exhaustive, database waiting for investigations. This project will focus on three issues: First, how the largely present botanical and zoological images in illustrated pictorials, and also in school teaching and exhibition practices, helped to convey the positive value of realistic pictorial style, which will become a crucial argument in the 1920’s artistic debates; Second, how the images of landscape and monuments, both Chinese and foreign, helped to articulate a formulation of national and cultural identity; Third, before and after the use of image printing technologies capable of simulating continuous tone, for instance photoengraving and collotype, how the reproduction of images of works of art, both Chinese and Western, worked on the public perception of art, and what were the preferred class of visual skills specially relevant to the perception of works of art? This project intends to investigate on the above mentioned issues, in a loosely defined way of visual culture studies. 研究期間：10008 ~ 10107 |
