鏑木清方口繪版畫研究：以「泉鏡花系列」為核心; The Study of the Prints of the Izumi Ky?ka’s Series by Kaburaki Kiyokata

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題名:	鏑木清方口繪版畫研究：以「泉鏡花系列」為核心;The Study of the Prints of the Izumi Ky?ka’s Series by Kaburaki Kiyokata
作者:	林怡利;Lin,Yi-li
貢獻者:	藝術學研究所
關鍵詞:	鏑木清方;泉鏡花;口繪版畫;浮世繪版畫;出版文化;明治大正時代;Kaburaki Kiyokata;Izumi Ky?ka;Kuchi-e prints;Ukiyo-e prints;Publish culture;Meiji-Taish? periods
日期:	2013-07-19
上傳時間:	2013-08-22 12:18:05 (UTC+8)
出版者:	國立中央大學
摘要:	鏑木清方（1878-1972）為活躍於大正至昭和年間，日本畫的代表畫家之一，其融合江戶、明治風情與文人寫意的世俗人物畫，參加官方文部省展覽會與帝國美術展覽會，屢屢入選獲獎，身為日本畫家成就備受肯定，但這是否能總括鏑木清方長達八十年畫業之全貌？事實上，在他成為專職的日本畫家之前，也就是明治三十年至大正六年（1897-1917）的二十年間，以插畫工作為主，深受當時代讀者與出版社青睞。目前相關的研究僅針對鏑木清方整體畫業，或插畫作品進行總覽，甚少深入風格的分析與比較。本論文將以他為近代浪漫派小說家泉鏡花（1873-1939）所作的系列口繪版畫為核心，就構圖、線描、色彩及製版技術的運用，進行具體風格探討，再續而對比江戶浮世繪、同代插畫家之作，觀其時代意義。口繪版畫為插畫一類，自明治二十年代末開始，附刊於小說單行本與文學雜誌的卷首頁，蔚為風行。儘管學者們多認為木版畫為口繪之正統，但此時也不乏石印、珂羅版、原色版等多元製作技術。鏑木清方在文集和回憶錄中，對此時的插畫和出版文化有諸多描述，同時亦為春陽堂以純文學和石印為主的《新小說》，以及博文館以商業和木版為主的《文藝俱樂部》，製作口繪，藉由兩種不同趨向的刊物，得見畫家如何在各異其趣的出版意圖中，調和大眾喜好與個人特色之態度。鏑木清方的「泉鏡花系列」口繪版畫，創作於明治三十五年至大正二年間（1902-1913），總計二十二幅，在他為單一作家製作的口繪中，臻至完整、精美之代表作。「泉鏡花系列」特色，主有三：一是既具情節性延展，亦表達小說主角的性格與身分地位，營造如電影劇照般氛圍。二是恰如其分運用木版與石印技術，並匠心獨具將兩種技法特點，靈活融入各自口繪之作。三是回歸江戶浮世繪中盛期的典雅，同時又忠實蘊含小說敘事與人物情感，影響日本畫的構圖和題材選擇。鏑木清方兼容並蓄的口繪作品，成為當時代讀者心目中，接續紛亂至安定時代裡「復古與創新」之橋梁。 Kaburaki Kiyokata (1878-1972) was one of the representative nihonga painters in Taish?-Showa periods. His figure paintings, fusing secular savor of the Edo-Meiji worlds and elegant literati taste, often won prizes in Bunten and Teiten, the Japanese official fine art exhibitions. His achievement as a painter has been recognized, but could it sum up Kiyokata’s career? In fact, Kiyokata worked as a popular illustrator in Meiji-Taish? periods before he became a professional nihonga painter. Although Kiyokata’s early biography and works have been studied, detailed analysis of his prints are still scanty. For this reason, this thesis will focus on the visual features and technique of the kuchi-e prints by Kaburaki Kiyokata, with focus on the works made for the famous romantic writer Izumi Ky?ka (1873-1939). Moreover, to explore the significance of this period, I will compare Kiyokata’s works with the ukiyo-e prints of the Edo period as well as with those of other illustrators’ in the Meiji-Taish? periods.The kuchi-e prints were often inserted in the frontispieces of novels and literary journals from the Meiji 30s. Despite the fact that many scholars consider those made with woodblock technique as the most important type, there are many different techniques, such as lithography, collotype and heliotype. One trait of Kaburaki Kiyokata’s works is that he was good at all kinds of technique. For instance, his works in the “New Novel” were lithography and those in the “Bungei Club” were woodblock prints. Since the two publications aimed to attract different readers, it demonstrates how Kiyokata adjusted his styles to meet public preferences. The prints of Izumi Ky?ka’s series by Kaburaki Kiyokata were mainly made from Meiji 35 to Taish? 2 (1902-1913). With twenty-two pieces in total, these works offer a complete series to show the cooperation of a writer and an illustrator. The Izumi Ky?ka’s series have three features. First, they not only show a part of the plot of the novel but also express characters’ personality and social status, creating an atmosphere similar to film photographs. Second, Kiyokata used woodblock and lithography appropriately to make prints, and fused the traits of both skills in some works. Third, they are not only traced back to the features of ukiyo-e prints but also contain new elements of narrative literature and inner emotions of the figures. These features deeply influenced his nihonga paintings. In conclusion, the prints of Izumi Ky?ka’s series by Kaburaki Kiyokata connected the elements of nostalgia and innovation appropriately, which received readers’ recognitions in the Meiji-Taish? periods.
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