博碩士論文 103126002 詳細資訊




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姓名 洪楷晴(Kai-Chin Hung)  查詢紙本館藏   畢業系所 藝術學研究所
論文名稱 建構日本繪畫史:以Louis Gonse的《日本美術》為例
(Constructing the History of Japanese Painting: A Study on L′Art Japonais by Louis Gonse)
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摘要(中) 《日本美術》(L’Art Japonais)一書於1883年出版,作者為法國藝評家Louis Gonse(1846-1921)。此書共有兩冊,經歷多次再版,在1891年有英文譯本問世。內容按照媒材分類書寫,包含了〈繪畫〉、〈建築〉、〈雕塑〉、〈漆器〉、〈織品〉等主題,並附有千幅以上的圖版,為西方第一本日本美術史書。此書出版的背景為西方「日本主義」(Japonisme)盛行的時期,此時期最受關注的為浮世繪與印象派間的關聯,而《日本美術》也明顯表明了Louis Gonse對於浮世繪的喜愛。不過,除此之外,《日本美術》尚提供了此時期法國人觀看日本美術的其他視角及方式。

十九世紀末的歐洲人普遍對日本繪畫所知甚少,且評價不高。《日本美術》中的〈繪畫〉章節首次詳盡的記述日本繪畫史,並正視日本繪畫,其中一些鑑賞日本繪畫的觀點甚至反過來影響了日本人。本文第一章將針對作者Louis Gonse生平進行普查,並調查《日本美術》出版前十年間的相關主題著作,理解此時期西方人對日本美術的普遍認識。第二章則進一步剖析〈繪畫〉章節的內容,將分別針對書中的浮世繪、狩野派及琳派部分進行討論,理解Gonse對上述三種類別藝術的認識,以及他的書寫及鑑賞方式。第三章則將解析〈繪畫〉章節所使用的插圖,追溯書中插圖的圖像來源以及使用方式。透過文字及圖像兩方面的分析,還原十九世紀末法國人眼中的日本繪畫史,亦期望釐清Louis Gonse書寫《日本美術》時的限制與貢獻。
摘要(英)
L’Art Japonais was published in two volumes in 1883, by a French art critic, Louis Gonse (1846-1921). In 1891, this book was translated into English and published in the United States. Thereafter, it was re-edited and reprinted for several times. The chapters of L’Art Japonais are arranged by various types of art mediums, including “Painting,” “Architecture,” “Sculpture,” “Lacquer,” “Tissues,” etc. With more than one thousand of illustrations, it was regarded as the first book about Japanese art history available in the West. L’Art Japonais was written during the phenomenon known as Japonisme. Among many beloved Japanese art types at the time, the most popular was Ukiyo-e, which was revealed to be Gonse’s obsession. In addition, different ways of seeing Japanese art were observed in the book along with the revelation of multiple resources related to art in Japan that were previously unknown.

In the late nineteenth-century Europe, Japanese painting attracted minimal recognitions and interests. Gonse brought attention to the value of Japanese painting, and depicted a more diverse and comprehensive history of it. It was the first of its kind in scale and in content. Some of his evaluations were subsequently adopted by the Japanese. This thesis mainly focuses on the “Painting” chapter in L’Art Japoanis. The first chapter outlines the career of Louis Gonse and investigates other publications of the same genre between 1873 to 1883. Its intention is to explore the general understanding of Japanese art in the west at that time. The second chapter addresses the contents of the “Painting” chapter, including the parts of “Ukioy-e,” “Kano school” and “Rin school,” and analyzes the way Gonse appreciated and wrote about Japanese painting. The last chapter examines the illustrations in the “Painting” chapter and investigates the sources of the images as well as the text-image relations. Through the analysis of texts and images, this thesis attempts to recover the history of Japanese painting as it was understood by the late nineteenth-century French, and to comprehend Gonse’s contributions and the limitations he faced at the time.
關鍵字(中) ★ Louis Gonse
★ 《日本美術》
★ 日本主義
★ 浮世繪
★ 琳派
★ 狩野派
關鍵字(英) ★ Louis Gonse
★ L′Art Japonais
★ Japonisme
★ Ukioy-e
★ Rin School
★ Kano School
論文目次
論文提要...............................................................................................i
Abstract..............................................................................................ii
致謝辭.................................................................................................iii
目錄....................................................................................................iv
緒論.....................................................................................................1
第一章 Louis Gonse與《日本美術》......................................................8
第一節 日本美術引介者:Louis Gonse..................................................8
(一)多方位的藝術工作者...................................................................8
(二)日本美術愛好者.........................................................................12
第二節 十九世紀末法國人筆下的日本美術史:《日本美術》..................19
(一)《日本美術》之前的日本美術相關著作(1873-1883)...............19
(二)《日本美術》書寫特色..............................................................25
第二章 書寫繪畫.................................................................................31
第一節 《日本美術》中的葛飾北齋......................................................33
第二節 從狩野派觀看《日本美術》......................................................39
(一)狩野派與《日本美術》的書寫特色.............................................40
(二)日本美術中的「真」.................................................................45
第三節 琳派中的日本性.......................................................................49
第三章 《日本美術》中的圖版.............................................................56
第一節 內文插圖的圖像來源與功能......................................................56
(一)Henri-Charles Guérard所作插圖..............................................56
(二)繪本圖像的使用與接收.............................................................58
第二節 獨立圖版的製作與觀看............................................................64
結論..................................................................................................70
參考資料...........................................................................................75
圖版.................................................................................................83
附錄................................................................................................100
參考文獻
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21. Daniels, G., C. Tsuzuki ed., The History of Anglo-Japanese Relations 1600–2000: Social and Cultural Perspectives, London: Springer, 2002.
22. Eveit, Elisa, “The Critical Reception of Japanese Art in Europe in the Late Nineteenth Century,” Ph. D. Dissertation, Cornell University, 1980.
23. Floyd, Phylis, “Documentary Evidence for the Availability of Japanese Imagery in Europe in Nineteenth-Century Public Collections,” The Art Bulletin, Vol. 68, No. 1 (03/1986): 105-141.
24. Friedläender, Walter, Mannerism and Anti-mannerism in Italian Painting, New York: Columbia University Press, 1990. Reprint of 1957 edition.
25. Gonse, François, “Evolution de l’Image de l’Orient Japonais dans les Histoires de l’Art Japonais 1880-1912,” Regards et Discours Européens sur le Japon et l′Inde au XIXe Siècle, Limoges: Presses Universitaires de Limoges, 2000, pp. 205-229.
26. Gonse, François, “Louis Gonse (1846-1921) et le Japon,” Gazette des Beaux-Arts, 123 (1992): 81-88.
27. Gonse, François, “Une histoire de l’Art Japonais en 1883. L’Oeil de Louis Gonse,” Histoire de l’Art, n°40/41 (1998): 75-84. 
28. Hokenson, Jan Walsh, Japan, France, and East-West Aesthetics: French Literature, 1867-2000, Madison: Fairleigh Dickinson University Press, 2004.
29. Howard, L. O., Biographical Memoir of Edward Sylvester Morse 1838-1925, Washington: National Academy of Sciences, 1935.
30. Huang, Michelle Ying Ling ed., Beyond Boundaries: East and West Cross-Cultural Encounters, Newcastle: Cambridge Scholars, 2011.
31. Huang, Michelle Ying Ling, “The Influence of Japanese Expertise on the British Reception of Chinese Painting”, Michelle Ying Ling Huang ed., Beyond Boundaries: East and West Cross-Cultural Encounters, Newcastle: Cambridge Scholars, 2011.
32. Inaga, Shigemi, “Images Changeantes de l’Art Japonais: Depuis la Vue Impressionniste du Japon à la Controverse de l’Esthétique Orientale (1860-1940),” JTLA (Journal of the Faculty of Letters, The Univeristy of Tokyo, Aesthetics), Vol. 29/30 (05/2004): 73-93.
33. Inaga, Shigemi, “The Making of Hokusai′s Reputation in the Context of Japonisme,” Japan Review, No. 15 (2003): 77-100.
34. Kawakami, Akane, Travellers’ Visions: French Literary Encounters with Japan, 1881-2004, Liverpool: Liverpool University Press, 2005.
35. Lacambre, Geneviève ed., Le Japonisme, Paris: Ministre de la Culture et de la Communication, Editions de la Réunion des Musées Nationaux, 1988.
36. Macouin, Francis, Keiko Omoto, Quand le Japon S′ouvrit au Monde, Paris: Gallimard, Réunion des Musées Nationaux, 1990.
37. Marquet, Christophe, “Le Japon de 1871 vu par Henri Cernuschi et Théodore Duret,” Ebisu, Volume 19, Numéro 1 (1998): 45-80. 
38. Marquet, Christophe, “Learning Painting in Books: Typology, Readership and Uses of Printed Painting Manuals during the Edo Period,” Matthias Hayek, Annick Horiuchi ed., Listen, Copy, Read: Popular Learning in Early Modern Japan, Leiden, Boston: Brill, 2014, pp. 319-368.
39. Mizuta, Miya Elise, “”Fair Japan”: On Art and War at the Saint Louis World′s Fair, 1904,” Discourse, 28.1 (2006): 28-52.
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41. Pollard, Moyra Clare, Master Potter of Meiji Japan: Makuzu K−ozan (1842-1916) and His Workshop, New York: Oxford University Press, 2002.
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電子與網路資料
1. 國立國會圖書館電子資料庫(National Diet Library Digital Collections):< http://dl.ndl.go.jp >
2. 早稻田大學中日古籍資料庫(Japanese & Chinese Classics Database of Waseda Univeristy):< http://www.wul.waseda.ac.jp/kotenseki/index_en.html>
3. 岡田美術館:< http://www.okada-museum.com>
4. 日本國文學研究資料館之歐洲所在日本古書綜合目錄:6
5. 立命館大學藝術研究中心古籍資料庫:< http://www.dh-jac.net/db1/books/
search_portal.php >
6. Data.bnf.fr: < http://data.bnf.fr >
7. Institut National d’Histoire de l’Art:
8. Musée National des Arts Asiatiques – Guimet: < http://www.guimet.fr/fr/ >
9. National Gallery of Art: < http://www.nga.gov/content/ngaweb.html>
10. Nineteenth Century Art Worldwide: < http://www.19thc-artworldwide.org >
11. The Asiatic Society of Japan: < http://www.asjapan.org/web.php>
指導教授 巫佩蓉(Pei-Jung Wu) 審核日期 2017-8-21
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