張光宇與1920、30年代的政治肖像漫畫;Zhang Guangyu and the Political Caricatures in the 1920s and 1930s

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题名:	張光宇與1920、30年代的政治肖像漫畫;Zhang Guangyu and the Political Caricatures in the 1920s and 1930s
作者:	蔡競然;Cai,Jingran
贡献者:	藝術學研究所
关键词:	張光宇;政治漫畫;肖像漫畫;《十日談》;《時代》;現代性;Zhang Guangyu;caricature;political cartoon;Decameron (Shiritan);Modern Miscellany (Shidai);modernity
日期:	2015-06-30
上传时间:	2015-07-31 01:43:39 (UTC+8)
出版者:	國立中央大學
摘要:	中文摘要三零年代的上海，新舊、中西多元文化交匯。漫畫家集聚活躍，漫畫作品豐富多彩，展現了不遜於其他視覺藝術形式的前衛特質；同時作為一種含蓄、機敏的諷刺圖像，漫畫也是文字之外，表達公共輿論的重要方式。本論文的研究對象為張光宇20、30年代的政治漫畫（特別是政治肖像漫畫），包括發表在《上海漫畫》、《時代》、《十日談》、《時代漫畫》等雜誌上的相關作品。這些作品，一方面展現了張光宇獨特的政治人物漫畫形象的演變過程；另一方面，也反映了漫畫與政治、新聞、印刷之間複雜而互動的關係。本論文分為四章論述。第一章回溯了從早期諷刺畫到張光宇等人創辦的《上海漫畫》的發展歷程，《上海漫畫》標誌著新一代漫畫家群的崛起以及他們對漫畫這個畫種的認同與實踐，頭像系列是漫畫家對於簡化誇張的人物展現方式的探索的開始。第二章則關注《時代》上張光宇及其弟弟張振宇創作的一系列精緻、摩登的政治人物漫畫，這些作品既受到西方漫畫家、流行雜誌和Art Deco風格的影響，也關乎到以一種新的眼光看待本土的民間藝術。第三章則探討漫畫與新聞的關係。三零年代收緊的輿論空間使得諷刺幽默的漫畫創作繁榮興盛，而張光宇創作的《十日談》封面漫畫無疑是一次成功的嘗試，無論是融合現代摩登與東方韻味的圖像風格，還是其含蓄的敘事性所反映的對時事的觀察與判斷。第四章將聚焦張光宇創造的政治人物漫畫可能呼應的一場更大範圍的肖像漫畫流行風潮，這股風潮很可能與20、30年代整體社會意識中個性的解放與幽默的流行有關。而能夠欣賞這些漫畫的觀眾，很可能是社會的中間階層。 ;Abstract 1930’s Shanghai was a hub of old and new, western and eastern culture. Caricatures and cartoons, as new forms of visual art, reflected the qualities of modernity and the avant-garde no less than others forms. Caricaturists and cartoonists tended to gather together to produce rich and colorful works. Meanwhile, caricatures and cartoons were as important as words in the expression of public opinion. The main idea of this thesis is that political cartoons (especially the portrait-caricatures) created by Zhang Guangyu in 1920s and 1930s, including the works published on Shanghai Sketch (Shanghai manhua), Modern Miscellany (Shidai), Decameron (Shiritan), Modern Sketch (Shidai manhua) and so on, not only displayed the gradual evolution of Zhang Guangyu’s innovative style but also revealed the intricate and interactive network of caricature, politics, print, and journalism. Chapter 1 focuses on Shanghai Sketch, edited by Zhang Guangyu and others, a new periodical that demonstrated the rise of a new generation of caricaturists and their pride in doing caricatures and cartoons. Several regular columns devoted to portrait-caricature in Shanghai Sketch marked the beginning of caricaturists’ exploration of representing human features in a simplified or exaggerated way. The second chapter focuses on a series of sophisticated and modern political portrait-caricatures done by Zhang Guangyu and his brother Zhang Zhenyu that were published in Modern Miscellany. These works were not only influenced by western caricaturists, popular magazines and the Art Deco style but were also related to new interpretations on traditional Chinese folk art. Chapter 3 discusses the relationship between caricature and journalism. The shrinking sphere for open expression of public opinion in the 1930’s may have led to the popularity of satirical and humorous caricatures and cartoons. The covers of Decameron drawn by Zhang Guangyu were a successful example of blending the modern western fashion, the ancient eastern flavor, and keen but subtle political critique. In chapter 4 we see that these arresting political figures created by Zhang Guangyu may have foreshadowed a wider portrait-caricature trend. Furthermore, a widespread appreciation during this period for individuality and for humorous, witty criticism may have contributed to the popularity of caricatures and cartoons. Based on the rough analysis of these periodicals’ readers, the people who were most able to appreciate these caricatures were generally middle-class and young.
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