| 摘要: | 馮潤芝（1851-1942）生於番禺，是清末民初廣東著名的人物畫畫家。他畫學淵源中西兼備，前期受華喦（1682-1756）等福建一帶人物畫畫風影響，後又習海上畫派錢慧安（1833-1911）一路的人物畫技法，錢派畫風遂成為馮潤芝人物畫的標志。馮潤芝在「鼓吹革命」的年代積極投入到了廣東畫報事業，與一衆美術同仁參與《時事畫報》、《賞奇畫報》以及《真相畫報》等畫報的創作與出版工作，為後人留下了大量晚清社會圖像。馮潤芝還曾為屈臣氏等公司繪製月份牌，在石印報業、繪畫教育等方面都有所貢獻。晚年則選擇回歸傳統，參與國畫研究會、文學書畫研究會等藝術團體的活動。在移居澳門後，其人物畫風格也形成了一定的影響。
本文主要以廣東博物館和廣東省立中山圖書館合編，在2014年出版的十冊《時事畫報》合集為主要的論述材料，在前人研究的基礎上試圖更詳細地構建馮潤芝生平及其時事畫的整體面貌。本文第一章是對他生平經歷的梳理，包括中西兼備的畫學淵源、參與畫報事業的過程及晚年的風格及價值轉向等；第二章以馮潤芝最重要的時事畫主題，即涉外時事畫為例，分析其時事畫的特色與圖像來源；第三章則更整體地梳理馮潤芝涉外時事畫的主題内容，包括外國人強權、在文明進步中的外國人形象、革命浪潮等，分析馮潤芝對晚清中國與外國的交往關係的描繪和展現，以及他對新聞圖像的建構策略與方法。
;Feng Runzhi (1851-1942), born in Panyu, was a famous Chinese figure painter in the Guangdong region during the late Qing and early Republican periods of China. Feng was adept at both Chinese and Western styles of painting. His early paintings were influenced from figure painters in the Fujian area, including the prominent Hua Yan (1682-1756), while his later figure paintings were increasingly characterized by the style of Qian Hui’an (1833-1911), another eminent painter in the latter stage of the Shanghai School, after Feng had imitated and mastered the techniques employed in their artworks. Around the time of the 1911 Revolution, Feng was committed to the cause of illustrated newspapers in Guangdong, joining other fellow artists in the illustration and publishing work for illustrated newspapers like Shishi Huabao (Journal of Current Pictorial 時事畫報), Shangqi Huabao (賞奇畫報), and Zhenxiang Huabao (The Truth Record 真相畫報), and leaving a rich legacy of portraits of society in the late Qing Dynasty. Feng also helped create monthly calendar posters for companies like Watsons and made contributions to the development of lithographed newspapers and the education of painting. In his later years, he returned to the tradition, participating in activities related to art societies such as the Chinese Painting Society and the Society of Literary, Calligraphy, and Painting. After he moved to Macau, the style of his figure paintings had some influence on the local painting scene.
This essay aims to contribute to building a more comprehensive picture of Feng Runzhi’s life and facilitate a deeper understanding of his illustrations of certain themes, on the basis of previous research on this topic and additional materials, which includes, most importantly, the complete set of Journal of Current Pictorial, jointly compiled by the Guangdong Museum and Sun Yat-Sen Library of Guangdong Province and published in ten volumes in 2014. The first chapter of this paper is a summary of Feng’s life, including how he became proficient in both Chinese and Western painting techniques, his involvement in the development of illustrated newspapers, and his shift towards a more traditional painting style and more conservative values in his later years. The second chapter centers around Feng’s most significant paintings of foreign-related events, analyzing their characteristics and tracing the possible sources of inspiration for the images. The third and final chapter explores the themes of Feng’s representative illustrations of foreigners and foreign-related events. These themes include foreign aggression, the progressive image of westerners and the western revolutionary wave, and so on. At the same time, this chapter also analyzes Feng’s depiction of the foreign relations of the late Qing Dynasty, as well as his methods used in constructing images for news events. |
