| 摘要: | 二十世紀初的西方人是如何看待中國美術？目前相關的研究尚未充足，因此本論文以Laurence Binyon (1869-1943)於1908年英語著作《遠東的繪畫》(Painting in the Far East)為核心，並聚焦於宋代繪畫之上，分析二十世紀初中國美術史學在西方的建構過程。Laurence Binyon為英國詩人、劇作家、文學評論家、藝術史家及大英博物館部長。他的藝術史相關著作橫跨東西領域，其中《遠東的繪畫》一書，介紹中國及日本的繪畫，經過多次再版，對西方世界具有一定的影響力。為了更客觀地探討《遠東的繪畫》在二十世紀初的定位，本文將此書與出版時間相近的其他英語著作進行比較。對於宋代人物畫，Binyon提到的畫家僅有北宋李公麟一人，而且他所推崇的李公麟畫風為描繪精細、色彩鮮豔的羅漢作品。然而，這類畫風目前已被學界認定為南宋職業畫家風格，與實際上李公麟的白描風格有極大差異。對於Binyon誤解李公麟的原因，本文從Binyon的美術史知識進行探源。此外，Binyon未提及梁楷、牧谿的水墨人物畫，本文從外貌擬真的角度，說明Binyon仍保留西方人物畫的觀看習慣。對於宋代山水、花鳥畫，Binyon提到的作品均為南宋風格，可見他所認識的宋代山水畫極為片面。背後之因，主要是受到日本影響。另一方面，Binyon以西洋美術史作為類比來理解宋代山水、花鳥畫，包括文藝復興及modern的概念，還提出十九世紀歐洲人心靈與宋代繪畫內涵相互呼應之說法。本文除了透過文本解讀與作品分析，釐清Binyon對宋代山水、花鳥畫的看法，同時嘗試還原出中日文化交流及東西交流的來龍去脈。What did Westerners consider Chinese art in the beginning of the 20th Century? The researches on this issue have not been enough. Therefore, this dissertation focuses on Laurence Binyon’s English book Painting in the Far East published in 1908, then delves into Song Painting, and examine the development of Chinese art historiography in the West during the early 20th Century.Laurence Binyon (1869-1943) was a man of great versatility in Britain: a poet, a playwright, a literary critic, an art historian, and also a curator of British Museum. His art history publications went across West and East. Painting in the Far East was intended for introduction of Chinese and Japanese painting, subsequently reprinted for many times, and has considerably influenced the West. To analyze more objectively the position of Painting in the Far East, this dissertation compares this book and several other English books published approximately contemporaneously.With regard to Song figure painting, Binyon only mentioned Li GongLin of Northern Song and appreciated Li GongLin’s works for being colorful and exquisite. However, this kind of style is attributed to that of professional artists of Southern Song and considered to be different from the real Li GongLin’s Baimiao style of brushwork by contemporary scholars. Regarding such a misunderstanding, this dissertation explores the sources of Binyon’s knowledge of Chinese art history in order to find out the reason behind. In addition, Binyon did not mention ink figure painings of Liang Kai and Mu Qi. This dissertation proposes an explanation from the representational point of view that Binyon still kept the western tradition of seeing.All the works related to Song landscape and flower-bird painting in Painting in the Far East are Southern Song style. It is evident that Binyon’s conception of Song landscape painting is incomprehensive and fragmentary. Actually, his view was much influenced by Japanese. On the other hand Binyon made an analogy to western art history with terms like Renaissance and the idea of modern. For him, the Song painting seemed to echo with the minds of the nineteenth century in Europe. This dissertation, in addition to clarifying Binyon’s conception of Song landscape and flower-bird painting by analyzing texts and works of art, intends to probe into cultural exchange between China and Japan, and between East and West. |
