Li-chiang LIN 林麗江 | National Taiwan Normal University (original) (raw)
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Papers by Li-chiang LIN 林麗江
Kokka, 2022
The Remaking of the Classics: Study on Kano Sansetsu’s Chōgonka Scrolls ... more The Remaking of the Classics: Study on Kano Sansetsu’s Chōgonka Scrolls
Kano Sansetsu (1560-1651) claimed that he, instead of following models from the past, had created a new painting to illustrate the famous Chinese poem, the Song of Lasting Sorrow (Chōgonka). This artwork is comprised of two long handscrolls, and currently housed in the Chester Beatty Library. Even though illustrating the Chōgonka had a long tradition in Japan since the Heian period, Sansetsu was still proud to claim that he had produced a new version himself. How, then, did Sansetsu come to conceive the whole structure of this extensive scroll? In the first half of the seventeenth-century, great quantities of paintings as well as books were being imported from China into Japan. The images preserved by the pre-eminent Kano Tan’yū (1602-74) in Small Sketches by Tan’yū 探幽縮圖(Tan’yū shukuzu) clearly show that many Chinese paintings and printed materials were at the Japanese artist’s disposal. Bright-colored and lively-depicted narrative paintings were accepted as ancient Chinese masterpieces by the Japanese artists, even though a lot of them were forgeries produced by the booming art market in the late Ming China. Woodblock-printed books with many beautifully executed illustrations from China also served as a great resource for Japanese artists. This essay investigates how Kano Sansetsu might have employed those resources from China and also illuminates on his clever way to design the whole scroll. Researchers observed that Sansetsu was befriended with the learned scholars of his day and thus benefited from their learning on interpretation of the poem. This article also finds new evidence to show how the scholars in Kyoto might have helped Kano painters to create their art works, with their learning as well as their book collections. Finally, by carefully reading and analysing the Chōgonka painting, and examining the related documents, it gradually reveals Kano Sansetsu’s motive and ambition to create such a great art work.
Six Scenic Views in Song and Yuan Styles is a painting album in the collection of the National Pa... more Six Scenic Views in Song and Yuan Styles is a painting album in the collection of the National Palace Museum that has always been considered among the oeuvre of Qiu Ying, the professional artist of the Suzhou area in the Ming dynasty, and done in imitation of ancient Song and Yuan paintings at the residence of the collector Xiang Yuanbian. However, a number of unanswered questions continued to revolve around this set of album leaf paintings. Why was the painting silk cropped in numerous places, leaving the text incomplete? Why do three of the six paintings feature a red-robed official? And is this album truly a set of paintings done merely to imitate ancient works as claimed by Xiang Yuanbian?
After restoring and decoding the partial texts on the paintings, and referencing related documentary sources, the present study has been able to reconstruct the process behind the formation of this album. At the same time, it has been discovered that the handscroll of calligraphy Ten Paternal Aphorisms (Copying the Phrases of Tzu-wu’s Father) transcribed by Wen Zhengming (also in the National Palace Museum collection) was actually done for the same person as the album of paintings. Both works were made at the behest of Chen Yide, an official from Wuling serving in Suzhou at the time, for his father Chen Hongmo, who was also an official.
Once the identity of the official in Six Scenic Views in Song and Yuan Styles can be thereby confirmed, the album should be more accurately renamed as Six Scenic Views of Wuling Abode and the possible intent of the work more clearly explained. As it turns out, Chen Yide did not have the paintings done to extol the beauty of his hometown Wuling, but through the skillful arrangement of the scenes by Qiu Ying, the album leaves highlight the ambition and longing of the red-robed figure therein--his father Chen Hongmo. By returning the paintings to their original context of production and function at the time, the album leaves actually served to publicize the Chen family’s private holdings and, paradoxically, to privatize the local famous scenery. Finally, the album of paintings is also an important testimony to the diverse visual culture produced by officials in the Ming dynasty.
(Translated by Donald E. Brix)
藏於國立故宮博物院的《臨宋元六景》圖冊，向來被認為是明代蘇州職業畫家仇英，於項元汴家中臨摹宋元古畫而成的作品。然而，環繞著此套畫冊仍有重重未解之謎。為何畫冊上有多處畫絹被裁減後殘存的字跡？為何六開的冊頁上，有三開出現紅衣官員？這套畫冊果真如項元汴所宣稱是一套臨古之作嗎？透過還原與解讀畫上殘存字跡，查找相關的文獻，本研究漸次重建回畫冊原先被創作的脈絡。於此同時，亦發現故宮收藏文徵明所抄寫的〈過庭復語十節〉書法卷，實則與此套冊頁是同一人所訂製。這兩件作品，都是武陵出身的陳一德在蘇州為官時，為了他的父親陳洪謨所訂製的。在確定《臨宋元六景》畫中官員的身份，重新為畫冊訂名為《武陵精舍六景》圖冊後，可以更加準確地解讀畫作的可能涵意。畫作本身不僅僅是陳一德訂製來彰顯家鄉武陵地區而已，透過仇英精心的畫面安排，此套冊頁還突顯了畫中紅衣官員陳洪謨的人品志向與想望。藉由重新將畫作置回當時創作與使用的脈絡，發現此套冊頁同時具有將私人家業公開化，以及把地方名勝私家化的矛盾特性，畫冊也重新成為明代官員所創製的多元視覺文化中的重要例證。
歐洲風情與東方情調的迷航：大航海時代的圖像傳播與製作〉，《典藏古美術》（2019.7），頁44-53。, 2019
《故宮文物月刊》, 2018
傳為明仇英的〈乞巧圖〉，全卷以白描手法繪成，描寫了七夕時節，宮中嬪妃各種祭拜、乞巧活動，畫卷充滿各種細節，有其細膩講究之處。長卷描繪的盡是宮中女眷的活動，亦不難看出其追摹仇英（約1494-155... more 傳為明仇英的〈乞巧圖〉，全卷以白描手法繪成，描寫了七夕時節，宮中嬪妃各種祭拜、乞巧活動，畫卷充滿各種細節，有其細膩講究之處。長卷描繪的盡是宮中女眷的活動，亦不難看出其追摹仇英（約1494-1552）〈漢宮春曉〉的用意，然而本畫傳為仇英之作，在畫風上是否真與仇英有關？或是另有來源？甚若進一步探究畫作的構成，亦可發現本畫如同其他的蘇州片，也對古畫進行了挪用與重組。透過剖析〈乞巧圖〉製作的同時，也鋪陳出晚明以來大量且多樣的美人畫製作脈絡。
偽好物—十六至十八世紀「蘇州片」及其影響, 2018
The appreciation and collecting of art and antiquities flourished especially in the Suzhou part o... more The appreciation and collecting of art and antiquities flourished especially in the Suzhou part of the Jiangnan region during the middle to late Ming dynasty, and in response came a pronounced rise in the production of forgeries. With regards to Ming dynasty forged painting and calligraphy in the Suzhou area, research actually quite early focused on so-called “Suzhou fakes.” However, a precise understanding and definition of this term still remains a matter deserving further attention. Especially considering that many museums around the world have “Suzhou fakes” in their collections, it is a topic that merits closer study.
In the Mid- Ming dynasty, Suzhou had already become a center for art and culture, with such terms as “Suzhou style” and “Suzhou type” often used to label trendy fashions from the Wanli reign (1573-1620) onward. These forgeries often attributed to famous Suzhou artists or identified as being in the collections of Suzhou elite are commercial products part of the fashion produced in this trend. Due to the complexity behind the formation and subject matter of “Suzhou fakes,” the present study begins with a study of collaborative works of painting and calligraphy in the name of Qiu Ying and Wen Zhengming, respectively, finding that paintings in pairs and sets of four
were quite popular in the art market at the time. These so-called Qiu-Wen collaborations often deal with narrative subjects that combine paintings as illustrations and calligraphy as texts, a format found most often in “Suzhou fakes.” The narrative paintings produced in this
trend come in many subjects, some of which had never appeared before in the visual arts.
The range of the present study deals with works in the collection of the National Palace Museum to discuss Jiangnan of the sixteenth to seventeenth century. It focuses in particular on the methods and contents of forgeries made in commercial workshops of the Suzhou
area with a brief discussion on why Suzhou produced so many forgeries in the hope of offering a deeper understanding of these often neglected works.
This article studies on the images of Nagasaki made in early modern Japan in order to illuminate ... more This article studies on the images of Nagasaki made in early modern Japan in order to illuminate how the different cultures were perceived and presented in this area. Ever since the early 17th century, Nagasaki was the only city in Japan to trade with foreign countries. This unusual situation makes Nagasaki an exceptional example to observe the meeting, colliding and merging of different cultures. It focuses especially on the pictures of the Tōjinyashiki 唐人屋敷 (Chinese residence) and the Dejima 出島 (Dutch factory). The Tōjinyashiki and Dejima pictures were among the most distinctive groups of Nagasaki images as well as symbols of the Nagasaki port. Many paintings were created to illustrate these two foreign residences and very often they were made as a pair, whether in the format of scroll paintings, prints or screen paintings. Through a careful reading and analysis of the Nagasaki images, this article aims to investigate the convergences and negotiations of Western civilization (represented in and brought by the Dutch) and East Asian civilization (represented and conveyed by the Chinese) with local Japanese culture. It shall then further our understanding of the various and dynamic visual cultures produced by the encounters of European and East Asian cultures in the Nagasaki areas.
長崎是十七世紀日本唯一對外的貿易口岸，本文討論當時以荷蘭為中介（蘭館）的歐洲文明，以及以中國人為主體（唐館）的東亞文化，在該地所形成的多方文化交會與互動。唐館與蘭館是長崎形象中最鮮明的呈現與象徵，本文在仔細地耙梳整理相關圖像，並詳細解讀與分析唐蘭館圖繪後，呈現長崎地區在多方文化交涉下，所產生的精彩多樣的視覺文化。
提 要 Abstract 《帝鑑圖說》原來是一本手繪手抄附插圖的皇家講讀教科書，由張居正（1525-1582）在隆慶皇帝（r.1567-1572）過世後不久，領導群臣編纂而成。萬曆元年（157... more 提 要
Abstract
《帝鑑圖說》原來是一本手繪手抄附插圖的皇家講讀教科書，由張居正（1525-1582）在隆慶皇帝（r.1567-1572）過世後不久，領導群臣編纂而成。萬曆元年（1573），此書被刊刻上板，從現存藏在日本宮內廳圖書館的潘允端本版畫來判斷，無論是原初的繪稿，或是後來的刻工都具有相當的水準。因此，本文將會首先解析藏於宮內廳的潘允端刻本《帝鑑圖說》的相關出版狀況。同時，種種跡象顯示此本可能是最接近原手繪本者，故以此版本為主，討論《帝鑑圖說》的內容、編輯的目的、圖文相配的狀況，並透過其他文獻的輔助，進一步剖析此書對萬曆所帶來的影響。同時，不單只使用文字敘述，透過此書的插圖，張居正也巧妙地傳遞難以言說的訊息，並成功地導引萬曆皇帝模仿前代君主之賢良事蹟。因此，本文也企圖剖析出，文字與插圖所各自出傳遞的重要訊息。藉此，解析出張居正編纂此書的真正用心，並試著探求以往在藝術史研究中論及鑑戒畫類時，較難著墨的部分，亦即，鑑戒繪畫對於被鑑戒者所產生的效力及回應，並重現此書在萬曆前十年的政壇所扮演的重要角色。
A Mirror for the Emperor, Illustrated and Explained originally was an imperial story textbook handwritten and illustrated with paintings. Shortly after the Longqing emperor (r. 1567-1572) passed away, Zhang Juzheng (1525-1582) led a group of officials in compiling it. In 1573, it was engraved in wood blocks and printed. The Pan Yunduan woodblock printed edition now in the collection of the Japanese Imperial Household Agency, in terms of the primary nature of its illustrations and the carving of the woodblocks, is of considerable quality. As a result, the present study first analyzes the issues related to this Pan Yunduan imprint, with various aspects pointing to it as the one closest to the original painted version. The Pan print edition is also used as the basis here for discussing the contents, editorial purpose, and relationship between text and image in A Mirror for the Emperor, Illustrated and Explained. With the help of other textual evidence, further analysis is provided on how this book influenced the Wanli emperor (r. 1573-1620). Not only was text used for narration, Zhang Juzheng with the illustrations in this book also skillfully transmitted information difficult to convey with words, successfully leading the Wanli emperor to model himself on the exemplar cases of previous rulers. Consequently, this study attempts to analyze important information conveyed by both text and imagery. In doing so, the study examines the true motivation behind Zhang Juzheng’s compilation and editing while attempting to explore issues that have been difficult to address in art historical studies on didactic pictures; i.e., how didactic imagery affected intended audiences and their reaction to the teachings contained therein. Thus, it emphasizes the important role that this book played in the first ten years of the Wanli emperor’s rule.
以規鑒為主要功用的版畫書籍在中國古代版畫之製作中，佔有一席之地，但是相關研究卻顯得稀少。製作與生產的脈絡乃至於規鑒成效的評估，或許可在文獻資料相對齊全的規鑒類版畫書籍的研究中有所突破。《養正圖解... more 以規鑒為主要功用的版畫書籍在中國古代版畫之製作中，佔有一席之地，但是相關研究卻顯得稀少。製作與生產的脈絡乃至於規鑒成效的評估，或許可在文獻資料相對齊全的規鑒類版畫書籍的研究中有所突破。《養正圖解》原本是作為一本教育皇子的教科書，在經過仔細的分析後，卻顯現其中對於當時皇帝之規鑒意涵。這部版畫書籍不僅刊刻精美，本身即深具研究價值，更因為這個研究的進行，可與本人之前的另一本規鑒書籍《帝鑑圖說》之研究，形成有意義的對照。一方面可見到兩書對於萬曆皇帝的規鑒內容與其之後所產生的影響，另一方面，亦可藉以觀察明代版畫在此時期之某些發展面向。這些探討或者也可為同類型的規鑒類繪畫，提供一參考的架構，使吾人對於規鑒類版畫或繪畫，甚至是敘事畫在中國晚期藝術史中之發展能有更深的理解。
판화 수준을 엿볼 수 있다 판 1-45. 세로 24㎝, 가로 1,486㎝이며, 총 45개의 목 판으로 구성되어 있다. 인민미술출판사(人民美術出版社) 판본은 경접장(經摺 裝)으... more 판화 수준을 엿볼 수 있다 판 1-45. 세로 24㎝, 가로 1,486㎝이며, 총 45개의 목 판으로 구성되어 있다. 인민미술출판사(人民美術出版社) 판본은 경접장(經摺 裝)으로 표장하여 펼쳐보고 감상하기에 용이하다. 2 반면, 이후에 제작된 강소 미술출판사(江蘇美術出版社) 판본은 두루마리 형태를 하고 있다. 3 원판이 소실 되었기 때문에 초판본이 어떠한 형태로 표장되었는지 단언하기는 어렵다. 4 그 러나 초판본이 두루마리 형태였든, 또는 경접장으로 표장되었든지 간에, <환 취당원경도>는 백 곳이 넘는 풍경을 가로로 배치하여 작품의 우측에서 좌측으 로 이동하면서 감상할 수 있도록 되어 있다. <환취당원경도>는 명대에 제작된 판화 중 길이가 가장 긴 작품일 것이며, 아름다운 정원의 환상적인 표현으로 인해 학계의 관심을 끌어왔다. 베를리너 (Nancy Berliner)는 왕정눌의 출판 사업에 관하여 짧지만 통찰력 있는 논문을 썼다. 5 볼(Peter Bol) 역시 스크롤을 움직여가며 작품을 감상할 수 있는 웹사이 트에 안내용 글을 남겼다. 6 이 판화 작품에 관한 리 핑판(李平凡)의 간략한 소 개는 왕정눌과 그의 판화 업적에 대한 글들 중 지금까지도 가장 유용할 것이 다. 7 타키모토 히로유키(瀧本弘之)는 이 작품을 이해하기 위한 뛰어난 통찰력 을 보여주었다. 8 일부 학자들은 정원이 휘주(徽州)에 있는지 또는 남경(南京) 에 있는지를 두고 논쟁을 벌이기도 하였다. 9 본 논문은 필자의 기존 연구를 바
Kokka, 2022
The Remaking of the Classics: Study on Kano Sansetsu’s Chōgonka Scrolls ... more The Remaking of the Classics: Study on Kano Sansetsu’s Chōgonka Scrolls
Kano Sansetsu (1560-1651) claimed that he, instead of following models from the past, had created a new painting to illustrate the famous Chinese poem, the Song of Lasting Sorrow (Chōgonka). This artwork is comprised of two long handscrolls, and currently housed in the Chester Beatty Library. Even though illustrating the Chōgonka had a long tradition in Japan since the Heian period, Sansetsu was still proud to claim that he had produced a new version himself. How, then, did Sansetsu come to conceive the whole structure of this extensive scroll? In the first half of the seventeenth-century, great quantities of paintings as well as books were being imported from China into Japan. The images preserved by the pre-eminent Kano Tan’yū (1602-74) in Small Sketches by Tan’yū 探幽縮圖(Tan’yū shukuzu) clearly show that many Chinese paintings and printed materials were at the Japanese artist’s disposal. Bright-colored and lively-depicted narrative paintings were accepted as ancient Chinese masterpieces by the Japanese artists, even though a lot of them were forgeries produced by the booming art market in the late Ming China. Woodblock-printed books with many beautifully executed illustrations from China also served as a great resource for Japanese artists. This essay investigates how Kano Sansetsu might have employed those resources from China and also illuminates on his clever way to design the whole scroll. Researchers observed that Sansetsu was befriended with the learned scholars of his day and thus benefited from their learning on interpretation of the poem. This article also finds new evidence to show how the scholars in Kyoto might have helped Kano painters to create their art works, with their learning as well as their book collections. Finally, by carefully reading and analysing the Chōgonka painting, and examining the related documents, it gradually reveals Kano Sansetsu’s motive and ambition to create such a great art work.
Six Scenic Views in Song and Yuan Styles is a painting album in the collection of the National Pa... more Six Scenic Views in Song and Yuan Styles is a painting album in the collection of the National Palace Museum that has always been considered among the oeuvre of Qiu Ying, the professional artist of the Suzhou area in the Ming dynasty, and done in imitation of ancient Song and Yuan paintings at the residence of the collector Xiang Yuanbian. However, a number of unanswered questions continued to revolve around this set of album leaf paintings. Why was the painting silk cropped in numerous places, leaving the text incomplete? Why do three of the six paintings feature a red-robed official? And is this album truly a set of paintings done merely to imitate ancient works as claimed by Xiang Yuanbian?
After restoring and decoding the partial texts on the paintings, and referencing related documentary sources, the present study has been able to reconstruct the process behind the formation of this album. At the same time, it has been discovered that the handscroll of calligraphy Ten Paternal Aphorisms (Copying the Phrases of Tzu-wu’s Father) transcribed by Wen Zhengming (also in the National Palace Museum collection) was actually done for the same person as the album of paintings. Both works were made at the behest of Chen Yide, an official from Wuling serving in Suzhou at the time, for his father Chen Hongmo, who was also an official.
Once the identity of the official in Six Scenic Views in Song and Yuan Styles can be thereby confirmed, the album should be more accurately renamed as Six Scenic Views of Wuling Abode and the possible intent of the work more clearly explained. As it turns out, Chen Yide did not have the paintings done to extol the beauty of his hometown Wuling, but through the skillful arrangement of the scenes by Qiu Ying, the album leaves highlight the ambition and longing of the red-robed figure therein--his father Chen Hongmo. By returning the paintings to their original context of production and function at the time, the album leaves actually served to publicize the Chen family’s private holdings and, paradoxically, to privatize the local famous scenery. Finally, the album of paintings is also an important testimony to the diverse visual culture produced by officials in the Ming dynasty.
(Translated by Donald E. Brix)
藏於國立故宮博物院的《臨宋元六景》圖冊，向來被認為是明代蘇州職業畫家仇英，於項元汴家中臨摹宋元古畫而成的作品。然而，環繞著此套畫冊仍有重重未解之謎。為何畫冊上有多處畫絹被裁減後殘存的字跡？為何六開的冊頁上，有三開出現紅衣官員？這套畫冊果真如項元汴所宣稱是一套臨古之作嗎？透過還原與解讀畫上殘存字跡，查找相關的文獻，本研究漸次重建回畫冊原先被創作的脈絡。於此同時，亦發現故宮收藏文徵明所抄寫的〈過庭復語十節〉書法卷，實則與此套冊頁是同一人所訂製。這兩件作品，都是武陵出身的陳一德在蘇州為官時，為了他的父親陳洪謨所訂製的。在確定《臨宋元六景》畫中官員的身份，重新為畫冊訂名為《武陵精舍六景》圖冊後，可以更加準確地解讀畫作的可能涵意。畫作本身不僅僅是陳一德訂製來彰顯家鄉武陵地區而已，透過仇英精心的畫面安排，此套冊頁還突顯了畫中紅衣官員陳洪謨的人品志向與想望。藉由重新將畫作置回當時創作與使用的脈絡，發現此套冊頁同時具有將私人家業公開化，以及把地方名勝私家化的矛盾特性，畫冊也重新成為明代官員所創製的多元視覺文化中的重要例證。
歐洲風情與東方情調的迷航：大航海時代的圖像傳播與製作〉，《典藏古美術》（2019.7），頁44-53。, 2019
《故宮文物月刊》, 2018
傳為明仇英的〈乞巧圖〉，全卷以白描手法繪成，描寫了七夕時節，宮中嬪妃各種祭拜、乞巧活動，畫卷充滿各種細節，有其細膩講究之處。長卷描繪的盡是宮中女眷的活動，亦不難看出其追摹仇英（約1494-155... more 傳為明仇英的〈乞巧圖〉，全卷以白描手法繪成，描寫了七夕時節，宮中嬪妃各種祭拜、乞巧活動，畫卷充滿各種細節，有其細膩講究之處。長卷描繪的盡是宮中女眷的活動，亦不難看出其追摹仇英（約1494-1552）〈漢宮春曉〉的用意，然而本畫傳為仇英之作，在畫風上是否真與仇英有關？或是另有來源？甚若進一步探究畫作的構成，亦可發現本畫如同其他的蘇州片，也對古畫進行了挪用與重組。透過剖析〈乞巧圖〉製作的同時，也鋪陳出晚明以來大量且多樣的美人畫製作脈絡。
偽好物—十六至十八世紀「蘇州片」及其影響, 2018
The appreciation and collecting of art and antiquities flourished especially in the Suzhou part o... more The appreciation and collecting of art and antiquities flourished especially in the Suzhou part of the Jiangnan region during the middle to late Ming dynasty, and in response came a pronounced rise in the production of forgeries. With regards to Ming dynasty forged painting and calligraphy in the Suzhou area, research actually quite early focused on so-called “Suzhou fakes.” However, a precise understanding and definition of this term still remains a matter deserving further attention. Especially considering that many museums around the world have “Suzhou fakes” in their collections, it is a topic that merits closer study.
In the Mid- Ming dynasty, Suzhou had already become a center for art and culture, with such terms as “Suzhou style” and “Suzhou type” often used to label trendy fashions from the Wanli reign (1573-1620) onward. These forgeries often attributed to famous Suzhou artists or identified as being in the collections of Suzhou elite are commercial products part of the fashion produced in this trend. Due to the complexity behind the formation and subject matter of “Suzhou fakes,” the present study begins with a study of collaborative works of painting and calligraphy in the name of Qiu Ying and Wen Zhengming, respectively, finding that paintings in pairs and sets of four
were quite popular in the art market at the time. These so-called Qiu-Wen collaborations often deal with narrative subjects that combine paintings as illustrations and calligraphy as texts, a format found most often in “Suzhou fakes.” The narrative paintings produced in this
trend come in many subjects, some of which had never appeared before in the visual arts.
The range of the present study deals with works in the collection of the National Palace Museum to discuss Jiangnan of the sixteenth to seventeenth century. It focuses in particular on the methods and contents of forgeries made in commercial workshops of the Suzhou
area with a brief discussion on why Suzhou produced so many forgeries in the hope of offering a deeper understanding of these often neglected works.
This article studies on the images of Nagasaki made in early modern Japan in order to illuminate ... more This article studies on the images of Nagasaki made in early modern Japan in order to illuminate how the different cultures were perceived and presented in this area. Ever since the early 17th century, Nagasaki was the only city in Japan to trade with foreign countries. This unusual situation makes Nagasaki an exceptional example to observe the meeting, colliding and merging of different cultures. It focuses especially on the pictures of the Tōjinyashiki 唐人屋敷 (Chinese residence) and the Dejima 出島 (Dutch factory). The Tōjinyashiki and Dejima pictures were among the most distinctive groups of Nagasaki images as well as symbols of the Nagasaki port. Many paintings were created to illustrate these two foreign residences and very often they were made as a pair, whether in the format of scroll paintings, prints or screen paintings. Through a careful reading and analysis of the Nagasaki images, this article aims to investigate the convergences and negotiations of Western civilization (represented in and brought by the Dutch) and East Asian civilization (represented and conveyed by the Chinese) with local Japanese culture. It shall then further our understanding of the various and dynamic visual cultures produced by the encounters of European and East Asian cultures in the Nagasaki areas.
長崎是十七世紀日本唯一對外的貿易口岸，本文討論當時以荷蘭為中介（蘭館）的歐洲文明，以及以中國人為主體（唐館）的東亞文化，在該地所形成的多方文化交會與互動。唐館與蘭館是長崎形象中最鮮明的呈現與象徵，本文在仔細地耙梳整理相關圖像，並詳細解讀與分析唐蘭館圖繪後，呈現長崎地區在多方文化交涉下，所產生的精彩多樣的視覺文化。
提 要 Abstract 《帝鑑圖說》原來是一本手繪手抄附插圖的皇家講讀教科書，由張居正（1525-1582）在隆慶皇帝（r.1567-1572）過世後不久，領導群臣編纂而成。萬曆元年（157... more 提 要
Abstract
《帝鑑圖說》原來是一本手繪手抄附插圖的皇家講讀教科書，由張居正（1525-1582）在隆慶皇帝（r.1567-1572）過世後不久，領導群臣編纂而成。萬曆元年（1573），此書被刊刻上板，從現存藏在日本宮內廳圖書館的潘允端本版畫來判斷，無論是原初的繪稿，或是後來的刻工都具有相當的水準。因此，本文將會首先解析藏於宮內廳的潘允端刻本《帝鑑圖說》的相關出版狀況。同時，種種跡象顯示此本可能是最接近原手繪本者，故以此版本為主，討論《帝鑑圖說》的內容、編輯的目的、圖文相配的狀況，並透過其他文獻的輔助，進一步剖析此書對萬曆所帶來的影響。同時，不單只使用文字敘述，透過此書的插圖，張居正也巧妙地傳遞難以言說的訊息，並成功地導引萬曆皇帝模仿前代君主之賢良事蹟。因此，本文也企圖剖析出，文字與插圖所各自出傳遞的重要訊息。藉此，解析出張居正編纂此書的真正用心，並試著探求以往在藝術史研究中論及鑑戒畫類時，較難著墨的部分，亦即，鑑戒繪畫對於被鑑戒者所產生的效力及回應，並重現此書在萬曆前十年的政壇所扮演的重要角色。
A Mirror for the Emperor, Illustrated and Explained originally was an imperial story textbook handwritten and illustrated with paintings. Shortly after the Longqing emperor (r. 1567-1572) passed away, Zhang Juzheng (1525-1582) led a group of officials in compiling it. In 1573, it was engraved in wood blocks and printed. The Pan Yunduan woodblock printed edition now in the collection of the Japanese Imperial Household Agency, in terms of the primary nature of its illustrations and the carving of the woodblocks, is of considerable quality. As a result, the present study first analyzes the issues related to this Pan Yunduan imprint, with various aspects pointing to it as the one closest to the original painted version. The Pan print edition is also used as the basis here for discussing the contents, editorial purpose, and relationship between text and image in A Mirror for the Emperor, Illustrated and Explained. With the help of other textual evidence, further analysis is provided on how this book influenced the Wanli emperor (r. 1573-1620). Not only was text used for narration, Zhang Juzheng with the illustrations in this book also skillfully transmitted information difficult to convey with words, successfully leading the Wanli emperor to model himself on the exemplar cases of previous rulers. Consequently, this study attempts to analyze important information conveyed by both text and imagery. In doing so, the study examines the true motivation behind Zhang Juzheng’s compilation and editing while attempting to explore issues that have been difficult to address in art historical studies on didactic pictures; i.e., how didactic imagery affected intended audiences and their reaction to the teachings contained therein. Thus, it emphasizes the important role that this book played in the first ten years of the Wanli emperor’s rule.
以規鑒為主要功用的版畫書籍在中國古代版畫之製作中，佔有一席之地，但是相關研究卻顯得稀少。製作與生產的脈絡乃至於規鑒成效的評估，或許可在文獻資料相對齊全的規鑒類版畫書籍的研究中有所突破。《養正圖解... more 以規鑒為主要功用的版畫書籍在中國古代版畫之製作中，佔有一席之地，但是相關研究卻顯得稀少。製作與生產的脈絡乃至於規鑒成效的評估，或許可在文獻資料相對齊全的規鑒類版畫書籍的研究中有所突破。《養正圖解》原本是作為一本教育皇子的教科書，在經過仔細的分析後，卻顯現其中對於當時皇帝之規鑒意涵。這部版畫書籍不僅刊刻精美，本身即深具研究價值，更因為這個研究的進行，可與本人之前的另一本規鑒書籍《帝鑑圖說》之研究，形成有意義的對照。一方面可見到兩書對於萬曆皇帝的規鑒內容與其之後所產生的影響，另一方面，亦可藉以觀察明代版畫在此時期之某些發展面向。這些探討或者也可為同類型的規鑒類繪畫，提供一參考的架構，使吾人對於規鑒類版畫或繪畫，甚至是敘事畫在中國晚期藝術史中之發展能有更深的理解。
판화 수준을 엿볼 수 있다 판 1-45. 세로 24㎝, 가로 1,486㎝이며, 총 45개의 목 판으로 구성되어 있다. 인민미술출판사(人民美術出版社) 판본은 경접장(經摺 裝)으... more 판화 수준을 엿볼 수 있다 판 1-45. 세로 24㎝, 가로 1,486㎝이며, 총 45개의 목 판으로 구성되어 있다. 인민미술출판사(人民美術出版社) 판본은 경접장(經摺 裝)으로 표장하여 펼쳐보고 감상하기에 용이하다. 2 반면, 이후에 제작된 강소 미술출판사(江蘇美術出版社) 판본은 두루마리 형태를 하고 있다. 3 원판이 소실 되었기 때문에 초판본이 어떠한 형태로 표장되었는지 단언하기는 어렵다. 4 그 러나 초판본이 두루마리 형태였든, 또는 경접장으로 표장되었든지 간에, <환 취당원경도>는 백 곳이 넘는 풍경을 가로로 배치하여 작품의 우측에서 좌측으 로 이동하면서 감상할 수 있도록 되어 있다. <환취당원경도>는 명대에 제작된 판화 중 길이가 가장 긴 작품일 것이며, 아름다운 정원의 환상적인 표현으로 인해 학계의 관심을 끌어왔다. 베를리너 (Nancy Berliner)는 왕정눌의 출판 사업에 관하여 짧지만 통찰력 있는 논문을 썼다. 5 볼(Peter Bol) 역시 스크롤을 움직여가며 작품을 감상할 수 있는 웹사이 트에 안내용 글을 남겼다. 6 이 판화 작품에 관한 리 핑판(李平凡)의 간략한 소 개는 왕정눌과 그의 판화 업적에 대한 글들 중 지금까지도 가장 유용할 것이 다. 7 타키모토 히로유키(瀧本弘之)는 이 작품을 이해하기 위한 뛰어난 통찰력 을 보여주었다. 8 일부 학자들은 정원이 휘주(徽州)에 있는지 또는 남경(南京) 에 있는지를 두고 논쟁을 벌이기도 하였다. 9 본 논문은 필자의 기존 연구를 바
林麗江，盧慧紋，施靜菲，邱函妮，〈藝術史研究的回顧與展望〉，收於漢學中心主編，《深耕茁壯—臺灣漢學四十回顧與展望》(台北：國家圖書館，2021)，頁427-470。, 2021
藝術史在臺灣的發展，隨著1949年遷臺而來的故宮博物院與中央博物院文物、學術資料與研究傳統的移入，開啟了臺灣相當獨特的研究狀況。本文主要討論自1980年以來，在臺灣的藝術史研究發展概況。前面隨時... more 藝術史在臺灣的發展，隨著1949年遷臺而來的故宮博物院與中央博物院文物、學術資料與研究傳統的移入，開啟了臺灣相當獨特的研究狀況。本文主要討論自1980年以來，在臺灣的藝術史研究發展概況。前面隨時序敘述整體大環境的變遷以及這些變遷對於藝術史研究的影響，接著以中國與東亞繪畫研究、書法史研究、工藝器物史研究與臺灣美術史研究等四個部分，分門別類來敘述各研究類別不同的發展。每個類別因材質的不同，加上各個時段臺灣的文化與政經條件的變化，面臨不同的挑戰，而有著不盡相同的發展。文中一方面以議題漸次闡述這四十年來藝術史研究的概況，同時也述及在不同的學科的學術風潮影響之下，臺灣的藝術史研究如何發展與因應。希望勾勒過去四十年來，藝術史學界的研究成果的基本面貌，也同時提出未來可能有的展望。
A Retrospect on and Prospects of Art History:Forty Years of Development in Taiwan
Li-chiang Lin, Hui-wen Lu, Ching-fei Shih, Han-ni Chiu*
Abstract
The development trajectory of the field of art history in Taiwan is rather unique owing to historical contingencies; that is, it derives from the unexpected move of sizable and precious art objects, books and archives, and academic human resources from mainland China in 1949 as a result of the Chinese Civil War. This article aims to review the study of art history conducted in Taiwan since the 1980s. The first section chronologically explores the impacts of the larger political and economic environment on the field. This discussion is then followed by an analysis of how four sub-divisions within the field of art history in Taiwan have developed differently, namely research on the history of painting, of calligraphy, of antiquities and craft art, and of Taiwanese art. These four sub-divisions, in fact, can be differentiated by the materials being scrutinized, but at the same time, by the distinctive traces seen in their development paths and challenges that they have faced within the contexts of shifting political, economic, and cultural conditions. We not only outline the achievements and difficulties of art history to show a picture of the field in Taiwan in the past 40 years, one which is brimming with productivity and academic contributions, but also look into its prospects and our expectations for the future.