風景的發現與闡釋－晚清畫報中的勝景與民俗

Abstract

本文討論的是晚清畫報中「風景的發現與闡釋」，分「畫報之『西學東漸』」、「從江山形勝到都市風流」、「在報章與畫冊之間」、「風景轉移中的文化與政治」四個部分。在古已有之的「文化交流」中，對方所提供的，可以是直接範本，也可以是間接啟迪，還可以只是精神上的召喚。同樣道理，傳統資源的發掘，可以是直接借鑒，也可以是間接挪用，還可以是施克洛夫斯基（Viktor Shklovsky）所說的「叔侄繼承」。在晚清畫報發現風景的過程中，有西洋畫報的啟迪，但更得益於傳統中國的山水畫、風俗畫以及城市圖。也就是說，晚清畫報中的「風景」，有一個自西往東的發展過程，最終借助「勝景圖」的結構及生產模式，逐漸落實為可親可近的「本地風光」。

This thesis aims to study the ＂discovery and interpretation of landscape＂ in the late Qing pictorials. It comprises four parts: ＂The Western Pictorials Spreading to the East＂, ＂From Jiangshan-Style to Urban Style＂, ＂Between Newspapers and Painting Albums,＂ and ＂The Culture and Politics in the Transformation of Landscape＂. The ＂cultural exchange＂ could offer directly a model, or indirectly an inspiration, or only mental summons. Likewise, the traditional resources could be directly borrowed, or indirectly appropriated, or ＂inherited from uncle to nephew＂ as said by Viktor Shklovsky. Except for the inspirations of Western pictorials, the discovery of landscape in the late Qing pictorials benefited more from Chinese traditional landscape paintings, folklore paintings and urban paintings. The ＂landscape＂ in the late Qing pictorials experienced a journey form the West to the East and finally shaped its form of adorable ＂local scenery＂ with the reference of ＂Scenery Paintings＂ in structure and production style.