身外身：視覺文化與「我」的魅影史

Abstract

本文溯源中古道教、陶淵明〈形影神〉、殷浩「我與我周旋久」，探討唐宋變革期以來多重自我（身外身）的肖像畫變遷，尤著重從晚明到清末民初文人畫、版畫、畫報、攝影等媒介及豐富的題詞文字，審視「我」的形象史與視覺文化的意義。多重自我的圖像從清初到十八世紀中葉（乾隆後期）漸成潮流，稱作〈我與我周旋圖〉、〈二我圖〉、〈鏡影圖〉、〈求己圖〉等，本文環繞自我（身外身）、世界（畫中畫、夢中夢、世界外之世界）兩個觀念，剖析古今、中外所交織的文化脈絡，揭示某種學界長久忽視的另類現代性。本文首先就唐宋以來畫中畫、鏡影圖的傳統，指陳唐宋變革期以來「我」的顯影及其複雜的重影，接著以清初程淓、乾隆皇帝等繪有多個自我的肖像畫，及〈求己圖〉到晚清眾多化裝照、分身照，剖析日趨多元、複雜的自我認同，延續到清末民初小說、戲劇、電影，及小說與遊戲雜誌，指陳這個圖像在階級、性別、身分上的意義，結合梁啟超與魯迅等相關論述，重新描繪一種更異質、多元的現代性景觀。

By tracing back materials such as medieval Daoism, Tao Yuanming`s ＂ Form, Shadow, and Spirit＂(Xing, Ying, Shen), Yin Hao`s ＂I have been with myself for a long time＂ (Wo Yu Wo Zhou Xuan Jiu), etc., and put especially emphasis on the literati paintings, prints, pictorials, photography, and the vast content of Inscriptions from the late Ming to the late Qin and early Republic, this paper explores the changes on the representation of multiple selves (the body outside of body) which can be traced back to the Tang-Song Transformation period, and further examines the history of self-image and its significance in the development of visual culture. The portraits of multiple selves, which were entitled such as ＂The Painting of `I have Been with Myself`＂ (Wo Yu Wo Zhou Xuan Tu), ＂The Painting of Two Selves＂(Erwo Tu), ＂The Painting of Reflected Self-Image in the Mirror＂(Jingying Tu), or ＂The Painting of Begging for Myself＂ (Qiuwo Tu), were developed from early Qing and gradually became popular in the middle of the eighteenth century (late Qianlong period). Revolving around the ideas of self (the body outside of body) and the world (the painting within a painting, the dream within a dream, the world outside a world), this paper analyzes the cultural context woven by the ancient and modern, the Chinese and foreign texts, and reveals an alternative modernity long neglected by academic researchers. Firstly, this paper investigates the portrayal and display of self-image, especially the complicated double images which can be dated back to Tang and Song Dynasties in terms of the tradition of ＂the painting within a painting＂ and＂the painting of reflected self-image in the mirror.＂ Secondly, this paper examines the portraits of multiple selves of Cheng Fang and those of Emperor Qianlong of early Qing period, ＂The Painting of Begging for Myself,＂ as well as a large amount of photos of people with makeup, of multiple-selves (trick photos) in the late Qing period to explore the issues of self-identity that gradually became pluralistic and complicated, and continued to develop in novels, plays, movies, games and magazines in the late Qin and early Republican period. The significances of the self-image are explored in the light of the related discussions of Liang Qichao and Lu Xun in order to provide a more heterogeneous and diverse landscape of modernity.