複製與諧仿的界線：十九世紀法國「漫畫版沙龍」源起之探討

The Boundary between Reproduction and Parody: A New Study on the Emergence of the Salon Caricatural in Nineteenth-Century France

十九世紀中葉在法國插畫報刊界廣受歡迎的「漫畫版沙龍」，是以官方沙龍展覽作品為主題的諧仿諷刺漫畫。除了十八世紀後半的一個先例外，其系列形態最早出現在1842年《喧鬧報》的複製畫系列中，運用諧仿的手法詮釋作品，刻意挪用了複製畫的概念增加詼諧效果，同時也能和藝評以及大眾輿論互相呼應、連結。本文從諷刺畫報的發展脈絡、出版策略、複製畫與諷刺畫在畫報中所扮演的角色與採用的形式等角度來檢視漫畫版沙龍的源起，並分析其類型概念與形式特色，如何在1840年代初期成為後來流行的沙龍主題漫畫原型。作為一種不同於文學性藝評的圖像式評論與獨特的諷刺畫類型，漫畫版沙龍為十九世紀藝術接受度的研究提供了新的史料與思考面向。

The comic genre known as “le Salon Caricatural” (Comic Salon or Caricatured Salon) consisted of graphic parodies of art works shown at the annual official Salon in nineteenth-century Paris. The first Comic Salons appeared in the illustrated satiric press Le Charivari in the early 1840s, and soon became a popular caricature genre in the Second Empire. Before its 1843 publication as an independent series, the Comic Salon, in fact, already emerged in 1842. The four earliest examples of the genre can be found among the lithographic copies of Salon paintings, confusingly and ironically pretending to be “reproductions”. By tracing the historical context and the journal's publishing strategy of these initial and prototypical Comic Salons, this paper tries to clarify the differences between the two interpretative print images of art, which, though published in similar forms, had different aims and characters. If the editors of the reproductions were principally concerned with the appreciation of art and cultivation of taste, the authors of caricatures consciously connected their graphic humoristic interpretations to art criticism, though mostly in a negative way. As an important part of Salon imageries, the Comic Salon and its role in art criticism merits reassessment in our studies of reception of art works that were, traditionally concerned chiefly with textual criticism.