窮「圖」．「體」現：以《點石齋畫報》中法戰爭與甲申政變「戰爭圖像」為例

War, Body and Imagination: Take Series of Images of 'Sino-French War' and 'Korean Kapshin Incident' in Dianshizhai Pictorial as Examples

本文取1884年5月至1885年1月的《點石齋畫報》中，「中法戰爭」與「甲申政變」之系列圖像為主要題材，討論畫師如何利用構圖、線條等繪畫技巧再現「身體」議題，而反應當時的政治、文化之近代殘破主體氛圍。本文將分作五節，除前言與結論外，依序討論該時期《點石齋畫報》「戰爭圖像」之歷史、畫師與繪畫風格，發現繪畫作品從以往描繪風俗、人物的「藝術品」，轉為《點石齋畫報》獵奇、時事性強烈的報紙、商品；又於中法戰爭、基隆之役的戰爭系列圖像中，挖掘被規訓、展示、武力化的「身體」與「群眾」，召喚從軍、愛國、犧牲之精神；而甲申政變「朝鮮亂略」特刊呈現圖像、歷史與小說的跨形式表現，也可從圖像中「身體」之位置窺得清政府「天朝」瓦解的焦慮，與中、日、朝三者對峙的張力。

In this paper, I regard the series of images of 'Sino-French War' (中法戰爭), the Battle of Keelung and 'Korean Kapshin Incident' (甲申政變) in the Dianshizhai Pictorial (點石齋畫報) from May 1884 to January 1885 as the main theme in an attempt to discuss wars and politics in the process of figure reproduction, and how the artist imagined unknown exotic lands and otherness, and how the images achieved narrative functionality by painting techniques such as compositions, lines, backgrounds, and how words showed side by side with pictures could resonate with the intention of drawing. This article addresses sequentially: tidying up history, painters and painting styles, paintings turning from the 'artwork' into newspapers and merchandise with strong novelty and topicality. Also, in the series of war images of Sino-French War and the Battle of Keelung, I find 'the masses', namely the disciplined, shown, militarized 'bodies'. At last section, through the special issue of Kapshin Incident -'Brief History of Korean Chaos', I find that discerning from the cross-form representation of the images, histories and fictions, the Qing government’s anxiety for 'Celestial Empire' disintegration and its imagination about the tension among China, Japan and Korea was apparent. By studying the series of images regarding Sino-French War, the Battle of Keelung and Kapshin Incident in Dianshizhai Pictorial, it is found that Dianshizhai Pictorial not only tended to attract its readers by the presentation of 'bodies' and 'images', but also tried to influence readers’ perception and emotional structure by its methods of presenting 'bodies' and 'images'.