從「印」（print）到「編」（spin）：馬禮遜（1782－1834）肖像畫的形象工程

From Print to Spin: The Portraitures of Robert Morrison (1782-1834)

關詩珮(Uganda Sze Pui Kwan)

《中國文化研究所學報》 69期 (2019/07) Pp. 63-122

https://doi.org/10.29708/JCS.CUHK.201907_(69).0003

摘要

受到書籍史、印刷史、物質文明史新視野的帶動，第一位來華傳教的新教傳教士馬禮遜，在中文聖經印刷和知性綜合報刊雜誌方面的開拓、推動、貢獻，成為了學界方興未艾的議題。眾所周知，馬禮遜視印刷中文聖經為「靜默的宣教工具」（silent evangelism），所以雖然委身於英國東印度公司商館，又受制於中國清廷及葡國澳門禁教壓力，還是利用「紙媒」這種新興傳播媒介，以文字將宗教理念傳播開去。過去的研究有助於我們全面認識馬禮遜的抱負、他在促進中西文化交流的成績，以及他對中國現代化的貢獻。馬禮遜側重文字之餘，也珍視圖像的傳播功能：他除了使用木刻、活字、石印各種印刷方法，還探索圖像的鐫刻方法和成效，特別是他處身於英國興起各種版畫印藝的十九世紀，印藝及文化產業蔚然成風。事實上，在馬禮遜生前，共繪製了至少五幀能清楚辨認畫家及鐫刻家身份的肖像畫，而且大部分都是在馬禮遜回英國休假時（1824－1826）所繪。對於馬禮遜來說，肖像畫固是「靜默的宣教工具」；而從肖像畫鐫刻出來傳播千里的印刷品，則無疑是他從事「靜默宣傳的工具」。本文利用藝術史結合印刷史的方法，以藏於英國大小檔案室的新文獻為主，輔以馬禮遜檔案資料，發掘、分析多幀馬禮遜肖像畫及其相關印刷品的形成過程。論文同時述及馬禮遜肖像畫的各種文化贊助，以及英國十九世紀肖像畫成為文化宣傳品的過程。討論範圍並不囿於圖像學，也並不着重討論畫風、畫工、印藝，而是以更廣闊的視野，從文化政治的角度，分析馬禮遜陷入個人危機及風雨飄搖的時代，如何結集圖像和視覺衝擊的力量，以印畫作政治化妝，利用印刷，宜傳他的文化宗教理念，超越文字與語言的障礙，影響當世，並且綿延後代，讓他默默耕耘的工作成果，不至於湮沒無聞。

關鍵字

馬禮遜 ； 肖像畫 ； 印刷品 ； 銅版絲線鐫刻 ； 特納 ； 錢納利

並列摘要

It is well known that the early nineteenth century Protestant missionaries who ventured ＂to open China＂ saw printing as a form of silent evangelism. While Qianlong's 1753 decree which cordoned off foreign infiltration was still in place, the printing medium was a good way to evade the prohibitions against religious propagation and spread the word of God in China. Robert Morrison was one of those missionaries. Indeed, he operated under the persecutions of not only the imperial court, but also the East India Company at Canton and the Roman Catholic authorities in Macao. With unfailing interests in book history and the printing culture, historians have paid close attention to the printing endeavours of Robert Morrison. But his various uses of images have largely escaped notices. They serve not only to aestheticize the book pages, but also to convey powerful messages in addition to written words. In fact, Morrison left behind at least five identifiable portraitures, most of which were drawn during his sabbatical leave in England between 1824 and 1826 after a seventeen-year sojourn in China. Clearly, Morrison saw something powerful and appealing in the portraiture and wanted to put it to use. By analysing hitherto unseen archival materials with an interdisciplinary approach, this paper aims to retrace this neglected aspect of Morrison's missionary life and the politics behind the making of religious portraitures.

並列關鍵字

Robert Morrison ； portraitures/portraits ； prints ； mezzotint ； Charles Turner ； George Chinnery

參考文獻

Michael Bryan and George C. Williamson, Bryan’s Dictionary of Painters and Engravers, (London: George Bell and Sons, new ed., rev. and enl., 1903-1905), vol. 5, p. 393

John Lewis Roget, A History of the “Old Water-colour” Society, now the Royal Society of Painters in Water Colours; with Biographical Notices of Its Older and of All Deceased Members and Associates, Preceded by an Account of English Water-colour Art and Artists in the Eighteenth Century (London: Longmans, Green, 1891), p. 420.

Katherine Coombs, The Portrait Miniature in England (London: V & A Publications, 1998).

Margaret J. M. Ezell, The Oxford English Literary History, Volume V: 1645-1714: The Later Seventeenth Century (Oxford: Oxford University Press, 2017), p. 53

Robert Morrison, A Parting Memorial; Consisting of Miscellaneous Discourses, Written and Preached in China; at Singapore; on Board Ship at Sea, in the Indian Ocean; at the Cape of Good Hope; and in England. With Remarks on Missions, &c. &c. (London: s.n., 1826), “Preface,” p. vii.