本文透過《良友》畫報作為觀察1930年代上海知識份子形象與作用的視窗,從歷史脈絡的角度來看,不論是畫報內容或印製技術,從所傳遞出的圖像資訊而言,與閱讀畫報習習相關的知識份子形象,不論在階級或性別上皆出現了劃時代的質變現象。知識份子形象的轉化,其意義與重要性還涉及了圖像的載體及生產者等面向。面對中西在藝術與文化上的差異,以及傳統及現代的變化,美術的實用性逐漸為知識份子所重視,進一步從上海開啟了中國邁向現代設計的重要歷程。美術的實用性走向,在為國家民族致力於設計的同時,亦有相當程度的美術設計者投入了商業性的聲色市場,如此多元的設計案例,除了呈現出當時美術與設計的跨界現象,也建構出上海獨特的城市風景,提供未來東亞近代設計書寫的重要面向。
This thesis investigates the image and influence of intellectuals in 1930s Shanghai through the lens of the Young Companion Magazine (1926–1937). From a historical perspective, the image of intellectuals indeed revealed different patterns in terms of class and gender issues. The significance of the transformation not only indicates the character of printing media but also of designers. In addition to confronting the differences between the East and the West, the intellectuals in Shanghai have to mediate changes from the past to the present regarding arts and culture. In this situation, applied arts’ importance increased sharply. Furthermore, Shanghai provided a starting point for the exploration of design in modern China, while progress in multiple directions, such as national and commercial design, built up an exceptional urban culture in 1930s Shanghai.