| Abstract: | 本計畫分從跨文化流動與主體認同兩大面向，深入分析國粹學派知識份子如何在復興古學與西學新知之間促成博物觀念的現代化轉型，且無時間差的接受並轉化西方科學插圖與圖說文字，並結合寫生及藉由攝影照片與技術，在新興的媒體空間中開啟寫實性博物圖畫，進行視覺現代性的美學革命實踐。中國近代面臨快速變動而高度壓縮的現代化轉型，《國粹學報》實質提供了一個思辨古學與新學的重要場域；四九年兩岸分治後，國粹學派相關觀點與主張仍深刻的影響著臺灣，而隨著中國經濟體的崛起，發揚國粹以壯大國威的目的下，更指向於重新看待《國粹學報》。因而，重新客觀理性的進行研究與詮釋有其必要性，足見此一研究議題深具學術意義與當代性。
Cross-Cultural Flow and Subject Identity: Research on the Concept of Natural Science in The Journal of National Essence and the Visual Modernity of Natural History Drawings. This project studies how a group of intellectuals from the National Essence School cultivated intellectual enlightenment and established modern common-sense rationality with the research focus on the concept of natural science (bowu) in The Journal of National Essence and the visual modernity of natural history drawings. When encountering the introduction of modern Western scientific knowledge and technological civilization, such intellectuals as Deng Shi, Zhang Taiyan, Liu Shipei, Luo Zhenyu, Sun Yirang, Ma Xulun, and Cai Shou integrated Chinese classic learning with Western new knowledge while furthering the modernized transformation of evidential and world-ordering learning as they represented their concept of natural science with drawings and writings. The series of natural history drawings epitomized by Cai Shou initiated a new method, which not only mimicked skills of Western scientific illustrations, photography, and sketching, but also allowed the mutual verification between Western scientific knowledge, such as visual inspection and authentication, and Chinese natural science classics while experiencing multilingual translation in English, German, French, and Japanese and the re-rendition of traditions. This method facilitated a deeper connection between the discourse of “technologized visuality” and modern sensory revolutions and ideological enlightenment. This project will show how the realistic natural history drawings in the series of The Journal of National Essence substantially replaced the Chinese tradition of “learning through investigation,” which sought the truth as its essence, with a new style of creation centering on new knowledge and authentication in addition to carrying the regional consciousness and subject identity, as well as calling for social action that equaled the love for homeland to patriotism. The scientific truth-seeking spirit of modern rationality had become the new cultural logic that governed the translingual practice of modern Chinese intellectuals as they participated in the flow of global knowledge. Such a spirit had transformed the important means through which Chinese traditional cultural elite pursued natural law and self-cultivation by studying things to acquire knowledge since the Song-Ming Neo-Confucianism, and contributed to the new aesthetic paradigm of seeking knowledge and authenticity. |
