开埠初期上海外滩图像研究(1843—1860)  

A Study of the Bund Images during the Early Period of Shanghai as a Treaty Port(1843-1860)

作　　者：赵莉 Zhao Li

机构地区：[1]中国航海博物馆

出　　处：《海交史研究》2024年第2期74-95,共22页Journal of Maritime History Studies

摘　　要：1843年上海开埠后,外滩成为上海港区和对外贸易的中心区域,其形象逐渐出现在口岸图像中。开埠初期的外滩图像多见于外销画。画家普遍采用了来自外滩正对面的观察视角,以黄浦江、江上舟船以及沿岸建筑为主要构图元素,形成了线性平面的程式化构图方式。这些画作融合了西方绘画技法,却又保留着中国传统视觉习惯,具有写实与表征功能,描绘了开埠后上海远洋航运、对外贸易初兴的历史风貌与细节变化,定格了外滩独特的空间形态与人文景观。外滩图像与19世纪前期广州外销画中十三行商馆图像在构图方式上具有相似性,在内容形态上体现出延续性,这反映了五口通商后对外贸易中心的变迁对外销画创作以及口岸城市文化的影响。After the opening of Shanghai as a treaty port in 1843,the Bund gradually became the centre of Shanghai port for international commerce.More and more images of the Bund emerged in pictures which depicted the bustling port.These early Bund images,often featured in paintings for export,adopted a standardized compositional style characterized by a linear,planar arrangement.The Huangpu River,the bustling river traffic,and the imposing Western-style architecture along the Bund formed the core elements of these paintings.These paintings integrated Western painting techniques but retained traditional Chinese visual styles.With realistic and representational functions,they depicted the historical features and recorded the subtle changes of Shanghai’s ocean shipping industry and foreign trade since the opening of the port,showing the unique spatial and cultural landscapes of the Bund.The Bund images exhibit a notable resemblance to the depictions of the Thirteen Hongs in Guangzhou’s export paintings from the early 19th century,both in composition and content elements.The convergence of these visual representations underscores the profound impact of the shift in China’s foreign trade centre following the opening of the five treaty ports,which not only influenced the paintings for export but also reshaped the cultural landscape of these port cities.

关 键 词：口岸 上海 外滩 图像 广州外销画 

分 类 号：J205[艺术—美术] K252[历史地理—历史学] F752.9[历史地理—中国史]