演講: Alice BIANCHI
30 OCTOBER 25
中研院近史所 & 法國遠東學院「法國人文學界反思近現代」系列講座
講者：
Prof. Alice BIANCHI
Associate Professor, Paris Cité University/CRCAO
講題：
Wandering Bodies, Fractured Memory: Ye Yinquan 葉因泉 (1903-1969)'s Kangzhan Liumin tu 抗戰流民圖 (1942-1943)
主持人：
賴毓芝教授 (中央研究院近代史研究所副研究員)
日期：
2025年10月30日（週四）下午2:30
地點：
中央研究院近代史研究所檔案館第三會議室
摘要 :
This talk explores Kangzhan Liumin tu 抗戰流民圖 (Refugees of the Sino-Japanese War), an album of over one hundred paintings created between 1942 and 1943 by Cantonese artist and cartoonist Ye Yinquan 葉因泉 (1903-1969), during his flight from advancing Japanese troops across Guangdong and Guangxi. Based on sketches made during his displacement, the series offers a stark visual account of civilian suffering-particularly the emaciated, vulnerable figures of refugee children, the xiao liumin 小流民, whose hopelessly exposed bodies appear throughout the album. It also includes depictions of guiqiao 歸僑 (repatriated overseas Chinese) and qiaojuan 僑眷 (their families), often rendered with a touch of irony, reflecting the complex social dynamics of wartime South China. While contemporary commentators described the album variously as "a historical painting of the War of Resistance against Japan" (kangzhan qizhong shihua 抗戰期中史畫) or as a form of visual reportage (baodao hua 報導畫), I argue that such labels only partially capture the complexity of Ye's visual language-one that blends testimonial urgency with emotional ambiguity, narrative fragmentation, and subtle critique. Combining a deceptively naïve manhua-inspired style with the older Liumin tu 流民圖 tradition -disaster paintings focusing on displacement and famine-Ye moves away from the dominant visual tropes of the Sino-Japanese War, such as propaganda and heroic imagery, to focus instead on the fractured realities of ordinary lives caught between war, hunger, and forced migration. The analysis situates the album within this visual tradition, while also highlighting the innovations that set it apart: its strong regional grounding, its attention to social fragmentation, and its distinctly modern visual idiom.
主辦單位：中央研究院近代史研究所，法國遠東學院臺北中心
❈此為英文演講，自由入座，無需報名
演講
講者：
Prof. Alice BIANCHI
Associate Professor, Paris Cité University/CRCAO
講題：
Wandering Bodies, Fractured Memory: Ye Yinquan 葉因泉 (1903-1969)'s Kangzhan Liumin tu 抗戰流民圖 (1942-1943)
主持人：
賴毓芝教授 (中央研究院近代史研究所副研究員)
日期：
2025年10月30日（週四）下午2:30
地點：
中央研究院近代史研究所檔案館第三會議室
摘要 :
This talk explores Kangzhan Liumin tu 抗戰流民圖 (Refugees of the Sino-Japanese War), an album of over one hundred paintings created between 1942 and 1943 by Cantonese artist and cartoonist Ye Yinquan 葉因泉 (1903-1969), during his flight from advancing Japanese troops across Guangdong and Guangxi. Based on sketches made during his displacement, the series offers a stark visual account of civilian suffering-particularly the emaciated, vulnerable figures of refugee children, the xiao liumin 小流民, whose hopelessly exposed bodies appear throughout the album. It also includes depictions of guiqiao 歸僑 (repatriated overseas Chinese) and qiaojuan 僑眷 (their families), often rendered with a touch of irony, reflecting the complex social dynamics of wartime South China. While contemporary commentators described the album variously as "a historical painting of the War of Resistance against Japan" (kangzhan qizhong shihua 抗戰期中史畫) or as a form of visual reportage (baodao hua 報導畫), I argue that such labels only partially capture the complexity of Ye's visual language-one that blends testimonial urgency with emotional ambiguity, narrative fragmentation, and subtle critique. Combining a deceptively naïve manhua-inspired style with the older Liumin tu 流民圖 tradition -disaster paintings focusing on displacement and famine-Ye moves away from the dominant visual tropes of the Sino-Japanese War, such as propaganda and heroic imagery, to focus instead on the fractured realities of ordinary lives caught between war, hunger, and forced migration. The analysis situates the album within this visual tradition, while also highlighting the innovations that set it apart: its strong regional grounding, its attention to social fragmentation, and its distinctly modern visual idiom.
主辦單位：中央研究院近代史研究所，法國遠東學院臺北中心
❈此為英文演講，自由入座，無需報名
演講