本文考察了1925年至1933年間出版的《上海畫報》 （Pictorial Shanghai）中的中國新文化與社會的誘人圖像。此畫刊為每三日出版，刊登名人時事和社會新聞軼事的攝影插圖，為其讀者家庭帶來了最新的資訊、時尚與有關藝術、劇場、文學、音樂、教育、體育、出版、攝影的信息，也間或涉及政治題材。報刊的許多編輯、設計師、攝影師、漫畫家與專欄作家們，皆與上海美專有密切的關聯，多是教授或校友。《上海畫報》版面上所展現的新文化世界，不僅反映了編輯人員的社群關係與生活經歷，還反映了他們對都市瞬息萬變的視覺形象和情緒走向的藝術敏感以及高度個人化的想像創造。
由於其與上海美專的密切關係，《上海畫報》籍由富於特性的文字和圖像反映了中國藝術精菁和受其激勵的青年們的展覽，表演和個人生活，創造出一個使其讀者備受誘惑的複雜且構成豐富的生活方式。出現在其頁面上的照片、軼聞、宣傳與評論，提供了生動的材料使我們更好地去理解1920年代這一現代藝術的初創年代的（男、女）藝術家們。隨著時間的推移，這本出版物創造了一個新的中國的現代性之視野，界定了那些可與引進的生活方式元素適宜地結合的傳統社會和藝術實踐領域。《上海畫報》為我們提供了對於1920年代晚期文化心理的生動洞察，當時的作者們可以既受過中國古典文化的教育又得到歐洲文化的薰陶，同時高談道家的避世又闊論歐人的倦怠。然而，本文將在最後論證，儘管《上海畫報》於表面上並置著隨機性的文章與圖像，但其有效地服務於創造與紀錄一個都市中國文化的新的品味。這種都市文化把它的痕跡一直留至今日上海的文化中。

This paper examines the seductive images of China's new culture and society that emerge from the pages of the tabloid periodical Shanghai huabao (Pictorial Shanghai) from 1925 to 1933. The newspaper, published every three days, printed a photographically illustrated mix of celebrity and society news and gossip, bringing the latest information, fashions, and rumors about art, theater, literature, music, education, athletics, publishing, photography, and, occasionally, politics, into the homes of its readers. Many of the newspaper's editors, designers, photographers, cartoonists, and columnists were closely associated with the Shanghai Art Academy, either as professors or as alumni. The new cultural world created on the pages of Shanghai huabao reflected not only the social connections and life experiences of its editorial staff, but also the artistic sensitivity and highly personal imaginative creations of the city's constantly changing visual imagery and emotional tenor.

Closely connected to Shanghai Art Academy, Shanghai huabao, by featuring in words and images the exhibitions, performances, and personal lives of both China's artistic elite and its aspiring youth, created a complex and richly textured lifestyle into which its readers were lured. The appearance on its pages of photographs, gossip, publicity and reviews offers vivid material for better understanding artists, both male and female, of the formative decade of the 1920s. Over time the publication created a vision of a new Chinese modernity, demarcating those areas of traditional social and artistic practice that might suitably merge with elements from an imported lifestyle. Shanghai huabao offers vivid insight into the cultural psychology of the late 1920s, when writers might be both classically-educated and European-trained, and simultaneously speak in a tone of Neo-Daoist escapism and European ennui. Yet, this paper will finally argue that Shanghai huabao, despite the seeming randomness of the articles and images it juxtaposed, served effectively to create and to document the new tastes of a cosmopolitan Chinese culture, a culture that has left its traces in that of Shanghai's cultural world today.