近代日本畫在淡水的發展、傳承與風土詮釋：以畫家木下靜涯、陳敬輝為探討中心

Abstract

本論文從地方美術史的視角，關懷「近代日本畫」來到淡水的成因與推廣、傳播的過程，以及戰後仍在淡水存續的現象。1858年清領開港通商後，淡水由於便利的地理位置與優秀的港埠機能，吸引大批外國洋行、傳教士的前往進駐。不僅成為重要的國際性港口，也是多元文化雜揉、彼此交會的場域。日治時期，淡水因鐵路通車便於到達，加上獨特的河港景觀，受到當時遊歷畫家的青睞。筆者梳理日治初期淡水的美術環境，注意到長期定居於此的漢人士紳、淡水基督教長老教會與淡水稅關，在此時期扮演促進淡水藝文活動發展的重要角色日治中後期則以木下靜涯（1887-1988），陳敬輝（1911-1968）為代表。前者承繼日治初期遊歷畫家的風潮來臺活動，後者則是長老教會馬偕家族的第三代，兩人皆在淡水長住，不約而同選擇當地風土、人物題材出品官辦美術展覽會，反映畫家對淡水的土地認同。追溯木下靜涯與陳敬輝的經歷，可發現兩人都曾接受過日本京都的日本畫訓練。他們從京都移動到淡水的過程，也帶來了京都風格的近代日本畫。透過近代展覽會的機制與畫會、學校教育、藝文雅集等多種管道，這些結合畫家過去所學與淡水風土意象的作品，形成模仿與推廣的現象。其影響甚至延續到了戰後。基於以上幾點，筆者認為淡水在近代日本畫推廣至臺灣的過程中，扮演著重要角色。本論文期許能為日本畫在臺灣的在地化，提供一個新的思考方向，也期待能填補淡水地方美術的空白之處。Modern Japanese painting is under its glorious period in Tamsui from the Japanese Colonial Rule to the Republic of China Rule. After 1858, Tamsui attracted many foreign trading companies and missionaries because of its vital geographic location in East Asia and its well-equipped port. Therefore, Tamsui became not only an important international port but a multi-cultural center. During the Japanese Colonial Rule, many artists gathered in Tamsui to sketch because of its convenient railway systems built in 1908 and its unique landscape. Besides, Han gentry (漢人仕紳), Presbyterian Church in Tamsui (淡水基督教長老教會) and Tamsui Customs Officers’ Residence (淡水稅關) used various ways to promote art activities in Tamsui. From then on, modern Japanese paintings began promoting and developing and were inherited by other artists at that time.In the middle of the Japanese Colonial Rule, the artists, Kinoshita Seigai (1887-1988), and Chen, Ching-Hui (1911-1968), moved to Tamsui and both chose Tamsui’s customs and figures as their painting themes. Moreover, both of them had learned Japanese painting in Kyoto, so they carried the Japanese painting of Kyoto Style back to Taiwan. They, therefore, integrated the local climate of Tamsui into their Japanese paintings. Through official art exhibitions, Kinoshita and Chen demonstrated their paintings with the new painting style to their audience, and their paintings even significantly influenced other painters. In conclusion, Tamsui played an important role in not only promoting modern Japanese paintings in Taiwan but developing the new painting style, which integrated the local climate of Tamsui. This study focuses on the dedication, development, and inheritance of modern Japanese painting in Tamsui from Japanese Colonial Rule to Republic of China Rule from a perspective of local art history.The first section starts with the introduction of art climate in Tamsui from the Late Qing Dynasty Rule to Japanese Colonial Rule. The second part moves on to describe Kinoshita Seigai’s and Chen, Ching-Hui’s Japanese paintings of Tamsui to demonstrate the relationship between artists and Tamsui and to elaborate on the process of Japanese painting development in Tamsui. For one thing, Kinoshita and Chen incorporated the features of Tamsui’s climate into their artistic creations and new painting techniques. For another, Kinoshita and Chen were devoted to the development of Japanese painting and artistic environment in Tamsui through artists gathering (雅集), art association, and modern art education.