日治時期臺籍西洋畫家圖像中的產業轉變探討

Abstract

日人的西洋畫從明治維新起習自西方，台灣西洋畫從乙未割台後再習自日人，殖民母國與殖民地的西洋畫於二十世紀初都尚在起步階段，摻雜著對西方進步與強盛的嚮往。臺灣的工業化與現代化，一如西洋畫，與日治時期同步，隨著多項產業政策深化於城鄉，造成社會結構改變，產業的轉變可以文字記錄與圖像紀錄相互參照，圖像反射當時殖民政府教化的目標，日人對臺灣的美術教育，經常被視為殖民政府用以安撫台島民眾的策略，使殖民地人民藉由美術創作以宣洩文化情感，藉以轉移部份自領臺之初，來自臺人的反抗浪潮。 西洋畫於此時期開始普及全臺，可能因官展審美取向、或來自日人所師法的印象派影響，在臺發展出以表現臺灣在地之地方特色為主題的呈現方式，在畫面中可以很清楚地看到台灣的在地特色，尤其是本土特有的風俗習慣，藉由畫家之筆，被有意或無意地記錄下來，正與時代的變動可相互作為對照。日本殖民者牢握臺灣美術發展的主導權，致力吸納臺灣特有的自然與人文特色，以為帝國南方版圖的一部份。相較西方油畫發展的演進過程，臺灣畫壇並沒有經過學院派專權獨大的歷史，當臺灣的西化在起步之時，直接跨過了古典主義而從印象派為出發點，過程中多少倚賴了各式西方歷經印象派後的繪畫理論與技巧，並形成臺灣畫家在西洋畫表現上的自有風格。 日治時期繪畫的摹寫如純粹美感表達、反映社會現況，或是畫家對自身理想之投射，莫不彰顯台灣的在地特色。藝術被賦予教化社會的功能，將抽象的政策轉化為易懂的圖像，極易被統治者作為宣傳工具，本文旨在探討殖民地政權下的台灣西洋畫所展示的產業，無論為忠實呈現自我風土，或為政權下的再形塑，探討在該階段的經貿環境所建構的文化風貌。Japanese from the Meiji Restoration of Western painting from learning from the West, Taiwan Yi Wei Western painting from the cutting table and then learning from the Japanese colonial mother country and a colony of Western painting in the early twentieth century are still at an initial stage, mixed with right yearning for progress and prosperity of the West. Taiwan's industrialization and modernization, as in Western painting, synchronized with the Japanese colonial period, with a number of industrial policies to deepen in urban and rural areas, resulting in changes in the social structure, changes in the industry can be documented record of cross-referencing with the image, the image reflected the then colonial government goal of enlightenment, the Japanese art education in Taiwan, often regarded as the colonial government's strategy for An Futai Island people make art creation by the colonial peoples to cultural emotional catharsis, in order to transfer some from the early days, from Taiwan's opposition tide. Western painting in this period began to spread throughout Taiwan, perhaps because of the official exhibition aesthetic orientation, or imitated from the Impressionist Japanese influence in Taiwan to develop a performance on the ground of the local characteristics of Taiwan as the theme of the presentation, the screen can be very clearly see the characteristics of the ground in Taiwan, especially the unique local customs, by the painter of the pen, is intentionally or unintentionally recorded positive changes with the times mutually as controls. Japanese colonialists firmly grasp the initiative in the development of Taiwanese art, committed to attracting Taiwan's unique natural and cultural characteristics, that part of the territory of southern empire. Compared to the evolution of the development of Western painting, painting in Taiwan did not undergo academic autocratic dominance of history, when Taiwan's Westernization at the start when, directly across from the classical impressionism as a starting point, many rely on a variety of process after post-impressionist paintings of Western theories and techniques, and the formation of Taiwanese painter in Western painting performance of its own style. Japanese colonial period paintings depict as purely aesthetic expression, reflecting social conditions, or the artist's projection of their own ideals, everyone in Taiwan to highlight the features. Art was given function of social enlightenment, the abstract policy into understandable images, can easily be rulers as a propaganda tool, this paper aims to explore the colonial regime in Western painting in Taiwan under the display industry, both for the faithful self-terroir, or the re-shaping regime discussed at this stage of the economic and trade environment constructed cultural scene.