現代風景的觀光轉譯：臺灣日治時期美術作品中的觀光地景與旅遊

Abstract

1895年日本治臺後，將明治維新全盤西化的模式移植到臺灣，其中包含工業建設、經濟發展與教育推廣等項目，而觀光旅遊的蓬勃發展亦為其一。1927年《臺灣日日新報》舉辦「臺灣八景」票選活動，最終選出臺灣八景、二別格與十二勝，這也讓票選出來的觀光景點飛快地進入大眾視野。此外，日殖政府以此種「現代化」為名的大規模開發，致使臺灣快速成長，從傳統的農業社會轉向現代的工商社會。在這樣背景下的地理景觀，不單是自然環境與人類文明發展的呈現，也是社會文化建構下的產物，成為「現代化」成果最鮮明的時代表徵。新式的地理景觀吸引當時人們的目光，城鄉與階級的差異逐漸打破，在畫家筆下亦出現全然不同的視覺景觀。這間接影響過去純美術創作的藝術家對於風景的形塑、美麗的風光以及現代化建設促使他們從過往學院與畫室風格跳脫出來，開始了追尋風景的寫生創作，因而留下諸多著名的美術作品。本文試圖以日治時期（1895-1945）具觀光地景元素之圖像作為研究對象，以藝術史學的角度出發，並採用相關視覺材料作為輔助。進行整體美術作品研究時，主要以風格分析作為方法，輔以圖像學（Iconography）詮釋其象徵意義。

此外，運用符號學（Semiotics）理論搭配文化研究相關學說，試圖探討作品中地景圖像的符號性，以及藝術家如何透過作品描繪、設計，賦予其特殊的符號性意涵，解析日治時期藝術家與觀光景點之間的連動關係，試圖梳理日治時期藝術家對於觀光景點的定義與表現。透過本研究也冀望促進臺灣美術的新面貌，開拓觀光地景與日治時期新美術發展之間的關係。

In 1895, when Taiwan was under Japanese colonial rule, the government brought the success of the “Meiji Restoration” with it to help Taiwan flourish. With this idealism, the development of modern and western education, economy, industry, architecture and even tourism accelerated in Taiwan. In 1927, Taiwan Daily News held the “Eight Views of the Taiwan Ballot”, which was voted for the “Eight Views of the Taiwan Ballot” and included the “Twelve Spots” and “Two Special Views”. These events also brought the tourism landscape rapidly into public view. In Taiwan’s large-scale urban development, modernization equates to economic growth which led to the transformation of what once was a traditional agricultural community into an industrial society. Set against this backdrop, ‘’Landscapes’’ are not only a manifestation of the development of nature and civilization but also proof of Taiwan’s period of Modernization.This novel landscape has captivated people’s attention and inspired many artists. Different elements related to landscapes appear in the painter’s works. The beautiful scenery and modern architecture have attracted artists to go outside to sketch the natural, and produce distinct themes of tourism landscape.

My perspective of art history is to conduct a thorough examination of the tourism landscape under the Japanese colonial era and analyse the interpretation of tourism landscape through thelens of the art industry. Furthermore, I aim to use semiotics theory, iconography theory and cultural theory to illustrate how an artist gives special symbolic meaning to their work by depicting tourism landscapes. The results seek to explain images with tourism landscapes and the development of the arts under Japanese colonial rule.