Lumière The Enlightenment and Self-Awakening of Taiwanese Culture 開放時間｜週二到週日 10：00-18：00，週一及國定假日休館◎本展參觀採預約優先制，請透過北師美術館官方網站預約 ◎ 地址｜ 106 臺北 市大安區和平東路二段 134 號 ◎ 電話｜ +886-2732-1104 #83401︑#63492 ◎ Opening Times ｜ Tuesday-Sunday 10:00-18:00 (Closed on Mondays and National Holidays) ◎ Advanced reservation is prioritized. Please book through the website of MoNTUE. ◎ Address ｜ No. 134, Sec. 2, Heping E. Road, Da’an District, Taipei City, Taiwan 106 ◎ Tel ｜ +886-2732-1104 #83401︑#63492
鄧南光，30年代東京寫真，廈門攝影企劃研究室提供。Deng Nang-guang, Tokyo Shashin in 1930s. Courtesy of Sunnygate Phototimes.
光──臺灣文化的啟蒙與自覺 Lumière: The Enlightenment and Self-Awakening of Taiwanese Culture 藝術家｜劉錦堂︑賴和︑倪蔣懷︑陳澄波︑黃土水︑郭柏川︑廖繼春︑李梅樹︑王白淵︑藍蔭鼎︑張維賢︑陳植棋︑陳進︑ 鄧南光︑郭雪湖︑李石樵︑劉啟祥︑蒲添生︑陳清汾︑張才︑洪瑞麟︑林之助︑林摶秋︑莊世和（依出生年排序） 當代迴響｜黃邦銓︑林君昵︑阮劇團 Artists ｜ LIU Chin-tang, LAI Ho, NI Chiang-huai, CHEN Cheng-po, HUANG Tu-shui, KUO Po-chuan, LIAO Chi-chun, LI Meishu, WANG Bai-yuan, RAN In-ting, Chang Weixian, CHEN Chih-chi, CHEN Chin, DENG Nang-guang, KUO Hsueh-hu, LI Shihchiao, LIU Chi- hsiang, PU Tien-sheng, CHEN Ching-fen, CHANG Tsai, HUNG Rui-lin, LIN Chih-chu, LIN Tuan-chiu, CHUANG Shih-ho (in birth order) Contemporary Revisits ｜ HUANG Pang Chuan, Lin Chunni, Out Theatre 指導單位｜文化部 主辦單位｜國立臺北教育大學北師美術館︑財團法人福祿文化基金會 協辦單位｜財團法人福祿文化基金會北投文物館︑財團法人蔣渭水文化基金會 贊助單位｜美術館之友聯誼會 Supervisor ｜ Ministry of Culture Organizers ｜ Museum of National Taipei University of Education, Fu Lu Culture Foundation Co-organizers ｜ Beitou Museum, Chiang Wei-shui Cultural Foundation Sponsor ｜ Museum Friends Association 媒體協力｜非池中藝術網︑典藏．今藝術 & 投資︑典藏 ARTOUCH︑故事 StoryStudio︑報導者︑臺灣吧︑藝術地圖︑藝術 家雜誌社︑攝影之聲︑ARTOGO（依筆畫順序排列） 借展單位｜文化部︑中央研究院臺灣史研究所檔案館︑呂雲麟紀念美術館︑李石樵美術館︑李梅樹紀念館︑高雄市立美術館︑ 財團法人吳三連臺灣史料基金會︑財團法人蔣渭水文化基金會︑財團法人賴和文教基金會︑財團法人陳澄波文化基金會︑ 國立清華大學圖書館︑國立臺灣文學館︑國立臺灣美術館︑國立臺灣歷史博物館︑國家電影及視聽文化中心︑臺北市立美 術館︑臺南市美術館︑臺灣藝術田野工作站以及藝術家家屬與私人藏家 史料提供｜六花出版︑六然居資料室︑秋惠文庫︑財團法人大眾教育基金會︑財團法人臺北市巫永福文化基金會︑國立政 治大學圖書館︑國立臺灣大學圖書館︑國立臺灣圖書館︑國家發展委員會檔案管理局︑國家圖書館︑朝日新聞︑臺北市政 府文化局︑點心擔合唱團︑霧峯林家花園林獻堂博物館︑藝術家雜誌社以及相關領域之文史研究者 ( 依筆畫順序排列）
展覽 Exhibition 總策畫 Producer ｜林曼麗 LIN Mun-lee 研究計畫主持人 Chief of Research Team ｜周婉窈 CHOU Wan-yao 協同主持人 Researchers ｜劉柳書琴 LIU Liu Shu Chin︑石婉舜 SHIH Wan-shun︑蔣伯欣 CHIANG Po-shin︑ 陳慧先 CHEN Huei-hsien︑陳允元 CHEN Yun-yuan︑吳俊瑩 WU Chun-ying 企畫構成 Curatorial Team ｜蔣伯欣及北師美術館團隊 CHIANG Po-shin and the MoNTUE Team 北師美術館團隊 MoNTUE Team 執行總監 Executive Director ｜王若璇 WANG Rocean 展覽統籌 Exhibition Management ｜徐珮琳 HSU Pei-lin 展覽執行 Exhibition Coordination ｜劉依盈 LIU I-Ying 媒體公關 Public Relations ｜王欣翮 WANG Hsinho Elanor 教育推廣 Public Programs ｜王怡心 WANG Yi-hsin︑陳俐臻 CHEN Li-jen 研究助理 Research Assistants ｜劉聞宜 LIU Wen-Yi︑黃微芬 HUANG Weifen 研究協力 Research Collaboration ｜趙宜恬 CHAO I Tian︑林珮鈺 LIN Peiyu︑張晏菖 TIUNN Àn-tshiong 展場設計 Exhibition Design ｜別音設計 Noiz Architects 視覺設計 Graphic Design ｜林秦華設計工作室 LIN Chin-hua Design Studio 展覽助理 Exhibition Assistants ｜陳俞瑾 CHEN Yu-jin︑羅永晴 LUOR Yung-ching︑劉怡辰 LIU Yi-chern
導覽手冊 Guidebook 特別邀稿 Special Contributor ｜顏娟英 YEN Chuan-ying 文字 Texts ｜蔣伯欣 CHIANG Po-shin︑石婉舜 SHIH Wan-shun︑陳允元 CHEN Yun-yuan︑ 劉柳書琴 LIU Liu Shu Chin︑王欣翮 WANG Hsinho Elanor 統籌編輯 Managing Editor ｜王若璇 WANG Rocean 執行編輯 Executive Editor ｜劉依盈 LIU I-Ying 翻譯 Translation ｜王怡文 Yvonne KENNEDY︑黃亮融 HUANG Liang-jung︑韞藝術工作室 Yun Art Studio 設計 Design and Layout ｜林秦華設計工作室 LIN Chin-hua Design Studio
Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
後文協時代 Post Taiwan Cultural Association Period 隨著文化運動的深化，文協逐漸走向反殖民的政 治運動發展，並於1927年分裂。文協陸續影響、 生成多個運動團體，主要有臺灣農民組合、臺灣 共產黨、臺灣民眾黨、臺灣工友總聯盟、臺灣地 方自治聯盟等，分佔思想光譜的不同位置。 臺灣工友總聯盟，打狗罷工傳單，六然居資料 室提供。Taiwan Worker League, Flyer of the Takao Strike. Courtesy of Liok-Jian-Ku Archives.
左：臺灣地方自治聯盟鹿港支部發會式會象，1930，六然居資料室提供。Left: Launch of the Lukang Branch of the League for the Attainment of Local Self-government in Taiwan, 1930. Courtesy of Liok-Jian-Ku Archives. 右：蔣渭水電賀臺灣民眾黨大甲支部成立1週年，1928，蔣渭水文化基金會提供。Right: Telegraph sent by Chiang Wei-shui to congratulate the 1st anniversary of the Tachia Branch of the Taiwanese People’s Party, 1928. Courtesy of Chiang Wei-shui Cultural Foundation.
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臺灣文化協會的講演活動 Public Activities Organized by the Taiwan Cultural Association 臺灣文化協會作為啟迪民智、解放思想、推行文 藝的總機關。成員藉由發行會報、設置讀報社、 簡易圖書館、漢文研究所，撰寫歌謠、成立活動 寫真（電影）隊，並在全台各處廣設文協支部， 舉辦文化演講、夏季學校，催生各地的讀書會、 青年會、婦女會、平民俱樂部等，從目前留下的 報紙與時人的日記中，能看見當時文協活動如何 百花齊放、深入民間。 無力者大會傳單，1924，秋惠文庫提供。 Flyer of the Gathering of the Powerless, 1924. Courtesy of Formosa Vintage Museum.
臺灣文化協會活動寫眞大會，國立臺灣文學館提供。Katsudo shashin held by the Taiwan Cultural Association. Courtesy of the National Museum of Taiwan Literature.
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Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
第七次臺灣議會設置請願運動寫真，中央未戴帽立者左一葉榮鐘、左二楊肇嘉、左三林獻堂、左四邱德金，中間靠左戴 帽最高者為陳植棋，1926，六然居資料室提供。Photo of the 7th Petition Movement for the Establishment of a Taiwanese Parliament. Yeh Jung-chung, the first person without a hat standing from center left; Yang Chao-chia, second from center left; Lin Hsien-tang, third from center left; Chiu Te-chin, fourth from center left; Chen Chih-chi, the tallest person wearing a hat and standing from center left. Courtesy of Liok-Jian-Ku Archives.
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附錄 Appendix 臺灣議會設置請願運動 The Petition Movement for the Establishment of a Taiwanese Parliament 1921年，由林獻堂等178人聯署，以在東京的臺灣留學生為骨幹，第 一回請願運動開始，他們積極說服日本帝國議會，希望能在臺灣設 置議會，公選臺灣議員，目標達到殖民地自治。直到1934年為止， 共計15回運動，一方面在臺灣舉辦講演會蒐集聯署，一方面廣發海 報，而臺灣第一位飛行員謝文達亦於東京空投傳單等，而每回請願 運動皆受到在日臺灣人的熱烈歡迎，親自赴東京車站迎接代表團。 期間，亦發生1923年因成立臺灣議會期成同盟會而引發「治警事 件」，總督府展開全島大逮捕，以違反治安警察法為理由，共有29 人被移送，而蔣渭水與蔡培火為首的七人被判入獄。治警事件象徵 著臺灣人民對於不平的反抗，無論入獄與出獄時，皆有民眾夾道歡 送，紀念照中脫帽者即為出獄的行動者。
左：謝文達先生飛行紀念之一，1920，國家圖書館提供。Left: Postcard of pilot Hsieh Wenta, 1920. Courtesy of National Central Library. 右：臺灣議會設置請願運動海報，臺灣藝術田野工作站提供。Right: Poster of the Petition Movement for the Establishment of a Taiwanese Parliament. Courtesy of Taiwan Visual Art Archive.
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Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
演出場次 Timetable ▶ 1/01（六）19:30
▶ 4/23（六）19:30
▶ 1/16（日）14:00
▶ 2/20（日）14:00
演出地點｜國立臺北教育大學大禮堂
▶ 3/27（日）14:00
演出地點｜北師美術館一樓講座區 ※本次演出採線上索票，演出前 10 日開放索票。 每人每場次限索兩張，索完為止。
《皇都電姬》，阮劇團提供。The State & Denki. Courtesy of Our Theatre.
阮劇團 Our Theatre 「阮」，就是臺語的「我們」：一群人，一起完成一件事。 阮劇團立基於臺灣嘉義，由一 群嘉義子弟於2003年成立，致力發展不同於都會觀點的劇場美學，將在地的民俗文化揉合 於現代戲劇中，讓表演藝術更積極地走向民眾與社會，「臺語」、「常民」是其創作的最大 特色。曾多次入圍台新藝術獎，並曾代表臺灣至英國愛丁堡藝穗節、羅馬尼亞錫比烏國際戲 劇節等國際藝文節慶演出。 創團17年來，已累計演出700餘場，並於2018年成立嘉義第一座 小劇場空間——新嘉義座。 63
加入B會的人 Those from Association B 2021｜合作共製 Collaborative Production｜90 mins 臺灣文化協會年代的知識人通過日本、中國的管道，借鑒于西方現代戲劇，提倡文化 劇，點燃了近代臺灣新劇運動的薪火，一路相傳到戰後二二八前夕。剛開始的階段，新 戲劇的劇本該怎麼寫？能怎麼演？文化人多處於摸索、模仿的狀態。因此我們看到文協 活躍的十年間，即使上演的劇目數量多達百部以上，但是劇本大多借自中國、日本，本 土創作相當有限（今日幾乎也只有劇目留存）。 本次展覽，我們特別精選兩齣文協年代的常演劇目《復活的玫瑰》與《社會階級》，委 託嘉義的阮劇團製作演出。這兩齣文化劇劇目既是「仿展件」般地出現在本次展覽中， 也因為「再創作」必然涉入當代觀點而形成相隔百年的迴響。 《復活的玫瑰》是中國劇作家侯曜的作品，這齣鼓吹婚姻戀愛自由的五幕劇榮登文協年 代上演次數的冠軍寶座，全臺從南到北的主要城市都有過上演紀錄。《社會階級》則是 一部罕見的西洋翻譯劇，係由1925年成立的彰化鼎新社自廈門引進，旨在嘲諷社會上的 階級偏見。由於當時上演根據的翻譯版本迄今未能尋獲，我們將愛都華・諾雷思的法文 原作重新翻譯，以此向新劇運動的前輩們致敬。（石婉舜） Intellectuals in the period of the Taiwan Cultural Association used Western modern drama introduced from Japan and China to promote cultural plays, kindling and passing down the flame of the Sin-Kik Movement in early modern Taiwan until the eve of the February 28 Incident after the war. How were the Sin-Kik scripts written at the initial stage? How were they performed? The culturalti at the time were in a state of exploration and mostly imitated existing works. Therefore, even though there were more than a hundred plays performed during the decade when the Taiwan Cultural Association was active, these plays were mainly from China and Japan. Meanwhile, there was only a handful of local plays, and almost none has survived today. For this exhibition, we have specially selected two frequently performed plays during the period of the Taiwan Cultural Association —The Resurrected Rose and Social Class— as the designated creative materials and commissioned the Chiayi-based Our Theatre troupe for the production. Therefore, these two cultural plays are both “reproductions” featured in the exhibition and “recreations” consequentially involving contemporary viewpoints that resonate with the productions a century ago. The Resurrected Rose was a five-act play that promoted free marriage and love written by the Chinese playwright, Hou Yao. The most performed piece during the period of the Taiwan Cultural Association, the play was performed in major cities throughout Taiwan. Social Class was a rare example of a translated Western play. Introduced from Xiamen by the Changhua-based Sin-Kik group, Tiánn Sin Ensemble, the short play satirized social class prejudices in society. Since the original translated script has not been found so far, we have re-translated the script from its original French script by Édouard Norès. By doing so, we hope to pay tribute to all the predecessors in the Sin-Kik Movement. (Shih Wan-shun) 62
Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
林君昵、黃邦銓，《甘露水》，2021，16mm，藝術家提供。Lin Chunni and Huang Pang-Chuan，Kam Lõo Tsuí, 2021, 16mm, 40 mins. Courtesy of the Artists.
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林君昵
黃邦銓
生於日本東京，畢業於成功大學建築系，
生於臺灣高雄。作品中常包含三種元素：
創作《淹煙》、《移忘》、《來美術館郊
回憶、旅行和膠卷媒材。以《回程列車》
遊》、《天亮前的戀愛故事》等作品，入
與《去年火車經過的時候》兩部作品連續
選法國克萊蒙費宏電影節、聖保羅短片節
兩年獲得法國克萊蒙費宏實驗競賽首獎，
和里斯本獨立電影節等多個國際影展，今
並於盧卡諾影展、IDFA阿姆斯特丹國際紀
年（2021）以《天亮前的戀愛故事》在臺
錄片影展及 MoMA紀錄片雙週等國際影展
灣國際女性影展獲獎。
放映。
甘露水 Kam Lõo Tsuí 林君昵、黃邦銓 Lin Chunni, Huang Pang-Chuan 2021｜16 mm｜40 mins 臺灣首位藝術家黃土水於1921年創作雕刻作品《甘露水》之同名紀錄片；由百年前的高 砂寮，黃土水手拿著鐵鑽和鐵鎚，孜孜矻矻地打大理石，至戰後動盪的時局中，勇敢保 護此件雕刻作品的家族，而後在工廠封藏沈睡了五十年後，甘露水經由修復師森純一的 巧手褪去髒污，重新站回影框內，留下屬於她應得的美麗；此紀錄片以16mm膠卷記錄 大理石微觀的肌理世界，以光鑿刻大理石上的歷史印記，在媒材與媒材的對話中，搖晃 過時間之河，留下臺灣晦澀的歷史身影。百年之後的今日，重新為這尊在動盪中誕生的 女神打造全新的形象，藉由鏡頭對焦，再次回望自身的腳步，走過殖民、戒嚴等封建政 權，不再畏懼，邁開新的步伐。 Kam Lõo Tsuí [Water of Immortality] is a documentary on Huang Tu-shui’s 1921 marble sculpture of the same title, which Huang worked tirelessly on in his dormitory Takasago-ryo one hundred years ago. Thanks to the efforts of the family who courageously shielded the work in times of post-war turmoil, after a 50-year-long slumber in a factory, Water of Immortality is awakened and cleansed by the skillful hands of art conservator Mori Junichi. As the stains are slowly erased, Water of Immortality is placed back into the frame, emanating her innate beauty. As the documentary examines the subtle textures of marble and the traces of time through 16mm films and the workings of light, it allows different mediums to engage in a dialogue that embodies the historical image of Taiwan. Despite being one hundred years apart, we, like the goddess, have also endured turmoil, and as we renew the image of the goddess and gaze upon her through the lens, we also reflect on ourselves, surviving feudal powers such as colonization and the Martial Law, and fearlessly marching toward a new future. 60
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The Enlightenment and Self-Awakening of Taiwanese Culture
黃邦銓、林君昵，《荊棘之 道—暗房與詩歌》，2021，影 像互動裝置，藝術家提供。 Huang Pang-Chuan and Lin Chunni, Die Wege: Darkroom and Poetry, 2021, interactive video installation. Courtesy of the Artists.
荊棘之道—暗房與詩歌 Die Wege: Darkroom and Poetry 黃邦銓、林君昵 Huang Pang-Chuan, Lin Chunnni 2021｜影像互動裝置 Interactive video installation 作品名取自王白淵1931年出版的詩集《荊棘之道》，顧名思義即為一條向上綿延的隧 道，在隧道的兩端，則有兩件裝置：「暗房」和「詩歌」，「暗房」位於隧道底端的B1 展場，觀眾藉由自己的雙手，顯影那個時代的影像，這些照片在觀眾眼前短暫的駐留， 緩緩還原回銀粒子，向上昇華；「詩歌」位於隧道頂端的3F展場，觀眾用自己的聲音， 叫喚王白淵詩集中的字詞，使那些上升的銀粒子凝聚成一片片風景，來到觀眾的面前。 1921年，臺灣文化協會成立，號召民眾以自己的身體以及聲音參與文化活動，如讀報 社、演講會、新劇、活動寫真等等，欲以當時最新的科技，來喚醒臺灣人的文化意識； 《荊棘之道—暗房與詩歌》以現代的科技回應百年前的時代，邀請觀眾以自己的雙手和 聲音，動身一起來參與百年後的文化活動。 Drawing on Wang Bai-yuan’s 1931 poetry collection A Path with Briars, the title suggests an ongoing tunnel winding upwards, with two installations, Darkroom and Poetry, on each side. Located at the end of the B1 exhibition space, Darkroom invites visitors to use their hands to beckon the images of the past, which appear briefly before slowly reverting and sublimating into silver particles. Poetry is organized on the top of the tunnel in the 3F exhibition space. Visitors are invited to read out the verses of Wang Bai-yuan’s poems, which gathers into different scenes before them. Through events such as newspaper reading societies, talks, Sin-Kik, and katsudo shashin , the Taiwan Cultural Association, established in 1921, encourages the public to participate in cultural events in different forms and endeavors to awaken Taiwan’s cultural awareness through the latest technologies at the time. Through modern technology, Die Wege: Darkroom and Poetry reflects on that period, one hundred years from now, and invites the audience to celebrate the century-old cultural movement with their hands and voices.
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另一方面︐臺灣文化協會積極透過搬演文化劇︐
挪用非本土劇本︐融入知識青年對封建父權體制︑
會
階級壓迫等議題的批判與反省︐並表達對個人解
放︑戀愛自由的主張與追求︒阮劇團以︽加入
的人︾致敬現代戲劇運動的先驅者︐在演繹劇本之
餘︐同時也呈現當年劇團在活躍於舞臺上背後︐激
烈爭論︑彌合︑分裂︑再前進的面貌︒
臺灣文化協會積極號召民眾起身參與文化活動︐
試圖藉此啟蒙並提升大眾自覺︒在一百年之後︐當
The Taiwan Cultural Association had actively used cultural dramas and appropriated non-local scripts incorporated with educated youths’ criticisms of and reflection on the feudal patriarchal system and class oppression while expressing their views and pursuits of
代創作者意圖透過創作的呈現引領觀眾起身︐通過
實際的參與體會文化中蘊含的力量︒ taken in by a member of the gentry class who had his family guard the work throughout the years, to its returning to glory after conservators finally clean up years of dust and dirt. As the camera fares through the river of time, the documentary reveals how Water of Immortality has mirrored the centennial fate of Taiwan as well as Taiwanese people’s quest of art and its historical trajectory.
B
personal liberation and free love. For this exhibition, the Our Theatre troupe pays homage to the modern theater pioneers with the theatrical play, Those from Association B. While performing the script, they will also reveal the fierce argument, reconciliation, split and progression behind the stage of theater troupes at the time. The Taiwan Cultural Association had actively called people to take part in cultural activities, hoping to enlighten the public and foster their self-awakening. One century later, contemporary artists now use their works to guide the audience to experience the power in culture through actual participation.
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The Enlightenment and Self-Awakening of Taiwanese Culture
當代迴響 Contemporary Revisits
置︽荊棘之道 暗 —房與詩歌︾︐取自 王白淵於一九三一年出版的臺灣第一本左翼
穿地下室及三樓展覽的影像互動裝
詩集︽荊棘之道︾︒時年軍國主義於日本
國內抬頭︐殖民地運動連番受阻︐自外於
體制的王白淵將政治理想寄寓文字︐其名
﹁荊棘之道﹂無非是殖民政權底下的黑暗長
路︐人們匍匐前進︑深信終將能瞥見洞口透
入的一絲光︒由黃邦銓與林君昵導演領銜
的團隊邀請觀眾藉由自己的雙手將時代顯
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像︐並透過聲音呼喚王白淵的字句︐使粒粒
銀鹽將文化協會的記憶凝聚成片片風景︒
而在紀錄片︽甘露水︾中︐兩位導演以
十六釐米膠卷微觀大理石肌理︐追索雕塑
如何在黃土水敲打下賦形進而登上帝展龍
門︐卻一度被捨棄︐至仕紳傾家族之力守
護封藏︐直到修復師撫去塵埃恢復榮光的
過程︒鏡頭記錄下︽甘露水︾如何映照著
臺灣百年的命運︐以及臺灣人對於藝術的
追尋與時代軌跡︒
T
he interactive video installation, Die Wege— Darkroom and Poetry, which connects the third floor of the museum and the basement space, draws on Wang Bai-yuan’s A Path with Briars, the first left-wing poetry collection published in Taiwan in 1931. At the time, militarism had risen in Japan and the social movements under colonial rule had been repeatedly suppressed. Being outside the system, Wang conveyed his political ideals in writing. The title of the poetry collection beckoned at the faith of those living under the colonial regime who had been crawling forward in the darkness and believed that they could one day see the
貫
light that slit up the darkness. The team led by Huang Pang-Chuan and Lin Chunni invites the audience to develop historical images with their own hands and turn silver particles into memory landscapes of the Taiwan Cultural Association. For the documentary, Kam Lōo Tsuí [Water of Immortality], the directors use 16mm film to microscopically observe the marble texture and trace the history of the sculpture – from Huang Tu-shui’s hammering the work into shape, to the honor of being selected into the Teiten, to being cast aside and eventually
林君昵、黃邦銓，《甘露水》，2021，16mm，40分，藝術家提供。Lin Chunni and Huang Pang-Chuan, Kam Lõo Tsuí, 2021, 16mm, 40 mins. Courtesy of the Artists.
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The Enlightenment and Self-Awakening of Taiwanese Culture
一九三一年︐東京︑大阪曾舉
辦由一九二九年德國發起的﹁電
影與攝影﹂︵ Film und Foto ︶巡 迴展︐相關報導也傳入臺灣︒本
展區將以此一攝影史上的里程碑
展作為展示參照︐整合相關新興
攝影作品作蒙太奇的嘗試︐回訪
此一﹁影像的運動﹂︒同時︐黃
邦銓與林君昵的導演團隊︐也以
科技手法︐擇選特殊視覺形式的
先覺者合影等﹁運動的影像﹂︐
與前述﹁影像的運動﹂形成向當
代投影的跨時代辯證與對話︒
︵蔣伯欣︶
55
李梅樹，《黃土水告別式速寫》，1930，李梅樹紀念館收 藏。Li Mei-shu, Sketch of Huang Tu-shui’s Funeral, 1930. Collection of the Li Mei-shu Memorial Gallery.
蔣渭水先生臨終直前攝影，1931，財團法人蔣渭水文 化基金會提供。 Photo of Chiang Wei-shui in His Last Moments, 1931. Courtesy of Chiang Wei-shui Cultural Foundation.
Regarding the Shinko Shashin, Deng Nan-guang had learned related techniques when he was studying in Tokyo from 1929 to 1935, during which he had also taken photos of the Labor Day protest on May 1st, 1931 and newly discovered footages of labor, which extensively corresponded to the Labor Day issue of the New Taiwan People Times published by the New Taiwan Cultural Association in the same year. Chang Tsai, who had followed his elder brother Chang Weixian’s footsteps to directly participate in the Sin-Kik Movement, went to Shanghai after immersing himself in the Shinko Shashin scene in Tokyo and left many works of the New Vision featuring urban flânerie and common people from the lower social stratum.
In 1931, news coverage of the German touring exhibition "Film and Foto," which had been respectively presented in Tokyo and Osaka, were published in Taiwan. This section uses this milestone in the history of photography as a reference point, and in a montageesque attempt, incorporates works of the Shinko Shashin into the exhibition as a way to revisit “the movement of images.” Also, the directorial team led by Huang Pangchuan and Lin Chunni makes “the images of movement” by utilizing a technological approach to produce images with pioneers of foresights, who had employed distinctive visual forms, and thus initiates a diachronous dialectic and dialogue that project into the contemporary time with “the movement of images.” (Chiang Po-shin)
鄧南光，勞工工會總評議街道遊行抗議速寫，東京，1929-1935，夏門攝影企劃研究室提供。DENG Nang-guang, Snap–Labor Union Street Protest, Tokyo,1929-1935. Courtesy of Sunnygate Phototimes.
張才，白俄羅斯社區代配鑰匙招牌｜上海，1943，夏門攝影企劃研究室提供。Chang Tsai, Key Shop Sign, Belorussian District, Shanghai, 1943. Courtesy of Sunnygate Phototimes.
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The Enlightenment and Self-Awakening of Taiwanese Culture
而病逝︐李梅樹分別速寫了兩人
的告別式與臨終前容貌留念︒同
年八月五日︐蔣渭水逝世︐以臨
終前的凝視︐對未來投以目光︐
同志並留下︽蔣渭水氏台灣大眾
葬葬儀︾紀錄片︐片中帶有部分
新興攝影的視角與運鏡手法︒
對於新興攝影︐鄧南光在
一九二九至一九三五年留學東京
期間便曾涉獵相關技法︐他也拍
攝了一九三一年五一勞動節示威
遊行與新出土的勞動紀實影像︐
與新文協刊物︽新台灣大眾時
報︾同年的五一節專輯多有呼
應︒而年少時曾隨其兄張維賢
直接參與新劇運動的張才︐也
New
在東京受新興寫真洗禮後赴上
海︐留下許多結合新視覺︵
︶的都市漫遊與底層庶民 Vision 影像的作品︒
影像的運動 運動的影像
Moving Images | Movement Images I
n the late 1920s, under the influence of avant-garde movements such as Constructivism and Expressionism, the practice of combining the Shinko Shashin [New Photography] and film with social movements emerged in Japan. The endeavors of the Taiwan Cultural Association in the 1920s coincided with the peak period of image being used as a form of resistance; and until 1931, when social activist groups were banned one after another, image also witnessed the death of social movements before they were reborn through the movement of archived images. In 1929, after the assassination of Yamamoto Senji, a member of the Japanese House of Representatives, his fellow comrades organized a grand funeral for him as a form of protest. The funeral procession was documented in the form of paintings, photography and 53
documentary films. Also, social movements at this time entered a period characterized by intense protests, and activists were tortured and even killed for these causes, making them the subject of archival images. In 1931, a memorial ceremony and an exhibition were held for Huang Tu-shui, who had passed away at the end of the previous year. In April of the same year, Chen Chih-chi also passed away due to illness when hurrying to submit his work to the Teiten. With sketch drawings, Li Meishu documented their memorial services and their looks on their deathbeds respectively. That year, on August 5th, Chiang Wei-shui passed away, casting a final look towards the future with his dying gaze. His comrades made the documentary of The Mass Funeral of Chiang Wei Shui, which included some angles and camera movements that draw on the Shinko Shashin.
九二Ｏ年代後期︐受到構
年四月︐陳植棋也因趕赴送件帝展
黃土水舉辦了追悼會與遺作展︐同
象︒一九三一年︐前一年底病逝的
死亡事件︐也成為影像檔案化的對
階段︐運動者遭刑求︑甚至犧牲的
錄︐此時的運動也進入抗爭的激烈
以繪畫︑攝影︑紀錄片等形式紀
儀作為一種示威手段︐送葬過程
宣治遭暗殺後︐同志舉辦盛大的葬
一九二九年︐日本國會議員山本
運動再生︒
動的消亡︐也透過檔案化的影像
一九三一年︐影像同時見證了運
到了各運動團體相繼被禁止的
是影像作為抵抗宣傳的興盛期︐
形式︒文協的一九二Ｏ年代︐也
影與電影結合社會運動的實踐
運動影響︐日本也開展新興攝
成主義︑表現主義等前衛
一
鄧南光，立體攝影術——新宿街景，東京，1929-1935，夏門攝影企劃研究室提供。Deng Nang-guang, Stereoscopic Photography–Shinjuku, Tokyo, 1929-1935. Courtesy of Sunnygate Phototimes.
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The Enlightenment and Self-Awakening of Taiwanese Culture
T
he bustling 1920s of the age of the Taiwan Cultural Association was an incubator for writers, painters, and playwrights. By the 1930s, the bloom of numerous artworks became evidence that the Taiwan Cultural Association’s mission was complete. The artworks extended the illumination of political enlightenment: the pursuit of aesthetics, wrestle of poetics, resistance through imageries, and liberation of thought from colonial control that manifested through the works made the era incredibly interesting and inspiring. Writer Wang Bai-yuan is a great example of the figures of this period. Born during Japanese rule, Wang had a profound awareness that the lives of ambitious
youths born in colonies were destined to be filled with hardship and turmoil. However, from Tokyo, Shanghai, all th way to post-war Taiwan, he persisted in his vision. Originally cultivated by the Taiwan Cultural Association as a Nationalist, Wang leaned to the left and became a Marxist in 1926, and for the next 11 years, he engaged with anti-imperialism movements and anti-war events in Japan and China. In the life of Wang Bai-yuan, we see traces of Chen Zai-kui and the reflections of figures including Lin Dui, Hsieh Chun-mu, Wu Kun-huang, Chang Wen-huan, Chen Cheng-po, and Chen Chihchi. In his pursuit of freedom and human rights, Taiwan remained a great source of inspiration. (LIU Liu Shu Chin)
向世界借火,前進東京
Advancing on Tokyo; Borrowing Fire from the World
王白淵贈予陳澄波的獨照，1930。圖像提供：財團法人陳 澄波文化基金會。Photo of Wang Bai-yuan gifted to Chen Cheng-po,1930. Image Courtesy of Chen Cheng-po Cultural Foundation.
51
〈臺灣文聯東京支部第一回茶話會〉《臺灣文藝》2:4， 國立臺灣大學圖書館提供。 “The 1st Tea Session Held by the Tokyo Branch of Taiwan Bungei Alliance,” The Taiwan Bungei 2:4. Courtesy of the National Taiwan University Library.
王白淵，《荊棘之道》書 封，1931。圖像提供：陳澄 波文化基金會提供。 Wang Bai-yuan, Cover of A Path with Briars. Image Courtesy of Chen Cheng-po Cultural Foundation.
灣文化協會風起雲湧的一九二
是一股重要力量︒︵劉柳書琴︶
由與人權的路上︐臺灣的繆思始終
棋 ︙︙ 等 等 同 類 的 靈 魂 ︒ 在 追 求 自
吳坤煌︑張文環︑陳澄波︑陳植
葵的心靈︐折射出林兌︑謝春木︑
工作︒在王白淵身上可以窺見陳在
右在日本和中國的反帝運動及抗戰
一位馬克思主義者︐開始十一年左
文協哺育的民族主義運動者左傾為
到戰後的臺灣︒一九二六年︐他從
舛︐卻堅持抗爭︐從東京︑上海︑
深知有夢的殖民地青年註定命運多
作家王白淵︐是一個絕佳案例︒他
解殖︐有趣︐實不有趣︒日語世代
詩性的格鬥︐意象的抗爭︐思想的
了政治運動的精神︒美學的追求︐
性任務︐但藝術弧光的綻放卻延長
品成群誕生時︐文協已完成其階段
成長醞釀︐當一九三Ｏ年代藝文作
Ｏ年代︐作家︑畫家︑戲劇家
臺
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Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
而在文協歷經左右翼分裂而
歸於消滅︐政治社會運動遭到
殖民政府全面壓制的一九三Ｏ
年代︐運動者則試圖藉由文學
重整旗鼓︑穩住腳步︐積蓄臺
灣人的文化底氣︒一九三四年
﹁臺灣文藝聯盟﹂的結成︐是
左右翼文學路線的聯合陣線︐
也是全島作家首次大串聯︒與
此同時︐日語世代的純文學
作家︐也以一九三三年東京的
﹁臺灣藝術研究會﹂的結成為
象徵正式登場︐並與島內的文
學活動跨島串聯︒在後文協時
代︐文學家和各種領域藝術家
的跨界域交流也十分頻繁︒他
們嘗試匯聚不同的藝術力量︐
構築起文學與藝術的共同戰
線︐將文藝推展至大眾裡去︐
也矢志讓臺灣藝術之花︐在世
界的心臟裡綻放︒︵陳允元︶
新文學的戰鬥位置： 從文協時代到後文協時代
The Battle Position of the New Literature: From the Period of the Taiwan Cultural Association to the Post-Taiwan Cultural Association Period
T
he birth of the Taiwanese New Literature Movement almost coincided and unveiled with the establishment of the Taiwan Cultural Association in the 1920s as well as the surging sociopolitical movements. The New Literature Movement was both the medium for advocating the ideal of cultural enlightenment upheld by the Taiwan Cultural Association and a result of the New Cultural Movement. Literary pioneers such as Hsieh Chun-mu and Lai Ho were all important cadre members of the Taiwan Cultural Association. In the 1920s, the New Literature Movement was deemed as a link of socio-political 49
movements that shouldered the responsibilities of awakening the public and reforming the society. Among various arts and cultural fields, including literature, fine art, music and drama, literature is probably the most flexible art form that could best work together with sociopolitical movements. Hsieh Chun-mu’s active embrace of the enlightenment of civilization, Lai Ho’s profound contemplation on colonial modernity and Taiwanese tradition, and Yang Kui’s left-wing practice that combined literary arts and social movements were refractions of the varied historical stages and missions throughout the development of the Taiwan Cultural Association.
灣新文學運動的誕生︐
幾乎與一九二Ｏ年代臺
灣文化協會的結成︑風起雲湧
的政治社會運動同步展開︐既
是文協宣揚啟蒙理念的媒介︐
也是新文化運動的成果︒其先
驅如謝春木︑賴和等︐皆為文
協的重要幹部︒在一九二Ｏ年
代︐新文學被視為政治社會運
動的一環︐肩負起促使大眾
覺醒︑改造社會的責任︒在文
學︑美術︑音樂︑戲劇等藝文
諸領域之中︐文學大概是最靈
活︑最能夠與政治社會運動並
肩作戰的一支了︒謝春木對文
明啟蒙的積極擁抱︑賴和對殖
民現代性及臺灣傳統的深沉思
考︑楊逵結合文藝與運動的左
翼實踐︐都折射著文協發展不
同的歷史階段與任務使命︒
臺
賴和，〈（南國）哀歌〉手 稿，1931，財團法人賴和 文教基金會收藏。Lai Ho, Manuscript of “An Elegy (of Taiwan) ,” 1931. Collection of Laiho Cultural Foundation.
After its left-right split, the Taiwan Cultural Association eventually disappeared and socio-political movements were entirely suppressed by the colonial government in the 1930s. Consequently, activists attempted to rally forces and find a stable foothold through literature to foster Taiwanese people’s cultural confidence. The establishment of the Taiwan Bungei Alliance in 1934 formed a united front of left- and rightwing literature and became the first time that writers in Taiwan established an island-wide connection. In the meantime, writers of pure literature from the Japanesespeaking generation also made a formal debut symbolized
by the establishment of the Taiwan Geijutsu Kenkyukai [Taiwan Arts Research Society] in Tokyo in 1933 and further engaged in literary activities in Taiwan to create inter-island connections. In the post-Taiwan Cultural Association period, literary writers also engaged in frequent interdisciplinary exchange with artists in other fields. By merging the power of different art forms, they tried to build up a united front with literature and arts to further popularize literature and arts among the public as they set their minds to have the flower of Taiwanese arts bloom in the center stage of the world. (Chen Yun-yuan)
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The Enlightenment and Self-Awakening of Taiwanese Culture
ambitious public performances at Hiō-Sing that brought together cultural elites across the disciplines of literature, drama, fine arts, and music. The play, Iam-Ke [The Capon], was a successful realization of “modern theater art” through the Gesamtkunstwerk concept, where the director brought together creativity from various artistic fields. The performance was regarded as “the dawning of Taiwan’s Sin-Kik Movement” for continuing in the pursuit by Taiwan’s dramatists for realism in the dramatic arts. After the war, Hiō-Sing began to branch out, and established the Jîn-KiÒk-Tsō Theater Troupe and the Sìng-Hong Society for Theater Research in anticipation of further expanding the theater movement, but was abruptly interrupted by the February 28 Incident. The first wave of the modern theater movement in Taiwan thus came to an end. (Shih Wan-shun)
厚生演劇研究會公演節目單，1943年9月，國立臺灣文 學館提供。Program of the Hiō-Sing Society for Theater Research's performance, September, 1943. Courtesy of the National Museum of Taiwan Literature.
厚生演劇研究會公演劇照，1943年9月，國立臺灣文學館提供。Still of the Hiō-Sing Society for Theater Research's
47
文化劇劇照（臺南文化劇團），約1927-1928，國立臺灣文學館提供。Photo of a cultural play (Tainan Culture Theatre Troupe), c. 1927-1928. Courtesy of the National Museum of Taiwan Literature.
performance, September, 1943. Courtesy of the National Museum of Taiwan Literature.
46
Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
戰中一九四三年出現的厚生演劇
研究會︐在劇運老將王井泉的主持
下︐由林摶秋總攬編導工作︐結
合文學︑戲劇︑美術︑音樂等跨領
域的藝文菁英︐創造了規模宏大的
厚生公演︒尤其︽閹雞︾一劇實現
﹁現代劇場藝術﹂是一門由導演統
籌各藝術創作與技術領域的﹁總體
藝術﹂理念︐並且落實了前輩文化
人對文藝大眾化的追求︐新劇運動
的第一道曙光乍現︒戰後﹁厚生﹂
開枝散葉︐本欲進一步拓展劇運︐
卻因二二八事件而乍然凋萎︒
百年潮起潮落︐臺灣歷史上第一
波現代戲劇運動者開創的信念與行
動︐持續召喚一波又一波的後繼
者︐發揚其精神︒︵石婉舜︶
現代戲劇運動，第一波！
The Sin-Kik [New Drama] Movement; T
45
raditional opera culture was once ubiquitous in the Han society of Taiwan, but in the process of colonial modernization, the emulation of drame bourgeois developed in the West during the 18th and 19th centuries, as they continued to distinguish a modern theater that belonged to contemporary Taiwan. The series of actions initiated by the Taiwanese in exploration of modern theater arts began with the Taiwan Cultural Association, which celebrates its centenary this year.
Association, dramatic theater in the 1930s developed a different path and style: Chang Weixian led the Bîn-hong [Citizen’s Beacon] Theater Troupe and continued to toil as they embarked on a path of translating, adapting and performing world-renown works of realist masterpieces; Lai Ho and Yang Shou-yu began their experimentation with creating new operatic scores; while Yang Kui devoted himself to introducing leftwing dramas in the publications he edited, and to systematize modern theater criticism.
On the one hand, the Cultural Association’s decade long pursuit of new theater manifested in the emulation and appropriation of dramatic forms; on the other hand, this became a weapon for enlightenment and propaganda when merged with cultural and sociopolitical movements. Rooted in the experiences of the Cultural
Under the guidance of Wang Ching-chuan, a veteran of the Sin-Kik Movement, the Hiō-Sing Society for Theater Research emerged in the midst of wartime in 1943. The society invited Lin Tuan-chiu, who was among the first to be established in professional theater in Tokyo, to take charge of scriptwriting and direction. He created
灣社會原本普遍存在戲曲文
化︐在殖民現代化過程中︐
借 鑑 於 歐 美 十 八 ︑九 世 紀 以 來 發 展
的市民戲劇︐不斷摸索屬於自己的
戲劇現代性︒這一系列臺灣人主動
探求現代戲劇的行動︐正是以成立
迄今屆滿一百週年的﹁臺灣文化協
會﹂為起點︒
文協年代劇人對新戲劇的追求︐
一方面表現在對西方﹁新劇／話
劇 ﹂ ︵ the drama ︶的模仿與挪用 上︐一方面則是與文化運動︑政治
社會運動相結合︐作為啟蒙與宣傳
的利器︒植基於文協經驗︐一九三
Ｏ年代的劇運開展出不同的路線與
風貌︓張維賢帶領民烽劇團進行專
業化︐並搬演翻譯改編的現代戲
劇︔賴和︑楊守愚嘗試新戲曲／新
歌劇的劇本創作︔楊逵致力引介左
翼戲劇與建立現代劇評制度︒
The First Wave!
臺
星光新劇團在宜蘭開演紀念，張維賢（前排蹲坐，持雨傘 者）、黃天海（後排站立，繫領結者）、張才（前排蹲坐左 一），1928年2月 ，張才家屬提供。 Photo comenmerating Tshinn-Kng Theater Troupe’s inaugural performance in Yilan. Chang Weixian (the one holding an umbrella and squatting in the front row), Huang Tian-hai (the one standing in the back row with a necktie), and Chang Tsai (the one squatting on the very left of the front row), February, 1928. Courtesy of Chang Tsai’s Family.
44
Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
上：陳澄波，《我的家庭》， 1931，油彩、畫布，91 × 116.5 cm，私人收藏。Above: Chen Cheng-po, My Family, 1931, oil on canvas, 91 × 116.5 cm. Private Collection. 右下：陳澄波收藏的美術 圖片：吉原義彥，《回家 吧》，1929。圖像提供：財 團法人陳澄波文化基金會。 Lower right: Chen Chengpo’s Art Pictures Collection: Yoshiwara Yoshihiko, G o Home. Image Courtesy of Chen Cheng-po Cultural Foundation. 左下：人物速寫（194）SB37，取自速寫本SB37， 年代不詳，10.5 × 17.8 cm。 圖像提供：財團法人陳澄 波文化基金會。Lower left: Figure Sketch (194) -SB37, from Sketch Book SB37, date unknown, 10.5 × 17.8 cm. Image Courtesy of Chen Cheng-po Cultural Foundation.
藝術家與勞動者 Artists and the Working Class 從陳澄波的《我的家庭》這幅畫中，可以看到桌面上放了一本《普羅繪 畫論》，此本書為1930年出版，其書名的「普羅」即指向勞動的無產階 級。而對照陳澄波的小尺幅創作《群眾》和《人物速寫》，與其蒐集的 明信片中，可以看見陳澄波對於勞動者的關懷，以及他對時興的藝術理 念之追求。 43
術影響︐除了收集相
關明信片也繪製︽群
眾︾︐︽我的家庭︾
畫面上的書籍︽普羅
繪畫論︾與勞動場景
的速寫︐可謂某種自
我明志︒洪瑞麟也在
一九三九年以後開始
創作礦工勞動的主
題︐戰後則有李石樵
When Chen Cheng-po was studying in Tokyo, he had already been influenced by the Proletariat Arts Movement and had not only collected related postcards but also painted A Crowd, included the book On Proletarian Painting in his painting My Family, and created various sketch drawings of laboring scenes. These can all be viewed as ways of expressing his self-aspiration. After 1939, Hung Rui-lin began painting works featuring miners and their labor. After WWII, works such as Lee Shih-chiao’s Market Entrance and Li Mei-shu’s At Dusk conveyed a self-awareness informed by social critique. Since its beginning, the Taiwan Cultural Association had
︽市場口︾︑李梅樹
︽黃昏︾等大作︐帶有社會批判的自覺︒除美術以外︐文協在成
立之初︐蔣渭水已將文化劇︑活動寫真︵電影︶列為啟蒙民眾
的藥方︐其後︐除了無政府主義者張維賢組織星光演劇研究會︑
民鋒演劇研究會︐另有彰化鼎新社︑新竹星光社︑臺南文化劇團
在各地組成戲劇組織︐臺南的劇運者王受祿︑黃金火︑莊松林等
發行︽赤道報︾︐關注﹁藝術與社會﹂等課題︒一九二三年︐文
協本部遷到臺南後決議︐成立活動寫真隊︐爾後﹁美臺團﹂由蔡
培火邀集盧丙丁︑林秋梧等擔任辯士巡迴放映︒一九二七年一年
內︐放映九十四場活動寫真︐三萬五千餘人次觀賞︐其後活動寫
真也成為罷工抗爭時播放的﹁文化影戲﹂︒︵蔣伯欣︶
supervisor and reporter. The prose symbolizes people’s difficult journey of searching for illuminating light in the colonial darkness. “An Elegy (of Taiwan) ” on the other hand, is Lai’s accusation of the Musha Incident.
洪瑞麟，《煤礦坑》，1941，油彩、畫布，54.5 × 63.5 cm，文化部典藏。Hung Rui-lin, Coalpit, 1941, oil on canvas, 54.5 × 63.5 cm. Collection of Ministry of Culture.
already prescribed cultural plays and motion pictures as means to enlighten people. Anarchist Chang Weixian also organized the drama groups, Sìng-Hong Society for Theater Research and Bîn-Hong Society for Theater Research, whereas the New Taiwan Cultural Association organized the Culture Theatre Troupe in Tainan and published The Equator to engage in subjects such as “arts and society." In 1923, after its headquarter was moved to Tainan, a motion picture team was formed; and afterwards, Tsai Pei-huo invited Lu Bing-ding and Lin Qiu-wu to be benshi (motion picture narrators) in the screening tour of the Mei-Tai Group. Throughout the year of 1927, there had been 94 katsudo shashin (motion picture screenings) attended by more than 35,000 people. Later, motion pictures also became “cultural movies” screened during labor strikes. (Chiang Po-shin) 42
Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
4 自覺的現代性 Self-Awakening Modernit y
到一九一七年俄國革命後的社會
主義思潮影響︐蔣渭水︑連溫卿
在文協成立後︐又組織島內第一個政治
結社﹁新臺灣聯盟﹂︑又與謝文達︑
石煥長組﹁社會問題研究會﹂︐並邀
集無產青年成立﹁臺北青年讀書會﹂︒
一九二七年︐連溫卿率無產青年奪取文
協領導權︐隔年︐北師學潮的退學生林
木順到上海︐與受文協啟發的摩登女謝
雪紅等人成立臺共︐返臺後主導了臺灣
41
農民組合的發展︒創作︿赴會﹀的賴
和︐始終對文協地主階級的妥協帶著批
判性的自覺︐他的詩作︿覺悟的犧牲﹀
表達了對二林事件蔗農的同情與鼓舞︐
︿前進﹀則是文協分裂後︐賴和擔任新
文協︽臺灣大眾時報︾監事兼記者時在
創刊號發表的散文︐象徵在殖民地黑暗
中尋求光明的艱辛︐︿︵南國︶哀歌﹀
則是他對霧社事件的控訴︒
陳澄波留學東京時︐即已受到普羅美
I
nfluenced by the wave of socialism after the Russian Revolution of 1917, after establishing the Taiwan Cultural Association, Chiang Weishui and Lian Wenqing subsequently organized the New Taiwan Alliance and the Social Problem Research Society to invite proletariat youths in Taipei to form a reading group. In 1927, Lian led a group of proletariat youths and gained the leadership of the Taiwan Cultural Association. The next year, Lin Mu-shun, who was expelled due to the student protests at the Taipei Normal School, went to Shanghai, where he and Hsieh Hsuehhong, a modern woman inspired by the Taiwan Cultural
受
Association, established the Taiwanese Communist Party. After returning to Taiwan, they dominated the development of the Taiwan Farmers’ Association. Lai Ho, who wrote “On the way to Meeting,” had always had a critical self-awareness regarding the Taiwan Cultural Association’s compromise with the landocracy. His poem “Sacrificed in the Awakening” expressed his sympathy and encouragement to the sugarcane farmers in the Erlin Incident. “Advancing,” written after the split of the Taiwan Cultural Association, is a prose published on the inaugural issue of the New Taiwan Cultural Association’s New Taiwan People Times, where Lai served as its
李石樵，《市場口》，1945，油彩、畫布，146 × 157 cm，李石樵美術館收藏。LI Shih-chiao, Market Entrance, 1945, oil on canvas, 146 × 157 cm. Collection of LI Shih-chiao Art Gallery.
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Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
上：霧峰一新會主辦「茶話會」會場寫真。出處： 賴志彰編撰，《台灣霧峰林家留真集》，1989，南 天書局。Above: Photo of the Tea Session held by the Wufeng I-Sin Association. Source: Lai Chi-chang ed., Photo Book of The Wufeng Lin Family in Taiwan, 1989, SMC Publishing Inc. 左下：林氏好獨照，國立臺灣文學館提供。Lower left: Photo of Lin Shih-hao. Courtesy of the National Museum of Taiwan Literature. 右下：劉英女士留學東京紀念照，左三為黃土水妻子 廖秋桂。出處：林忠勝，《劉盛烈回憶錄》，2005， 前衛出版社。Lower Right: Photo of Ms. Liu Ying before her departure for Tokyo to study, with Huang Tu-shui’s wife Liao Chu-kuei as the third from the left. Source: LIN Chung-sheng, Memoir of Liu Shenglieh, 2005, Avanguard Books.
文協時代的新女性 New Women in the Period of Taiwan Cultural Association 1920年代前後，第一批接受新式教育的「新女性」出現，他們擺脫纏足，邁向自己的未 來。臺灣文化協會創會人中即有六位女性，包含臺灣第一位留日的女醫生蔡阿信。1927 年文化協會改訂會則，其中綱領含括「提倡女權」等議題。而原文協成員林獻堂則和其 子林攀龍霧峰成立一新會（1932-1937），主張男女平等，鼓吹女性參與公共事務，該會 舉辦的「日曜講座」更每次安排一男一女演講。 1925年，本土第一個婦女運動團「彰化婦女共勵會」成立，積極規劃演講會和運動會 等，雖然在隔年因「彰化戀愛事件」崩解，但其提倡的戀愛自由和婚姻自主觀念仍引起 許多討論。 進步女性活躍於各個場域，除了蔡阿信外，亦有熱心於社會主義運動的謝雪紅、歌唱事業 有聲有色的林氏好，而在1926年文化協會新竹支部於新竹公會堂舉辦的演講中，也可看見 黃土水的妻子廖秋桂與日後留學東京的友人劉英登臺，對著兩千多人發表演講的紀錄。 參考陳慧先，〈「文協時代」的新女性〉，2021。 39
陳進，《繡裙》，1947，膠彩、 絹，120 × 90 cm，私人收藏。 Chen Chin, Embroidering the Skirt, 1947, gouache on paper, 120 × 90 cm. Private Collection.
李梅樹，《紅衣》，1939，油 彩、畫布，120 × 90 cm，李梅樹 紀念館收藏。Li Mei-shu, Girl in the Red Dress, 1939, oil on canvas, 120 × 90 cm. Collection of the Li Mei-shu Memorial Gallery.
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The Enlightenment and Self-Awakening of Taiwanese Culture
郭柏川，《裸女》，1931，油彩、畫 布，79 × 51.5 cm，臺北市立美術館典 藏。Kuo Po-chuan, Nude Woman, 1931, oil on canvas, 79 × 51.5 cm. Collection of the Taipei Fine Arts Museum.
赤島社 The Chidao Group 1929年，由臺灣人組成的美術團體「赤島社」成立，結合了七星畫壇（1926年成立）與 赤陽會（1927年成立），藝術家懷著以藝術滋養生活、啟發臺灣之美術的熱忱，預計於每 年春天舉辦展覽。然而，赤島社也一度因為團體名的「赤」備受官方注目，《臺灣日日新 報》即指稱此展意圖「向臺展對抗」。 1931年四月，赤島社第三回展覽從臺北巡迴至臺中、臺南。從林獻堂的日記中，也可以 看到他曾受邀前往臺中觀展，然而陳植棋在臺中巡展的最後一天逝去，核心人物的離開 也使得赤島社日漸沉寂。 從赤島社的合照中，可以看到郭柏川的《裸女》。另一方面，也能從藍蔭鼎珍藏的陳植棋 結婚照中，看到赤島社成員之間深厚的交情。 37
「忠實反映時代的脈動，生活即是美，吾等希望始於藝術、終於藝術， 化育此島為美麗島。愛好藝術的我們，心懷為鄉土臺灣島殉情，隨時以 兢兢業業的傻勁，不忘研究、精進，赤島社的使命在此，吾等之生活亦 在此。且讓秋天的臺展和春天的赤島展來裝飾這殺風景的島嶼吧！」 ──赤島社成立宣言，《臺南新報》，1929年8月28日 “Let us truthfully reflect the pulse of the times. Life is beautiful. Our hopes to transform this island into a beautiful island, an Ilha Formosa, begin in art and end in art. We that love art, would give our hearts to our homeland of Taiwan. To persist in study and progress with a foolhardy diligence — that is the mission of the Chidao Group, and also our life’s mission. Let us adorn this scene-stealing island with the Taiten in autumn and the Chidao Exhibition in the spring.“
──"Declaration on the Founding of the Chidao Group,” Tainan-Simpo [Tainan New Post], August 28th, 1929.
1931年赤島社第三回展，廖繼春（右5）、郭柏川（左4）等會員合影，藝術家出版社提供。Group photo of the Chidao Group members Liao Chi-chun (R5) and Kuo Po-chuan (L4) at their 3rd Exhibition, 1931. Courtesy of Artist Magazine.
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Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
宜蘭「民眾講座」開座式紀念寫真，（前右五蔣渭水、右邊圓圈藍 蔭鼎），1929，蔣渭水文化基金會提供。Photo commemorating the launch of the People’s Lecture series in Yilan, with Chiang Wei-shui (R5, front row) and Ran In-ting (right circle), 1929. Courtesy of Chiang Wei-shui Cultural Foundation.
藍蔭鼎，《夜晚的麵攤》，1924，水彩、紙，68 × 101 cm，私人收藏。RAN In-ting, A Noodle Stand at Night, 1924, watercolor on paper, 68 × 101 cm. Private Collection.
35
李梅樹︽紅衣︾︑劉啟祥︽戴紅帽的法蘭西女
子︾︑陳進︽繡裙︾︑林之助︽取景︾︑李石
樵︽橫臥裸婦︾筆下進步的新女性︒此外︐藍
蔭鼎︽夜晚的麵攤︾與︽南國之夜︾則是以不
透明水彩建構了群眾的生活形象︒受野獸派︑
表現主義風格刺激的藝術家︐成立與官展相對
的﹁赤島社﹂等新美術團體︐部分宣言報導被
檢閱查禁︒赤島社解散後︐畫家又成立臺陽美
展︐並與文學界的臺灣文藝聯盟繼續推動文
藝︒戰爭期的前衛伏流︐則有在東京留學的莊
世和以︽室內靜物︵ ︶ B ︾︐展開報紙拼貼的物 質實驗︒文藝方面︐文協時期各地皆有外圍組
織︐結束後仍有一新會等地方團體︐擴散延續
了文協的理念︒各運動團體都想競逐﹁大眾﹂
的領導權︐走入﹁民間﹂向殖民者共鬥︒︵蔣
伯欣︶
After the splintering of the Taiwan Cultural Association, there were already debates about the popularization of arts and culture. The modern art scene, under the influence of socialism as well as the blending of the Proletarian Arts Movement and modern urbanity, ushered in the progressive image of the New Woman, including Li Mei-shu’s Girl in the Red Dress, Liu Chihsiang’s French Woman Wearing a Red Hat, Chen Chin’s Embroidering the Skirt, Lin Chih-chu’s Taking Photos and Li Shih-chiao’s Reclining Nude. Moreover, Ran In-ting's non-transparent watercolors, A Noodle Stand at Night and A Night in the South, constructed the living scenes of the public. Artists influenced by Fauvism and Expressionism established new art groups, such as the Chidao Group [Red Island Group], in opposition to governmentfunded art exhibitions. After the disbandment of the
Chidao Group, various painters founded the Taiyang Art Exhibition and formed the Taiwan Bungei Alliance [Taiwan Literature and Art Alliance] together with the literary world. In the late period of the Japanese rule, Chuang Shih-ho’s Interior Still Life (B) also demonstrated his avant-garde experiment with newspaper collage. In the cultural and arts sector, numerous youth groups emerged in different places, including the Taipei Youth Reading Group and Wufeng I-Sin Association, had all used book readings and exhibitions to expand and continue the enlightening ideas advocated by the Taiwan Cultural Association. All these groups had competed to gain the leadership of “the public” and stressed on going into “the civil society” to stand with the multitude and fight against the colonizer. (Chiang Po-shin) 34
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The Enlightenment and Self-Awakening of Taiwanese Culture
3 大眾與摩登 The Public and the Modern
灣文化協會的宣傳︐包括請願遊
行︑文化講演會︑夏季學校︑放
映電影︑演出文化劇等︐都有聚集群眾
的成效︐其中︐又以講演會在一九二五
至一九二六年達到高峰︐根據總督府的
統計︐每年有超過十萬人次的聽眾︐相
當於全臺灣每三十人就有一人聽過文化
協會的演講︐深具影響︒文協倡議民權
思想︑破除迷信︑反對普渡浪費︑禁止
人身買賣︑提倡女權︑通俗衛生等︐振
33
聾發聵︐深入人心︒而畫家也沒有缺
席︐陳澄波代表東京留學生返鄉進行文
化演講︐郭柏川參與文協的夏季學校︐
廖繼春︑陳植棋則是走上街頭參與議會
請願遊行︐爭取臺灣人的權益︒
文協分裂後︐已有文藝大眾化的論
爭出現︐新興美術在普羅藝術運動風
潮與都市摩登事物的交融下︐催生出
︑モダンガ ﹁摩登女孩﹂︵ modern girl ル ︐ 簡 稱 ﹁ モ ガ ﹂ ︵ moga ︶︐例如 ━
T
he campaign of the Taiwan Cultural Association included petition protests, cultural speeches, summer schools, film screenings and cultural plays, which all had the effect of gathering the public. Among these activities, the activities of cultural speeches reached a peak from 1925 to 1926. According to the calculation of the Office of the Taiwan GovernorGeneral, the number of the audience exceeded 100,000 annually; namely, one in every thirty people in Taiwan had listened to the cultural speeches organized by the Taiwan Cultural Association, indicating its profound influence. The various ideas advocated by the Taiwan
臺
Cultural Association, including the thinking of civil rights, eradicating superstitions, opposing the waste in the Pudu rites, prohibiting human trade, promoting women’s rights and common hygienic practice, were all awakening and impactful to the public. In the midst of the scene, painters were not absent, either. Chen Cheng-po returned to Taiwan on behalf of Taiwanese students in Tokyo to deliver cultural speeches; Kuo Po-chuan participated in the summer schools of the Taiwan Cultural Association; and Liao Chi-chun and Chen Chih-chi chose to join petition protests for the Establishment of a Taiwanese Parliament to fight for the rights of Taiwanese people.
林之助，《取景》，1938，膠彩、紙本，91 × 72.7 cm，私人收藏。Lin Chih-chu, Taking Photos, 1938, gouache on paper, 91 × 72.7 cm. Private Collection.
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陳澄波，《琳瑯山閣》，1935，油彩、畫布，73 × 91 cm，私人收藏。Chen Cheng-po, Linglang Mountain Hall, 1935, oil on canvas, 73 × 91 cm. Private Collection.
31
陳澄波（坐者右二）與琳瑯山閣主人（張李德和，抱小孩者）合影， 1935。圖像 提供：財團法人陳澄波文化基金會。 Photo of Chen Cheng-po (R2) and the owner of Linglang Mountain Hall (Chang Lee Te-ho, the one holding a child), 1935. Image Courtesy of Chen Cheng-po Cultural Foundation.
琳瑯山閣 Linglang Mountain Hall 《琳琅山閣》描繪嘉義醫師張錦燦與畫家張李德和在諸峰醫院設置的文藝沙龍。1926 年，張李德和與熱愛書畫的文協成員林玉書等人設「琳琅山閣詩仔會」；1927年，再與 文協成員吳文龍設立「鴨社書畫會」；1930年，張李德和再與林玉書、吳文龍等人共組 「連玉詩鐘會」。 陳澄波除了曾參加文化演講，也和兩人多有往來，林玉書甚至還曾法 書讚譽陳澄波的藝術成就。 1934年陳澄波返臺時，剛失去教職，面臨創作轉折和經濟瓶頸，張李德和慨然典當金 飾，贊助他再度赴日考察，使陳澄波入選帝展並榮獲臺展特選第一的殊榮，故畫家以此 地為題紀念。作為文化運動人士出入、詩文雅集的公共場域，《琳琅山閣》不僅整合了 東洋畫的筆致與線性表現，也將動態的筆觸融入線條，其富含情感律動的生命造形，也 是地方長期文化運動再造下的人文風景。（蔣伯欣） 30
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The Enlightenment and Self-Awakening of Taiwanese Culture
郭柏川，《臺南祀典武廟》，1929，油彩、畫布，79 × 85 cm，臺南市美術館典藏。Kuo Po-chuan, Tainan Sacrificial Rites Martial Temple, 1929, oil on canvas, 79 × 85 cm. Collection of Tainan Art Museum.
29
上：《赤道》創刊號，1930，中央研究 院臺灣史研究所檔案館提供。Above: The 1st issue of The Equator, 1930. Courtesy of the Archives of Institute of Taiwan History, Academia Sinica. 下：臺南市民眾黨、文協支部講座活動 空間移轉報導，《臺灣民報》，1927 年 1 1 月 1 3 日 ， 第 4 版 。 Below: N e w s coverage of “The Relocation of Two Popular Talk Sessions” in the Taiwan Minpao, Section 4, November 13th, 1927.
臺南祀典武廟 Tainan Sacrificial Rites Martial Temple 《臺南祀典武廟》乍看是南臺灣豔陽下的日常，典型外光派的地方色彩，此作著重描繪 光的「塊」與「面」，同時期至少還有兩件描繪類似構圖的風景畫。 郭柏川曾在1925年參加夏季學校，他的九姑丈陳逢源，同鄉長輩蔡培火皆為文協在臺南 的主要領導者，1929年繪製此作時，蔡培火也在武廟與王受祿、韓石泉舉辦白話字研究 會，並以白話字創作了《咱臺灣》。 文協分裂後，民眾黨便將原文協的講座與讀報社，移到武廟的佛祖廳，臺灣工友總聯 盟、赤崁青年勞動會、赤道報社也經常在此舉辦演講，而新文協也將臺南支部移到武廟 前，頗有較勁意味。作為反殖民運動的大本營，郭柏川並未直接描繪武廟的演講實況， 但取景剛好選擇新文協所在的廟前，與武廟的三川門之間的交界地帶，而中景的陰影為 赤紅色，則為畫家主觀的光的造形，或許這就是臺灣民報記者為何稱其作品較有「鬥爭 性藝術」的徵兆吧。（蔣伯欣） 28
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The Enlightenment and Self-Awakening of Taiwanese Culture
陳植棋，《真人廟》，1930，油彩、畫布，80 × 100 cm，家屬收藏。Chen Chih-chi, Chen-Jen Temple, 1930, oil on canvas, 80 × 100 cm. Collection of Artist's Family. 下：臺灣民眾黨自治運動南北隊巡迴演講於黨本部前合影，1930年4月30日，財團法人蔣渭水基 金會提供。Below: Photo of the Speech Tour Team of Taiwan People’s Party in front of the party’s headquarter, April 30th, 1930. Courtesy of Chiang Wei-shui Cultural Foundation.
真人廟 Chen-Jen Temple 1930年，臺灣民眾黨本部因原有空間過於狹隘貧弱，難 以代表四百萬臺灣人之政黨，故在臺北市建成町的真人 廟邊新建本部落成。同年，陳植棋獲第四回臺展特選的 《真人廟》，即從廟埕右邊的民眾黨本部往真人廟看去 繪製而成。陳植棋將特殊造型的建物安排在畫面右側， 讓出具有景深的廟埕廣場，後殿燕尾與廟前屋簷的輪廓 線，形成X形放射狀線條的視覺焦點，中景則以不同方 向堆疊的筆觸，構成赭紅、墨綠等色塊群體。古廟的蒼 鬱、樹叢與略顯雜亂的景物，被畫家簡化為強烈的筆 觸，其昂然的氣勢，似也宣告民眾黨本部將立足於大稻 埕中心，為臺灣人繼起奮鬥。（蔣伯欣） 27
習︐凝視本地風土的地方色彩︐另一方
面也揀選特定的人文風景入畫︐由客體
︵ object ︶ 轉 化 為 個 人 主 觀 ︵ subject ︶的 宇宙︓陳植棋與倪蔣懷從民眾黨本部前的
廟埕邊觀看繪製︽真人廟︾︔郭柏川的
︽臺南祀典武廟︾描繪舉辦白話字研究會
的廟前廣場︔陳澄波的︽琳瑯山閣︾融合
了傳統詩社與文協人士的文藝沙龍︔洪瑞
麟則描繪底層庶民的生活空間︽後街︾與
帶有廢墟感的車站建築遺構︐藉由觀看這
些具有公共論域精神的抵抗地景中︐建構
殖民地下的視覺主體︒此外︐藝術家也從
風景畫展開材質實驗︐如郭雪湖︽寂境︾
在水墨畫上的嘗試︑陳清汾︽巴黎的屋
頂︾的構圖視角︐以及劉啟祥︽鄉野風
光︾光影構成等造型性的突破︐在在追求
藝術的革新與前衛精神︒從這些角度來
看︐風景並不只是寫實的再現︐而是創
造︑反轉世界認知的視覺表現︒︵蔣伯
欣︶
Similar to the idea of the speech-writing unity advocated by the New Literature Movement, the new art movement also replaced the old practice of painting by imitation with the idea of “painting from life,” utilizing new visual forms to create a new epistemology and worldview. Painters gazed into the local colors of their native land and customs through using perspective while selecting specific cultural landscape as their subject matter. Chen Chih-chi and Ni Chiang-huai observed and painted Chen-Jen Temple from the temple courtyard in front of the headquarter of the Taiwanese People’s Party. Kuo Po-chuan’s Tainan Sacrificial Rites Martial Temple portrayed the vernacular seminar taking place in the plaza before the temple. Chen Cheng-po’s Linglang Mountain Hall combined traditional poetry society and the arts and cultural salon organized by the members of the Taiwan Cultural Association. In Back Street, Hung
Rui-lin depicted the living space of the little people at the lower social stratum with the dilapidated remain of a station building. These artists constructed visual subjects in the colony through their views of the landscapes of resistance informed by the spirit of the public domain of discourse. Furthermore, artists also conducted material experiments in their landscape paintings. For instance, Kuo Hsueh-hu’s experiment of ink painting in Solitude, Chen Ching-fen’s compositional angle in Rooftops in Paris, and the formal breakthrough constituted of an interplay of light and shadow in Liu Chi-hsiang’s Rural Scenery, all pursued artistic innovation and the avantgarde spirit. Considering these perspectives, landscapes are no longer mere realistic representations but visual expressions that create and revert the understanding of the world. (Chiang Po-shin) 26
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The Enlightenment and Self-Awakening of Taiwanese Culture
2 風景的創造 The Creation of Landscape
殖民地教育的差別待遇下︐文化
協會為了幫助民眾發展出接受新
知的能力︐倡議白話文︑世界語︑羅馬
字等語言文體的變革︒在臺灣人就學率
不到三成︑識字率極低的情況下︐文協
的宣傳機關︽臺灣民報︾也捨棄日文︐
創造出殖民地漢文的文體︐並在全島各
地設置讀報社︑民眾講座︐啟蒙民眾︒
一九二五年︐︽臺灣民報︾發行量突破
一萬份︐躍升為全島第三大報︐民報編
25
輯張我軍等人批判舊文學︐限制了臺灣
人的表述能力︐並翻譯世界各國的新文
學作品︒謝春木發表臺灣第一篇小說
︿她要往何處去﹀︐賴和等人創造出臺
灣話文的重要作品︐提倡更能描寫現實
的﹁言文一致﹂︒
如同新文學倡議的﹁言文一致﹂︐新
美術也以﹁寫生﹂的概念︐取代臨摹的
書畫舊習︐以視覺形式創造新的認識論
與世界觀︒畫家一方面藉由透視法的學
D
ue to the discriminatory treatment in the education for the colony, the Taiwan Cultural Association hoped to help people develop the ability to learn new knowledge and therefore advocated the reform of language through using vernaculars, Esperanto and Romanized spelling. Under the circumstance that less than thirty percent of Taiwanese people were educated in schools and facing an extremely low literacy at the time, the Taiwan Cultural Association’s campaign agency, the Taiwan Minpao [Taiwan People's News], also gave up using Japanese and switched to colonial Hanwen while setting up newspaper
在
reading societies and people’s forums throughout the island for enlightening the public. In 1925, the circulation of the Taiwan Minpao exceeded 10,000 copies, making it the third largest newspaper in Taiwan. The newspaper editor Zhang Wojun and others criticized that the old literature had limited Taiwanese people’s ability of expression and translated new literary works from around the world. Hsieh Chun-mu published the first Taiwanese novel, “Where Is She Going?” while Lai Ho also wrote important works in Taiwanese, calling for the unity of speech and writing that better delineated reality.
陳清汾，《巴黎的屋頂》，1931-1932，油彩、畫布，72.5 × 91 cm，家屬收藏。Chen Ching-fen, Rooftops in Paris, 1931-1932, oil on canvas, 72.5 × 91 cm. Collection of Artists’ Family.
24
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The Enlightenment and Self-Awakening of Taiwanese Culture
左：李梅樹，《自畫像》，1930，油彩、畫布，80 × 60.5 cm，李梅樹紀念館收藏。Left: Li Mei-shu, Self-portrait, 1930, oil on canvas, 80 × 60.5 cm. Collection of Li Mei-shu Memorial Gallery. 右：洪瑞麟，《自畫像》，1933，油彩、木板，32.5 × 24 cm，呂雲麟紀念美術館收藏。Right: Hung Rui-lin, Self-portrait, 1933, oil on panel, 32.5 × 24 cm. Collection of Lu Yun-lin Memorial Art Museum.
23
左：廖繼春，《自畫像》，1926，油彩、木板，33 × 24 cm，國立臺灣美術館典藏。Left: Liao Chi-chun, Self-portrait, 1926, oil on panel, 33 × 24 cm. Collection of the National Taiwan Museum of Fine Arts. 右：劉錦堂，《自畫像》，1921-1923，油彩、畫布，50 × 36 cm，私人收藏。Right: Liu Chin-tang, Self-portrait, 1921-1923, oil on canvas, 50 × 36 cm. Private Collection.
22
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The Enlightenment and Self-Awakening of Taiwanese Culture
左：《自大正六至十四年度退學生徒學籍簿》第二頁陳植棋頁，國立臺北教育大學校友中心暨校史館典藏。Left: Chen Chih-chi’s student registration on page 2 of Registration of Dropout Students from Taisho 6 to 14. Collection of National Taipei University of Education Alumni Center. 右：陳澄波臺灣議會設置請願運動歌抄錄，取自速寫本SB05，約1926-1927，鉛筆、紙本，圖像提供：財團法人陳澄波文化 基金會。Right: Chen Cheng-po, A hand-written copy of the lyrics of “Petition Movement for the Establishment of a Taiwanese Parliament,” from Sketch Book SB05, c.1926-1927, pencil on paper. Image Courtesy of Chen Cheng-po Cultural Foundation.
21
左：陳植棋，《自畫像》，1925-1930，油彩、木板，27 × 21 cm，家屬收藏。Left: Chen Chih-chi, Self-portrait, 1925-1930, oil on panel, 27 × 21 cm. Collection of Artist’s Family. 右：陳澄波，《自畫像（一）》，1928，油彩、畫布，41 × 31.5 cm，私人收藏。Right: Chen Cheng-po, Self-portrait 1, 1928, oil on canvas, 41 × 31.5 cm. Private Collection.
20
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The Enlightenment and Self-Awakening of Taiwanese Culture
美術運動的黎明 1927年，文化協會的影響力達到高峰，東京美術學校臺灣留學生也蓄勢待發，照片裡有 這一年畢業於西洋畫科的張秋海︑顏水龍及尚在學中的范洪甲︑陳承藩︒睥睨抱胸的陳 澄波，展現前一年率先入選帝展畫家的神氣，正要昂首進入研究科就讀，兩年前他才返 回嘉義參加文化演講「藝術與社會」，爾後又筆錄「臺灣議會請願運動歌詞」，並速寫 請願代表文協理事蔡年亨︒年初剛新婚成家的陳植棋，受蔣渭水等文協人士支持留學已 有兩年，抵達東京後，又加入「文運革新會」︑「東京臺灣青年會」，並與剛畢業正要 返臺任教的廖繼春，共同參與了前一年議會設置請願運動的遊行︒
不在場的王白淵，剛進入岩手縣女子師範學校任教，這一年他在《臺灣民報》發表 〈吾們青年的覺悟〉，描述此刻「吾們民族已經過思想運動的波浪，而至政治運動的 頂點」，又呼籲「如朝日，如猛火」的青年應「勇敢否定過去社會的惡，以建設明日 的社會」︒這些熱血青年正準備大展身手，開展臺灣的美術運動︒（蔣伯欣）
19
陳植棋就讀東京美術學校留學生合照，前排左起顏水龍、廖繼春、潘鶼鶼、陳植棋，後排左起張秋海、范洪甲、陳澄波、 陳承藩（右一），右上半身照為王白淵，約1927，中央研究院臺灣史研究所檔案館提供。Photo of Chen Chih-chi and other Taiwanese students at Tokyo Fine Arts School. From left in the front row: Yen Shui-long, Liao Chi-chun, Pan Jian-jian, Chen Chih-chi. From left in the back row: Chang Chiou-ha, Fan Hung-chia, Chen Cheng-po, Chen Cheng-fan (R1), and Wang Baiyuan (half-length photo in the upper right), c.1927. Courtesy of the Archives of Institute of Taiwan History, Academia Sinica.
18
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The Enlightenment and Self-Awakening of Taiwanese Culture
黃土水，《甘露水》入選帝展明信片，1921。中野克俊收藏。Huang Tu-shui, Postcard of Water of Immortality, which was selected into Teiten, 1921. Collection of Nakano Katsutoshi.
17
「出生在這個國家便愛這個國家，生於此土地便愛此土地，此乃人之常 情。雖然說藝術無國境之別，在任何地方都可以創作，但終究還使是懷 念自己出生的土地。我們臺灣是美麗之島更令人懷念。」 ──黃土水，〈出生於臺灣〉，1922 “It is human nature to love the country you were born in, and to love the land you were born on. Although it is said that art knows no national boundaries, and can be created anywhere, we all ultimately long for the land on which we were born. Our beautiful Taiwan, the Ilha Formosa, conjures even more longing.”
──Huang Tu-shui, "Born in Taiwan," 1922.
《臺灣青年》第1卷第5號，刊載 藝術家黃土水1920年入選帝展之 作品《蕃童》，1920，國立清華 大學圖書館典藏。T h e Ta i O a n Chheng Lian, vol. 1, iss. 5, where Huang Tu-shui’s Aboriginal Child (selected into the 1920 Teiten ) was published. Collection of National Tsing Hua University Library.
1920年，黃土水以《蕃童》入選第二回帝展後，成為首位入選帝展的臺 灣人，接著以《甘露水》（1921）、《擺姿勢的女人》（1922）、《郊 外》（1924）入選帝展，轟動全臺。本次展出其入選作品的明信片、 刊登黃土水自述〈出生於臺灣〉的《東洋》雜誌等，以及卷頭刊載《蕃 童》照片、由新民會發行的首本臺灣政治運動刊物《臺灣青年》。 16
Lumière
15
The Enlightenment and Self-Awakening of Taiwanese Culture
甘露水 Water of Immortality 當黃土水在東京高砂寮臺灣留學生宿舍，手執鐵鎚日夜敲打大理石時，周遭的 留學生皆投以鄙視的眼光，懷疑現代雕塑的藝術價值。還有人嘲笑他的名字土 水，就是一名泥水匠，為何要留學？ 1920年黃土水首次以臺灣題材「蕃童」塑像入選帝展，轟動全臺。這時，他沈 默地敲打大理石，腦子裡苦思如何更深刻地表現臺灣特色，站上日本，乃至於 世界藝術殿堂。更重要的是，黃土水期待他的創作能打動臺灣人的心，改變臺 灣社會，走向現代文明的未來。 黃土水投注心血敲打出來的《甘露水》裸婦是一位軀幹健碩的少女像，微微昂 首向上，雙手向下伸展，彷彿接受天地的精華，等待天降甘霖。她的表情嚴肅 而專注，堅毅的身軀將延續承接百年後藝術的「福爾摩沙」時代來臨。《甘露 水》是黃土水的生命靈魂表現，也是他對藝術創作的期許。（顏娟英） When Huang Tu-shui was making marble sculptures day and night with the hammer in his hand at the dormitory of Taiwanese students, Takasago-ryo, in Tokyo, other overseas students all cast a despising eye over him, doubting the artistic value of modern sculpture. Some even mocked his given name “Tu-shui” (literally translated as “earth and water,” and also meaning “mason”) and questioned why a “mason” needed to study overseas. In 1920, Huang became a sensation throughout the island of Taiwan when his sculpture featuring a Taiwanese subject, an aboriginal child, was selected into the Teiten. However, during this period, Huang was still quietly carving marble, contemplating how to more profoundly express and make Taiwanese characteristics known to the Japanese art scene, and even that of the world. More importantly, Huang hoped that his work could touch the heart of the Taiwanese people to further change and drive the Taiwanese society into the future of modern civilization. Painstakingly sculpted by Huang, the female nude in Water of Immortality is a young maiden with a robust physique, a slightly rising chin and both her arms stretching downward. Her pose seems to suggest that she is absorbing the essence of nature and waiting for the nurturing rain. With a serious and focused look, her resolute body hint at the continuation and the advent of the artistic “Formosa” a century later. Water of Immortality embodies Huang’s life and soul as well as his expectation of artistic creation. (YEN Chuan-ying)
黃土水，《甘露水》，1921，大理石雕塑，80 × 40 × 170 cm，文化部典藏 ©黃邦銓、林君昵。Huang Tushui, Water of Immortality, 1921, marble, 80 × 40 × 170 cm. Collection of Ministry of Culture ©Huang PangChuan, Lin Chunni.
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Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
蔣渭水，〈臨床講義：名為臺灣的病人〉，1921，財團法人蔣渭水文化基金會提供。Chiang Wei-shui, “Clinical Notes: A Patient Named Taiwan,” 1921. Courtesy of Chiang Wei-shui Cultural Foundation.
臺灣文化協會 Taiwan Cultural Association 1921年10月10日，蔣渭水寄出臺灣文化協 會創立大會通知書，成立時會員共有1,032 人。10月17日，文協於大稻埕靜修女子學 校成立，到場者共有三百餘人，從創立之 初的文獻與往來文件，可以看出文協成員 對其未來的發展蓄勢待發，「欲助長臺灣 文化發達為宗旨」，並規劃讀報社、圖書 館等文化推廣途徑，即便在過程中受到官 方勢力的阻撓及壓制，其活動仍對當時的 臺灣社會造成深刻影響。同年11月28日， 文協發行第一號會報，其中刊登蔣渭水的 〈臨床講義：名為臺灣的病人〉，但隨即 被查禁銷毀，目前所見為其逝世後收錄於 《蔣渭水全集》的版本。 13
臺灣文化協會第一回理事會合照，第一排坐者依序為： 蔣渭水（左三）、林獻堂（左四）、連溫卿（左五）； 站立者依序為：謝春木（右一）、賴和（右二）、王 敏川（右九）， 年份待考，財團法人蔣渭水文化基金 會提供。Photo of the first council of Taiwan Cultural Association. Front row: Chiang Wei-shui (L3), Lin Hsientang (L4), Lian Wenqing (L5); standing: Hsieh Chunmu(R1), Lai Ho (R2), Wang Min-chuan (R9). Date unknown. Courtesy of Chiang Wei-shui Cultural Foundation.
廖繼春︑李梅樹等人的自畫像與早期文藝作品中︐可以
看到熱血青年對自我意識的凝視與探索︐陳植棋︽夫人
像︾的強烈筆觸︑動勢與大膽用色︐或以表現事物向外
擠壓到畫布上的爆發力︐或以騷動的靈魂與官能解放的
肉身︐批判陋習風俗的桎梏︐表現出臺灣人主體的自覺
與反思︒︽古器︾對於物質性的描寫︐也蘊含著超越寫
實表象與自然主義的獨特生命感︐熱切摸索著神秘傾向
的宗教感與精神性︒文協青年在各種文藝領域展開現代
性的嘗試︐充滿著狂飆年代下奮起流動的生命衝力︐與
瞬間迸發的前進時間感︒︵蔣伯欣︶
WWI and began pursuing individualistic and subjective expression and liberation with idealistic vitalism. From the self-portraits and early works by Liu Chin-tang, Chen Cheng-po, Liao Chi-chun and Li Mei-shu, one can detect the self-gaze and self-exploration of hot-blooded youths. Chen Chih-chi’s Portrait of Wife, with intense brushstrokes, momentum and colors, expresses a burst of power that seems to squeeze things unto the canvas and critiques the corrupt customs of the feudal system with the distorted body, demonstrating the awakening of and reflection on Taiwanese subjectivity. Antique, on the other hand, delineates materiality and conveys a unique sense of life that surpasses realism and naturalism, showing the artist’s zealous exploration of a mystically religious feeling and spirituality. The experiments of modernity in various cultural and arts fields launched by the youths of the Taiwan Cultural Association demonstrated the impulse of life in a new era as well as a momentary burst of progressive temporality. (Chiang Po-shin) 12
Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
1 生命的恆流 Impulse of Life
九二一年︐臺灣文化協會成立
時︐蔣渭水倡議以文化演講︑讀
報社︑文化劇︑活動寫真︵電影︶來啟
蒙民眾︑涵養藝術︐並與志同道合的林
獻堂︑蔡培火︑黃呈聰︑賴和︑謝春
木︑連溫卿等人︐揭開了新文化運動的
序幕︒同時︐雕塑家黃土水以︽甘露
水︾入選帝展︐以文明自覺的姿態︐憧
憬藝術福爾摩沙時代的來臨︐黃土水也
在︿出生於臺灣﹀一文中︐表達創造臺
11
灣獨特文化的願望︐呈現一整個世代青
年生命內面的精神構造︒
世界思潮巨變的時代下︐臺北師範學校
與醫學校學生已在宿舍中︐傳閱東京臺灣
留學生主編的︽臺灣青年︾與︽臺灣︾︐
文協成立時︐兩校學生成為主要的會員︒
北師學潮後︐陳植棋等人赴日留學︐受到
關東大地震後新興美術前衛傾向的刺激︐
他們從理想的生命主義出發︐追求個性主
觀的表現與解放︒從劉錦堂︑陳澄波︑
W
hen the Taiwan Cultural Association was founded, Chiang Wei-shui advocated utilizing cultural speeches, newspaper reading societies, cultural plays, katsudo shashin [motion pictures] to enlighten the public and foster their understanding of arts. Lin Hsien-tang, Tsai Pei-huo, Huang Cheng-chong, Lai Ho, Hsieh Chun-mu, Lian Wenqing and others unveiled the New Cultural Movement. At the same time, sculptor Huang Tu-shui’s Water of Immortality was selected into the Teiten. This work expressed the longing for the advent of the era of an artistic Formosa. In “Born in Taiwan,” Huang also stated his wish to create unique
一
Taiwanese culture, demonstrating the spiritual aspect of the inner life of the entire generation of youths. Concurrently, students at the Taipei Normal School and the Medical School were already circulating the magazines, the Tai Oan Chheng Lian [Taiwan Youth] and The Formosa [Taiwan], edited by Taiwanese overseas students in Tokyo. Upon the founding of the Taiwan Cultural Association, students of the two schools therefore constituted a main part of its members. After the student protests at the Taipei Normal School, Chen Chih-chi and others were keenly aware of the changing time after
陳澄波，頭像速寫（8）-SB05（26.1-27.4）， 取自速寫本SB05，約1926-1927，鉛筆、紙本， 18 × 10.8 cm。圖像提供：財團法人陳澄波文化基 金會。Chen Cheng-po, Portrait Sketch (8)- SB05 (26.1-27.4), from Sketch Book SB05, c.1926-1927, pencil on paper. Image Courtesy of Chen Chengpo Cultural Foundation.
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Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
本展以﹁生命的恆流﹂︑﹁風景的創造﹂︑﹁大眾與
摩登﹂與﹁自覺的現代性﹂四個子題出發︐由內而外
探討創作者如何從自我覺察的迸發進而書寫社會︐勾
勒個人和社會的交融與抵抗︒與此同時︐本展於﹁當
代的迴響﹂單元與阮劇團合作︐重新演繹當時的文化
劇︐同時邀請林君昵︑黃邦銓導演團隊創作︽甘露
水︾同名紀錄片與影像互動裝置︐進而顯影時代︒在
9
多樣化梳理展呈歷史的同時︐本展也透過與當代創作
In tribute to the centenary of the Taiwan Cultural Association in 2021, the Museum of National Taipei University of Education (MoNTUE) casts the gaze toward the contexts of that era. Firmly anchored in an era that saw the emergence of the first generation of Taiwanese artists, this exhibition attempts to traverse the aesthetic styles of the works and the personal journeys of the artists as it explores the specificities of that era and
者的合製共創︐ 希冀以當代的觀點回應創作的本質︒
﹁光 —— 臺灣文化的啟蒙與自覺﹂展名以﹁光﹂為 名︐回應一百年前知識份子如何在黑暗的時代中仍懷
抱勇氣︐感知那幾近不存在的光︐並心懷信念向前奔
馳︒
toward Taiwan’s future. Meanwhile, influenced by global ideological trends, the cultural movement advocated by the Cultural Association germinated in new artistic concepts in paintings, sculptures, novels, plays and films of a new era. Artists persisted in seeking out the relationship between art and society, and the spirit of resistance through art and culture exemplified by the Cultural Association continued until after the Second World War.
the ways in which artists gathered strength from within. Their audacious pursuit of art contributed to constructing Taiwan’s cultural countenance. Supported by the Ministry of Culture and Fu Lu Culture Foundation, MoNTUE, with Lin Mun-lee as its exhibition producer, has invited scholars with extensive and expert knowledge in history, literature, drama, art, indigenous culture, women’s studies, and law to form an interdisciplinary research team, whose members include Chou Wan-yao, Liu Liu Shu Chin, Shih Wan-shun, Chiang Po-shin, Chen Huei-hsien, Chen Yun-yuan, and Wu Chun-ying. The research team looks at the temporal-spatial background of a century ago through movements and developments in Taiwanese society. By juxtaposing artworks and historical documents that mutually complement, this exhibition portrays the society in which the Cultural
響︐新時代的繪畫︑雕刻︑小說︑新劇︑電影紛紛誕
生︐與運動相輔相成新的藝術概念︒藝術家追索藝術
與社會之間的關係︐以文藝抵抗的路線將文協精神延
伸至戰後︒
在迎接臺灣文化協會創立一百週年的二〇二一年︐
北師美術館將目光著眼於時代脈絡︒試圖穿越作品美
學風格與藝術家自身歷程︐定錨於其成長的年代︐探
索其時代特質︐進而觀看藝術家何以從中迸發力量︐
The four exhibition sections of “Impulse of Life,” “The Creation of Landscape,” “The Public and the Modern,” and “Self-Awakening Modernity” serve as points of departure that guide the viewers to explore from the inside outward, and to contemplate ways in which these artists began from self-observation to burst forth and chronicle society through their works, depicting the integration and resistance between the individual and society. Meanwhile, the “Contemporary Revisits” segment has been developed in collaboration with the Our Theatre troupe and the directorial team of Lin Chunni and Huang Pang-Chuan. In their
得以奮不顧身追求藝術︐以此建構臺灣文化面貌︒
由文化部與財團法人福祿文化基金會支持︐林曼麗
總策劃︐邀請周婉窈︑劉柳書琴︑石婉舜︑蔣伯欣︑
陳慧先︑陳允元與吳俊瑩等長期精研歷史︑文學︑戲
劇︑藝術︑原住民與婦女︑法律的學者組成跨領域
研究團隊︒考察一百年之前的時空背景︐從社會運動
與發展切入︐藉由藝術作品與文獻共構相互補述︐呈
現一九二〇至四〇年代文化協會及相關人物所處的社
會︐映射臺灣文化協會﹁文化向上﹂的行動與精神︐
回訪一百年前臺灣文化的啟蒙與自覺︒
Association and its relevant figures existed from the 1920s to the 1940s, reflects on the progressive actions and spirit of the Taiwan Cultural Association, while revisiting the enlightenment and self-awakening of Taiwanese culture as it unfolded a century ago.
commissioned works, the Our Theatre troupe have reinterpreted the cultural plays of that era, while Lin and Huang have produced Kam Lōo Tsuí, a documentary inspired by and named after Water of Immortality, and an interactive video installation that brings the era to life. While showcasing the history of Taiwan through diverse approaches, this exhibition also attempts to incorporate contemporary artistic perspectives in its reaching back to the past. Taking “Lumière” as its title, the exhibition “Lumière: The Enlightenment and Self-Awakening of Taiwanese Culture” responds to a group of intellectuals from a century ago, who kept courage in an era of darkness, who detected an almost imperceptible light and kept faith as they bounded ever-forward.
8
Lumière
The Enlightenment and Self-Awakening of Taiwanese Culture
九二一年十月︐黃土水以︽甘露水︾獲得日本
帝國美術展覽會入選︐此作以蚌殼中昂然向上
的少女︐宛如自黑暗中走向世界︐堅強舒緩的容姿
象徵著臺灣文藝復興時代的將臨︔同月十七日︐臺
灣文化協會成立︐發起人蔣渭水發表︿臨床講義︓
名為臺灣的病人﹀一文︐診斷臺灣罹患﹁知識的營
養不良症﹂︐須藉由文化運動醫治︐而推動文化運
動的組織即是臺灣文化協會︒
7
一次大戰後的大正民主時期︐在民族自決思潮與
The ideological trend of national self-determination and civil rights movements during Taisho democracy
自由民權運動的衝擊下︐啟發東京的臺灣青年︐反
思殖民地之下的差別待遇並組織集會︐而林獻堂則
領導臺灣議會設置請願運動︐與蔡惠如在東京催生
︽臺灣青年︾雜誌︒蔣渭水等人則是在島內成立臺
灣文化協會︐作為本島民間社會啟迪民智︑思想解
放︑文化藝術啟蒙的重要開端︒
隨著文化運動的深化︐各式政治運動蓬勃湧現︐
臺灣文化協會於一九二七年分裂後影響生成多個團
體︐分佔光譜不同位置︐共同為臺灣未來努力︒另
一方面︐文協推展的文化運動則受到世界思潮影
I
n October of 1921, Huang Tu-shui was selected for Japan’s Teiten [Imperial Art Exhibition] with his work Water of Immortality. This work portrays a young, confident woman emerging from a clamshell, as though from darkness into the world. Her resolute yet reassuring stance symbolizes the imminent arrival of Taiwan’s cultural renaissance. On the 17th of that October, the Taiwan Cultural Association was established. In publishing his essay "Clinical Notes: A Patient Named Taiwan," charter member Chiang Weishui diagnosed Taiwan as suffering from “intellectual malnutrition,” for which the requisite treatment was a cultural movement, and the very organization to promote cultural movement was the Taiwan Cultural Association.
一
after the First World War made an impact on the Taiwanese youth in Tokyo and inspired them to reflect on the experiences of discrimination in the colonies, and to organize rallies. While Lin Hsien-tang spearheaded Petition Movement for the Establishment of a Taiwanese Parliament and hatched the Tai Oan Chheng Lian [Taiwan Youth] magazine with Tsai Hui-ru in Tokyo; Chiang Wei-shui and others formed the Taiwan Cultural Association on island. These were the momentous beginnings that paved the way for public intellectual enrichment, emancipation of minds, and artistic and cultural enlightenment. A variety of political movements burgeoned as the cultural movement took root. The splintering of the Taiwan Cultural Association in 1927 gave rise to the formation of a number of organizations, each occupying their position on the spectrum and all working together
臺灣文化的 啓蒙與自覺 The Enlightenment and Self-Awakening of Taiwanese Culture
陳植棋，《夫人像》， 1927，油彩、畫布，91 × 65 cm，家屬收藏。 Chen Chih-chi, Portrait of Wife, 1927, oil on canvas, 91 × 65 cm. Collection of Artist's Family.
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Lumière The Enlightenment and Self-Awakening of Taiwanese Culture
contents
02
展覽簡介 About the Exhibition PART 1
06
生命的恆流 Impulse of Life
PART 2
20
P.34
風景的創造
The Creation of Landscape
44
從文協時代到後文協時代
PART 3
28
The Battle Position of the New Literature: From the Period of the Taiwan Cultural Association to the Post-Taiwan Cultural Association Period
大眾與摩登
The Public and the Modern
35
文協時代的新女性
46
New Women in the Period of the Taiwan Cultural Association
48
自覺的現代性
影像的運動 運動的影像 Moving Images | Movement Images
Self-Awakening Modernity
40
前進東京，向世界借火 Advancing on Tokyo; Borrowing Fire from the World
PART 4
36
新文學的戰鬥位置：
現代戲劇運動，第一波！
52
當代迴響
Contemporary Revisits
The Sin-Kik [New Drama] Movement; The First Wave!
55
荊棘之道—暗房與詩歌 A Path with Briars: Darkroom and Poetry
56
甘露水 Kam Lōo Tsuí
58
加入B會的人 Those from Association B
P.31
60
附錄 Appendix
大稻埕文化書局，1929，日本朝日新聞社提供。Culture Bookstore in Dadaocheng, 1929. Courtesy of the Asahi Shimbun.
「在持續擴張的宇宙中，最遠的星系以如此的 高速遠離，以至於它們發出的光永遠也無法觸 及我們︒由於發出光的星系以超過光的速度遠 離我們，我們從天體中所感知的黑暗，實為那 些朝向我們而來，卻無法企及我們的光︒ 成為同時代人，首先以及最重要的，是勇氣問 題，因為它意味著不但有能力保持對時代黑暗 的凝視，還要有能力在黑暗中感知那朝向我 們︑卻又無限地與我們拉開距離的光︒」 ── 阿岡本，〈何謂同時代︖〉 “In an expanding universe, the most remote galaxies move away from us at a speed so great that their light is never able to reach us. What we perceive as the darkness of the heavens is this light that, though traveling toward us, cannot reach us, since the galaxies from which the light originates move away from us at a velocity greater than the speed of light. To be contemporary is, first and foremost, a question of courage, because it means being able not only to firmly fix your gaze on the darkness of the epoch, but also to perceive in this darkness a light that, while directed toward us, infinitely distances itself from us.” ── Giorgio Agamben, “What Is the Contemporary?”
Lumière The Enlightenment and Self-Awakening of Taiwanese Culture
臺灣文化協會 一〇〇年
12月18日2022年 4月24日 2021年
臺灣文化的
The Enlightenment and Self-Awakening of Taiwanese Culture
MoNTUE 北師美術館
啓蒙 自 與 覺
Lumière
100th Anniversary