1920-30年代臺灣民宅彩繪中的當代圖像

蔡雅蕙、徐明福。〈1920-30年代臺灣民宅彩繪中的當代圖像〉。《民俗曲藝》196 (2017.6): 237-98。

Tsai Ya-hui and Hsu Min-fu. “Modern Images of Paintings in Residential Buildings from 1920 to1930 in Taiwan.” Journal of Chinese Ritual, Theatre and Folklore 196 (2017.6): 237-98.

Abstract

1895年日人治臺後，帶來的社會文化衝擊是全面性的，對於彩繪匠師來說也不例外。從時代的角度來看，建築彩繪一向以傳統中國書畫為依歸，但在社會變遷的同時，新的視覺文化也應運而生。傳統與現代兩種截然不同風格的作品自然地存在於一棟民宅空間中，可說是創造了日治時期建築彩繪一種極為新穎的彩繪表現方式。不但反映當時的社會背景及流行思潮，同時也透露出人們的審美品味，可說是特定社會與歷史環境下所形成的產物。

本文主要以日治時期1920-30年代之民宅彩繪為主要研究對象，田野調查及文獻比對為研究方法，並透過彩繪匠師之背景及當時主流美術發展的因素，分析此時期民宅中當代彩繪圖像之主題與內容。研究細項包括：（1）調查日治時期民宅彩繪中，當代圖像之題材內容與社會背景之關聯性。（2）調查當代圖像的繪者及經歷。（3）綜合分析當代圖像的出現與匠師之關係。

透過上述三個面向的研究後，本文認為，建築彩繪在出現了當代流行性的圖像後，顯現社會政治、經濟的發展及主流美術界的畫風的確影響傳統建築彩繪甚多，但個別匠師所受的影響又與個人之學藝歷程有關。而本研究不但可見傳統建築彩繪在日治時期的新風貌，其成果也將有助於了解社會環境對傳統彩繪工藝的影響及其藝術性價值。

Since 1895, the colonial Japanese rule of Taiwan had brought social and cultural impacts on all walks of life; painters were no exception. The traditional paintings in architecture have their root in Chinese calligraphy and paintings. However, during times of changes, new visual culture also comes into play. Traditional and modern styles of paintings co-exist in a residential space, creating a novel way of artistic representation. This particular phenomenon, born out of the distinct social and historical environments not only reflects the social background and trends of fashion, but also reveals the taste of common people.

In this article, I study the paintings in residential buildings during 1920 to 1930, using both field research and related documents. I analyze the theme and content of paintings of this period through the background of painting craftsmen and elements of the mainstream art development. The objectives of my research include, (1) to investigate how such modern themes and content of residential house paintings relate to the social background; (2) to document life stories and professional experiences of these painters; (3) to conduct a comprehensive analysis of the relationship between the inception of modern images and the painters.

I conclude that the arrival of trendy modern images indicates that politics and economic development of the society, as well as the mainstream arts style did have a significant impact on the traditional architectural paintings. Yet, individual artist’s influence relates more to his own experience of apprenticeship. This study unveils new aspects of traditional architectural paintings during the Japanese Colonial Period. The conclusion helps us understand the influence of social environments on traditional architectural paintings and their artistic value.

Also in Journal of Chinese Ritual, Theatre and Folklore:

蔡雅蕙、徐明福。〈鹿港郭氏家族在傳統厝屋彩繪作品之人物圖像來源研究〉。《民俗曲藝》179 (2013.3): 1-74。

Tsai Ya-hui and Hsu Min-fu. "A Study of the Sources of the Human Figures in the Traditional House Painting Works by the Kuo Clan in Lukang." Journal of Chinese Ritual, Theatre and Folklore 179 (2013.3): 1-74.

http://ritualtheatreandfolkloreat.blogspot.tw/2013/04/blog-post_2372.html

蔡雅蕙、徐明福。〈1910至1930年代臺灣傳統建築彩繪匠司譜系之探討〉。《民俗曲藝》169 (2010.9): 89-145。

Tsai Ya-hui and Hsu Ming-fu. “A Study on the Lineage of Taiwanese Traditional Architectural Paintings from 1910s to 1930s.” Journal of Chinese Ritual, Theatre and Folklore 170 (2010.12): 89-145.