藝術學研究

《藝術學研究》第二十期（JOURNAL OF ART STUDIES 20）

曾少千

2017年06月

目次
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學術論文

001 華人藝術的在地性與普遍性——
以林學大為中心的考察

呂采芷

057 錯戀台北青春：
從 1960 年代三部台語片的無能男談起

沈曉茵

093 光明與真情的瞬間：
鄧南光與《台灣攝影》雜誌（1963-1971）

陳德馨

Contents
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Articles

001 The Issues of Regionality and Universality in Ethnic Chinese Art:
Centering on the Art of Lim Hak Tai (1893-1963)

Jessica Tsaiji Lyu-Hada

057 Misplaced Taipei Youth:
A Look at Weak Men in Three Taiyu Pian of the 1960s

Shiao-Ying Shen

093 The Split Second between Brightnessand Emotions:
Nan-Guang Deng and Taiwan Photo (1963-1971)

Te-hsinc Chen

華人藝術的在地性與普遍性—— 以林學大為中心的考察

The Issues of Regionality and Universality in Ethnic Chinese Art: Centering on the Art of Lim Hak Tai (1893-1963)

/ 呂采芷 Jessica Tsaiji Lyu-Hada

關鍵字：華人、移動的藝術家、南洋風、地方色彩、在地性、普遍性 Ethnic Chinese artists, diaspora artists, reigionality, universality, Nanyangfeng

◎ 點閱：31 ▼ 下載：80

檔案下載：華人藝術的在地性與普遍性—— 以林學大為中心的考察.pdf

二十世紀前半是漢⫿文化圈的傳統書畫概念在西潮衝激下蛻變發展為現代「美術」的時期，也是戰亂造成大規模人口移動的時期。移寓者包括在大陸的美術學校受過美術㔁育，或留學過日本、歐美的藝術家。新天地的異文化給他們的創作生涯帶來新方向，他們自己也成為異文化碰撞交融的觸媒，刺激各地美術多樣的發展。這些藝術家都懷抱著如何在新舊之間界定自己的大課題，一方面強調個人或地方的獨特性，另一方面也探求漢民族共有的記憶和傳統，進而訴諸世界潮流以期得到更多人的共鳴。
本文以廈門為跳板，從跨越現代國界的視點來探討移動的藝術家在現代藝術領域所扮演的角色。福建住民透過廈門和台灣互動，藉著南渡的僑民和東南亞相連，在美術的領域也是如此。瞭解這些互動交流的關係是闡明多彩的亞洲現代美術的重要課題。本稿聚焦出生於廈門，並於逝世後被尊稱為「南洋美術之父」的林學大，來探討華人的移動和東海、南海沿岸美術發展之關係。1950 年代英屬新加坡／馬來亞爭取自治和獨立之劇變時期正好也是共產和非共產國家之間被鐵幕隔斷，出身中國的僑民被迫斷絕與故國關係的時期。林學大的《天福宮》（1952 年）和《福利巴士事件》（1955 年）清晰地刻劃了華人們在這段期間的心路歷程。比較這兩幅作品和林學大自筆的著作可以清楚瞭解他的藝術主張：如實表達當地生活、落實南洋、關懷本地、放眼世界。也就是說，兼具在地性和超越地域的普遍性和現代性。

Late 19th century and the first half of the 20th century witnessed the transformation of shuhua tradition of the East into the modern concept of meishu under Western influences. It was an era plagued by wars and socio-political turmoil that triggered a major tide of migration. Among those on the move were artists who had studied art in China or abroad. The new world inspired new directions in their artistic careers, while they themselves also became catalysts of cultural fusion, and pioneers in shaping modern art in the lands where they resided temporarily, or permanently settled. All were immediately confronted with a challenge to define themselves in the context of new versus old, East versus West. Many strove to assert the uniqueness of the specific places they resided while at the same time stressing the common grounds of mankind and links with their homeland in order not to find themselves marginalized in the newfound land.
This paper begins in Xiamen, and examines the impact of the network of Chinese diaspora on modern Asian art from a perspective beyond the political boundaries drawn after the Second World War. The career of Lim Hak Tai—the respected artist and art educator acknowledged as the Father of Nanyang Art after he passed away—sheds light on the significant relationship between the Xiamen network and the art of the littoral states of Asia. In the 1950s, British colonies in South East Asia witnessed a forced severing of ties between ethnic Chinese and their homeland in China due to the establishment of the communist regime in China and the anti communist policies adopted by the colonial government. The period also witnessed active civil rights movements among the colonized ethnic Chinese who had shifted their orientation from China toward South East Asia. The transformation of their mentality was delineated in the two major works of Lim Hak Tai: Telok Ayer Temple (1952) and Hok Lee Bus Incident (Riot, 1955). Comparing these two paintings clarifies what Lim Hak Tai attempted to achieve via art: depicting the local life as it was, taking root in new lands, and attending to local needs with a global perspective. In other words, to maintain both local uniqueness and universality/modernity that reached beyond local limit, as manifested in both the writings and the
artwork of Lim Hak Tai.

錯戀台北青春：從 1960 年代三部台語片的無能男談起

Misplaced Taipei Youth: A Look at Weak Men in Three Taiyu Pian of the 1960s

/ 沈曉茵 Shiao-Ying Shen

關鍵字：臺灣電影、林摶秋、梁哲夫、辛奇、酒家／歡場 Taiwan Cinema, Lin Tuan-qiu, Liang Zhe-fu, Xin Qi, sakaba/dancehall

◎ 點閱：15 ▼ 下載：38

檔案下載：錯戀台北青春_從 1960 年代三部台語片的無能男談起.pdf

台語片是活潑又包容多種類型的電影。若專注過去偏文藝的台語片，其最吸引人的特色便是，故事中的女主角總是命運坎坷，難以尋得幸福。女主角艱辛的歷程就是電影催淚的法寶。影片中的男主角則是關愛女主角，但毫無能力改變、扭轉他倆命運中的各種險惡。這種「苦命女」與「無能男」的組合是台語片多年的主軸，也是為何台語片會被認為是一種帶有「悲情」調性的電影。本文希望透過這「無能男」的元素來審視 1960 年代的台語片，並選擇林摶秋的《錯戀》（1960）、梁哲夫的《台北發的早車》（1964）、辛奇的《危險的青春》（1969）來橫跨整個 1960 年代，看看「無能男」能帶引出台語片什麼樣的內涵。探究林摶秋的《錯戀》，可看到台語片苦命女、苦情女經驗裡難得又美好的女性情誼，及相當犀利的無能男呈現。由梁哲夫的《台北發的早車》可審視女性與城鄉的關聯，及男性面對都會時的殘弱。1960 年代末辛奇的《危險的青春》則為都會的苦命女及無能男找到出路、破解了台語片悲情的環套。同時，本文也對三部台語片的形式風格做分析，凸顯它們亮眼的電
影㔀事。

Taiyu Pian (Taiwanese-language film, Taiwanese-dialect film)
is a vibrant part of Taiwan's cinema. This paper examines three taiyu pian of the 1960s to trace how their suffering male and female protagonists evolve over a decade of Taiwanese melodrama. The article focuses especially on the weak men in the three films to bring out the distinctive qualities of taiyu pian. The essay studies Lin Tuan-qiu's Misplaced Love (a.k.a. The Husband's Secret, 1960), Liang Zhe-fu's The Early Train from Taipei (1964), and Xin Qi's Dangerous Youth (1969).
Through this study, features of female friendship, urban-country dynamics, and filmic narrative style emerge as vital elements in the high-energy taiyu pian of the 1960s.

光明與真情的瞬間：鄧南光與《台灣攝影》雜誌（1963-1971）

The Split Second between Brightnessand Emotions: Nan-Guang Deng and Taiwan Photo (1963-1971)

/ 陳德馨 Te-hsinc Chen

關鍵字：鄧南光、台灣攝影、郎靜山、畫意攝影、紀實攝影

◎ 點閱：5 ▼ 下載：40

檔案下載：光明與真情的瞬間_ 鄧南光與《台灣攝影》雜誌(1963-1971).pdf

鄧南光是位著名的客籍攝影家，也是台灣省攝影學會首屆理事長，之後連任七屆，直至 1971 年驟逝為止。
鄧南光在理事長任內，主編《台灣攝影》雜誌，主導學會的創作方向。他反對畫意沙龍攝影，積極建立寫實風格；支持健康明朗的內容，反對顯露社會的貧弱落後；討厭虛假不真實的創作，鼓勵抓住人性真情流露的瞬間。鄧南光想建立中產階級品味的現代攝影，因此，他支持象徵古典的人體攝影創作，積極舉辦外拍時裝少女活動，聯繫攝影與商業廣告的合作機會，讓學會得以持續繁榮發展。
純然以創意角度而言，鄧南光的旨趣略嫌保守，但是以六十年代的台灣歷史來看，他能在嚴峻的社會氛圍下，將攝影活動推廣為全民運動，宛如在重巖險阻下成功輕渡的小舟，其功績仍令人永誌難忘。

Born to a distinguished family in Beipu Township, Hsinchu, Taiwan, Nan-Guang Deng was a well-known Hakka photographer. Deng established the Photographic Society of Taiwan and was elected as its first director. Deng was elected to seven consecutive terms before his sudden death in 1971.
During Deng's terms as the editor of Taiwan Photo, he strongly influenced its artistic sensibility, establishing a realistic style to counter the picturesque saloon style promoted by officials. For Deng, documentary photography was a means of presenting healthy, bright content, instead of revealing society's poverty and backwardness. He strove to capture moments revealing true emotions rather than creating a fake reality. In essence, Deng intended to create a modern photography for the middle class. He remained neutral with respect to novel photography, which takes the creative consciousness of the artist as its focus, but nonetheless gave sufficient space to these new schools, regardless of his own preferences. Deng wanted to set a tone for modern middle class photography. Therefore, he supported nude photography against all those opposed. Additionally, he promoted outdoor photo sessions with fashion models to encourage cooperation between photographers and commercial advertisers. As a result of his efforts, the Photographic Society of Taiwan thrived under Deng's leadership.
If we look at Nan-Guang Deng in purely artistic terms, he wasslightly conservative, but if we consider the solemnity of his time, his achievements were remarkable for he steered his art through currents and obstacles to make it a popular activity for the general public.