灣生書封設計中呈現的台灣地方色彩：以立石鐵臣與宮田彌太郎為例

Abstract

本研究是以台灣日治時期「地方色彩」（Local Color）作為理論資源，探討灣生藝術家在書封設計中對台灣形象的視覺表現。本文的主要研究對象為立石鐵臣與宮田彌太郎兩位藝術家，藉由兩人於史料以及繪畫作品中的資料訊建構對藝術家的創作脈絡後，再對其作品《民俗臺灣》與《媽祖》雜誌的封面設計進行分類、分析以及詮釋，比較兩人在創作時思維模式的異同，並且將討論延伸至戰後民俗雜誌，以《豐年》、《臺灣風物》以及《漢聲》雜誌中的封面設計作為對照。本研究以歷史分析法梳理兩位藝術家的生長背景以及美術學習歷程，再對《民俗臺灣》以及《媽祖》的封面進行彙整，接著進一步採用阮昌銳（2013）以人為中心的民俗四類分法的規則對研究樣本進行歸納。分類結果顯示立石鐵臣在《民俗臺灣》中多以「物質民俗」作為描繪對象；宮田彌太郎在《媽祖》中的作品則是以「信仰民俗」為大宗。在整體風格建構上立石鐵臣的創作具有以下兩項特點：（一）以實物為題材、（二）用紀實風格呈現；宮田彌太郎創作中的特點則是：（一）多取材自抽象文本、（二）展現畫家對台灣民俗文化東方主義式的詮釋轉化。立石鐵臣與宮田彌太郎在詮釋地方色彩時的差異為分別選取了紀實與象徵兩種表現手法，但亦兩人共同面臨著灣生身分帶來的身分認同課題。透過雜誌《豐年》、《臺灣風物》以及《漢聲》，本研究發現自《民俗臺灣》與《媽祖》的民俗調查與創作在戰後仍持續發展，在視覺風格表現上亦出現照片拼貼的新興手法。最後，地方色彩所提倡「使用視覺方式來刻畫與記錄台灣特質」的作法與現代廣泛使用的「台灣印象」有著相似的意涵，日治時期對於地方色彩的探求亦可作為現代設計者創作時的養分。This study uses the concept of"Local Color" from the Japanese colonial period in Taiwan as a theoretical resource to explore how Taiwanese-born artists visually represent the image of Taiwan in their book cover designs. The main subjects of this study are artists Tetsuo Tateishi and Yataro Miyata. By examining historical materials and paintings, the study constructs the creative context of these artists, and then classifies, analyzes, and interprets the cover designs of the magazines "Folklore Taiwan" and "Mazu." The study compares the different creative approaches of the two artists and extends the discussion to post-war folklore magazines, using the cover designs of"Feng Nian," "Taiwan Folkways," and "Hansheng" magazines as a contrast.This research employs historical analysis to trace the background and artistic learning process of the two artists. It then compiles the cover designs of "Folklore Taiwan" and "Mazu," and further adopts the human-centered four-category classification method of folklore proposed by Nguyen Changrui (2013) to categorize the research samples. The classification results show that Tetsuo Tateishi mainly depicted "material folklore"in "Folklore Taiwan," while Yataro Miyata's works in "Mazu" predominantly featured "belief folklore." In terms of overall style, Tetsuo Tateishi's creations are characterized by (1) using real objects as subjects and (2) presenting them in a documentary style. In contrast, Yataro Miyata's works are (1) mostly drawn from abstract texts and (2) demonstrate an Orientalist interpretation and transformation of Taiwanese folk culture. The difference in their interpretation of local color lies in Tateishi’s realistic approach and Miyata's symbolic expression, but both faced identity issues brought by their Taiwanese-born status. Through the magazines "Feng Nian," "Taiwan Folkways," and "Hansheng," this study finds that the folklore research and creation from "Folklore Taiwan" and "Mazu" continued to develop post-war, with the emergence of new visual techniques such as photo collages.Lastly, the approach advocated by local color to "depict and record the characteristics of Taiwan visually" shares a similar meaning with the modern concept of "Taiwan Impression." The exploration of local color during the Japanese colonial period can also serve as inspiration for contemporary designers.