公學校教員的創作之路：李澤藩日治時期創作與新竹州美術活動之研究

Abstract

本研究以日治時期活躍於新竹地區的公學校教員李澤藩（1907–1989）為研究對象，探討其在兼具教員與創作者雙重身分下的創作實踐與發展歷程。過去臺灣美術史研究多聚焦於留學東京美術學校的畫家，而對留在臺灣教育體系內、以圖畫教育為基礎持續創作的教員群體關注有限。李澤藩作為此一群體中最具代表性的畫家，其創作活動不僅反映了地方教育制度下的美術實踐樣態，也揭示了制度、教育與創作之間錯綜複雜的互動關係。

全文共分三章。第一章從李澤藩的學習歷程出發，分析其於新竹公學校與臺北師範學校的圖畫課經驗，並結合其早期習作與石川欽一郎的教學理念，揭示其在早期學習中所奠定的水彩創作基礎。第二章聚焦其成為教員後的地方實踐，透過新竹州圖畫講習會、新竹州學校美術展覽會與新竹美術研究會三個層面，探討制度與地方社群如何形塑其創作環境與人際網絡，使教育體制在非預期中成為孕育創作能量的重要場域。第三章則以展覽參與為核心，分析其於臺展及各類教員美術展，如大東會、昭和みづゑ會與大潮會中的活動，進而說明其風格轉變及其作為教員創作者的特殊位置。

綜合而言，李澤藩的創作之路，體現了臺灣教員創作者在教育與創作之間的雙重實踐。他的經驗不僅展現個人於制度限制中尋求創作自主的能動性，也反映教育制度在實際運作中所生成的地方美術文化。透過本研究的個案重構，得以補足以往美術史中對非留日教員畫家的忽視，並進一步理解日治時期臺灣美術形成過程中，教育制度與創作活動之間的動態關係。

This study examines the artistic practice and developmental trajectory of Li Ze-fan (1907–1989), an elementary school teacher and painter active in the Hsinchu region during the Japanese colonial period. It explores how Li negotiated his dual identity as both educator and creator. Previous studies of Taiwanese art history have primarily focused on artists who studied at the Tokyo Bijutsu Gakko, while giving limited attention to those who remained within Taiwan’s educational system and continued to create art based on drawing education. As one of the most representative figures among this latter group, Li’s artistic activities not only reflect the modes of artistic practice shaped by local educational institutions but also reveal the intricate interrelations among institutional structures, pedagogy, and creative production.

The dissertation is divided into three chapters. Chapter One traces Li’s formative years, analyzing his drawing experiences at Hsinchu Public Elementary School and Taipei Normal School, and situates his early watercolor studies within the pedagogical framework of Ishikawa Kinichirō’s teaching philosophy. Chapter Two focuses on his local practices after becoming a teacher, examining three interrelated spheres—the Hsinchu Prefectural Drawing Workshops, the Hsinchu Prefectural School Art Exhibitions, and the Hsinchu Art Research Society—to elucidate how institutional mechanisms and local communities shaped his creative environment and interpersonal networks. In doing so, it demonstrates how the educational system unintentionally became a vital site for nurturing artistic energy. Chapter Three centers on Li’s participation in exhibitions, including the Taiwan Art Exhibition (Tai-ten) and various teacher art associations such as the Daitō-kai, Shōwa Mizue-kai, and Daichō-kai. Through these case studies, the chapter analyzes Li’s stylistic transformation and highlights his distinctive position as a teacher-artist.

In conclusion, Li Ze-fan’s artistic path embodies the dual practice of education and creation undertaken by Taiwan’s teacher-artists. His experience not only demonstrates individual agency in pursuing creative autonomy within institutional constraints but also reflects how the educational system itself contributed to the emergence of local art culture. By reconstructing this case, the study supplements the gaps in art historiography regarding non–Japan-trained teacher-artists and further clarifies the dynamic relationship between educational institutions and artistic activities in the formation of Taiwanese art during the Japanese colonial era.