成為「礦山人」── 洪瑞麟礦場題材作品風格形塑與礦工畫家形象建構

Abstract

本論文以洪瑞麟（1912 - 1996）的礦場題材創作為核心，探討其個人繪畫風格的形成歷程。

過往論述多認為洪瑞麟的粗放筆觸與深沉畫面直接反映了礦坑情境，並簡化為其「人道精神」的體現。然而，透過整理檢視作品可以發現，他的畫風並非僅源於礦坑勞動經驗，而是在留日時期接觸的現代風格與思潮影響下，經由長期創作實踐，帶著主動的創作意識發展而來。本研究嘗試釐清風格、題材與創作情境三者的互動關係，以及在長期創作的基礎之上，透過哪些因素的影響，形塑了他深植人心的「礦工畫家」形象標籤。

本文除第一章緒論與第五章結論之外，全文共分三章，內容架構依照洪瑞麟創作歷程的時序安排，分別介紹其各階段創作發展。第二章聚焦洪瑞麟的學習養成。他在大稻埕的早年啟蒙，以及在臺灣繪畫研究所學習，已展現了對繪畫媒材表現的敏銳度，也為日後融合筆墨與個人風格的創作奠立基礎。洪瑞麟1930年赴日、隔年入學帝國美術學校，受教於清水多嘉示，清水的旅法背景及畫風，對他帶來深刻影響。洪亦關注藝術家盧奧的風格，特別是盧奧以粗黑線條描繪社會底層人物的表現與寓含的關懷，對其影響深遠。洪瑞麟1936年畢業之後，隔年在日本東北旅行寫生，以墨筆速寫描繪人物，逐漸建立其速寫語彙。

第三章分析洪瑞麟返臺後，1938年進入礦坑工作的創作情形。他的筆墨速寫作品，固然受限於礦場的創作條件，但關鍵更在於他特意選擇風格與題材的創作意志。他的礦場題材作品，彼此之間不僅有風格與題材差異，創作情境亦非如刻板印象中在礦坑中速寫完成的那樣單一。總結礦坑任職期間的創作，是隨著他從基層做起直至自礦長職位退休，持續發展而來的豐富成果。這段期間，他也持續保持與畫壇往來、接受資訊交流與刺激，逐漸累積形成其風格多元的創作體系。

第四章探討洪瑞麟在1972年退休後，如何因臺灣社會轉型與媒體興起，被定型為「礦工畫家」的歷程。1970年代，海內外政治局勢帶動鄉土文化運動興起，此時又值藝文媒體新興、藝術商業活動活絡。在諸多時代條件之下，1979年於春之藝廊所舉辦個展，加上蔣經國親臨展覽現場帶動報導話題，將其「礦工畫家」形象推向全臺。當時，退休多年的洪瑞麟，實際的創作題材趨於多元，礦場題材作品已少。他的「礦工畫家」標籤形象在此時期趨於定型，實與時代背景密不可分，是多重因素共同形塑之結果。

綜觀而論，洪瑞麟的礦坑系列風格，是綜合其養成背景、藝術理念、創作意志累積而來，後由媒體形塑鮮明的標籤化形象。透過重新檢視藝術家的生命歷程，理解其風格與形象的建立；在為洪瑞麟「去標籤化」之前，先嘗試理解他的「標籤」從何而來。

This thesis examines the mining-themed works of Hung Jui-lin (1912–1996), with a focus on the formation of his distinctive personal painting style.

Previous research has often interpreted Hung’s bold brushwork and somber compositions as direct reflections of his experiences in the mines, emphasizing them as expressions of “humanitarianism.” However, a close study of his artistic development reveals that his visual language did not emerge solely from labor in the mines. Rather, it evolved through sustained creative practice, influenced by modernist styles and aesthetic currents encountered during his studies in Japan, and shaped by a conscious and proactive approach to artistic exploration. This research aims to clarify the interplay between style, subject matter, and creative context, and further investigate how various historical and cultural conditions ultimately contributed to the formation of Hung’s enduring public image as the “miner painter.”

Apart from the introductory first chapter and the concluding fifth chapter, the main body of this thesis is organized into three chapters, structured chronologically according to Hung Jui-lin’s artistic development and examining the evolution of his work at each stage. Chapter Two focuses on Hung’s formative years as an artist. His early exposure to visual culture in Dadaocheng and training at the Taiwan Institute of Painting established a foundation of sensitivity to materials and techniques. In 1930, he traveled to Japan and enrolled in the Imperial Art School the following year, studying under Shimizu Takashi, whose background in French modern art left a deep impression on Hung. He was also influenced by the works of Georges Rouault, particularly Rouault’s use of thick black lines and his empathetic depictions of working-class figures. After graduating in 1936, Hung undertook a sketching journey through northeastern Japan, during which he began using ink sketches to portray human figures, gradually forming his signature visual vocabulary.

Chapter Three analyzes Hung’s creative practice after returning to Taiwan in 1938 and taking up work in the mines. While his ink sketches were certainly constrained by the physical conditions of the mining environment, a more crucial factor was his deliberate selection of material and style. A close comparison of his series reveals variations in both style and subject matter, and highlights the diversity of his working conditions—contrary to the simplified notion that all of his works were drawn directly in the mines. Over the decades, as he advanced from entry-level worker to mine supervisor, his access to different facets of the mining world enriched the range and depth of his visual observations. During this time, he also remained active in artistic circles, contributing to the overall expansion of his artistic output.

Chapter Four explores how Hung came to be recognized as a “miner painter” following his retirement in 1972, in the context of Taiwan’s social transformation and the rise of media culture. The 1970s witnessed a surge in nativist cultural movements, as well as the growing influence of art media and the commercialization of art. These conditions converged in 1979, when Hung held a solo exhibition at Spring Gallery. The event gained significant attention when President Chiang Ching-kuo visited the show, prompting extensive media coverage that helped solidify Hung’s public image. At that time, however, Hung had already diversified his subject matter and was producing fewer mining-themed works. The emergence of the “miner painter” label therefore be understood not as a direct outcome of his practice, but as a result of shifting cultural narratives and external interpretations.

In sum, Hung Jui-lin’s mining series was not merely the product of his identity as a miner or the conditions of his work environment. Rather, it was the cumulative result of his artistic training, conceptual framework, and creative commitment, further shaped by media representation and historical circumstances. By retracing his life and artistic trajectory, this thesis seeks to uncover the conditions that gave rise to Hung’s stylistic development and cultural labeling. Before attempting to “de-label” Hung, it is necessary first to understand how such labels were historically constructed and how they relate to the artist’s lived experiences.