日治時期臺灣裱褙業與裱褙文化的發展

Abstract

過往的研究中雖開始注意到早期臺灣裱褙業者兼具藝術傳播的功能，卻鮮少關注裱褙產業本身的產業發展也受到地緣政治推動的文化交流牽動，以及產業發展造成的裱褙裝飾藝術變化賦予了人們生活中觀看、使用藝術品的新體驗。本文即探討日治時期臺灣裱褙業的發展過程中，日本、中國和臺灣的地區文化交流如何改變產業的人才、技術與物質材料，創造出怎樣的裱褙物件使用文化，進而重新評估日治時期臺灣裱褙業的特徵與影響力。

透過橫向比較近代日、中的裱褙產業發展，並縱向梳理清代至日治時期臺灣裱褙業發展的歷史。本文指出，臺灣過去承襲清代閩粵移民的裱褙技術，日治時期來自日本和中國的移民促成兩國近代裱褙業在臺灣交融，形塑了臺灣裱褙業多元的新樣貌。臺灣裱褙業在技術、材料與營運模式上，學習兩者之長，融入在地經驗，逐漸擴大產業規模。此外臺灣裱褙業雖仰賴外來資源，但業者善用殖民地夾處日、中邊緣的縫隙間，族群、語言、物質資源與文化上特有的融混模糊優勢後，或許反能成為遊走在日、中藝術市場間的能動者。多元融混的特色也展現在消費者的裱褙物件使用方法上，並創造出臺灣的裱褙文化。面對日治時期引進的西式與日式的室內空間裝飾及裱褙物件陳設文化，臺灣人結合傳統的習慣，依需求自由地選擇適用。使用文化回過頭來又影響了裱褙業的發展。豐富多元的裱褙物件提供裱褙業發展的動力，消費者選擇裱褙業者時也會衡量裱褙物件的使用情境。裱褙物件的最終視覺效果，往往是連結了供需兩端從生產條件到使用情境，技師的搭配要領到消費者的獨特審美，不斷協商而成。

檢視日治時期裱褙產業在技術、社會與文化上的整體面貌後可以發現，裱褙產業整合臺灣藝術家、收藏家與相關產業人員，交織出都市的藝術文化網絡，影響消費者群體的鑑賞品味，還顯示出地區文化交流中臺灣裱褙技術、物質與社會文化的聯動關係。

Previous studies have begun to perceive the function of art dissemination concurrently served by the mounting industry in the earlier days of Taiwan. However, little attention has been devoted to the phenomena that the development of the mounting industry per se has also been influenced by geopolitics-driven cultural exchanges and that the changes in the decorative art of mounting produced by the development of the industry have delivered to people a new experience of viewing and using artworks in their lives. In light of this gap, the present study sets out to investigate how the regional cultural exchanges among Japan, China, and Taiwan reshaped the professionals, techniques, and substances/materials in the mounting industry over the course ofits development in Taiwan over Japanese colonial rule. Additionally, this study explored what kind of mounting object usage culture was created, and further reassessed the characteristics and influences of the mounting industry in Taiwan under Japanese colonial rule.

Through a horizontal comparison of the development of the mounting industry in modern Japan and China, and a vertical analysis of the evolutionary history of the mounting industry in Taiwan from the Qing dynasty to the Japanese colonial period, this study obtained the following findings. In former times, Taiwan inherited mounting techniques from Fujian and Guangdong immigrants who arrived during the Qing dynasty. In the Japanese colonial period, immigrants from Japan and China contributed to the integration of the modern mounting industries of the two countries in Taiwan, forming a new and diversified appearance of Taiwan’s mounting industry.With respect to techniques, materials, and business models, Taiwan’s mounting industry learned the strengths of its counterparts from both countries and incorporated local experiences to steadily expand its scale. In addition, despite their reliance on external resources, mounting businesses in Taiwan leveraged the unique advantage of fusion and fuzziness in ethnicity, language, material resources, and culture resulting from the position of Taiwan as a colony in the gap between the borders of Japan and China. In this manner, they could possibly become agents straddling both Japanese and Chinese art markets. Such diversity and fusion was also manifested in the way consumers used mounting objects. Taiwanese people combined their traditional habits with the Western- and Japanese-style interior space decoration patterns and display cultures for mounting objects introduced during the Japanese colonial period to freely select what was considered suitable according to their needs. In turn, the usage culture also influenced the development of the mounting industry. The extensive and diverse range of mounting objects gave momentum to the development of the industry. Consumers would also consider the situations where mounting objects were used when choosing a mounting business.

An examination of the general profile of the mounting industry in Taiwan under Japanese colonial rule in technique-wise, social, and cultural aspects have revealed that the industry integrated Taiwanese artists, collectors, and personnel in related industries. These individuals were interwoven to createan urban arts and cultural network that affected the artistic taste of the consumer population. Further, the linkage between Taiwan’s mounting techniques, materials, and socio-culture in regional cultural exchanges was demonstrated.