日治時期南投窯的現代化與日本常滑燒的關係

Abstract

本論文主要在於探討臺灣陶瓷現代化的過程中，如何經由日本的中介，接觸歐美的陶瓷文明。論文選擇南投窯和常滑燒為兩個場域，探索兩地之間陶瓷發展的對應的關係，從而追溯到西方的淵源。由於南投窯現代化的發展與日本殖民統治有密切的關係，因此本論文以殖民主義的取向，探索殖民者如何以其權力，經由政策的執行，推動南投窯的現代化。 有關南投窯發展的議題，在學界的文獻與論著中，已經大致完成了主要的架構，然而仍有內容不夠具體、疏漏乃至錯誤之處，有待新資料與證據的補充與修正。由於現存文獻史料的不足，本論文以口述歷史為研究方法的主軸。筆者多年來在臺灣各地從事田野調查，已獲得豐富的口述資料、舊照片、文件、文物等資料，作為建構此一史實的基礎。然而口述歷史所獲得的資料往往有信度與效度的問題，因此筆者也從公私部門多方蒐集文獻與文物，以彌補口述資料的不足與缺陷。筆者以口述歷史、原始文件、文獻以及文物等資料加以解讀、整理與分析、並作交叉比對，確定人物的生平、歷史的事跡、文物的窯口歸屬，以此解決南投窯發展史研究上的議題。 本論文的研究在時間上，從清代嘉慶元年(1796)漢人開始在南投創業開始，到2005年劉案章去世為止，前後延續的時間約為二百年。在空間上，以南投與常滑為兩個主要場域；在人物上，以龜岡安太郎、劉樹枝與劉案章三人的生平事蹟為主要脈絡，探討臺日兩地陶瓷發展的史實與傳承關係。本論文分為六章，除了第一章緒論與第六章結論之外，本論四章，分別論述南投燒的重要作品、主要人物的生平事蹟、南投與常滑的陶瓷發展的歷史及其與歐美陶瓷發展的傳承關係，最後檢討日本政府對於常滑與南投兩地陶瓷發展政策上的差異，及其在社會文化上所呈現的意義。 本論文對於清代以來一些南投陶瓷發展史料的斷層加以釐清與填補，使其歷史得以連貫。本論文從梳理重要人物的生平與窯場的發展中，將南投窯的現代化分為三個階段，闡明各個階段的製陶理念、技術與產品。本論文論證日本在南投陶瓷現代化的過程中扮演中介與推動的角色，從而將臺灣陶瓷的發展與歐美現代文明接軌，確立在全球發展脈絡中的定位。本論文在研究過程中發現文獻資料與史實往往具有相當的差距，因而提出與殖民者不同的觀點。由於現存文獻資料不盡與史實相符，筆者主張歷史的研究應該對於過去的文獻資料採取嚴謹的求證態度，多方發掘不同面向的新材料，作為論證的基礎，以找出更接近真象的史實。This dissertation is aimed at exploring, during Japanese colonial period, the process of modernization of Taiwan’s ceramic in which Taiwan’s ceramic eventually obtained the opportunity to connect to Western ceramic civilization through the intermediary of Japan’s ceramic. In this dissertation, the pottery of Nantou and Tokoname are chosen as the two fields to present the interrelationship of their development by which the connection to Western source of ceramic is to be traced. Based on the fact that the modernization of Nantou ware was related closely to the colonial ruling policies, the post-colonial theory is adopted as the research approach to interpret how the colonizer use her power to push forward the modernization of Nantou pottery with a view to economic results. By reviewing the documents and writings that are concerned with the development of Nantou ware, the author finds that former scholars have constructed the main structure of the progression of Nantou ware; however, some of the contents are nonspecific, omitted, and even erroneous. Therefore, fresh materials and evidences are to be unearthed for supplement and revision. Due to lack of documents, the oral history is chosen as one of the main research method for the dissertation. For years, the author has devoted himself to the field study and has obtained plenty of oral materials, old photos, objects and documents which can be used as the basis for constructing the history that has been rarely known to the world. It cannot be denied that oral materials might prove problematic and be often criticized for their reliability and validity. In order to supply the insufficiency and to correct the defects of oral materials, collecting the official and unofficial documents available is definitely necessary. After having been carefully decoded, organized, analyzed and cross-compared, these materials are used to ascertain the life stories of the three pottery masters concerned, the events which took place during that period, and the attribution of the ceramic works involved. The period of time covered in this dissertation span from 1796, the beginning of Nantou ware, to 2005, the year when Liu An-zhang passed away; the places covered include Nantou and Tokoname; the ceramic masters concerned are Kameoka Yasutarō, Liu Shu-zhi and Liu An-zhang. By these contexts, the history and relationship of the pottery development of the two places can be probed. This dissertation is divided into six chapters: the first chapter is the introduction, the sixth chapter is the conclusion, and the other four chapters are about the works of ceramic, masters concerned, the pottery history of Tokoname and Nantou and their interrelationship, and discussion about the different results attributed to Japan’s different policies for Nantou (colonial) and Tokoname (domestic) as well as the social and cultural significances that modernization has brought. In this dissertation, the gaps in the history of Nantou ware since Qing dynasty are bridged and made clear. The attribution of the works of Nantou ware is identified. By means of clarification of the life stories of the three masters and the development of the potteries, the modernization of Nantou ware is divided into three stages to expound its ceramic ideas, techniques and products. For the intermediary role of Japan’s ceramic in Taiwan’s ceramic history is proved, it is certain that Taiwan’s ceramic has connected up to European ceramic civilization during Japanese colonial period and its position in the world ceramic contexts can be located. During the research process, the author has found that there exists something discordant between the contents of the documents and the historical truth; therefore, the author proposes a different view from the colonizer’s because their documents are not always reliable. It is suggested that when we face documents, we should take a more serious attitude to deal with them and seek more and fresh materials as proofs. Only in this way, can we find the facts that may make a closest approach to the historical truth.