基督教與洪瑞麟繪畫的人道主義

Abstract

從荷西時期到近代，基督教隨著歐洲殖民者進入臺灣並開始傳教。隨著基督教的傳播，臺灣美術也開始受到影響。在臺灣美術史中，有許多傑出的基督徒藝術家如洪瑞麟等都值得深入研究。洪瑞麟以其關於礦工的繪畫作品因而有「礦工畫家」之稱，但許多人卻不知道洪瑞麟也是敬虔的基督徒，所創作的礦工形象被賦予耶穌道成肉身的象徵。通過研究臺灣基督教史和洪瑞麟的作品，得以發現基督教跟臺灣美術的關係，並將基督徒藝術家納入臺灣美術史研究範疇中。本研究分為五章，透過三個軸線，臺灣基督教史、臺灣美術史、洪瑞麟的藝術歷程，來討論洪瑞麟的創作作品中的人道主義。首先從臺灣天主教、基督新教在荷西時代、清領時期、日治時期的傳教發展做一歷史回顧，並在回顧當中詮釋基督教與臺灣美術史彼此之間的關係；接著梳理洪瑞麟的生命歷程，從在大稻埕家中藝術的啟蒙，以及在稻江義塾開始接觸基督教信仰並且在吳清海老師的介紹下認識了米勒、盧奧等西洋美術家。稻江義塾畢業後進入倪蔣懷開辦，石川欽一郎授課的臺灣繪畫研究所學習素描、水彩等西洋繪畫技法，接著赴日考進帝國美術學校（今武藏野美術大學）西洋畫科開始系統性的學習繪畫，畢業後回臺到倪蔣懷的礦坑任職後創作一系列礦工作品。筆者透過基督教信仰及人道主義的內涵去理解洪瑞麟繪畫中的人道主義，再次詮釋洪瑞麟的繪畫作品。研究發現，洪瑞麟之所以獨特，是因為他的作品將與基督信仰的精神與生命的意義深深地融合在一起。洪瑞麟的作品不能脫離基督教的影響來理解。雖然他的畫作描繪了礦工和風景，但其中隱含的涵義直指他個人的基督教信仰。透過十字架的象徵和基督的愛，他傳達了對信仰的堅持和敬畏。因此，我們必須以基督信仰為出發點，以不同的角度來欣賞洪瑞麟的作品。From the Dutch colonial period to modern times, Christianity entered Taiwan with European colonizers and began to spread. With the spread of Christianity, Taiwanese art also began to be influenced. In the history of Taiwanese art, there are many outstanding Christian artists, such as Hong Rui-lin, who are worthy of in-depth study. Hong Rui-lin, known as the"miner painter," is renowned for his paintings depicting miners. However, many people are unaware that Hong Rui-lin was also a devout Christian, and the miner images he created were imbued with the symbolism of Jesus incarnate.Through the study of Taiwanese Christian history and Hong Rui-lin's works, the relationship between Christianity and Taiwanese art can be discovered, and Christian artists can be included in the scope of Taiwanese art history research. This research is divided into five chapters, discussing the humanitarianism in Hong Rui-lin's creative works through three axes: Taiwanese Christian history, Taiwanese art history, and Hong Rui-lin's artistic career. First, a historical review of the missionary development of Catholicism and Protestantism in Taiwan during the Dutch, Qing, and Japanese colonial periods is provided, interpreting the relationship between Christianity and Taiwanese art history. Then, Hong Rui-lin's life journey is examined, starting with his artistic enlightenment at home in Dadaocheng, his introduction to the Christian faith at the Taijiang Academy, and his acquaintance with Western artists such as Miller and Renoir through his teacher Wu Qinghai. After graduating from the Taijiang Academy, he entered the Taiwan Painting Research Institute established by Ni Jianghuai and studied Western painting techniques such as sketching and watercolor under the instruction of Ishikawa Kinichiro. He then went to Japan to study painting systematically at the Western Painting Department of the Imperial Academy of Fine Arts (now Musashino Art University). After graduating, he returned to Taiwan to work in Ni Jianghuai's mine and created a series of works depicting miners. The author interprets the humanitarianism in Hong Rui-lin's paintings through the content of Christian faith and humanitarianism, once again interpreting Hong Rui-lin's paintings. The research found that what makes Hong Rui-lin unique is that his works deeply integrate the spirit of Christianity and the meaning of life. Hong Rui-lin's works cannot be understood without the influence of Christianity. Although his paintings depict miners andlandscapes, the implied meaning directly points to his personal Christian faith. Through the symbolism of the cross and the love of Christ, he conveys his steadfastness and awe towards faith. Therefore, we must appreciate Hong Rui-lin's works from the perspective of Christian faith.