臺灣近代美術中女性再現的時代意涵――以「殖民現代性」觀點詮釋

Abstract

臺灣1920 年代之後，女性社會地位提高，擁有了受教權以及經濟消費自由。當時許多藝術家感受到女性外觀的變化，開始以現代女性作為題材，藉此盛讚「現代性」帶來的資本主義富裕與教育啟蒙價值。然而作為殖民地的臺灣，以此為主要活動舞臺，或是出身於此的藝術家，於再現女性的過程中，必然隱含了殖民地不平等的權力結構關係。為探討臺灣近代美術再現女性中，所蘊含的現代性與殖民性的雙面意涵，本文援引「殖民現代性」（colonial modernity）詮釋當時藝術家如何在再現現代女性的審美判斷中，受到殖民權力結構的影響。為此，本文將探討數個子題，包括：1.台籍藝術家在再現漢民族女性時，在時代性與民族性間的抉擇；2.殖民者對被殖民異國情調的凝視；3.藝術家與日本帝國主義戰爭機器的共鳴等等。本文的尾聲，將時代帶入戰後初期，以李石樵的《市場口》為例；說明藝術家在面對戰後出現的新一波族群衝突的社會狀況，如何將描繪現代女性的審美意義，翻轉為對政治現況批判的隱喻。總括而言，本文藉由探討戰前與戰後初期再現現代女性的美術作品，試圖建立臺灣近代殖民史與美術史間，相生相成的呼應關係。

This paper is meant to explain that double meaning coming from modernity and colonialism in the representation of women in art in modern Taiwan after 1920s, by thatconception “Colonial Modernity” to interpret how artists in that period as well as their aesthetic judgement were influenced by colonial construction what represented women. I also have a discourse in post-war primary period in Taiwan, to explain how relatively positive meaning of “modernity” in woman images by pre-war artists in Taiwan has dramatically transformed into a negative political metaphor to criticize newly produced unbalance power constructing and conflict between different ethical groups by analyzing the work “Market Entrance”（市場口）painted by artist Lee, Shih-Chiaou（李石樵）.In brief, I would argue that there is a context between art history and colonial history in modern Taiwan as those two are supposed to influence each other, with analysis to art work representing women in pre-war and post-war period in Taiwan.