Between Picturing 1950 - 1960s Taiwan

臺灣五六十年代面影

間

Visual culture – be it expressed through calligraphy or type fonts, in the plastic arts, painting and photography, video art or conceptual work – is a central feature of the Australian Centre on China in the World (CIW).

The artist, translator and essayist Feng Zikai 豐子愷 was one of the Republican-era proponents of the Art of Life 藝術人生. In our building, and our publications, as well as through our websites and the work of our Gallery, CIW melds the visual with the quotidian, the insightful with the useful, reminding students of the Chinese world in numerous ways that aesthetics are a core element of this revitalised global culture.

We are delighted to be working with the National Museum of History, Taipei, to bring the CIW Gallery’s second exhibition to you, featuring photography, prints, sketches and paintings from Taiwan in the 1950s and 1960s. ‘Between 間’ offers images of a recent past, the transformed present and a proffered future. These works reflect life on the island following the tectonic shifts of the late 1940s, a Taiwan

Boasting traditional Chinese architectural features, the National Museum of History was the first museum established in Taiwan in the postwar period. When the museum opened, its collections primarily consisted of works from Henan province, as well as items returned by the Japanese. Representing a free China on the international stage, domestically the museum was a bastion of history and an important site for international exchange. The museum has been a national gallery displaying the significant art of its time, while its traditional collections feature Taiwan’s historical inheritance. It has also supported the development of Taiwanese modern art, acting as a bridge between local art and the world.

Chao Erh-tai, Hsi Teh-chin and Lin Chih-hsin, whose works appear in this exhibition, were all prolific artists of the postwar period. While Chao and Hsi came to Taiwan after the war, Lin was born in rural Tainan, when Taiwan was under Japanese rule. Their woodblock prints, watercolour paintings and pencil sketches all depict the local in Taiwan.

The forty-four works in ‘Between: Picturing 1950s-1960s Taiwan’, from the collection of the National Museum of History (Taipei), are both artworks and documents. They offer subtle observations of Taiwan from the perspective of fifteen artists and photographers.

Politics had complex effects on the cultural life of Taiwan in the twentieth century. Between 1895-1945, the island was a Japanese colony; it came under Nationalist Chinese rule following Japan’s defeat in the Pacific War. In 1949, the government relocated to the island and soon imposed Martial Law, initially to contain an alleged Communist rebellion and to temper economic instability. The media was tightly controlled, and the government arrested or even killed dissenters. Although the situation relaxed in the 1970s, Martial Law was not officially lifted until 1987.

During the intervening decades, Mainland artists dominated cultural institutions, and many informal groups such as the Chinese Artists Association actively supported the cultural and political vision of the state. In the mid 1960s, as a counterpoint to the Cultural Revolution on the Mainland, for example, the

and a time between the contested agonies of the first half of the twentieth century: indigenous, Japanese, Chinese and imperialist. They explore strands of a reality changed by the relocation of the Republic of China and the founding of the People’s Republic. These images celebrate the public, record the scenic and delve into the intimate corners of island life that reflect resilience and energy, hope and humour.

On behalf of CIW I would like to thank Dr Hsieh Shih-ying 謝世英 of the National Museum of History for her collaboration, the Ministry of Culture ROC (Taiwan) and the Taipei Economic and Cultural Office in Australia for their support, as well as the organisers of the conference ‘Taiwan: The View from the South’, CIW Deputy Director Dr Benjamin Penny, Nancy Chiu and Paul Farrelly. I am particularly grateful to our CIW specialist in East Asian art and the curator of the Gallery, Dr Olivier Krischer, for his role in working with the National Museum of History to realise this exhibition.

Geremie R BarméDirector, Australian Centre on China in the World Documentary photography

really developed in Taiwan after 1950, something evident in the work of Teng Nan-kuang, Tsai Hui-feng and Yu Ju-chi. In the 1950s and 1960s, these photographers captured various aspects of Taiwan’s postwar modernisation, as well as the mood of political stalemate between Taiwan’s Nationalist government and the Communist Mainland. They provide a record of the social and political climate of Taiwanese society at that time. In this way, ‘Between: Picturing 1950s-1960s Taiwan’ reveals the postwar process of confrontation and gradual amalgamation of the culture dating from the Japanese occupation period, the Chinese culture that followed the Nationalist government from the Mainland, as well as Taiwan’s nascent modern art movement. These were all significant factors in the evolution of a new cultural tradition in Taiwan, and they have contributed to the growth of an ever more open, multicultural society.

Professor & Dr Yui-tan ChangDirector, National Museum of History

Nationalist authorities announced a Cultural Renaissance campaign of its own that championed state-sponsored neo-traditionalism.

In photography a divide developed between the pictorial 寫意 and the documentary 寫實, based in part on ideas derived from Chinese ink painting. In 1953, Teng Nan-kuang and his colleagues organised ‘Free Photography’, an exhibition that promoted documentary

Introduction: Australian Centre on China in the World

Introduction: National Museum of History

To Change the Subject

Between: Picturing 1950 - 1960s Taiwan 間:臺灣五六十年代面影

Curators: Dr Olivier Krischer (Australian Centre on China in the World), Dr Hsieh Shih-ying 謝世英 (National Museum of History)Intern: Ying Li 李盈Chinese Translation: Shuxia Chen 陳淑霞

Australian Centre on China in the WorldANU College of Asia & the PacificBuilding 188, Fellows Lane The Australian National UniversityCanberra ACT 0200 Australia

T: +61 2 6125 7086ciw@anu.edu.au

Gallery Manager – Olivier Krischerolivier.krischer@anu.edu.au

Exhibition website: http://bit.do/1950-60_taiwan

The Australian Centre on China in the World gratefully acknowledges the support of the Ministry of Culture, ROC (Taiwan), and the Taipei Economic and Cultural Office in Australia.

具傳統華夏建築外觀的國立歷史博物館，是戰後在臺灣成立的第一個博物館。開館時以河南文物、日本歸還文物為主要收藏，對外在國際上代表自由中國，對內則兼負歷史承傳、國際文化交流的工作；透過在國家畫廊展出當代名作，既以傳統藝術作為臺灣的文化承傳，同時也推動臺灣現代主義運動的開展，成為臺灣藝術進入國際的橋樑。趙二呆、席德進、林智信都是戰後活躍的現代藝術家，趙二呆與席德進是在戰後來台，林智信出生於日治時期台南農家。他們的版畫、水彩、素描作品，均描繪、刻畫臺灣本

視覺文化 – 書法抑或字體，造型藝術，繪畫，攝影、錄像藝術抑或觀念作品 – 是中華全球研究中心（CIW）的一個重要關切。正如民國時期藝術家、翻譯家和散文家豐子愷先生倡導的“藝術人生”那般，在我們中心的建築物、出版物、網頁，以及我們畫廊展出的作品當中，CIW力求糅視覺於日常，賦洞識於效用，並以林林總總的形式提醒研習中華文明的學人：美學為這正在振興了的全球文化的核心要素。是次聯袂國立歷史博物館，呈獻CIW畫廊的第二次展覽「間」我們甚為欣喜榮幸。「間」展示了臺灣上世紀五六十年代的攝影及繪畫作品。其所呈現的影像關涉晚近的過去，轉變中的當今和觸手可及的未來。這些作品反映了臺灣十九世紀四十年代末地殼運動

「間：臺灣五六十年代面影」展示了來自國立臺灣歷史博物館的四十四件館藏作品。這批既是藝術品亦是文獻檔案的作品呈現了十五位藝術家和攝影師對臺灣細緻入微的觀察。政治對二十世紀臺灣的文化生活影響深遠。一八九五年起的半個世紀臺灣為日本帝國的殖民地，但隨著日本在太平洋戰爭中的潰敗，臺灣於一九四五年歸中國 國民政府 管轄。而後的一九四九年，國民黨政府撤守臺灣並隨即實行戒嚴， 以遏制島內所謂共產黨勢力的謀反並力求穩定經濟形勢。媒體被嚴加控制，專制的政府逮捕並謀害異見人士。七十年代，雖然形勢漸鬆，但直

前言：國立歷史博物館

土的意象。在1950年左右，臺灣才開始有紀實性的攝影，如鄧南光、蔡惠風、余如季等攝影家，拍攝下五十至六十年戰後臺灣現代化的各項建設，以及當時國共兩黨對峙膠著等時代氛圍，是當時社會、政治環境的真實記錄。「間：臺灣五六十年代面影」展覽，呈現戰後，日治時期的臺灣文化與隨國民黨而來的中華文化，兩種文化從衝擊漸至融合的過程，以及臺灣現代藝術的萌芽，皆成為建構新的傳統與文化的重要因素，促成臺灣走向日趨多元的文化與開放的社會所扮演的角色。

國立歷史博物館 館長 張譽騰博士

般巨變的島嶼生活。彼時臺灣在過去、原住民、日本、中國和帝國主義之間痛苦磨礪，在中華民國遷徙臺灣及彼岸中華人民共和國建立的現實中漫漫求索。這些影像慶祝眾生，紀錄風景，深入到島上生活的私密之處，柔韌有餘，活力充沛，滿懷期盼及情趣。在此，謹代表CIW，我由衷感謝國立歷史博物館謝世英博士的合作無間，感謝中華民國（臺灣）文化部和駐澳大利亞臺北經濟文化辦事處的鼎力支持，感謝「南望：臺灣研討會」的組織者CIW副主任裴凝博士, 邱南晞女士和范寶文先生。特別感謝CIW的東亞藝術史專家、畫廊策展人Olivier Krischer博士，其與國立歷史博物館通力合作，促成此展。

白杰明中華全球研究中心 主任

至一九八七年，臺灣方才正式解嚴。此間數十年外省藝術家主宰著臺灣的文化團體和眾多民間社團，諸如中國藝術家協會，積極支持政府的文化政治取向。六十年代中期，國民黨政府推動「中華文化復興運動」， 鼓吹新傳統主義，直接與彼岸中國大陸的「文化大革命」運動分庭抗禮。臺灣攝影界的「寫意」和「寫實」之分，在某種程度上源自於中國水墨畫的理念。一九五三年，鄧南光及其同好舉辦「自由影展」，倡導直接自發的紀實攝影，與同期郎靜山為首的中國攝影學會主張的中國式畫意美學對抗。鄧擅長使用新型便攜式相機，配以高品質

前言：中華全球研究中心

轉換中的主題

photography in opposition to the kind of Chinese pictorial aesthetic espoused by Long Chinsan and the newly established Photographic Society of China. Teng’s work was characterised by the use of new portable cameras with high-quality lenses that allowed for the quick, candid depiction of public and private lives, either as social history (By the Tamsui River Bank, 1950) or nascent photojournalism (Anti-Communist Patriot, 1953).

The refined ‘art photography’ style of the prints in this exhibition – suggesting the influence of Japanese photography magazines – often masks subtler tensions. In Yu Ju-chi’s image (cover image) of buses parked in front of Taichung Station, clouds are rolling in from the ocean, while a palm tree sways in the breeze. Beside it, a propaganda slogan looms over the bus interchange, transforming public space with the exhortation to ‘Recapture Lost Territory, Reunify the Country’.

A selection of intimate sketches, watercolour paintings and woodcut prints – some by well known artists such as Hsi Teh-chin, others by virtually unknown hands like Tsai Hui-ch’un – are included here to express how artists of different media shared similar concerns about the local and the everyday. Recurring subjects such as water buffalo, children at play, new factories, the encroachment of modern products, or village life later became motifs for a nostalgic ‘nativism’ that developed in the 1970s. There is much that these images do not show. Rather than simply ignoring political reality, they change the subject, remaining fresh and curious witnesses to lives in flux.

Olivier KrischerPost-doctoral Fellow, Australian Centre on China in the World

Teng Nan-kuang, By the Tamsui River, 1950, gelatin silver photograph, 40.5 x 50.5cm鄧南光《淡水河畔》1950 明胶银版 40.5 x 50.5cm

的鏡頭，其作品快捷、忠實地紀錄了公共與私人生活。這般作品可被視為社會史的記載（如《淡水河岸》1950），抑或可代表方興未艾的新聞攝影（見《反共義士》1953）。此次展覽中製作精良的「藝術攝影」式照片，可能受日本攝影雜誌的影響，常常掩蓋著某種頗為微妙的緊張關係。比如，余如季拍攝的台中車站，停泊的公共汽車後面， 雲群從海洋卷嘯而來，棕櫚樹在風中搖曳。恰恰在這貌似平靜的景致中，公車站一句宣傳口號「收復失土 重整河山 」躍然而出，轉化了公共空間的意像。本展覽還含括素描、水彩畫和

木刻版畫作品。這些作品有的出自名家之手，如席德進，有的來自鮮為人知 的畫家，如蔡惠群。展出的作品體現了不同媒材的藝術家對本土和日常生活的共同關注。某些反復出現的題材，比如水牛、嬉戲中的孩童、新建的工廠、無孔不入的現代產品或鄉村生活，為七十年代發軔的懷舊式「本土主義」提供了更為寬廣的母題。 尚有種種現象，這些影像未能全然呈現於此。但它們絕未簡單地忽視政治現實，而是通過變換主題，對起伏跌宕的生活保持著清新而好奇的見證。

Tsai Hui-feng, Getting Paid, 1962, gelatin silver photograph, 51 x 61cm

Liu An-ming, Tourists, 1967, gelatin silver photograph, 41 x 51cm

Chang Tsuan-chuan, Taking a Bride, 1957, gelatin silver photograph, 42 x 60cm

Tsai Hui-feng, Walking Birds, 1964, gelatin silver photograph, 61 x 51cm

Chang Tsuan-chuan, That Old Familiar Road, 1957, gelatin silver photograph, 40.5 x 104cm

Tsai Hui-feng, Sunday Worship, 1962, gelatin silver photograph, 51 x 61cm

Chang Tsuan-chuan, A Lively Night at the Theatre, 1956, gelatin silver photograph, 42 x 60cm

Tsai Hui-feng, Brickworks Worker With Child, 1962, gelatin silver photograph, 51 x 61cm

Chang Tsuan-chuan, Electoral Culture, 1959, gelatin silver photograph, 42 x 60cm

Tsai Hui-feng, Packing Chopsticks for Extra Cash, 1964, gelatin silver photograph, 51 x 61cm

Tsai Hui-Feng, Visiting Friends, 1964, gelatin silver photograph, 51 x 61cm

Tsai Hui-Feng, Viewing Lantern Slides, 1963, gelatin silver photograph, 51 x 61cm

Tsai Hui-Feng, Logs on the Ai River, 1962, gelatin silver photograph, 51 x 61cm

Chang Tsuan-chuan, Distant Source, 1970, gelatin silver photograph, 60 x 60cm

Tsai Hui-feng, Children Selling Betel Nut, 1962, gelatin silver photograph, 51 x 61cm

Chang Tsuan-chuan, Temple Yard, 1957, gelatin silver photograph, 60 x 60cm

Tsai Hui-feng, Makeshift Baby Hammock, 1964, gelatin silver photograph, 51 x 61cm

Tsai Hui-feng, Rickshaw Driver, 1964, gelatin silver photograph, 51 x 61cm

Tu Feng-hui, Kaohsiung Corner, c.1960, watercolour, 39 x 55cm

Cover image: Yu Ju-chi, Historical Image of Taichung Station (12-11), c.1960, gelatin silver print, 45 x 66cm

Tsai Hui-ch’un, Rural Scene, 1963, watercolour, 38 x 55cm

Hsi Teh-chin, Ox, 1955, charcoal, 49 x 62cm

Chao Erh-tai, Sketchbook Page, date unknown, pencil, 23 x 29cm

Chen Shih-an, Morning at Taichung Station, 1966, gelatin silver photograph, 34 x 50cm

Yang Chi-hsin, Fortune Teller, 1959, gelatin silver photograph, 40.5 x 50.5cm

Yang Chi-hsin, Teahouse, 1956, gelatin silver photograph, 50.5 x 40.5cm

Chao Erh-tai, Sketchbook Page, date unknown, pencil, 10 x 16.5cm

Hsi Teh-chin, Feeder, 1955, charcoal, 56.5 x 74.5cm

蔡惠風《領錢》1962 明胶银版 51 x 61cm

劉安明《觀光客》1967 明胶银版 41 x 51cm

張鑚傳《娶新娘》1957 明胶银版 42 x 60cm

蔡惠風《溜鳥》1964 明胶银版 61 x 51cm

張鑚傳《老路舊觀》1957 明胶银版 40.5 x 104cm

蔡惠風《主日崇拜》1962 明胶银版 51 x 61cm

張鑚傳《熱鬧看戲》1956，明胶银版 42 x 60cm

蔡惠風《在磚場工作背小孩的婦人》1962 明胶银版 51 x 61cm

張鑚傳《選舉文化》1959 明胶银版 42 x 60cm

蔡惠風《衛生筷代工》1964 明胶银版 51 x 61cm

蔡惠風《訪友》1964 明胶银版 51 x 61cm

蔡惠風《看燈片》1963 明胶银版 51 x 61cm

蔡惠風《愛河原木》1962 明胶银版 51 x 61cm

張鑚傳《源遠流長》1970 明胶银版 60 x 60cm

蔡惠風《賣檳榔的小孩》1962 明胶银版 51 x 61cm

張鑚傳《廟前園地》1957 明胶银版 60 x 60cm

蔡惠風《臨時嬰兒吊床》1964 明胶银版 51 x 61cm

蔡惠風《拉車》1964 明胶银版 51 x 61cm

涂豐惠《高雄一角》1960 年代 水彩 39 x 55cm

余如季《台中車站歷史影像（12-11）》1960年代 明胶银版 45 x 66cm

蔡惠群《農村風光》1963 水彩 38 x 55cm

席德進《黃牛》1955 炭筆 49 x 62cm

趙二呆《水彩素描冊頁》素描 23 x 29cm

陳石岸《早晨的台中車站》1966 明胶银版 34 x 50cm

楊基炘《問卜》1959 明胶银版 40.5 x 50.5cm

楊基炘《茶館》1956 明胶银版 50.5 x 40.5cm趙二呆《水彩素描冊頁》素描

10 x 16.5cm

席德進《飼養者》1955 炭筆 56.5 x 74.5cm

Yu Ju-chi, Historical Image of Taichung Station (12-5), c.1960, gelatin silver photograph, 45 x 66cm

Yu Ju-chi, Historical Image of Taichung Station (12-7), c.1960, gelatin silver photograph, 45 x 66cm

Yu Ju-chi, Historical Image of Taichung Station (12-11), c.1960, gelatin silver photograph, 45 x 66cm

余如季《台中車站歷史影像（12-5）》1960年待 明胶银版 45 x 66cm

余如季《台中車站歷史影像（12-7）》1960年代 明胶银版 45 x 66cm

余如季《台中車站歷史影像（12-11）》1960年代 明胶银版 45 x 66cm

Lin Chih-hsin, Celebrating New Year, 1952, woodblock print, 12 x 16cm

Lin Chih-hsin, Drunk, 1953, woodblock print, 19 x 23cm

Lin Chih-hsin, Spring Ploughing, 1953, woodblock print, 11 x 15cm

林智信《過年》1952 版畫 12 x 16cm

林智信《醉飲》1953 版畫 19 x 23cm

林智信《春耕》1953 版畫 11 x 15cm

Tsai Kao-ming, A Corner of the Ai River, Date Unknown, gelatin silver photograph, 50.7 x 50.7cm蔡高明《愛河一隅》明胶银版 50.7 x 50.7cm

Teng Nan-kuang, Boating at Bitan, 1955, gelatin silver photograph, 40.5 x 50.5cm

Teng Nan-kuang, Outside the Presidential Palace, 1950, gelatin silver photograph, 40.5 x 50.5cm

Teng Nan-kuang, Anti-Communist Patriot, 1953, gelatin silver photograph, 40.5 x 50.5cm

Teng Nan-kuang, By the Tamsui River, 1950, gelatin silver photograph, 40.5 x 50.5cm

鄧南光《碧潭遊船》1955 明胶银版 40.5 x 50.5cm

鄧南光《總統府前》1950 明胶银版 40.5 x 50.5cm

鄧南光《反共義士》1953 明胶银版 40.5 x 50.5cm

鄧南光《淡水河畔》1950 明胶银版 40.5 x 50.5cm

Cheng Shang-hsi, Harbourside Movie Theatre (Keelung), 1960, gelatin silver photograph, 50.5 x 40.5cm鄭桑溪《港邊電影館（基隆）》1960 明胶银版 50.5 x 40.5cm

Tsai Hui-feng, Smokestack, 1963, gelatin silver photograph, 51 x 61cm蔡惠風《大煙囪》1963 明胶银版 51 x 61cm

Tsai Hui-feng, Letting off Firecrackers, 1964, gelatin silver photograph, 51 x 61cm蔡惠風《放鞭炮》1964 明胶银版 51 x 61cm

Tsai Hui-feng, Umbrella Repairman, 1963, gelatin silver photograph, 51 x 61cm蔡惠風《修傘》1963 明胶银版 51 x 61cm

Kao Shan-lan, Factory, c.1960, watercolour, 30 x 44cm高山嵐《工廠》1960年代水彩 30 x 44cm

Tsai Hui-feng, Home Life, 1964, gelatin silver photograph, 51 x 61cm

蔡惠風《家居生活》1964 明胶银版 51 x 61cm