日本神話圖像的近代詮釋：國立臺灣博物館典藏的《八咫烏圖》研究

國立臺灣博物館所收藏的《八咫烏圖》掛軸，過去未在學術界引起注意跟研究，此畫無論是作者身分，還是收藏過程的脈絡、甚至畫題本身的判定，都存在著諸多疑問。本文首先透過對報導文獻及印鑑內容的調查，除了確認《八咫烏圖》應是明治至昭和時代活躍的日本畫家長井一禾（1869-1940）所繪，也發現此畫是為了1915年大正天皇即位禮時獻納而創作，且曾為天皇親自御覽。而後《八咫烏圖》在1922年被送往臺灣並奉納臺灣神社，背後的原因可能和當時日本治理臺灣的「內地延長主義」習習相關，可以視為在此一方針下，透過奉納曾獻給大正天皇的名畫，使得臺灣神社與日本皇族之間的關係更加緊密，以提升臺灣神社在文化儀禮上的無形地位。創作《八咫烏圖》時，長井一禾或許也留意到八咫烏在日本神道信仰、民族主義的意義，是作為獻納天皇的合適圖像。從寓意上來看，身為天皇、神明使者的八咫烏，做為奉納臺灣神社的畫作也十分適合。值得注意的是，《八咫烏圖》圖像有別於過往常見的三足造型，這個做法符合《古事記》、《日本書記》文本的描述。然而身上發出的光芒卻不曾出現在八咫烏神話中的情節，這種表現手法可能是因為受到「金鵄」圖像特徵跟意義所影響。且綜觀來看，八咫烏跟金鵄的圖像意義在當時日本具有共同的社會功能，也影響了創作《八咫烏圖》時的造像思維。總體來說，其特殊的繪製與收藏歷程，可供我們觀照此種日本古代神話圖像在近代日本國族主義發展之下的再現跟重新被詮釋，具有重要的意義。

關鍵字

臺灣神社；八咫烏；金鵄；內地延長主義；大正天皇；長井一禾

並列摘要

Yatagarasu(八咫烏圖), a scroll painting now preserved in the National Taiwan Museum, has seldom been noticed by most researchers. There were many questions regarding the creator of this artwork, of how it was passed down, and even of the title of this artwork. Following investigation of art style and stamps displayed on the painting and reviewing of documents, the Yatagarasu was confirmed to be a Nagai Ikka(長井一禾, 1869-1940), a notable Meiji and Showa period artist. The investigation also found that this painting was created and offered to Emperor Taisho of Japan as a gift for the celebration of his inauguration and was personally reviewed by the Emperor in 1915. In 1922, the painting was sent to Taiwan and been preserved in the Taiwan Grand Shrine(臺灣神社). This act had been linked to Japan’s expansionism. With the act of sending artwork dedicated to Emperor of Japan to the colony, the relationship between the Imperial Family of Japan and Taiwan Shinto was strengthened and the cultural and social status of the Taiwan Grand Shrine was elevated. When Nagai Ikka was creating the painting Yatagarasu, he might realized that the ＂Yatagarasu＂, a mythological creature also called ＂Eight-Span Crow＂, could be a perfect topic of painting that was going to be dedicated to the Emperor because of its significance in Shinto and nationalism of Japan. Moreover, the painting of the envoy of the God and Emperor of Japan is also suitable to be dedicated to shrine. It is noteworthy that the Yatagarasu in this painting doesn't have three legs, the feature of this creature in the mythology, but this appearance conforms to the depiction in Kojiki and Nihon Shoki. Besides the number of legs, the shining body of Yatagurasu in this painting is unprecedented among artworks of this mythological creature. This feature was supposed to be influenced by the image and significance of another mythological creature called Kinshi(金鵄). These two mythological creatures had same images and meanings to Japanese society in Meiji and Showa period. Therefore it is not difficult to infer why did Nagai Ikka select Yatagarasu as the topic and express it with the feature of Kinshi to create the painting for the Emperor of Japan. Analyzing the background and features of this painting would help people understand how the significance of these ancient mythological creatures was interpreted and used in modern days to meet the needs of Japanese nationalism.