出生於臺灣：〈甘露水〉的社會生命史探查

2023年初，〈甘露水〉被指定為國寶。在此之前，她身處的場域曾經歷3次大轉移：1921年誕生於黃土水入選帝展，1958年遺失於臨時省議會搬遷至臺中時，2021年重新開箱。面對這件臺灣美術史上的經典之作，當我們在當代思考其定位時，有必要立足100年的時間尺度以提問未來。事實上，在我們無法於公領域看到雕像的1958年至2021年間，〈甘露水〉並未消失，而是進入到私領域持續被觀看。從藏家後代的回憶中，可得知戰後初期雕像被放置於半開放的診所空間，來往之親友、診所員工與中部地區藝文界人士皆可以看到。目前學界對於雕像誕生的日治時期已有豐富且完整的藝術史論述，當代對於〈甘露水〉亦投以極大關注。然而，關於中間隱匿63年的收藏實踐，仍有待進一步研究。因此，本研究立基於口述訪談、藝術品、媒體報導與檔案等史料，從物質文化視角探討〈甘露水〉的社會生命史，以「物」移動於公私領域的路徑為線索，檢視日治、戰後、當代的社會價值發展。綜觀而論，〈甘露水〉的社會價值在日治時期產生分歧。一方面戰後藏家隸屬的社群延續了日治的美學品味，並在國家政策下保有相當程度的能動性，故使作品得以收藏於私領域；另一方面，隨著臺灣藝術史論述日益成熟，且成為國家文化政策發展重點，故得以再次提供開箱該作的條件。如今，〈甘露水〉在當代詮釋下，已然成為臺灣代表。透過重新爬梳物的社會生命史，我們得以看見一條複雜且延續的脈動。並以物為另一種視角的起點，讓過去在臺灣史中可能被忽略的社群現身，共同思考何謂出生於臺灣。

關鍵字

甘露水；收藏史；社會生命史；物質文化；文化再創造

並列摘要

In 2023, "Daughter of Nectar" was designated as a national treasure. Prior to this, the piece had undergone three major relocations: its birth in 1921 when Huang Tu-shui was selected for the Imperial Art Exhibition, its loss in 1958 during the temporary provincial council's move to Taichung, and its rediscovery in 2021. Facing this classic work in Taiwan's art history, as we contemplate its positioning in contemporary times, it's necessary to stand on a 100-year time scale to question the future. In fact, between 1958 and 2021 when we couldn't see the statue in the public domain, "Daughter of Nectar" didn't disappear but entered the private domain and continued to be viewed. From the memories of the collector's descendants, we learn that in the early post-war period, the statue was placed in a semi-open clinic space, visible to visiting friends and relatives, clinic staff, and figures from the central Taiwan art community. Currently, academia has rich and comprehensive art historical discourse on the statue's birth during the Japanese colonial period, and contemporary times also pay great attention to "Daughter of Nectar". However, further research is needed on the 63 years of hidden collecting practices. Therefore, based on oral interviews, artworks, media reports, and archival materials, this research explores the social life history of "Daughter of Nectar" from a material culture perspective. Using the path of the "object" moving between public and private domains as a clue, it examines the development of social values during the Japanese colonial period, post-war era, and contemporary times. Overall, the social value of "Daughter of Nectar" diverged during the Japanese colonial period. On one hand, the post-war collector's community continued the aesthetic taste of the colonial period and, under national policies, retained a considerable degree of agency, allowing the work to be collected in the private domain. On the other hand, as Taiwan's art history increasingly took shape and became a focus of national cultural policy, conditions were provided for the work to be rediscovered. Today, under contemporary interpretation, "Daughter of Nectar" has become a representation of Taiwan. By re-examining the social life history of the object, we can re-see a complex and continuous pulse. Starting from the object, we allow communities and perspectives that may have been overlooked in Taiwan's history to emerge, collectively pondering what it means to be born in Taiwan.