《民俗臺灣》之「民」：金關丈夫、立石鐵臣與松山虔三在圖像專欄中的常民考察

本文針對《民俗臺灣》三位編輯：金關丈夫、立石鐵臣、松山虔三的圖像專欄為主題進行討論，透過他們對於民俗的不同詮釋，以掌握他們對於民俗之民的看法。《民俗臺灣》的創刊契機有高度的政治性，作為在台日人，一方面他們能敏銳地感受到來自日本因為戰爭趨於嚴峻而產生的現實壓力，一方面卻能在台灣的日常生活中尋求喘息之處，而找到某種內在的烏托邦。因為他們各自的背景和能力，對於這種內在有不同的詮釋，造就出金關丈夫的藝術民藝、立石鐵臣的日常民俗，以及松山虔三的工藝或祭典攝影等具有不同偏向的民俗圖像。《民俗臺灣》的價值和意義，就在於透過民俗保存來維持台灣這個療癒之地，以對抗「皇民化運動」，一種對內在的威脅。基於此，對金關丈夫等人來說，《民俗臺灣》所指向的人們，是真正的「常民」，是他們難忘或認同的人們。或者可以說，這群常民是台灣人，也不是台灣人，因為對三位編輯而言，常民只能存在於他們內心，是他們想像中的難忘之人。

關鍵字

《民俗臺灣》；金關丈夫；立石鐵臣；松山虔三；常民

並列摘要

The paper seeks to examine the different approaches carried on by three Minzoku Taiwan editors-Takeo Kanaseki, Tetsuomi Tateishi, and Kenzo Matsuyama-to investigate Taiwan's folklore, as well as their understanding on "the people" of the folklore, with a focus on the magazine's graphic columns. As Japanese in Taiwan, the three editors, who were sensitively aware of the pressure caused by the deteriorating war situation in Japan, sought for a breathing place or a mental utopia in Taiwan's everyday life. Due to their different backgrounds and abilities, the editors developed their own images of the utopia, which were further realized into three types of specific folk graph, that is, Kanaseki's artistic mingei, Tateishi's everyday folklore, and Matsuyama's craft and festival photo. In this regard, the value and meaning of Minzoku Taiwan lie in maintaining Taiwan as a place of healing through the preservation of folklore, in order to resist the Kominka Movement, which threatened the utopia of the editors' own imagining. Furthermore, the three editors regarded "the people," who created the folklore of Minzoku Taiwan, as the real "jomin"(the common people). For these editors, the jomin were Taiwanese, but also not Taiwanese, because the jomin were the "unforgettable people" that could be identified with, and only existed in their mind.