日治時期的書法鑑藏、推廣及風格蛻變：新竹書家李逸樵（1883-1945）研究

The Calligraphy Connoisseurship, Promotion, and Stylistic Transformation in the Japanese Colonial Period:A Study of Hsinchu Calligrapher Li Yichao (1883-1945)

柯輝煌(Hui-huang Ko)

指導教授 ： 盧慧紋

國立臺灣大學/文學院/藝術史研究所/碩士(2016年)

https://doi.org/10.6342/NTU201603274

摘要

李逸樵（1883-1945）為日治時期重要的詩人、書畫收藏家與書家。本論文試圖透過報紙上的文獻材料與遺存的作品，重建李逸樵的書畫收藏觀與出版活動，並探究其書風蛻變的原因。
在日本官方人員伊能嘉矩（1867-1925）、尾崎秀真（1874-1952）的調查之下，台灣明、清時期的書畫家作品作為了解台灣文藝發展的史料被珍視與收藏。1917年「台灣關係」書畫展可被視為調查成果之一，不過其性質仍停留在賞鑑層次上。1926年，李逸樵編輯付梓《大東書畫集》，他開始參與、建構台灣書畫史的書寫，李逸樵的文字充分展現對於書畫家生平傳記、寓台歷史事蹟的高度意識與興趣，不斷深化台灣書畫的歷史內涵與文化意義，李逸樵亦參考1920年連橫《台灣通史》的書寫，他試圖替書畫家作台灣歷史的定位。《大東書畫集》的出版與流通似乎起了漣漪，到了1930年代，日、台藏家社群大多有關注台灣關係書畫的現象。更重要的是，李逸樵對於「台灣關係」書畫的研究與收藏也牽動他行草書風的變化。透過風格比較，可發現他在1930年後，更加積極地學習、轉化清朝福建書家謝曦的大字書風，線條質感趨於雄渾與粗糙。
1930年史料展增添許多材料，試圖展示一部較有時序感的台灣書法發展史，原先傳記不詳的福建書家謝曦被納入此敘史架構中，被賦予極高的書史地位。透過本文研究可知，謝曦之所以被重整入台灣書法史的序列之中，在於謝曦的大字書風指涉著日本江戶書史中最核心的部分。李逸樵的書風蛻變，代表的是他在日本殖民台灣的特殊時空裡，對於自我歷史文化認同的摸索與再塑。然而，1937年中日戰爭爆發，台灣進入皇民化時期，隨著政治局勢的轉變，李逸樵研究收藏與學習台灣關係書畫的空間也將受到限縮。

關鍵字

李逸樵 ； 《大東書畫集》 ； 台灣書法史 ； 尾崎秀真 ； 謝曦 ； 福建黃檗文化 ； 江戶唐樣

並列摘要

Li Yichiao (1883-1945) was an important poet, calligrapher, and collector of painting and calligraphy in Japanese colonial period. This thesis endeavors to reconstruct Li’s view of collecting and publishing activities based on both textual and visual materials such as newspapers and his works. And I will explain the reason of his stylistic transformation.
In the investigation conducted by Japanese officials Inō Kanori (1867-1925) and Ozaki Hozuma (1874-1952), Japanese began to study Taiwan-related calligraphers and painters of Ming and Qing Dynasty whose works were historical resources to be cherished and collected for understanding the cultural development in Taiwan. The “Taiwan Related” painting and calligraphy exhibition in 1917 can be seen as one of the results, though its nature remains confined in appreciation only. In 1926, Li Yichiao complied and published Dadong Painting and Calligraphy Anthology, beginning to participate in the construction of Taiwanese painting and calligraphy development. His writing revealed a keen interest in artists’ autobiography and historical traces of sojourns in Taiwan. Moreover, he incessantly probed into the essence and cultural meaning of this history. Meanwhile, Li also referenced Lian Heng’s General History of Taiwan, managing to locate these painters and calligraphers in the history of Taiwan. The publication and communication of Dadong Painting and Calligraphy Anthology seemed to have a ripple effect in 1930’s Japanese and Taiwanese collector society which paid more attention on art works related to Taiwan. More importantly, the study and collection of “Taiwan Related” painting and calligraphy also catalyzed the stylistic change in his cursive calligraphy. By comparing his writing styles, one can discover that after 1930, he keenly learned and transformed the style of Fujian calligrapher Xie Xi in Qing Dynasty—which characterized by large characters, robust and rough stroke quality.
The historical sources exhibition in 1930 added more materials. This exhibition managed to exhibit a history of Taiwanese calligraphy with more chronological senses. The formerly obscure Fujian calligrapher Xie Xi had been subsumed into this narrative framework and endowed with highly calligraphy statue. Through this study, one can understand that the reason of Xie Xi’s re-definition lies in his stylistic factors referring to the core of Japanese calligraphy history in Edo period. Li Yichiao’s calligraphy transformation, thus represented his contemplation and rediscovery of own historical and cultural identity in the context of Japanese colonial period. However, As the Sino-Japanese War broke out in 1937 and ushered in Kōminka period, Li Yichiao’s latitude of collecting and learning Taiwan related art works was also restricted.

並列關鍵字

Li Yichiao ； Dadong Painting and Calligraphy Anthology ； Taiwanese calligraphy history ； Xie Xi ； Fujian Ōbaku culture ； Edo Karayo

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