本文以日本漢詩人籾山衣洲為個案研究對象,首先探究其生平小傳與早年師承關係,考察他對明治漢學的承繼,以及在東都漢文壇於明治中葉以後走向衰落的應對趨捨;其次,針對籾山衣洲來臺緣由,以及居臺時期的交遊、作品,從中看他和臺灣文壇中的臺、日漢文人如何往來,又產生什麼火花;接著,考察籾山衣洲臺灣時期創作中的「光」與「暗」雙面性,並分析其人所居住的總督別墅「南菜園」此一「多義的空間」,在臺灣歷史更迭中如何被一再複寫,以及背後所折射出的重層意義;最後,以籾山衣洲《臺灣風俗詩》為核心,察看其人如何以一外來者身份,從節慶、物種、文明、國族等不同視角觀看臺灣風俗,凸顯其中呈現出來的「差異的凝視」。
This paper regards Momiyama Ishuu, a composer of Chinese poems in Japan as the study object.First, it explores his life, earlier apprentices with existed biographies, and then inspects his inheritances on Sinology in Meiji period, and his responses and choices for the declined Chinese literature in Tokyo after the middle of Meiji period.Second, based on reasons that made Momiyama Ishuu visited Taiwan, his social relationships while lived in Taiwan and works he left, this paper inspects how he dealt with Taiwanese and Japanese composers of Chinese Poems and what kind of sparkles they inspired. Third, it inspects the duality between “lightness” and “darkness” among Momiyama Ishuu’s creations made while he was living in Taiwan. Furthermore, it analyzes the Governor’s House he lived, Nancaiyuan as a “space with much of justice” which was repeatedly replicated within the changes of Taiwanese history and the multiple meanings refracted behind.Finally, surrounded Momiyama Ishuu’s “Taiwanese Custom Poetries” as a core, this paper inspects how he saw the Taiwanese customs from points of views of vacations, races, civilizations and nationalities. And furthermore, this paper attempts to highlight the “different staring” among his cultural perspectives.