國立臺灣博物館典藏鹽月桃甫所繪原住民圖像之歷史定位

國立臺灣博物館保存庫房收有一幅從日治時期就開始典藏、可是鮮為人知的粉彩作品 (編號AH000811，畫家不詳、無題)。本文主旨在於辨明作者、作品內容與繪製的時代背景，並提示相關原始資料、討論該作品的歷史定位。作品和原始資料調查分析的結論：此畫乃鹽月桃甫(1886-1954)1923年的作品，描繪邦查族 (日治時期稱アミ族)人1608年與德川幕府將軍的會面。德川幕府史料中有引見邦查族的記錄，作品登錄也見於臺灣博物館日治時期無紀年財產帳簿和1932年的歷史陳列品清冊中。作品在裕仁太子1923年4月訪臺前完成，陳列於總督府臺灣博物館的「蕃族室」。該作品於1932年以後在臺灣博物館內資料中沒有再出現，作者和畫題也被遺忘。本研究建議根據館內原始記錄，名其為《邦查國人引見圖》。鹽月桃甫自1921年移住臺灣後就開始探訪原住民的居地，致力於原住民文化的理解，並以其為繪畫主題。他不但是舉足輕重的藝術教育家，從臺展第一屆至最後一屆都任審查員，也是創造力豐富且多產的畫家。不過因為戰後被遣返日本，作品散逸，1945年以前的傳世作品甚少，1920年代前半的創作狀況和畫風尤其不明。此作品在了解赴臺早期的鹽月畫風、鹽月藝術與原住民歷史文化關係的層面上提供寶貴的線索，其重要性不可言喻。

關鍵字

近代臺灣美術；鹽月桃甫；原住民；日臺關係

並列摘要

National Taiwan Museum collection includes a rarely known artwork, untitled, artist unknown (collection No. AH000811). This paper intends to identify the artist and to present relative primary sources in order to delineate the circumstances surrounding the making of the work, as well as the historical significance of the painting. The result of the probe shows that the painting was made by Shiotsuki Toho (1886-1954) in 1923. It depicts the encounter of Formosan people (Pangcah) and Tokugawa Bakufu in 1608. The incident was recorded in the primary sources of Tokugawa Bakufu, and the painting was listed in the museum's pre- 1945 documents. Records show that it was made before the visit of the crown prince of Japan to Taiwan in April 1923, and was displayed in the exhibition room designated for the Formosan People while the prince visited the museum. The painting did not appear in any other museum listings after 1932 and was completely forgotten. This paper suggests to follow the museum's pre-1932 entry and to name it ＂The Visit of Pangcah.＂ Having moved to Taiwan in 1921, Shiotsuki was immediately fascinated by the culture of Formosan people and devoted himself to the depicting of their world ever since. Aside from being a prolific artist, he was a renowned art teacher and the only person who had served as the judge for the government-sponsored Taiwan Art Exhibition from the first to the last exhibition. However, most of his pre-war works vanished during the post-war chaotic years. Therefore, this well-preserved painting sheds lights on the early stage of his encounter with the Formosan world. It is especially significant in demonstrating the early stage of his pursuit toward brighter color expressions, as well as his concern over Formosan people's culture and history.