寓教於覽――戰後臺灣展覽活動與「臺灣省博覽會」（1945~1948）

Visual Didacticism in Postwar Taiwan, 1945-1948: Exhibition Activities and the 1948 Provincial Exposition

戰後初期臺灣執政當局為迅速斷絕日治遺風，落實中央體制與思想文化改造，乃透過種種視覺工具教化臺人，強化認同。由臺灣省行政長官公署時期黨政系統所策劃的小型時事政令宣導與工商藝術展覽，經歷省政府成立初期自中國大陸引入的國貨與中原文物展覽等，迄1948 年規模盛大的臺灣省博覽會達至高點。這類展覽活動企圖以中華民族意識改造臺人時空觀念，並積極重建臺灣與中國大陸在政經活動與文化意識形態上實質與精神之接軌。
省博覽會雖面面俱到地展示了當局自接收以來的各項施政績效與人文風土，卻又矛盾地突顯了某些日本殖民遺緒。

During the immediate postwar years, Taipei underwent far-reaching changes as it transformed from the capital of the former Japanese colony to of the reestablished province of China. In view of the shift of Taiwan's sovereignty and deep colonial imprints, visual propaganda served as constitutive and instrumental means for the provincial government to decolonize and mobilize the minds of people. Newsreels, journalistic photography, monumental statues and photographs of national leaders were in use, whereof categories, subjects and elements deemed as ”national” were officially approved and endorsed with ethical values. The postwar exhibition culture of a highly political nature climaxed with the 1948 Taiwan Provincial Exposition. Although failing to hold it in the national capital Nanjing as first conceived, the Provincial Exposition Committee maintained the core message, ”enhancing the mainlanders' understanding of Taiwan,” and strove to mobilize official and individual participants, official guests and public visitors from the mainland. Financed mainly by state-run enterprises in Taiwan, the Exposition delivered a spectacle in serving conservative interests, as encoded in the Exposition's slogan, ”Ensuring Prosperity through Stability.” The Exposition may be seen as essentially a field of competitive cultural forces and thereby an illuminating case to review postwar Taiwan at the threshold of a new era. Taking a comparative point of view, this paper aims to reveal the perhaps complex and paradoxical narrative structures behind the Exposition in redefining Taiwan as a part of China.