日治時期漆器工藝的發展與演變

The Development and Evolution of Lacquerware During the Japanese Colonization Period

日治時期是工藝美術萌芽發展的時期，也是從舊時代與舊思維逐漸邁向現代化的時刻，作為日常生活常見的工藝品，不僅能反映當時的社會文化與意識形態，且社會型態的變遷同時影響著藝術風格的轉變。日治時期的漆器工藝雖然發展的時間很短，但卻是臺灣漆藝發展的榮盛時期，此時從設計、製作、生產、銷售一併包辦，奠定了日後臺灣工藝發展的基礎，為了瞭解臺灣工藝美術發展的途徑，本文以日治時期的漆器為研究對象，瞭解其發展源流、造形設計、文化內涵等，進而探討臺灣工藝美術在中國、日本以及在地風土人文等因素影響下的發展與演變。本文將日治時期的漆器工藝依風格作為分類標準，區分為一、1928年之前：前期蓬萊塗漆器；二、1928-1945年：後期蓬萊塗漆器；三、1928-1941年：中日混合樣式漆器；以及四、1941-1945年：臺灣琉球混合樣式漆器等四大類，以山中公所設計的蓬萊塗漆器為起點，再以臺中工藝傳習所的設立時間與理研工業株式會社展開漆器工藝計畫的時間點作為分期，首先探討其造形、整體設計與功能性，同時並追溯來自中國與日本漆器工藝的影響，透過比較與分析，從中瞭解文化因素如何透過材質與形式設計表現其工藝內涵，並藉此描述以形塑出日治時期臺灣漆器工藝之發展脈絡。

The Japanese colonization period in Taiwan was an era during which craft art began to develop and thrive. This period also marked a transition from an era of traditional beliefs to modernization. Crafts are common in everyday life and can thus reflect the social culture and ideology of a specific period. Furthermore, changes in social patterns also affect transition in artistic styles. Although the duration of lacquerware development during the Japanese colonization period was short, Taiwan’s lacquerware flourished during this period. Additionally, Taiwan was the center for lacquerware design, production, and sales during the Japanese colonization period, laying the foundation for the development of crafts in Taiwan. To clarify the path of Taiwan’s craft art development, the present study examined lacquerware produced during the Japanese colonization period. This study established classification criteria according to style for the lacquerware of the Japanese colonization period: 1. lacquerware produced prior to 1928, classified as early Penglai lacquerware; 2. lacquerware produced between 1928 and 1945, considered as late Penglai lacquerware; 3. Chinese–Japanese hybrid lacquerware, produced between 1928 and 1941; and 4. Taiwan–Ryukyu hybrid lacquerware, produced between 1941 and 1945. Researches were conducted on lacquerware beginning from the Penglai lacquerware designed by Yamanaka Ko, and the establishment of the Taichung Craft Art Institute and the initiation of lacquerware craft projects by industrial corporations were considered as partitions in lacquerware development. By conducting comparisons and analysis, this study elucidated how cultural factors were used to express craft connotation through materials and designs as well as further shaped the context of lacquerware development during the Japanese colonization period.