『民俗臺灣』にみる有形物──民藝民具を中心に

Physical things of『FOLK CUSTOMS OF TAIWAN』– centering around ”folk arts and folk tools”

每當人們閱讀書籍或雜誌等文本時，其中呈現有形物的照片與圖繪總是吸引讀者的目光。『民俗臺灣』是臺灣在殖民地時代末期，頗受好評的綜合雜誌，照片與圖繪自是發揮相當大的效果。負責『民俗臺灣』照片版的松山虔三，負責圖繪的立石鐵臣，發行人金關丈夫以及負責編務的池田敏雄等人，堪稱為建構『民俗臺灣』有形物的要角。換言之，金關丈夫的美意識，池田敏雄的庶民感覺，立石鐵臣的藝術觀察，以及松山虔三的寫實世界，妝點了『民俗臺灣』精采畫頁。上述的照片與圖繪，以當時臺灣及南中國常民之衣食住有密接關係的民藝與民具為主。所謂民藝，依『広辞苑』的解釋，「庶民生活中產生的鄉土的工藝。以實用性與素朴之美為人所好。「民藝」一詞，係大正末期柳宗悦等人所造。」柳宗悦是當時日本民藝館館長，他於1943年3月受臺灣總督府之請，來台灣環島視察。任務是在時局緊迫的臺灣，希望重新肯定臺灣足以自給自足生活的材料。擔任導覽的是金關丈夫與立石鐵臣二人，金關丈夫且詳細紀錄旅行所見與感想。本文之架構為，雜誌中所呈現之立石鐵臣有關民藝、民具的版畫，松山虔三的照片與其他投稿者描寫民藝、民具的文章為橫軸，日本民藝館館長柳宗悦訪臺期間的記載為縱軸，透過專家專業角度肯定台灣既有用民藝之用與美，探討臺灣常民文化的生命力。

When getting the publication like books or magazines, we were always attracted by its photos、pictures and so on. Because of『FOLK CUSTOMS OF TAIWAN』 is one of the most popular all around magazines in the later of Japanese colonization period, so the photos and pictures had lots of fascination. All people built up the『FOLK CUSTOMS OF TAIWAN』 were Kenzo-Matsuyama by photos, Tetsuoumi-Tateishi by the pictures and Takeo-Kanazeki of the publisher. Also Toshio-Ikeda of the editor had built up the physical thing's description. The photos and pictures were all folk arts or folk tools for civil at that time. They were always close to our daily life. What 「folk arts」is “come from our daily life, native arts. It also accompany utility and simplicity.” written in『KOJIEN』dictionary. Yanagi went around island Taiwan when he was a director of Japan folk arts. Finding out more material for self sufficiency in the tension situation in Taiwan is the only purpose for him. And the guidance just were Kanazeki and Tateishi. This study tries to taking in Tateishi's folk print but also Matsuyama's graph picture as the beginning, the words contains from contributors as a horizontal and notes written by the director of Yanagi during in Taiwan travel term as a spindle. I hope can deal one page as to ordinary usage and beauty through the professor visual.