豪華或精巧？後殖民時代下的現代設計美學矛盾──以1960s～1990s台灣電視機造型演變為例

Luxury or Sophistication? Contradictions in Modern Design Aesthetics in the era of Post-Colonialism-The Introduction of Television in Taiwan, 1960s to 1990s

1970年代，台灣電視機市場蓬勃發展，家電大廠聲寶、大同公司分別推出風靡一時的落地型電視－「拿破崙」以及「維納斯」電視機，兩者卻呈現出「精巧細緻」與「豪華浮誇」，風格截然不同的樣式。何以落地型電視機，在台灣會衍生出兩種造型迥異的設計形式？電視機既是科技產物，也是社會、政治過程的結果。除了設計形式外，檢視產品的在地脈絡化過程，才能挖掘其歷史意義。因此，本文以電視機為線索，以產業發展及社會史為書寫主軸，檢視二戰前後，尤其是殖民及冷戰時期，日本、美國的政經勢力如何影響台灣的現代經濟及電視機產業的發展。透過政治遊說、技術輸出、合作，台灣廠商取得了電視機生產技術；同時，伴隨著台灣社會富裕化，電視機演變出種種「現代化」的形式。其中「拿破崙」與「維納斯」在島內市場的競逐，反映了箇中歷史緣故。循此，本文進一步論證：台灣基於其特殊區域文化交融的歷史淵源，在後殖民主義，以及冷戰結構交織而成的國際政治經濟處境中，步入現代化的進程。因此，本研究作為台灣設計史研究之一，主要不在作為「世界設計史」的缺頁補遺，而是在方法論上，提出一種有別於以晉升現代主義與否、打破國族國家藩籬的視野框架。這樣的歷史書寫，除了凸顯後進國家設計的歷史意義，更能夠豐富設計史多元詮釋的面貌。

Taiwan's television market was booming in 1970s. The major household appliance companies, Sampo and Tatung Company, separately released the fashionable ＂floor-type＂ television -＂Napoleon＂ Television and Venus' Television. One of them is exquisite and the other one is luxurious, with entirely different styles. Why did the floor-type television have such two designs with different styles in Taiwan? The television is the product of technology, but also the result of the social and political processes. Besides the design form, the contextualization of a product also should be examined in order to explore its historical meanings. Therefore this paper examines how the political and economic powers of Japan and America affect the development of the modern economy and the television industry in Taiwan before and after the Second World War, especially during the Colonial Period and the Cold War Period, with the television as a clue and the industry development and social history as the basis. Taiwan's manufacturers obtained the production technologies of television via political lobbying, technological import and cooperation; at the same time, with the Taiwan society more and more affluent, the television evolved into various ＂modernization＂ forms. The competition between ＂Napoleon＂ and Venus' Television in Taiwan market reflects the historical causes. On this basis, this paper further demonstrates that Taiwan enters the modernization process based on the historical background of special integrated regional cultures under the international political and economic context of the post-colonialism and the Cold War. As a result, the study on the Taiwan design history is not mainly designed to supplement the ＂world design history＂, but to propose a methodological framework to break the barriers of the nations and states by promoting modernism or not. In addition to highlight the historical meanings of the design of a backward country, such writing of history can enrich the interpretation of design history.