從光復初期台灣全省美展的「正統國畫之爭」看文化衝突的尬象

The Conflict of“Authentic Traditional Chinese Painting”in the Early Period of Taiwan Retrocession

1945年台灣光復後，在畫家楊三郎與郭雪湖的建議下，旋即舉辦了第一屆台灣省全省美展（以下簡稱省展），這是台灣藝術界的劃時代大事，所謂的劃時代是指台灣回歸華人政權後，真正由漢人自己舉辦的第一場全省性的藝術大展，具有很高的政治宣示意圖，與民族大一統的神聖情懷。談到這點還是必須先梳理「省展」的淵源，這對台灣藝文界而言具有莫大的意義，因為這是繼日據時代「台展」（1927-1936）與「府展」（1938-1943）的延續，就這脈絡而言，是日本殖民文化在某種程度上的在地化影響，從省展前幾屆的獎項名稱更迭不難看出端倪，如：特選長官賞、特選學產會賞、文協獎賞、特選文協獎賞等等日式用詞的使用等，不難理解當時的社會氛圍仍處於「漢和」雜陳、膠著難分的狀態。然而，這對剛剛渡海來台的學者專家而言，卻完全不是這麼一回事，而是台灣回歸祖國後的主權宣示，尤其在光復初期政府的「去日本化」和「中國化」的政策主導下，更顯急迫。緊接著1949年國民政府遷臺，在「中華民國全國美術展覽會」（簡稱「全國美展」，共辦理1929、1937、1942三屆）無暇恢復舉辦之際，「省展」更成了「全國美展」在台灣的前期延續，有暫時填補或替代之功能，從此「省展」多了一份濃烈的正朔與道統的政治意圖。就另一方面而言，由「台展」、「府展」所成名的台籍藝術家，正是在地文化的發言人，與1945以來大批來自大陸的藝術家無形中，成為在台灣藝壇上的角力對手，「省展」自然也成為兩股力量對恃的舞臺，特別是在「國畫部」尤為顯著，水墨畫就在「去日本化」、「中國化」、「現代化」與「道統之爭」四股力量的糾結中推移，拉開「正統國畫之爭」的序幕，在「灣制畫風」與「中原風格」、傳統與現代的辯證中裂解、融合和發展。由此可見，當時台灣在地文化所面臨的困境與尷尬，本文便是想藉由省展「正統國畫之爭」的經過，來回顧「國畫」在台灣發展的歷程與價值，以及台灣在面對文化輸入所形成的調適與矛盾的種種現象。

After Taiwan’s retrocession in 1945, the first Taiwan Provincial Art Exhibition (hereinafter referred to as the Provincial Exhibition) was held, which was an epoch-making event in Taiwan’s art field. This epoch-making exhibition was the first provincial exhibition truly held by the Han people after Taiwan returned to the Han government, with high political declaration intention and the feelings of nationalism. Speaking of this, it is necessary to sort out the origin of“provincial exhibition”. For Taiwan’s art and literary, it is a continuation of“Taiwan Exhibition”(1927-1936) and“Provincial Exhibition”(1938-1943) during the Japanese occupation period. In this context, it is the localization and development of Japanese colonial culture to some extent. This is obviously seen in Japanese terms such as special governor award, special school association award, special literary association award, and special literary association award. This, however, for scholars and experts who just arrived from across the sea is something completely different. They saw it as the claim of Taiwan's return to the motherland. After just a few year, in 1949, the National Government of the Republic of China retreated to Taiwan, the“Republic of China National Fine Arts Exhibition”(short as the“National Arts Exhibition”, in 1929, 1937, 1942) did not have a chance to hold in Taiwan,“Provincial Exhibition”has become the continuation of ''National Art Exhibition'' here, or it is more appropriate to say that it“resumed”to hold in Taiwan. Since then,“Provincial Exhibition”has a strong political intention of“recovering the tradition”. On the other hand, the Taiwanese artists who got famous from the“Taiwan Exhibition”and“Provincial Exhibition”are the spokesmen of local culture, and they have been wrestling with a large number of artists from the mainland since 1945. The“Provincial Exhibition”has naturally become the stage where the two forces compete, especially in the“Department of Traditional Chinese Painting”. We can observe the difficulties and embarrassment faced by local culture in Taiwan at that time. This paper reviews the development process and value of Traditional Chinese painting in Taiwan, as well as the adjustment and discomfort of Taiwan in the face of cultural input.