險山惡水？十九世紀臺灣「內山」地區的山水式畫作及其環境思維

本文藉由既往史料及文獻的回顧，從清治時期渡臺漢人面對瘴癘橫生的墾荒環境，以及山林間「生番」的獵首等威脅因素，梳理清代臺灣在山水畫類型作品較之於其他花鳥畫類，較不興盛的原因。接續探討十九世紀清帝國的邊區，「內山」一帶漢人的隘墾社會裡，所傳下的幾幅山水式畫作。從歷史因素和社會生成脈絡，理解這批畫作出現的環境背景，指出當時位處「番界」內／外的漢人開墾者、墾及清帝國邊區的地方官員，1如何在〈舊時官隘民隘與現新隘民居地名界址圖〉（1875）、〈大湖墾地圖〉（1889）等畫作裡，呈現他們對於山水的描繪及再現；也從視覺、身體及環境感知的角度，進一步討論晚清時期「開山撫番」政策下產生的〈馬武督大山圖〉（1894）。本文企圖指出：漢人繪圖者在這幅山水畫裡，將過去視為凶險的山林景貌，轉化為一處軍事壁壘和屏障，使其得以寄情於「生番」部落的山水之中，產生和既往臺灣「內山」地區山水式畫作有所差異的山水思維。

The present paper, through a review of previous literature, examines the relatively subdued prevalence of landscape paintings in Taiwan during the Qing dynasty in comparison to other artistic genres. It does so by delving into factors such as the challenges faced by Han Chinese settlers in the disease-ridden wilderness during land reclamation and the looming threat of“headhunting”practices of the indigenous peoples. Subsequently, this paper explores landscape-style artworks produced by the Han Chinese who had settled in“Neishan”內山(lit.“inner mountain”) within the Qing Empire’s border regions in the nineteenth century. By understanding the historical context and generative origins of this collection of paintings, this paper highlights the social backdrop in which they emerged, explaining how Han Chinese settlers and local officials situated within or beyond the boundaries of the“indigenous realm”depicted and represented their interpretations of landscapes in works such as the“Landscape Map of Old and New Settlements, Dwellings, Place Names, and Territorial Boundaries”舊時官隘民隘與現新隘民居地名界址圖(1875) and the“Dahu Reclamation Landscape Map”大湖墾地圖(1889). Moreover, visual, bodily, and environmental perspectives are adopted to discuss the painting“M’utu Landscape Painting”馬武督大山圖(1894), produced under the“opening up the mountains and pacify the aborigines”開山撫番policy of the late Qing period. This paper aims to elucidate how Han Chinese settlers transformed once perilous mountainous regions into military fortifications and installations, allowing them to find solace within those of indigenous tribes. The shift in perception resulted in a distinct perspective on landscape paintings in contrast to those produced in the“Neishan”regions of Taiwan.