臺南美術史

圖說：林玉山，《大南門》，1927，第一回臺灣美術展覽會圖錄
Caption: Lin Yu-Shan, Great South Gate, 1927, from the catalogue of the 1st Taiten.

此為林玉山（1907-2004）入選1927年第一回臺展東洋畫部之作。林氏於〈藝道話滄桑〉提及此作爲描繪臺南風景的絹本畫作，應為南門周遭景色。前景有一水牛正在吃草，遠景為南門但雜草叢生，或許荒廢已久；樹葉、草地和建築的細膩刻劃，展現其寫生的觀念與技巧，是臺灣「南國意象」——地方色彩的表現。1927年《臺灣日日新報》記載：「林英貴⋯⋯水牛母犢相依，備極神肖，大南門稍遜，一則寫生而參以南畫者，純粹之南畫又不設色。」林英貴為林玉山本名，由上段報導可知林氏另有一幅《水牛》入選，極具神韻，但《大南門》稍加遜色，寫生技巧尚未成熟。林玉山學生時期服務於書記官伊坂旭江，與其學習漢學、書畫、南畫與寫生觀等知識，並赴日本川端畫學校習畫，最終朝向東方藝術發展。（彭暐宸）

This painting by Lin Yu-Shan (1907-2004) was selected into the Toyoga (Japanese-style painting) Division of the 1st Taiten (Taiwan Art Exhibition) in 1927. In his article, “Talks about the Vicissitudes of Art” (藝道話滄桑), Lin mentions that this work is a painting on silk and depicts the scenery of Tainan, which is probably the landscape near the South Gate. In the foreground, a water buffalo was grazing, and in the background, the South Gate looks covered in weeds, perhaps having been neglected for a long time. The tree leaves, the grassland, and the architecture are finely delineated, demonstrating Lin’s ideas and techniques of painting from life. The painting features the “image of the south” in Taiwan – an expression of the local colors. The Taiwan Nichi Nichi Shinpo (Taiwan Daily News) of 1927 stated that “Lin Ying-Kui (林英貴)…paints the mother water buffalo and her calf, capturing their essence with great details. Great South Gate (大南門), in comparison, is slightly inferior. One of the reason is that it looks like a painting from life mixed with the Nanga (南畫) style, or a Nanga-style painting without the rendering of colors.” Lin Ying-Kui is the given name of Lin Yu-Shan. Based on this newspaper passage, it can be inferred that Lin’s Water Buffaloes (水牛) was also selected, which greatly captured the essence of the subject, but Great South Gate was not as good, indicating Lin’s techniques of painting from life were not as mature. As a student, Lin served under the official clerk Sikou Isaka (伊坂旭江), and studied Han learning, calligraphy, ink painting, Nanga painting, and concepts of painting from life with Isaka. Later, Lin traveled to Japan and studied painting at Kawabata Painting School (川端畫學校), and eventually shifted to Eastern arts. (Peng Wei-Chen)

參考資料：
林玉山，〈藝道話滄桑〉，《臺北文物季刊》第3卷第4期（1955年3月5日），頁77。
林香琴，〈從文化霸權林玉山畫作之集體記憶〉，《臺灣美術期刊》第107期（2017年1月），頁1-34。
劉錡豫，〈大南門〉，《名單之後臺府展史料庫》，http://taifuten.com/oblect/大南門/#squelch-taas-toggle-shortcode-content-2（檢閱於2023.08.15）。

References:
Lin, Yu-Shan. “Talks about the Vicissitudes of Art.” Taipei Cultural Relics, vol. 3, no. 4 (1995.3.5), p. 77.
Lin, Shiang-Chin. “An Analysis on the Collective Memory of Lin Yu-Shan’s Paintings from the Perspective of Cultural Hegemony.” Journal of Taiwan Museum of Art, no. 107 (2017.1), p. 1-34.
Liu, Chi-Yu. Great South Gate. Missing Pieces: Taifuten Historical Archives. http://taifuten.com/oblect/大南門/#squelch-taas-toggle-shortcode-content-2 (Viewed on 2023.8.15).