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2023.01.23
テーマ：台湾！ 美妙人生！(839)
カテゴリ：大紀元時報日本、フォーカス台湾
日本時代に撮影 高山の美しさ捉えた写真、ネット上で公開／台湾 2023/01/21 15:47:26
百年前的登山打卡 展覽介紹 展覽介紹 《臺灣寫真大觀：山岳編》於1934（昭和9）年10月由臺灣寫真大觀社發行，攝影兼編輯者為桑子政彥。 乍看之下，讀者可能會以為，桑子政彥為某知名的山岳探險家與攝影家，在縱橫臺灣山林的同時，也以相機留下眼前震攝人心的自然之美。受過藝術史或攝影史訓練的讀者可能會進一步推論，本書必然是某種呈現「帝國凝視」的作品；就如同1938年來臺拍攝大屯山彙、新高阿里山與次高太魯閣三大國立公園的名攝影家岡田紅陽一般，桑子政彥必然透過他的鏡頭，以特定的構圖與取景，將當時被視為粗獷、野蠻、欠缺如日本內地一般對稱纖細之山型的臺灣山岳，收於方寸之間，再嵌入書頁中，添加適量的文字調味，成為都市人可安坐在室內，一邊啜飲著飲料，一邊逐頁品味的「目錄」。 我們也曾經如此想。然而，在查閱相關史料，釐清桑子政彥是誰，且試著從該書影像梳理出帝國視線及背後的意識形態，並檢視相片之材質、沖洗技巧與裝訂方式後，我們不得不得出這樣的結論：桑子政彥不是什麼名攝影家，甚至也不是本書主要的攝影者；任何嘗試從本書抽取某種一致之主題，乃至於主張此些主題為某種視線或意識型態之反映的企圖，將會是徒勞無功的。 為什麼我們會得出如此結論？讓我們先回答，在《臺灣寫真大觀：山岳編》出版的前後，臺灣的山岳中發生什麼事？ 《臺灣寫真大觀：山岳編》發行時的1934年，由總督府殖產局山林課主導的森林計畫事業正步入尾聲。這個從1925年啟動、由受過近代林學訓練的林業官員，針對當時臺灣往往只能以「蕃地」或「官有林」籠統稱之的臺灣森林，將當中應由政府保存者劃為「要存置林野」，其餘則歸為不要存置林野。在前者中，林業官員再基於原住民治理、林地之多目標利用等考量，另外畫出「準要存置林野」，即「以要存置林野為準來辦理」之意。1931年，前述區分調查的成果初成；總計劃出要存置林野1,094,619.1732公頃，準要存置林野200,072.3500公頃與不要存置林野77,212.8020公頃，合計1,371,904.3252公頃。針對要存置林野，林業部門再將之細分為29個事業區，每個事業區並搭配一本「施業案」，列明未來20年之林業永續經營的規劃。在臺灣林業史上，森林計畫事業為重大里程碑。事實上，要存置林野即為今日的國有林班地，準要存置林野為原住民保留地，不要存置林野則常為糖廠、農場的土地。在此近代林業之藍圖逐步完備後，再加上日本帝國進入戰時體制，對木材的需求日增，臺灣林業也進入集約經營的時代，伐木與造林的強度攀上史無前例的高峰。證諸日治時期的林業統計資料，臺灣的用材生產於1927年超過100萬石（28萬立方公尺），11年後（1938）才倍增至200萬石（56萬立方公尺），但翌年（1939年）的用材產量旋即突破300萬石（84萬立方公尺）。林業躍升為臺灣軍需工業化的急先鋒。[1] 1920年代的總督府關切的不只是森林之永續利用而已。事實上，總督府之所以決定於1925年啟動森林計畫事業，很大原因來自於對既有林業政策的反省，並探索伐木以外的森林利用方式。就拿總督府投注莫大心力開發的阿里山林場為例。1904年，面對號稱「無盡藏」的阿里山森林，總督府決議移植當時最新進的伐木集材設施，特別是美國西北太平洋以鐵路為主軸的經營模式，以求有效率且永續地砍伐這片帝國境內絕無僅有的原始林，並以井然有致的人工林取代之。至1920年代末期，隨著阿里山鐵道沿線的原始林逐步消失，社會上逐步出現「保育」阿里山之天然景緻的呼聲。對此，林業官員也相當為難；他們認可景觀保育的重要性，但鐵道的營運成本過於龐大，如不持續伐木挹注，恐怕阿里山林場將無以為繼。就在此時，林業官員注意到，有越來越多的觀光客搭乘鐵路上山，或則親炙阿里山林場各類規模宏大的基礎設施，或則持續深入，探索臺灣最為「原始」的心臟地帶。林業部門開始構思以觀光為鐵道續命的可能性。且此見解正與日本帝國國策合拍。1931年，日本政府頒行〈國立公園法〉與設立判準，開始積極籌設國立公園。國立公園即為national park，以1872年的美國黃石國立公園為濫觴。依據日本國立公園協會的見解，只有那些「造物者」偶然創造的大風景方可被劃入國立公園，一方面可為帝國臣民所「鑑賞」，從中得到性靈之提升，另方面可吸引外客，為當時困窘的帝國財政帶來外匯。1933年，總督府成立臺灣國立公園調查會，翌年指定新高阿里山、次高太魯閣與大屯山彙指定為「國立公園候補地」。1937年12月，總督府正式公告三處候補地為國立公園。即便在臺灣進入戰時體制後，「國立公園」一詞因其與「美帝」、遊樂間的連結而遭到棄卻；但原先被劃入國立公園的地域，因其能健強體魄、培養人民之愛國心，成為帝國臣民之養成所。 不管是森林計畫事業還是國立公園，意味著總督府對昔日位於番地、相當於臺灣原始、粗獷與野蠻性格之代表的山岳，在知識的累積與控制手段上，已臻新的高度。與前述趨勢相輔相成者便是「近代登山」風氣的興起。日治時期臺灣著名的登山家沼井鐵太郎便表示，臺灣登山史可分為史前期及初期探險時代、開拓探險時代、探險登山時代與近代登山時代。他認為，1920年代中葉，隨著臺灣山岳會等登山團體的成立，原本由政府與學術界主導，登山只為資源調查與地理探勘之手段的「探險登山」逐步走入尾聲，相對純粹的、「為登山而登山」的「近代登山」，曙光乍現。沼井寫道： 「此時代的初登紀錄開始由官憲及學術調查以外的純粹登山者所建立。尤其是大霸尖山的首次登頂，當初是由臺灣山岳會一手創造，是人類史的初登，為臺灣高漲的登山意識提供劃時代的原動力。此後臺灣的登山趨勢是對未知高山努力開路初登與紀錄，憑藉自力挺身於山岳高難度路線的初次攀登。勇氣與野心成為一般登山家的登山動機。」[2] 《臺灣寫真大觀：山岳篇》即是在此脈絡中誕生。《臺灣登山小史》記載，「1932年7月，由佐佐木舜一擔任領隊，河南宏、清水善次郎、古平勝三、桑子政彥、山河友次、荻坂剛等人所組成的大霸尖山、次高山植物調查、寫真攝影的專門研究登山」。[3]《臺灣山岳彙報》則記載了此專門研究的後續： 「前前號預告原本的時間將延期至9月24日（六），但就在活動要開始的前一刻，原本預定地會場卻無法使用，因此只能急忙變更至台北商業學校雨天操場。上述內容並未在報紙上刊載，主要是因為時間為新聞社的放假時間，及其他地方也有許多種的展覽的關係，因此並未達到一開始所期望的盛會。」 當日展覽會出品物為佐佐木舜一氏所收藏之大霸尖山、次高山的植物蠟葉標本107種；河南宏氏同樣是大霸尖山及次高山的植物蠟葉標本87種，及日本阿爾卑斯山的植物蠟葉標本37種；島田彌市氏的日本阿爾卑斯山植物蠟葉標本51種；古平勝三氏所收藏的珍奇蛇類標本3種；見元了氏所收集之台灣五岳（新高山、次高山、南湖大山、大霸尖山及大武山）的照片（全紙）；河南氏所收藏之大霸尖山、次高山方面的照片（半藏20張，手札68張）；桑子政彥氏的能高山、次高山、大霸尖山等的照片（全紙）4種；台灣寫真大觀社的小林氏所提供之台灣山岳各地照片40種；台北高等學校所提供之大霸尖山、次高山連峰的大寫生素描圖2種；佐佐木氏所提供同方面的地圖1種。不論哪一種皆是美事一樁，讓觀賞者可以有身入其境之感。 下午3點半左右則由佐佐木氏以「大霸尖山、次高山的縱走及植物帶」為題進行演講。與會者皆是對於山及植物有所熱情之人，因此很認真地聽著發表人的觀察、經驗及其結論，演講於下午4點半結束。之後彼此針對展覽物提出相關詢問、討論及閒聊，因展覽預計5點結束的關係，因此帶著一點遺憾地落幕。 在展覽的最後對於當日爽快出借場地的台北商業學校，照例給了十張美麗的海報，作為田口與四郎、演講者、出品者併會員們滿腔的感謝。 當日與會者為鈴木、堀川、佐佐木、島田、古平、沼井、土肥、小林、財津、大橋準一郎、山本、河南、山河、桑子、山村、齋藤齋、伊藤鐵兒、木田氏等諸會員，加上非會員者合計40名左右。[4] 似乎可以推測，《臺灣寫真大觀：山岳編》為此次「專門研究」的成果之一。從前述報導，我們幾乎可以想像，數十名鍾情臺灣山岳的登山者，在一字排開的植物標本與相片前，交換植物採集與攝影的心得，然後端坐著聆聽佐佐木舜一對高山植物分佈的看法。佐佐木舜一為林業官員，長期投入臺灣高山植物相的調查與研究。他最感興趣的主題就是臺灣植物相與周邊地區的比較研究，致力發掘臺灣在生物地理學的地位。即便此聚會看似盛況空前，兼具學術與娛樂性，但從報導也可看出，籌辦此次聚會的臺灣山岳會，對於臨時改地點，讓不少隊登山與攝影懷有熱情的愛好者向隅，不甚滿意。是否因為如此，與會者決定編纂攝影集以饗同好？讓當天未能到場或撲空的登山攝影愛好者多少能共襄盛舉？史料無法回答前述問題。要回答《臺灣寫真大觀：山岳編》究竟為何與為誰編纂，我們得另闢蹊徑。 本展覽的另一策展人李旭彬為攝影史研究者與攝影師。在收到國家攝影中心寄來、已數位化之《臺灣寫真大觀：山岳編》後，除了在螢幕上細究每張照片之構圖等細節外，他決定至國家攝影中心的典藏庫，親眼檢視該書的「物質性」。以下為其現場報導： 「本書為橫式右翻，右側兩孔穿線裝訂。封面由3至4公釐灰色厚紙板糊豬肝色仿皮紋圖樣封面紙組成，標題為手寫毛筆字體並燙金處理。內頁為一公釐的黑色霧面卡紙，影像為手工銀鹽相紙，說明文字為打字後裁切的字條，兩者皆以膠水黏貼固定在黑色卡紙上。 再就影像本身而論，本書影像尺寸共有兩種，一為約16.5mm x 12mm，另一種為長形27.8mm x 11.4 mm。以放大鏡檢視，其銀粒子排列非常緊密，應無經過放大機投影放相，且當時以膠基底片經放大機放相尚不普遍。此外，相紙上大部分的明膠皆已黃化，影像的四周局部多已出現老照片特有的銀粒子析出現象，且相紙本身無法明顯判別是否有現代相紙的硫酸鋇塗層。 由以上線索，可以推測多數影像皆為當時所流行的 5”x7” 乾板玻璃底片所拍攝，並使用印樣箱進行接觸印相（Contact Print）之法印製。另一個長形尺寸的照片，推測為 8”x10”乾板玻璃底片，並將底片夾的遮片沿長邊裁半，使得一張底片上可以拍攝兩張 4”x10” 的影像，再經由印樣箱再進行印製。」 他的結論為，《臺灣寫真大觀：山岳篇》並非由出版社大量發行的攝影集；或許是桑子政彥本人，又或者是他的助手或朋友，逐張印出每張照片後，黏貼至卡紙上，再裁下圖說的紙片，貼在照片周圍。每本《臺灣寫真大觀：山岳篇》都是獨一無二的存在。 我們決定把《臺灣寫真大觀：山岳篇》稱為百年前的登山打卡。為什麼是打卡？打開各位的臉書或IG，隨意瀏覽幾張打卡照。打卡有到此一遊之意；至於「一遊」的地點，往往是口耳相傳、不容錯過的景點。然而，我們應該也可以體會，打卡照並不簡單；在可能有數萬人曾經打卡過的景點前，且觀看者可以各種hashtag搜索與比較時，打卡照得展露打卡者不被框架所限的巧思與創意，方能吸引眼球。或許可以這麼說，打卡的精神是「沿著軌道出軌」又或者「循著常規地挑戰常規」。 這便是我們在逐頁審視《臺灣寫真大觀：山岳篇》時體會到的精神。在本書收錄的照片中，讀者既可看到大屯山、新高山、大霸尖山等當時臺灣的名山，乃至於眺望這些名山的標準角度；與之同時，我們也可看到如霧頭山這樣相對少為人知的山岳，以及「由下而上地仰望」此深具實驗性的攝影視角。在主題方面，本書既呈現雲海、山頂眺望等相對典型的風景，同時也收錄意圖描繪高山植物生態、原住民日常生活、登山過程等較為少見的影像。如前所述，我們一度為本書的多樣性而目眩神迷，同時也為本書究竟要傳達什麼訊息，感到困惑。不過，經過一番抽絲剝繭後，我們認為，如此難以歸類的特性便是本書最大特色。追根究底，《臺灣寫真大觀：山岳編》是一群攝影愛好者，在花費大筆積蓄購得相機後，興致高昂地「外拍」，針對彼此的作品品頭論足後，意猶未盡地製作了紀念專輯，為此一期一會做紀念。本書面對的不會是數量眾多、面貌模糊的「大眾」；它是手工製成的紀念品或同人誌，又或者是維繫臺灣登山社群的禮物。 取名為「百年前的登山打卡」還有另層意義。為什麼現代人熱衷打卡？這或許牽涉到，在這個瞬息萬變的世界裡，人們還是期待以某種形式留下吉光片羽，乃至於曾在此吉光片羽中活過的自己。回到百年前的臺灣。是什麼驅使登山者按下快門？這或許也牽涉到，當森林計畫事業預示了臺灣山林的進一步開發，而國立公園之設置顯示登山遲早會成為臺灣社會日常生活的一部分，登山者期待以相片留下這即將消逝的原始與粗獷，以及那種「山在那兒、便朝著山走去」的野心、好奇與勇氣。曾於1928年至新高阿里山探勘、評估於該處設置國立公園之可行性的田村剛，當站在萬歲山上，身邊郡役所職員喋喋不休地說明阿里山開發的未來計畫時，默默地拍了照片，並在筆記上寫下：「我決定盡快用相機將這景觀給記錄下來，至少在這個計畫成真後還能夠保有原始的景色。我與那些役所的人不同，我希望以後都可以守護著南方的那片樹海」。[5] [1] 關於森林計畫事業的始末及其對臺灣森林開發的影響，見洪廣冀，〈從「臺灣之恥」到「發展最速的產業」：再思日治時期臺灣的科學林業與工業化〉，《臺灣史研究》25卷3期（2018年9月），頁83–140；洪廣冀、羅文君，胡忠正，〈從「本島森林的主人翁」到「在自己的土地上流浪」：臺灣森林計畫事業區分調查的再思考（1925–1935）〉，《臺灣史研究》26卷2期 （2019年6月），頁43-111。 [2] 沼井鐵太郎著，吳永華譯，《臺灣登山小史》（臺中市：晨星，1997），頁99-100。 [3] 沼井鐵太郎著，吳永華譯，《臺灣登山小史》，頁183。 [4] 〈山に關する植物標本と山岳寫真の展覽會及講演會〉，《臺灣山岳彙報》第4卷11號（1932年11月），頁54。 [5] 田村剛，《臺灣の風景》（東京：雄山閣，1928），頁11-12。 Exhibition introduction "Taiwan Photo Daguan: Mountain Series" was published by Taiwan Photo Daguan Agency in October 1934 (Showa 9). The photographer and editor was Masahiko Kuwako. At first glance, readers may think that Masahiko Kuwako is a well-known mountain explorer and photographer. While traveling through the mountains and forests of Taiwan, he also uses his camera to capture the stunning natural beauty before his eyes. Readers who have been trained in art history or photography history may further infer that this book must be some kind of work that presents the "imperial gaze"; Like Okada Koyo, the famous photographer of the park, Sangzi Masahiko must use his lens, with a specific composition and framing, to capture Taiwan's mountains, which were considered rough, barbaric, and lacking in symmetry and slenderness like mainland Japan. Between the square inches, it is embedded in the pages of the book, and an appropriate amount of text is added to make it a "catalogue" that urbanites can sit indoors and sip a drink while savoring page by page. We used to think so too. However, after reviewing relevant historical materials, clarifying who Masahiko Sangzi is, and trying to sort out the vision of the empire and the ideology behind it from the images of the book, and examining the materials, processing techniques, and binding methods of the photos, we have to come to this conclusion Conclusion: Kuwako Masahiko is not a photographer, nor is he even the main photographer of this book; It will be futile. Why do we come to this conclusion? Let us first answer, what happened in the mountains of Taiwan before and after the publication of "Taiwan Photo Grand View: Mountain Series"? In 1934, when "Taiwan Photo Grand View: Mountain Series" was published, the forestry project led by the Forestry Division of the Government-General's Reproduction Bureau was coming to an end. Started in 1925, forestry officials trained in modern forestry aimed at Taiwan's forests, which at that time could only be generally referred to as "Tibetan land" or "official forests," and classified those that should be kept by the government as "" To save the wilderness", and the rest are classified as not to save the wilderness. In the former, forestry officials further drew the meaning of "preservation of forests and wilds" based on considerations such as aboriginal governance and multi-purpose use of forest lands, which means "deal with forests and wilds that need to be preserved". In 1931, the results of the above-mentioned divisional investigation were initially completed; the general plan stated that 1,094,619.1732 hectares of forest fields should be preserved, 200,072.3500 hectares of forest fields must be preserved, and 77,212.8020 hectares of forest fields should not be preserved, totaling 1,371,904.3252 hectares. For the storage of forests, the forestry department subdivides them into 29 business areas, and each business area is accompanied by a "business case", which lists the plan for sustainable forestry management in the next 20 years. In Taiwan's forestry history, the forest planning undertaking is a major milestone. In fact, if you want to save the forest land, which is today's state-owned forest land, you must save the forest land as the aborigines' reserved land. If you don't save the forest land, it is often the land of sugar factories and farms. After the blueprint for modern forestry was gradually completed, and the Japanese Empire entered a wartime system, the demand for timber increased day by day. Taiwan's forestry industry also entered an era of intensive management, and the intensity of logging and afforestation reached an unprecedented peak. According to forestry statistics during the Japanese colonial period, Taiwan’s timber production exceeded 1 million shi (280,000 cubic meters) in 1927, and it doubled to 2 million shi (560,000 cubic meters) 11 years later (1938). In the following year (1939), the output of timber immediately exceeded 3 million stones (840,000 cubic meters). Forestry has become the vanguard of Taiwan's military industrialization. [1] The Government House in the 1920s was concerned with more than the sustainable use of forests. In fact, the reason why the Governor’s Office decided to start the forest planning business in 1925 was largely due to the reflection on the existing forestry policy and the exploration of forest utilization methods other than logging. Take Alishan Forest Farm, which was developed with great effort by the Governor-General's Mansion, as an example. In 1904, in the face of Alishan Forest, known as "Endless Tibet", the Governor's Office decided to transplant the latest logging facilities at that time, especially the railroad-based business model in the Pacific Northwest of the United States, in order to efficiently and sustainably log. The only virgin forest in the empire has been replaced by a well-organized plantation. By the end of the 1920s, with the gradual disappearance of the virgin forest along the Alishan Railway, calls for "conservation" of the natural scenery of Alishan gradually appeared in the society. Forestry officials are also quite embarrassed about this. They recognize the importance of landscape conservation, but the operating costs of the railway are too high. If there is no continuous logging and injection, the Alishan Forest Farm may not be sustainable. At this time, forestry officials noticed that more and more tourists took the railway up the mountain, or visited Alishan Forest Farm's various large-scale infrastructure, or continued to explore the most "primitive" heartland of Taiwan. . The forestry department began to conceive the possibility of extending the life of the railway through sightseeing. And this view is in harmony with the national policy of the Japanese Empire. In 1931, the Japanese government promulgated the "National Park Law" and established standards, and began to actively prepare for the establishment of national parks. The national park is a national park, which started with Yellowstone National Park in the United States in 1872. According to the opinion of the National Park Association of Japan, only those large landscapes accidentally created by the "creator" can be classified as national parks. On the one hand, they can be "appreciated" by the subjects of the empire, which can improve their spirituality, and on the other hand, they can attract foreigners. , Bringing foreign exchange to the embarrassing imperial finances at that time. In 1933, the Governor's Office established the Taiwan National Park Survey Committee, and the following year designated the new high Alishan, the second high Taroko, and Datun Shanhui as "national park candidate sites." In December 1937, the Governor's Office officially announced the three candidates as national parks. Even after Taiwan entered the wartime system, the term "National Park" was discarded because of its connection with "American Emperor" and entertainment; Cultivate the patriotism of the people and become the cultivation place for the subjects of the empire. Whether it is forest planning or national parks, it means that the Governor's Office has reached a new height in the accumulation of knowledge and control methods for the mountains that used to be located in Fandi, which are equivalent to the representative of Taiwan's primitive, rough and barbaric character. Complementary to the aforementioned trends is the rise of the "modern mountaineering" trend. Tetsutaro Numai, a famous Taiwanese mountaineer during the Japanese colonial period, said that Taiwan’s mountaineering history can be divided into the prehistoric and early exploration era, the pioneering exploration era, the expedition mountaineering era, and the modern mountaineering era. He believes that in the mid-1920s, with the establishment of mountaineering groups such as the Taiwan Mountain Society, the "exploration mountaineering" that was originally dominated by the government and academia, and that mountaineering was only a means of resource survey and geographical exploration, gradually came to an end. The "modern mountaineering" of "mountain climbing for the sake of mountaineering" is dawning. Numi wrote: "The first ascent records in this era were established by pure climbers other than official and academic investigations. In particular, the first ascent of Dabajian Mountain was created by the Taiwan Mountain Society. The awareness of mountaineering provided the driving force behind the epoch. Since then, the trend of mountaineering in Taiwan has been to make the first ascents and records of unknown high mountains, and rely on self-reliance to stand up for the first time on difficult routes. Courage and ambition have become the motivations of ordinary mountaineers.”[2] "Taiwan Photo Grand View: Mountains" was born in this context. "A Brief History of Mountaineering in Taiwan" records, "In July 1932, with Sasaki Shunichi as the leader, Henan Hiroshi, Shimizu Zenjiro, Guping Katsuzo, Sangzi Masahiko, Yamakawa Yuji, Ogisaka Tsuyoshi and others formed the Daba Jianshan, Ji Mountaineering specializing in alpine plant surveys and photo photography." [3] "Taiwan Mountain Report" recorded the follow-up of this special study: "The original time of the previous announcement will be postponed to September 24th (Saturday), but just before the start of the event, the originally scheduled venue was unavailable, so we had to change it to the rainy playground of Taipei Commercial School in a hurry. The above The content was not published in the newspaper, mainly because the time was the holiday time of the news agency, and there were many kinds of exhibitions in other places, so it did not reach the grand event that was expected at the beginning.” The exhibits on that day included 107 species of plant wax leaf specimens from Dabajian Mountain and Subalpine Mountains collected by Mr. Sasaki Shunichi; Henan Hongshi also collected 87 species of plant waxy leaf specimens from Dabajian Mountain and Subalpine Mountains, and the Japanese Alps. 37 species of plant wax leaf specimens from Japan; 51 species of plant wax leaf specimens from the Japanese Alps by Mr. Shimada Yaichi; 3 species of rare snake specimens collected by Mr. Kohira Katsuzo; Photos of Takayama, Nanhu Dashan, Dabajianshan and Dawushan) (full paper); photos of Dabajianshan and sub-high mountains collected by the Henan family (20 Hanzo, 68 manuscripts); 4 types of photos (full paper) of the sub-highest mountain and Dabajian mountain; 40 kinds of photos of various places in Taiwan's mountains provided by Mr. Kobayashi of Taiwan Photo Daguan Society; large-scale sketches of Dabajian mountain and sub-highest mountain range provided by Taipei Higher School 2 types; 1 type of map of the same area provided by Mr. Sasaki. No matter which one is a beautiful thing, so that the viewer can have a sense of being in the scene. Around 3:30 in the afternoon, Mr. Sasaki gave a speech on the topic of "Daba Jianshan, Vertical Walking and Plant Belt of Subalpine Mountains". The participants were all passionate about mountains and plants, so they listened carefully to the observations, experiences and conclusions of the presenters. The speech ended at 4:30 pm. Afterwards, they asked, discussed and chatted with each other about the exhibits. Since the exhibition was expected to end at 5 o'clock, the curtain ended with a little regret. At the end of the exhibition, as usual, ten beautiful posters were given to Taipei Commercial School, which readily lent the venue that day, as a thank you to Taguchi and Shiro, speakers, producers and members. The participants on that day were Suzuki, Horikawa, Sasaki, Shimada, Furuhira, Numai, Doi, Kobayashi, Caizu, Ohashi Junichiro, Yamamoto, Kanan, Yamakawa, Soko, Yamamura, Saitosai, Ito Tetsuji, Kida, and other members, plus There are about 40 non-members in total. [4] It seems to be speculated that "Taiwan Photo Grand View: Mountain Collection" is one of the results of this "special research". From the aforementioned reports, we can almost imagine that dozens of climbers who love Taiwan’s mountains exchanged their experience in plant collection and photography in front of the plant specimens and photos lined up, and then sat and listened to Sasaki Shun’s pair of alpine plants. distribution of views. Sasaki Shunichi is a forestry official who has long devoted himself to the investigation and research of alpine flora in Taiwan. The topic he is most interested in is the comparative study of Taiwan's flora and surrounding areas, and is dedicated to discovering Taiwan's status in biogeography. Even though the gathering seemed to be unprecedentedly grand, both academic and entertaining, it can be seen from the reports that the Taiwan Mountain Club, which organized the gathering, changed the location temporarily, which attracted many enthusiastic mountaineering and photography enthusiasts Xiang Yu was not very satisfied. Was it because of this that the attendees decided to compile a photobook for their enjoyment? How many mountaineering and photography enthusiasts who were unable to be present or missed out on the day can join in the grand event? Historical data cannot answer the aforementioned questions. To answer why and for whom "Taiwan Photo Grand View: Mountain Series" was compiled, we have to find another way. Li Xubin, another curator of this exhibition, is a researcher and photographer in the history of photography. After receiving the digitized "Taiwan Photo Grand View: Mountain Collection" from the National Center of Photography, in addition to carefully studying the composition and other details of each photo on the screen, he decided to go to the archives of the National Center of Photography to examine it with his own eyes. The "materiality" of books. The following is its live report: "This book is turned right sideways, with two holes on the right side for thread binding. The cover is made of 3 to 4 mm thick gray cardboard pasted with pig liver-colored imitation leather pattern cover paper, and the title is handwritten in calligraphy and gold-stamped. The inner page is a volume 10mm black matte cardboard, the image is handmade silver salt photo paper, and the explanatory text is a note cut after typing. Both are glued and fixed on the black cardboard. As far as the image itself is concerned, there are two image sizes in this book, one is about 16.5mm x 12mm, and the other is long 27.8mm x 11.4 mm. Examined with a magnifying glass, the silver particles are arranged very tightly, and should not be projected through a magnifying machine, and at that time it was not common to use a rubber-based film to be projected through a magnifying machine. In addition, most of the gelatin on the photo paper has been yellowed, and the silver particles that are unique to old photos have appeared in some parts around the image, and the photo paper itself cannot clearly distinguish whether it has the barium sulfate coating of modern photo paper. From the above clues, it can be inferred that most of the images were shot on the popular 5”x7” dry plate glass negative film at that time, and were printed by contact printing using a proof box. Another long-sized photo, presumed to be an 8”x10” dry plate glass negative, cut the mask of the negative holder in half along the long side, so that two 4”x10” images can be shot on one negative, and then printed The sample box is then printed. " He concluded that "Taiwan Photo Grand View: Mountains" is not a photobook published in large quantities by the publishing house; perhaps Masahiko Sangzi himself, or his assistant or friend, printed each photo one by one and pasted it on the On the cardboard, cut out the picture and paste it around the photo. Each "Taiwan Photo Grand View: Mountains" is a unique existence. We decided to call "Taiwan Photo Grand View: Mountain Chapter" a mountaineering check-in a hundred years ago. Why check in? Open everyone's Facebook or IG, and browse through a few check-in photos at will. Checking in has the meaning of visiting here; as for the location of "one visit", it is often a scenic spot that is passed on by word of mouth and cannot be missed. However, we should also be able to understand that punching in photos is not easy; in front of scenic spots where tens of thousands of people may have punched in, and when viewers can search and compare various hashtags, punching in photos must show that the punchers are not limited by the frame Ingenuity and creativity can attract attention. Perhaps it can be said that the spirit of clocking in is to "derail along the track" or "challenge the routine by following the routine." This is the spirit we realized when we reviewed "Taiwan Photo Grand View: Mountains" page by page. In the photos included in this book, readers can not only see the famous mountains in Taiwan at that time, such as Datun Mountain, Xingao Mountain, and Dabajian Mountain, but also look at the standard angles of these famous mountains; Relatively little-known mountains, and the experimental perspective of "looking up from the bottom up". In terms of themes, this book not only presents relatively typical scenery such as the sea of clouds and the view from the top of the mountain, but also includes relatively rare images intended to depict the ecology of alpine plants, the daily life of the aborigines, and the process of mountaineering. As mentioned earlier, we were dazzled by the variety of this book, but also confused by its message. However, after some digging, we believe that such an unclassifiable feature is the biggest feature of this book. After all, "Taiwan Photo Grand View: Mountains" is a group of photography enthusiasts. After spending a lot of savings to buy a camera, they "shoot outside" with great enthusiasm. After commenting on each other's works, they made a commemorative album with endless enthusiasm To commemorate this period. This book will not be faced with a large number of people with vague faces; it is a handmade souvenir or fanzine, or a gift to maintain Taiwan's mountaineering community. The name "Mountaineering Check-In A Hundred Years Ago" has another meaning. Why are modern people keen on punching cards? This may involve, in this ever-changing world, people still expect to leave auspicious pieces of feathers in some form, and even 展示紹介 『台湾写真大関 山シリーズ』は、1934年（昭和9年）10月に台湾写真大関社から刊行された。 撮影・編集は桑子正彦。 読者は一見、桑子正彦が有名な山岳探検家であり写真家であると思うかもしれません。 台湾の山や森を旅しながら、カメラを使って目の前の素晴らしい自然の美しさを捉えています。 美術史または写真史の訓練を受けた読者は、この本が「帝国の視線」を示すある種の作品であるに違いないとさらに推測するかもしれません。 公園の有名な写真家である岡田耕陽のように、Sangzi Masahiko は、荒々しく、野蛮で、日本の本土のように対称性と細さを欠いていると考えられていた台湾の山々を捉えるために、特定の構図とフレーミングを備えたレンズを使用する必要があります。 平方インチの間に本のページに埋め込まれ、適切な量のテキストが追加され、都会人が屋内に座ってページごとに味わいながら飲み物を飲むことができる「カタログ」になります。 私たちも昔はそう思っていました。 しかし、関連する史料を精査し、尚子雅彦が誰であるかを明らかにし、本の画像から帝国のビジョンとその背後にあるイデオロギーを整理しようとし、写真の資料、処理技術、製本方法を検討した後、 結論：桑子正彦は写真家ではないし、この本のメイン写真家でもない。 それは無駄になります。 なぜこのような結論に達したのでしょうか。 「台湾写真大観 山シリーズ」の発刊前後に、台湾の山で何が起こったのか、まず答えてみましょう。 『台湾写真大景 山シリーズ』が刊行された1934年、総督府復原局林業課が主導した林業事業は終焉を迎えようとしていた。 1925 年に開始された林業当局者は、当時一般的に「チベットの土地」または「公有林」としか呼べなかった台湾の森林を対象に、近代的な林業の訓練を受け、政府が保管すべきものを「」に分類しました。 前者では、森林官は、アボリジニの統治や森林地の多目的利用などの考慮に基づいて、「森林と野生の保全」の意味をさらに引き出しました。 1931年に、前述の分割調査の結果が最初に完成し、全体計画では、1,094,619.1732ヘクタールの森林原野、200,072.3500ヘクタールの森林を保護する必要があると述べられました。 77,212.8020 ヘクタールの森林を保存する必要があり、合計 1,371,904.3252 ヘクタールの森林を保存する必要があります。 それらを 29 の事業分野に分類し、各事業分野には、今後 20 年間の持続可能な森林管理の計画をリストした「ビジネス ケース」が付属しています。 台湾の林業の歴史において、森林計画の取り組みは大きなマイルストーンです。 実際、今日の国有林地である森林地を保存したい場合は、森林地を先住民の保留地として保存する必要があります。 森林地帯を守らなければ、砂糖工場や農場の土地になることがよくあります。 近代林業の青写真が徐々に完成し、大日本帝国が戦時体制に入ると、木材の需要は日に日に増大していきました。 台湾の林業も集中管理の時代に入り、伐採と造林の強度は前例のないピークに達しました。 日本統治時代の林業統計によると、台湾の木材生産量は1927年に100万石（28万立方メートル）を超え、11年後（1938年）には200万石（56万立方メートル）に倍増しました。 翌年（1939年）には木材の産出量が一気に300万石（84万立方メートル）を超えました。 林業は、台湾の軍事産業化の先駆けとなっています。 [1] 1920 年代の総督府は、森林の持続可能な利用以上のものに関心を持っていました。 実は、1925年に総督府が森林計画事業の開始を決めたのは、これまでの林業政策への反省と、伐採以外の森林利用方法の模索が大きな要因でした。 総督官邸が力を入れて開発した阿里山森林農場を例に挙げてみましょう。 1904 年、「エンドレス チベット」として知られる阿里山森林に直面して、知事室は当時最新の伐採施設、特に米国太平洋岸北西部の鉄道ベースのビジネス モデルを移植することを決定しました。 効率的かつ持続的にログを記録します。 帝国で唯一の原生林は、よく組織されたプランテーションに取って代わられました。 1920年代の終わりまでに、徐々に姿を消しました  山岳寫真 お気に入りの記事を「いいね！」で応援しよう
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2023.01.23 10:09:26
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