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| 心象考： 臺灣攝影中的「心象」概念源起和挪用 |
| The Origin and Appropriation of the Concept of “Mental Image” in Taiwanese Photography |
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| 作者 |
陳佳琦 |
| Author |
Chia-Chi Chen |
| 關鍵詞 |
心象、
心象風景、
心觸風景、
柯錫杰、
臺灣攝影
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| Keywords |
Shinshuo,
Mental image photography,
Impressive Landscape,
Taiwanese Photography,
Ko Si-Chi
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| 摘要 |
在臺灣攝影史上，關於「心象攝影」的源起與意涵有過一些不同的說法，過去有此為臺灣的發明與獨創的說法，也有來自日本影響的說法。本文回到日本攝影的脈絡，探尋「心象攝影」的定義與爭論，論證臺灣的「心象攝影」為一個借用自日本的概念，並在業餘攝影時代被翻譯引介，後來也在1980年代如何因為柯錫杰返國辦展而形成風潮。
本文透過史料文獻與詞語源流的考察，將「心象」一詞進行一次「問題化」的重探，回到日本脈絡之下的起源、語境和論爭，進而梳理「心象」在臺灣的不同階段如何被翻譯和挪用。由於臺灣的攝影歷史，歷來之於論述建構與史料整理的工作較為不足，也很少透過史料研究的方式深入概念的語境重新考察，本文企圖對「心象攝影」一詞進行重新探索，了解臺灣攝影歷史的形成擁有重層複雜的歷史，不僅有來自跨域的概念和影響，也有本地的借用、引進和重新詮釋，從而形成本地的獨特發展之說法，從而對既有的說法和見解，予以反思和重審。
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| Abstract |
In the history of photography in Taiwan, there have been various interpretations regarding the origin and significance of “Mental Image Photography.” Some claim it to be an invention and innovation unique to Taiwan, while others attribute its influence to Japan. This article delves into the context of Japanese photography, exploring the definition and debates surrounding “Mental Image Photography.” It argues that Taiwan’s “Mental Image Photography” is a concept borrowed from Japan, translated, and introduced during the era of amateur photography. The article also examines how it gained popularity in the 1980s, particularly through Ko Si-chi’s return to Taiwan and the exhibitions he organized.
By examining historical documents and tracing the etymology of terms, this article “problematizes” the term “Mental Image Photography.” It revisits its origins, contexts, and controversies within the Japanese context, and outlines how the term “Mental Image” was translated and appropriated at different stages in Taiwan. Due to the insufficient construction of discourse and archival work in Taiwan’s photographic history, there has been limited exploration of conceptual contexts through historical research. This article attempts to re-explore the term “Mental Image Photography,” aiming to understand the layered and complex history of Taiwan’s photographic development. This history involves not only concepts and influences from different domains but also local adaptations, introductions, and reinterpretations, resulting in a unique local development. It is essential to critically reflect upon and reevaluate existing perspectives and interpretations. |
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專號序
/ 許綺玲（專題客座主編） Chi-Lin Hsu |
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