臺陽美術協會（以下簡稱「臺陽」）的創作活動，可以說是臺灣近現代美術史上僅次於官方美展，最重要的一個章節。其影響力從日治時期開始，跨越第二次世界大戰後仍持續發揮。然而，至今對戰前臺陽的認識與定位，受過往抗日史觀等影響，仍有許多曖昧不明或尚未考察詳盡之處。本文重新梳理此段歷史，首先檢視臺陽內部組織、展覽與成員等結構，向外與文學界交流等的內容，然後探討其進行拍賣贊助、彩管報國等社會活動的意義，接著分析創作蘊含的多元風格。經此考察，本文指出戰前臺陽的組織與創作活動，不但與文學界有更多的交流互動，並且曾受社會上自治理念的啟發，轉化至美術場域，追求自主性的理想，然而也不得不受限於時局發展，隱晦潛藏於部分作品中。

The creative activities of the Tai-Yang Art Association (hereafter referred to as TaiYang) can rightly be described as one of the most critical chapters in the history of modern art in Taiwan, second only to government-sponsored fine arts exhibitions. Its impact spanned through the Japanese colonial period to the post World War II era. Nevertheless, influenced by the anti-Japanese historical perspective, the role of Tai-Yang in the pre-war years remained ambiguous and unexplored. This paper combs through Tai-Yang’s early history, examining first its internal organization, exhibitions, members, and interaction with Taiwanese literati, followed by analyzing its social activities of auction sponsorship or patriotic donations, and the diverse subject matters and styles of its artworks. In conclusion, this paper points out that Tai-Yang was engaged in dynamic interaction with Taiwanese literati and was inspired by the ideal of autonomy, translating it into the realm of art and striving for the subjectivity of Taiwanese Art under the colonial regime. However, the development was still constrained by the prevailing political situation with the ideal often veiled behind obscured expressions.

臺陽美術協會;臺灣美術展覽會;臺灣美術史;美術自主性

The Tai-Yang Art Association; The Taiwan Fine Arts Exhibition; Taiwanese Art History; The Autonomy of Art