本文起首為1926 年嘉義裱畫店出身的林玉山(1907 年生)與成名雕塑家黃土水(1895-1930)的作品，在東京的展覽會上相遇。他們的背景與個性相當不同，但顯然都思考殖民地展覽的「地方色彩」的表現問題。選擇留在東京創作的黃土水，自1923 年開始處理水牛的題材，他很快地放棄寫實的手法，而以浪漫的詩情為主調，如1930 年臨終前完成的作品「南國」。林玉山也曾兩次留學日本，日本畫的細密寫實技法熟練，但他顯然與臺灣的書畫傳統關係更密切，除了水牛或黃牛等系列作品之外，1933-1936 年他也嘗試家園主題，如「夕照」、「故園追懷」等巨幅作品頗受重視。然而，1937 年中日戰爭爆發後，此一系列作品即告中斷，林玉山改繪製單純的動植物以與緊張的時局配合。這篇文章分析日治時期年輕的藝術家從追求「地方色彩」到表現臺灣意識的坎坷過程。

In 1926 Lin Yushan (b. 1907), a young art student from a mounting shop in Jiayi, encountered Huang Tushui (1895-1930), a famous sculptor from Taipei, in the art exhibition hall at Ueno Park in Tokyo. Both men were from colonial Taiwan, and although their backgrounds differed, Lin and Huang were both concerned with the expression of “local color” in order to succeed in art exhibitions. As early as 1923, Huang Tushui started a series life-scale sculptures and low relief panels of water buffalo. However, he turned away from realism and insisted on a refined lyrical expression of an idealized picture, such as “Southern Country,” before his death in 1930. Lin Yushan was skilled both in the meticulous, realistic approach of Nihonga and in the traditional painting style in Taiwan. In 1927-1928, his painting of water buffalo was well received by critics, but later in 1933-1936 he developed the motif of home villages into a series of large-scale screen paintings. It is these latter pictures that demonstrate his ambition to recreate the quiet and refreshing landscape of southern Taiwan. With the outbreak of the Sino-Japanese War in 1937, the search for a new image of Taiwan was discouraged; instead, Lin turned again to simple plants and animals, though with an inevitable flavor of war–time tensions.

文化認同；地方色彩；林玉山；黃土水；美術展覽會

cultural identity; local color; Lin Yushan; Huang Tushui; art exhibition