〈女誡扇綺譚〉與〈惠蓮的扇子〉 |
Strange Tale of the Bridal Fan (Jokai ōgi Kidan) and
Eiren’s Fan (Eiren no Sensu) |
雙頻道錄像、雙面屏幕投影、歷史檔案。錄像:約30分鐘
投影幕:380x214cm,兩座 年代:2019 |
Dual-channel video, double-sided projection screen,
and historical materials. Video length: approx. 30mins Projection screen: two screens; dimensions: 380x214cm ,2019 |
臺南作為福爾摩莎的歷史名城,不只是現今國際觀光客最愛造訪的觀光勝地,在日治時期也吸引了不少藝術家與作家前來造訪,日本作家佐藤春夫,就曾造訪臺灣並留下一篇描述安平女鬼出沒的經典作〈女誡扇綺譚〉,而這件作品也深深影響後來台灣文學中的日本作家們。以西川滿為例,知名的《赤崁記》就是向〈女誡扇綺譚〉的致敬作。有趣的是,他戰後被遣返回日後的1955年,則發表了以二二八事件為主題的〈惠蓮的扇子〉故事中也出現了如〈女誡扇綺譚〉中被壓抑的女性與扇子意象。從〈女誡扇綺譚〉中的異國情調,再到〈惠蓮的扇子〉中殘破的戰後臺灣,這兩件作品分別描述了殖民者探索華麗島詭奇之美的經驗與戰敗者黯然退出臺灣歷史舞台的離散情懷。
現今要如何理解與看待那把深藏在台灣文學中的扇子?則是本計劃欲揭示的想像之一。
現今要如何理解與看待那把深藏在台灣文學中的扇子?則是本計劃欲揭示的想像之一。
Tainan, one of Taiwan’s most historic cities, is today a popular destination for tourists from near and far. During the Japanese Colonial Period (1895-1945), Tainan was a preferred purlieu of artists and authors. One of these was Haruo Satō (1892-1964), whose visit to the city inspired one of his best-known creative works, Strange Tale of the Bridal Fan (Jokai ōgi Kidan), about the wayward spirit of a woman haunting a rundown mansion in Tainan’s Anping district. Strange Tale had a formative impact on the Taiwan-focused literary efforts of later Japanese authors. For example, Mitsuru Nishikawa (1908-1999) wrote Chronicle of Old Fort Provintia (Sekikan-ki) as his homage to Strange Tale of the Bridal Fan and, after his postwar repatriation to Japan, wrote Eiren’s Fan (Eiren no Sensu) in 1955, a story that centered on the 1947 ‘228 Incident’, during which the new Republic of China administration rounded up and killed many Taiwanese suspected of harboring sympathies against the new government. Eiren’s Fan also featured a repressed female protagonist and a fan. From Strange Tale of the Bridal Fan’s immersion in the exotic mysteries of colonial lands to the brutalities of postwar Taiwan portrayed in Eiren’s Fan, these two works respectively highlight colonial curiosities in a recently acquired overseas territory and the complex emotions of Japanese colonists who had been banished from the Taiwan stage by the vagaries of war. How the ‘fan’ image imprinted upon Taiwan’s literary landscape may best be imagined and interpreted today is one of the questions raised in this exhibition.
〈女誡扇綺譚〉與〈惠蓮的扇子〉單頻道完整版. (Single-channel version)
展場紀錄影片
Documentary of installation |
主投影幕《女誡扇綺譚 》精華版
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《惠蓮的扇子》精華版
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第二投影幕:概念影像_精華版
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