| Summary: | 碩士 === 國立屏東教育大學 === 視覺藝術學系 === 99 === In the past, most maps are taken as an objective existence for practical purpose. Maps, hand-paintings drawn by people, are thus ignored. Some Historic Maps even look like scenic paintings. If target is locked on various maps of certain area, country or position, not only obvious place names, architectures and geographic changes could be observed, but also distinct styles and artistries could be seen in different times and ages, as well as painters in different countries with varied purposes. Take Taiwan as an example. In modern history, its international status and rulers are turbulently changed. However, among numerous types of maps which present Taiwan, a serious of Bird’s-eye views of Taiwan and various areas is focused on and shows rather unique artistry. The Bird’s-eye view turns over established concepts of most people about map. It is portrayed by overlooked the full view from high location. It looks like a painting rather than a map. Moreover, we can find that names of two painters, Hatsusaburou Yoshida and Tsunehika Kaneko, appear relatively in frequency if making a comprehensive survey of Bird’s-eye views related to Taiwan. Both of them have painted Bird’s-eye views of entire Taiwan and of many single city/area.
To sum up, this thesis will research Bird’s-eye views related to Taiwan. Bird’s-eye View of Entire Taiwan of Hatsusaburou Yoshida and Bird’s-eye View of Taiwan of Tsubehika Kaneko will be the lateral core while developing history will be the vertical core. There are three research purposes, 1) search for the origin of Japanese Bird’s-eye views; 2) search for the artistic style development of Hatsusaburou Yoshida’s and Tsubehika Kaneko’s Bird’s-eye views; 3) search for Hatsusaburou Yoshida’s and Tsubehika Kaneko’s characteristics of artistic styles and their art values.
In accordance with three research purposes above, three research methods will be taken for study: Literature Analysis, Historic Analysis and Style Comparison. Research conclusions are as follows,
Japanese painting style and colour are not everything in Bird’s-eye view. Bird’s-eye view does not come into existence suddenly. It is influenced by Chinese ink and wash paintings and Mandala of Vajrayāna Buddhism (also known as Esoteric Buddhism) spread from Southeast Asia, and then, it develops composition of overlooking angles gradually. Meisho Zue in Edo Period, Yokohama painting, whose pattern and subject were expanded, in Meiji Period, and Picture Map, a unique minor aspect in Japanese Art, are elements that forms Bird’s-eye view we know today. Hatsusaburou Yoshida makes use of Western composition and perspective he learned to make captured overlooking picture to present full region on drawing papers. Tsunehika Kaneko, who was once a student of Hatsusaburou, continues using this technique of composition to develop more twisted land that massively changes proportional shape and shows more land and information around.
Bird’s-eye views of Taiwan under Hatsusaburou Yoshida’s and Tsunehika Kaneko’s painting brushes have more cliffy mountains and vivid colours if compared to their Bird’s-eye views of Japanese areas. All Bird’s-eye views of Taiwan listed city names of Japan on the edge. In addition to reveal sunlight is much brighter, coolours of scenery are more vivid and stratums of mountains are higher than local Japan because of lower latitude, maybe they would like to indicate that Taiwan was a colony where Kominka Movement was carried out, and demonstrate achievement of government.
Essentially, Bird’s-eye view is neither an exact art, nor an exact map. It is an applied art which present the result of crossover cooperation. Bird’s-eye view, as one of tourism promotion during that time, it adopts the business art direction of Ukiyoe and development results of cartography since Meiji Period.
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