風景與觀光概念的出現，是日治時代臺灣史的重要面向，而攝影術的各種運用，也在其中扮演了舉足輕重的角色。本文嘗試聚焦於此一面向，以攝影本身為問題意識，從四個角度作為切入點，試圖跨時性地考察日治時代臺灣攝影史裡，寫真術如何協助形構了殖民者凝視下的臺灣「風景」觀，並逐漸成為宣揚觀光旅遊之利器。首先以日本寫真先驅小川一真為線索，論述其寫真實踐裡所留下的臺灣風景痕跡；其次以「八景」活動為審視對象，關注日治時代殖民地臺灣的「風景」選拔活動裡，是如何與寫真產生交匯；第三部分則解析日本內地攝影名家岡田紅陽來臺拍攝的《臺灣國立公園寫真集》，並試圖闡述其中所體現的美學觀與特殊性；最後則以日治時代推廣勃興的鐵道旅行為線索，簡述其與攝影的關聯。
日治時代臺灣寫真發展裡，較為清楚的風景觀及其視覺實踐，大多仍都取決於殖民統治各個階段的政策目標與施政走向，而呈現出表面上歧異多樣、類型繁複，但實多屬殊途同歸的單一傾向——各種寫真實踐所欲建構的臺灣風景，多是為了符合某種殖民現代性視野下，一種與日本內地相互比較之下的，對於南國熱帶異地的觀看想像。
攝影、臺灣攝影史、風景、觀光、日治時代
This paper tries to investigate how the emerging idea of Taiwanese "landscape" was imagined and constructed by the gradual intersection and continuous interaction between photography and tourism during the Japanese colonial era. The argument mainly consists of four aspects: I will first delve into several Taiwan-related photographic albums and travel guides either heavily supervised or solely published by the renowned photographer-cum-printmaker OGAWA Kazumasa around the turn of the 20th century. Then the focus will be on the gradual evolution of "the Eight Views of Taiwan" activities and how these campaigns intersected with the practice of photography. The third part will involve an in-depth reading into The Photographic Album of the National Parks in Taiwan by Japanese photographer OKADA Koyo, analyzing both its visual achievement and cultural limitation. The conclusion of this paper will draw attention to the popular phenomenon of railway tour during the colonial era, stressing how its cultural significance towards the construction of the idea of "landscape" was related to its full exploitation of photographic images in various publications.
photography, history of photography, landscape, tourism, Japanese Colonial era
