《張才》Chang Tsai

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1916年出生於台北大稻埕的張才(1916-1995),有一位熱衷台灣新文化運動的大哥張維賢,童年跟隨哥哥成立的「演劇研究會」四處登台演出,也開啟他對庶民生活的關懷之情。1934年在大哥的安排下,他前往日本東京研習攝影,受到當時「新興寫真運動」的啟發,兩年後返台成立「影心寫場」。1942至1946年,張才三度往返於台灣與上海,紀錄了當時上海的都會風貌。

國民政府遷台後,張才無法再前往上海,他參與一群台灣大學人類學教授對原住民所進行的田野調查,拍攝了蘭嶼與原住民系列作品。與此同時,他也對廟會慶典及其中的酬神歌仔戲團十分感興趣,他的鏡頭留下1950年代台灣民間宗教慶典中的熱鬧場面以及歌仔戲演員的台下生活。自從1957年在延平北路成立「大新照相材料行」後,張才以彩色沖洗的業務為重,較少從事攝影創作。1990年代,張才重新拾起相機,在國外旅遊途中,拍攝一系列彩色風景照,藉由抽象的風格,象徵晚年的心境與對人生的感慨。

「個人攝影理念,向喜直接拍攝,力避仿造性描繪,常憑直覺對事物作主觀之詮釋或造型之表現,或顯示隱喻性幻想,或寫出象徵式影像,或作忠實之紀錄。」___張才

本書為台北市立美術館「意象地圖:張才攝影紀念展」專輯,也是少數較為全面的張才攝影作品輯冊。

Born in 1916 in the Dadaocheng area of Taipei City, Chang Tsai (1916-1995) had an older brother, Chang Wei-hsian, who was passionately committed to Taiwan’s New Culture Movement. Chang Tsai’s childhood was filled with memories of taking the stage to act in the “Drama Study Society” that his brother founded, and traveling far and wide to join in interesting events. This also awoke in him a sense of concern for the lives of ordinary people. In 1934, his brother arranged for him to study photography in Japan, where he relied on some friends his brother had made at the Tsukiji Little Theatre, who were of an avant-garde frame of mind and were advocates of “New Photography.” With an introduction from these friends, he switched enrollment to the Musashino School of Photography under the direction of Senichi Kimura, and after graduating, continued his studies at the Kudou School of Photography, which specialized in portraiture. In 1936 he returned to Taiwan, and opened the Ying Xin Photography Studio on Taiyuan Road in Taipei City. Between 1942 and 1946, Chang Tsai traveled back and forth between Taipei and Shanghai three times, and he documented the urban street scenes of Shanghai during that era.

After the Chinese Nationalist government moved to Taiwan following their defeat in the Chinese Civil War, Chang Tsai was unable to return to Shanghai. Instead, he took part in a field survey of indigenous people conducted by a group of anthropology professors from National Taiwan University, taking a celebrated series of pictures of Orchid Island and its native inhabitants. During the same period, he also became deeply fascinated with temple celebrations and the Taiwanese opera troupes that feted the gods at these festivals. His camera captured vivacious images of boisterous Taiwanese popular religious festivals of the 1950s and poignant backstage images of hard-working opera performers. After establishing the Daxin Photo Supply Store on Yanping North Road in 1957, Chang Tsai concentrated on running a color photo finishing business, and engaged less frequently in photographic creation. During the 1990s, Chang Tsai picked up his camera once more, and captured a series of colorful scenic photos from his travels abroad. Through an abstract style, he symbolically expressed the psychological dimensions of his later years and his feelings about life.

“My own philosophy about photography is, I like to take pictures directly. I try hard to avoid fake depictions. I often rely on intuition to subjectively interpret things or express forms, or display metaphorical imaginings, or produce symbolic images, or do faithful documentation.”___Chang Tsai

Published for the representation of Image Map: Chang Tsai Retrospective Photography Exhibition at the Taipei Fine Arts Museum, Taipei, Taiwan.

《張才》 | 台北市立美術館出版 | 2010年03月初版 | 267頁 | 精裝 | 21 x 27.5 cm | 中、英文

Chang Tsai | Published by Taipei Fine Arts Museum | Mar. 2010 | First edition | 267 pages | Hardcover | 21 x 27.5 cm | Chinese/English

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