圖： 節錄自 石川欽一郎 —— 《塔塔加的回憶》
第一次到梅峰農場場勘時認識了哈林，目前受聘在農場內做場區
維護的工作。閒聊時他說從都市回來部落，有許多想法，關於母
語的，也關於土地正義的，不過前提是得先存點錢才行。
我跟哈林提出了一個打工的建議，在兩天一夜的行程裡，讓劇組
分成兩塊，一塊就是跟拍哈林的日常，會給付演員費的。
「那平常有些事情是農場不允許的被拍了會有問題。」
「我們會加註一切為演出效果。」 特別以此為註。
生蕃何時躲在那裡攻擊通行的人並不知道，沿途可以看到生蕃躲藏的掩堡，實際一看這些東西好像是在
——Kinichiro Ishikawa 《Tattaka’s memory》
戰地，但是那些生蕃只不過是趁隙三三五五地埋伏而已，然而若以為這不過像是毒蛇隱藏草叢，突然飛
We had no idea where the indigenous hide and attack the passerby, one can see the hidden indigenous bunkers along the way. Actually, these things seem to be in the battlefield, but those indigenous were only ambushing in a few terms. However, if you think that this is nothing like a snake hiding in the grass, suddenly flying out to attack pedestrians to such an extent of assault, at such under the circumstance, the possibility of attack will highly increase.
出來攻擊行人這樣程度的突擊而已，如此大意之下，受攻擊的可能便會大增。
Picture: The first time when we did site-surveying at Meifeng Farm, we met Harlem, who is currently employed at the farm to do the maintenance work. When we talked, he said that he came back to the tribe from the city and he has many ideas about the aboriginal mother tongues and about the land justice, but he has to save some money first. I then proposed a job offer to Harlem. In the two-day and one-night trip, we divided the crew into two. One of them was to shoot the daily routine of him and we would pay him as an actor. "There are some things I do that are usually not allowed at the farm, I’m afraid there will be some problems” "We will specifically put a note that says every acts here are for the performance only." The specific note is now here.
近年，我也曾再度從霧社到塔塔加一帶寫生，可是已經不再像當年理蕃討伐時期
那麼有趣的旅行了。至今仍記得那非常難忘的愉快感。並且，我將當年所寫生的
節錄自 石川欽一郎 —— 《塔塔加的回憶》
透 過 高 雄 市 立 美 術 館 ， 我 們 邀 請 了 劉 啟 祥 於 1953 年創辦，而至今依然活動的「南部美術 協會」參與，共有十二位會員、會友一同重訪石川欽一郎的寫生路線。距離石川欽一郎
來此作畫，間隔剛好１１０年，１１０年可以讓地景人事產生劇烈的變化，但有些事情
對我來說是相對沈默許多的，蝴蝶如是，畫畫也當如是。
這次跟隨畫家上山的不是軍隊，而是美術館跟劇組。
石川欽一郎將畫作從山上帶走，我們將畫放入美術館。
叫石川欽一郎最害怕的番人，今天也很努力地在自己的傳統領域裡上班。
１１０年可以讓地景人事產生劇烈的變化，但很多事情是相對沈默許多的，安安靜靜地
找到了位置，不讓你留意地那麼自然。
蕃界圖描寫了十幾幅大晝，由佐久間總督攜帶獻呈明治天皇，做為說明討伐情況
——Kinichiro Ishikawa 《Tattaka’s memory》
的輔助材料。這是後來隱明寺少佐告知我的。因此，對我來說，更是一次值得紀
念的探險之旅。
Recent years, I have once again sketched from Wushe to Tattaka, but it is no longer as interesting as the Tubo crusade. I still remember the very unforgettable pleasure. Moreover, I have described more than a dozen large-scale maps of the Fanjie maps that were written in the same year. The Governor of Sakuji carried to Emperor Meiji as an auxiliary material to explain the crusade. This was later told by the Xiaoming Temple Shaozuo. Therefore, for me, it is a memorable adventure.
圖：
Picture and description: Through the connection of Kaohsiung Museum of Fine Arts, we invited the painters from “Southern Art Association”, which was found by Liu Qixiang in 1953 and is still very active. There were 12 members and friends of the association joined us to revisit the sketching route of Ishikawa. It’s exactly a hundred and ten years away from the time Ishikawa took his sketching trip. A hundred and ten years can make dramatic changes in the landscape and in people’s life, but there are some things still stay the same silently. Things like butterflies and painting. This time the people who followed the painter(s) to the mountains are not army officers but the staffs of the art museum and the filming crew. Kinichiro Ishikawa took the paintings from the mountains and we put the paintings in the art museum. The aboriginal people who scared Kinichiro Ishikawa the most is also working very hard today in their traditional land. A hundred and ten years can make huge changes in both the landscape and people’s life, but many things are staying relatively silent, finding the right spot quietly, and not letting you pay any attention to it.