新北瑞芳礦鄉自清末探勘、日本殖民開發至國民政府接管，輪番上演著黑金、黃金的榮景與消逝。今日，層次豐富的產業文化景觀，在時光中凝鍊光采，不斷吸引各領域人士到訪探索。 本展覽從曾親身參與礦事的時代藝術家—倪蔣懷、蔣瑞坑、洪瑞麟等人的畫作出發，挖掘出地方文化動能；藉由藝術家之眼，遙想礦事現場的形貌。展覽以藝術家的畫作圖像與AR 擴增實境的互動設計，呈現出精簡流暢卻深刻生動的礦事記述，帶給觀者具有穿越感的視覺體驗。
From the early exploration in late Qing Dynasty and through the development during the Japanese Colonial time to the takeover of the ROC Government, Ruifang, known as the mining township in New Taipei City, witnessed the great prosperity and bitter loss of the coal and gold mines. Over time, this rich heritage has condensed into a narrative of brilliance that continues to attract people from all fields to visit and explore this remarkable industrial culture. The exhibition features the paintings of contemporary artists who personally participated in the mining. They are Ni Chiang-Huai, Chiang Jui-Keng, and Hung Jui-Lin. Through their images, we unearth the local cultural dynamics and through their visions, we are able to imagine the conditions of the mine sites. In the exhibition, replicated paintings and interactive AR devices present a concise yet profound and vivid narrative of mining and draw the viewers into a visual experience and a sense of time travel.
圖像來源：國家圖書館
瑞
芳
礦
業
介
紹
前言：因礦而生之地
A Place Born of Mining
位於北臺灣的瑞芳，於日治時期以前即有採礦紀錄，最早如1825年顏家看上航運的發展而開始在焿子寮從事煤礦事業；1890年鐵路工人於基隆河發現砂金，則意外掀起淘金熱潮，後續並開啟採金事業。甲午戰爭後，日人積極引進新機械與技術，進行探勘與採煉，才真正帶起北臺灣的礦業產值。 四腳亭礦區為日治時期最重要的產煤區，也是促進臺灣煤礦產業朝向現代化發展的起點；二戰後，李家承購猴硐瑞三煤礦，並持續開發新礦區，也為猴硐帶來一段豐收歲月。九份與金瓜石地區則因含金露頭的開挖，於日治時期起就不斷創造豐厚產值，1933年的金瓜石更曾因為金礦產值再創高峰，而獲「亞洲第一貴金屬礦山」美名。 只是礦業也不斷遭受外力影響，全球尺度的礦價下跌、主要能源的改變、加上接連不斷的礦災及環境議題，讓瑞芳的礦業逐漸沒落。但取而代之恢復綠意的山城中，礦業的鑿痕隱隱顯露，如嶄新的礦，至今仍使人流連忘返，也創造出以礦業為基調的觀光旅遊產業。瑞芳可說是因礦而生之地，無論礦業興盛或沒落，始終因礦而嶄露其特殊。
Mining in Ruifang began before the Japanese colonial period. As early as 1825, the Yan family started their mining business in the Gengziliao area due to the development in steam shipping. In 1890, railway workers discovered gold in the Keelung River, which set off a gold rush, followed by extensive gold mining. After the Sino-Japanese War, the Japanese introduced new machinery and technology for the exploration and mining of minerals and precious metals, a systematic effort which really boosted the mining output of northern Taiwan. Sijioting was the most important coal mining area during the Japanese colonial period. It was the starting point of the modernization of Taiwan’s coal mining industry. After World War II, the Li family opened the Ruisan Coal Mine in Houtong and continued to develop new mining areas, which led to a period of prosperity in Houtong. During the Japanese colonial period, the excavation of the rich gold-bearing outcrops in the Jiufen and Jinguashi areas continued to create substantial wealth. In 1933, Jinguashi gained the reputation as “The No. 1 Precious Metal Mine in Asia” as its output of gold reached a new peak. Sadly, the mining industry was constantly affected by external forces. The global decline in mineral prices, changes in major energy sources, multiple mining disasters and environmental concerns led to the gradual decline of Ruifang’s mining industry. The mining town was slowly reclaimed by vegetation of the mountains, yet the history of mining was conserved and the mines were restored to such an extent that the town now has become the center of a successful tourism industry that attracts thousands of visitors every year. We can say that Ruifang is a place born of mining. The mining boom of the past as well as the decline of the industry provides a sense of drama that makes the town truly unique.
瑞芳礦業發展
Development of Mining in Ruifang
1825
顏家於焿子寮採煤，為此區最早有民營礦業的紀錄。
The Yen family mined coal in Gengziliao, becoming the earliest recorded private mining business in the region.
1890
基隆河砂金被發現，吸引大批淘金人潮。
Sand gold was discovered in Keelung River, creating a gold rush.
1896
臺灣總督府頒布《臺灣鑛業規則》，以今基隆山為界，東為「金瓜石礦山」，以西為「瑞芳礦山」。
The Government-General of Taiwan issued the “Rules Governing Mining in Taiwan,” dividing the area with present-day Keelung Mountain into the Jinguashih Mines to the east and “Ruifang Mines” to the west.
1897
臺灣總督府以四腳亭地區作為海軍的預備煤田，停止此區採煤作業。
The Government-General designated the Sijiaoting area as a coal reserve for the navy and banned coal mining in the area.
1902
藤田組將九份部分礦區承租給顏家經營。
The Fujita Company leased some mines in Jiufen to the Yen family.
1903
牡丹坑開礦，與瑞芳礦山與金瓜石礦山合稱「基隆三金山」。
Mudankeng Mines opened and came to be referred to as the “three gold mountains of Keelung” with the Ruifang and Jinguashih mines.
1904
四腳亭煤礦購置機械設備，開鑿大斜坑，造成同業仿效，煤礦進入現代化開採。
Mechanical equipment was installed at Sijiaoting Mines. Slope mines were developed, which other mining operations also adopted, modernizing coal mining for the whole industry.
1905
金瓜石本山礦床發現豐富的硫砷銅礦，開啟臺灣煉銅產業。
Rich enargite deposits were discovered in Benshan, Jinguashih, kickstarting the copper refining industry in Taiwan.
1907
臺灣總督府重新開放四腳亭部分煤田採礦權。
The Government-General partially lifted the ban on coal mining in Sijiaoting.
1914
顏雲年承租瑞芳礦山所有礦權，並與日人合作開採四腳亭煤礦區。
Yen Yun-nian leased the entire Ruifang Mines and collaborated with the Japanese in mining coal in Sijiaoting.
1918
三井物產株式會社與顏雲年等人共同出資成立「基隆炭礦株式會社」。
Mitsui & Co. and Yen Yun-nian co-financed Keelung Coal Mining Company.
1920
顏家成立臺陽鑛業株式會社，成為同時掌控金與煤的大企業。
The Yen family founded Taiyang Mining Company, becoming a powerful business that controlled both gold and coal.
1933
日本礦業株式會社收買金瓜石礦山，並擴充設備，使金產量大增。
Japan Mining Company acquired Jinguashih Mines, expanded equipment, and thus greatly increased gold production.
1934
李家承租猴硐礦權，並經營煤礦開採。
The Li family leased the mining rights in Houtong and operated coal mining.
1949
臺陽礦業股份有限公司成立。
Taiyang Mining Co. Ltd. Was founded.
1954
李家成立「瑞三鑛業股份有限公司」，為全臺最大煤礦公司。
The Li family founded Ruisan Mining Co. Ltd., which was the largest coal company in Taiwan.
1955
臺灣金屬鑛業股份有限公司（臺金公司）成立。
Taiwan Metal Mining Co. Ltd. (TMM) was founded.
1971
停止開採九份金礦。
Gold mining in Jiufen ceased.
1987
臺金公司結束經營。
TMM ceased operations.
1990
瑞三煤礦停採。
Ruisan stopped coal mining.
用畫筆見證時代
的藝術家
Artists bearing witness to time
with their paintbrushes
礦業是人與土地緊密互動的行業。人云「三更窮，四更富，五更起大厝」，不論是為了維持生計，或是夢想一夕致富，礦工們都得拿著命與自然拚搏。這些辛苦且危險的勞動景象，撼動當年的礦工藝術家—倪蔣懷、蔣瑞坑、洪瑞麟等人的心靈，從而透過他們的畫筆，留下了動人的紀錄。
Mining is an industry where men closely interact with the land. The unpredictable fortune of the miners has been neatly captured in the following words: “Just a while ago they were poor, then the next moment they’ll get rich, and soon they’ll have their houses built.” Whether it's to make ends meet or the dream of getting rich overnight, miners have to fight against nature, risking their lives. The hard and dangerous work and the extraordinary visual scenes moved the hearts of miner artists such as Ni Chiang-Huai, Chiang Jui-Keng, Hung Jui-Lin who, through their paintbrushes, created vivid and touching records of the life and struggle in the mines.
坑中的生存拼搏
The struggle for survival in the pit
礦坑中的工作極為艱辛，坑道內的環境更是惡劣，經常存在坍塌、氣體洩漏、火災等許多風險。礦工們必須在狹隘的工作場域內，面對各種急迫的挑戰。透過這些作品粗獷的筆觸與濃厚的色彩，讓人可以感受到在坑道內工作的艱辛。畫面中蓄積的高度能量，更隱隱傳達出礦工身上積累的汗水與塵土下不斷奮進的身影。
Work in the mines was extremely difficult. The harsh environment in the tunnels involved many risks, many of them life-threatening dangers such as collapses, gas leaks, and fires. Miners had to face serious challenges within the narrow working area. Through the rough artistic brushstrokes and thick patches of color, we sense the claustrophobic intensity of the work in the tunnels. The faint figures of the miners, constantly digging ahead and covered with sweat and dust, creates a crescendo of accumulated energy in the picture.
與礦共生的容顏
A face that coexists with the mine
礦坑不同於地表世界，有著另類運作的步調，工人們依循著地底下的遊戲規則穿梭其間。礦坑也是一個微型社會，礦工們組成生命共同體，對生死的觀念，有著超出言語外的默契。從礦工肖像畫中，我們看到每一張面容輪廓與軀體線條，像是崎嶇嶙峋之地，堅毅中透露一絲淡然。
Life in the deep mines is different from the world on the surface. It operates at a different pace. The workers shuttle through mineshafts and tunnels and follow the rules of the game in the underground. The mine is a miniature society. The miners form a community of shared life and have a tacit understanding of the concept of life and death that goes beyond words. From the portraits of miners, we see that every facial contour and body line are marked with the furrows of experience like a rugged land and they all express a hint of indifference amid the perseverance.
因礦而變的地貌
The landscape changed by the mine
山城歷經百年來的發展，興衰起落、人口消長，已不復當年的地景地貌。地表下的世界已然停歇；地表上則開啟不同的篇章。透過畫作，我們仿佛看見那個不容易的年代，在地表上下微微喘息著。
Through the last hundred years, the mountain town has experienced the ups and downs of the mining business and the growth and decline of population. The landscape is no longer the same it was back then. The underground world has stopped, but a different chapter has begun on the surface. Through the pictures, we are able to see and experience that dramatic and difficult era, as if the past breathing deep down in the mineshafts still manages to move the earth’s surface ever so slightly up and down.
Light in darkness, Song of labor
黑暗之光 ・ 勞動之歌
The world of mines is full of danger and toil, and the value of mining is perhaps best reflected through the collective efforts. The painter’s eye not only perceives the reality of the darkness and labor in the mines, but also regards labor as a noble activity and admires the spirituality of such subterranean scenes. Thus, through colors, brushstrokes, and striking compositions, they present us with positive and progressive visions that elevate the tough conditions down below to a spiritual level full of power and imagination.
礦坑世界雖然充滿危險與辛勞，但也因為集合眾人之力，才能體現礦事價值。畫家的心靈之眼，除了覺察到礦坑現實面的陰暗與勞苦，同時也讚嘆這樣的精神場景，並視勞動為一種崇高的活動。進而透過色彩、筆觸、構圖，展現出積極奮進的情境，或是精神層面的種種奇想。
俯瞰礦鄉
點擊左方圖片，了解瑞芳各地礦產分布及開發歷史
礦山藝術家
Artists
倪蔣懷
Ni Jiang-huai
1894-1943
1894年生於公館（今臺大農學院一帶），學生時期成績優異，考進臺北國語學校。適逢日本水彩畫家石川欽一郎至該校任教，他受恩師啟蒙，畢生以水彩的鑽研為己志，亦創立「臺灣繪畫研究所」以培育人才。1913年倪蔣懷曾至暖暖任教，而後又辭職轉售木炭及承包煤礦開採。雖投身礦業，倪仍熱愛美術，得空便埋首於水彩寫生，作品以風景寫生居多，足跡則遍及全臺，描繪過瑞芳、金山、汐止等北臺灣礦區，也曾畫下南臺灣風光，他的作品記錄1920至1930年代的臺灣風土，已成珍貴的文化資產。
Ni Jiang-huai was born in 1894 in Gongguan, near present-day College of Agriculture of National Taiwan University. As a academically gifted student, he was accepted into Taipei National Language School. Inspired by Japanese watercolor painter Ishikawa Kinichiro, who was teaching there at the time, Ni set his mind on studying watercolor, later founding Taiwan Painting Institute to cultivate future artists. In 1913, Ni taught in Nuannuan but later left his post to work in the sales of charcoal and as a coal mine contractor. Despite working in the mining industry, Ni’s heart stayed with art, creating watercolor works whenever he had leisure. His works comprise mainly of landscape sketches, painted in places across Taiwan, from the mines of north Taiwan in Ruifang, Jinshan, and Xizhi to south Taiwan. These works captured Taiwanese scenery from the 1920s to the 30s and have become valuable cultural assets.
洪瑞麟
Hung Rui-lin
1912-1996
1912年生於大稻埕，幼時曾入稻垣藤兵衛創立的稻江義塾，於此受人道主義啟蒙。他在臺灣繪畫研究所接受石川欽一郎指導，開始西洋畫訓練，並結識倪蔣懷、陳植棋等前輩；後赴日本帝國美術學校求學，期間取材臺灣風土特色的風景與人物，多次入選「臺展」與「府展」。1938年應倪蔣懷之邀至瑞芳二坑（後稱懷山煤礦）工作，30多年的礦工生涯留下大量速寫，混雜汗水與煤屑，洪瑞麟以遒勁的筆觸速寫夥伴們肢體勞動的美感，勾勒礦坑中「陽光照射不到」的真實人性光輝，開啟臺灣美術史礦工題材新頁。
Born in Dadaocheng in 1912, Hong Rui-lin went to Inae Gijuku, a school founded by Inagaki Tobei, as a child. There, he was enlightened by humanism. At Taiwan Painting Institute, he was trained under Ishikawa Kinichiro, studying Western painting. This is also where he met Ni Jiang-huai, Chen Chih-Chi, and other senior painters. Later, he studied at the Imperial Art School in Japan, during which time he used Taiwanese scenery and people as his subjects and made official selection at Taiwan Art Exhibition and Taiwan Government-General Art Exhibition multiple times. In 1938, he was invited by Ni Jiang-huai to work at Tunnel 2, Ruifang (later known as Huaishan Mines). More than three decades as a miner resulted in a large number of sketches, mixed with sweat and coal dust. Hong’s energetic brush strokes captured the beauty in the labor of his colleagues, portraying the light of humanity in the mines, where the sun does not shine, thus opening a new chapter in Taiwan’s art history with the subject of miners.
蔣瑞坑
Chiang Jui-keng
1922-2007
1922年生於瑞芳，是倪蔣懷的侄兒，因對美術的喜愛與執著，在困窘的經濟條件下，仍毅然赴日就讀川端畫學校西畫科。返臺後投入礦廠工作，期間為了作畫實際下坑挖礦，體驗礦工的工作處境，再形之於作品，因而被稱為「礦工畫家」。他用素描本與畫筆，記錄40年來共同搏命工作的礦友們，為臺灣礦工做了最真實的寫照與珍貴紀錄。他的畫風色彩奔放自如，以簡潔有力的黑色線條，大膽構成正揮汗如雨的礦工肢體動態，粗獷有力中猶見細膩之表現，即興小品韻味十足，筆趣橫生。
Chiang Jui-keng was the nephew of Ni Jiang-huai, born in 1922 in Ruifang. With passion and obsession with art, he went to Kawabata Painting School in Japan to study Western painting, despite his desperate economic background. After returning to Taiwan, he began working in the mining industry. To research for his paintings, he physically worked in the mines to experience the life of a miner, which he captured with his art, earning himself the title of “miner painter.” His sketch book and his paint brushes recorded four decades of the lives of his devoted fellow miners, offering the most true-to-life and valuable reflections on Taiwan’s mining community. His style features unrestrained colors. His simple yet powerful black lines boldly compose the body and movement of miners hard at work. In the ruggedness, we find rich subtlety and spontaneity.
陳博文
Chen Bo-wen
1943-2005
早年從事電影、電視美術指導以及室內設計的陳博文（1943～2005），已於業界大放異彩，然而直到中年，他轉以繪畫為職志，專心投入油畫創作。無論是陳博文的繪畫作品或隨筆文字，均顯示鄉土民情始終是他最關懷的，並認為唯有熟悉土地與人民，才能產生最細膩的觀察與深厚的情感。他四處寫生、與當地人們建立良好互動，將長期深入觀察的地方風情與所體會的人生樣態呈現於筆端。未料陳博文因胃癌逝世，而結束短短15年的創作生涯。他遺留不少品質佳卻鮮少公開的畫作，值得進一步整理與研究。
Working in art direction for TV and film as well as interior design in his early years, Chen Bo-wen had made a name for himself. Yet it was not until his middle-age years that he turned to the life as a painter, pouring himself into oil painting. From his paintings to his writings, his works demonstrate that the local culture is his true passion. He believed that only by becoming familiar with the land and the people can one achieve the keenest observation and form the strongest bond. By painting on location across the land, he bonded with the local people. The local scenery that he keenly observed over the years and the lives of the people that he came to know can be felt through his brush strokes. Unfortunately, his artistic career ended prematurely at 15 years, dying from stomach cancer. He left behind numerous high-quality yet rarely seen works that deserve further appreciation and research.