In the 1950s, Lin continued to photograph the customs of the indigenous in central Taiwan. Apart from the trend of the times in the photography circle, Lin Chuan-tsu’s attention to the indigenous was also influenced by his father. Around 1915, Lin Tsao was assigned to Wushe by the officials as a “photography ambassador to the Central State Department” to photograph the Japanese governor on an inspection tour of the indigenous people. At that time, residents on flatland and the indigenous had limited interactions, and thus lacked understandings of each other, even holding fear and illusions. After returning home, Lin Tsao often talked to his family about the experience of in-depth observation and shooting of the indigenous lives, and found that they are innocent and amiable, as well as having a unique sense of beauty and customs. Lin Chuan-tsu, who always had an admiration for his father, naturally felt stronger connection with the indigenous through the photos and oral depiction of Lin Tsao.
In Father and Son Bathing with a White Dog, the soft pool is surrounded by hard rocks and trees, a scene fully demonstrating the warm affection between the father and son. Full of smiles, the father is facing the camera as he concentrates on assisting the younger son take a bath. With his big hand tending to the child’s face, the protection of love is beyond words. The other child naturally approaches, watching the family interaction. The white dog on the right also seems to be immersed with the leisurely and relaxed atmosphere, and took a nap with his eyes closed. The work also reflects the down-to-earth customs of the indigenous and their mentality of living in harmony with nature.
What is rare is that Lin held a “bystander” attitude, quietly waiting, watching and guarding in a way not disturbing the photographed while capturing the state of nature.
Sun Wei-xuan, “2021 Compilation and Research Project of Metadata in Photography.”