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「寶島長春」特展

「寶島長春」特展
「寶島長春」特展
黃君璧、張大千等,《寶島長春圖卷》局部-張大千題字落款、北海岸礁石,水墨、彩、絹,1982,241 x 6571 cm,國立歷史博物館藏。
黃君璧、張大千等,《寶島長春圖卷》局部-張大千題字落款、北海岸礁石,水墨、彩、絹,1982,241 x 6571 cm,國立歷史博物館藏。
黃君璧、張大千等,《寶島長春圖卷》局部-嘉南平原、臺南市,水墨、彩、絹,1982,241 x 6571 cm,國立歷史博物館藏。
黃君璧、張大千等,《寶島長春圖卷》局部-嘉南平原、臺南市,水墨、彩、絹,1982,241 x 6571 cm,國立歷史博物館藏。
《臺灣聲音地圖 - 編輯版 寶島長春圖》
《臺灣聲音地圖 - 編輯版 寶島長春圖》
「寶島長春」特展展間照
「寶島長春」特展展間照
「寶島長春」特展展間照
「寶島長春」特展展間照
「蒼山翠波」創作體驗工作坊展示區
「蒼山翠波」創作體驗工作坊展示區
「蒼山翠波」創作體驗工作坊展示區
「蒼山翠波」創作體驗工作坊展示區
山水大挪移 - 光影互動區
山水大挪移 - 光影互動區
GIft Shop
GIft Shop

名稱 「寶島長春」特展

類型 展覽 類型檢索

時間 2019/05/25 12:00 ~ 2019/10/13 17:00 時間檢索

地點 1館2樓展覽室E、1館2樓展覽室F、1館2樓展覽室G、1館2樓展覽室H 地點檢索

  • 臺灣在歷經不同政權的統治下產生多元文化並陳的社會型態,臺灣藝術也因此有了獨特且豐富的樣貌。臺南市美術館肩負著以當代的眼光梳理臺灣藝術史的角色,以「建構臺灣美術史」作本館使命。為此,本館積極強化藝術資源之發掘與整合,特於2018年與國立歷史博物館簽署合作意向書,同時宣布國立歷史博物館館藏《寶島長春圖卷》將於2019年公開展示的消息。

     

    《寶島長春圖卷》是為慶祝中華民國建國70周年,由國立歷史博物館前館長何浩天發起,邀集國內名家黃君璧、張大千、張穀年、胡克敏、李奇茂、范伯洪、羅芳、蘇峰男、羅振賢、蔡友等十位水墨畫家,合力創作之《寶島長春圖卷》,以巨型橫幅長卷呈現臺灣壯麗山川、現代建設及風土民情。1982年畫作完成,曾於國內展出,並至韓國、馬來西亞、比利時等國巡迴展出。

     

    手卷或者長卷為東方美術的特殊表現形式。將空間性的一次性表現,藉由卷軸的移動,或者身體的位移,使得畫面上的空間轉化為時間性變動。此幅作品長達66公尺,規模之大實傳統水墨畫所罕見。不只如此,此幅作品集結當時台灣老一輩畫家與中壯輩畫家之藝術表現於一爐,透過展覽,將文化、歷史、生活、城市風貌以視覺語言呈現,親近感人。今日展圖,按圖索驥,追想昔日自然與人文原貌,數百里之遙縮為一體,人文薈萃躍然紙上,天工妙筆,共成一代篇章。

     

    《寶島長春圖卷》曾於1983年新春於臺南市體育館(為本館2館現址前身)展出。睽違36年後,此一水墨鉅作再次呈現於國人面前。歲月滄桑,同年臺北市立美術館方才成立,今日南美館已經巍峨在前。今者,大千與君翁等數人皆已遷化,餘者今享天壽,或達天命之年。幸而筆墨遺澤猶在,撫今追昔,山河依然多姿動人。 

     

     Formosa Evergreen is a special exhibition co-organized by the Tainan Art Museum and the National Museum of History to celebrate the inauguration of the Tainan Art Museum. Formosa Evergreen Scroll is the longest collectively created scroll (near 66 meters) in Taiwan. With natural and cultural landscapes in Taiwan depicted on the scroll, it is considered by some to be Taiwan’s landscape version of Along the River During the Qingming Festival.

     

    In the year 1981, Ho Hao-Tien, the then director of the National Museum of History, and consultant Yao Meng-Ku proposed the idea of creating a large-scale landscape paiting to showcase Taiwan’s majestic landscapes, modern developments, folk customs and traditions. The following ten renowned ink wash painters across different generations whom were based in Taiwan at that time were then invited to work on the project: Huang Jun-Bi, Zhang Da-Qian, Zhang Gu-Nian, Hu Ke-Min, Li Chi-Mao, Fan Bo-Hong, Lo Fong, Su Fong-Nan, Lo Cheng-Hsien, and Tsai You. They traveled around Taiwan for landscape sketching and also referenced aerial photographs obtained with special permission from the military. The artists then took on different sections on the scroll and collectively completed Formosa Evergreen scroll. The scroll was exhibited abroad after its completion, which included Japan, Korea, Malaysia, Europe, and Hong Kong, and was also shown domestically in cities of Taiwan, including Hsinchu, Tainan, Kaohsiung, and Penghu, generating great acclaims.

     

    This oversized scroll painting with a multi-perspective composition that links different features together from various places in Taiwan. Temporal and spatial components are fused together in its multiple layers and crisscrossed sections, and the artwork seems to transport its viewers on a journey traveling through the places depicted. Its grand scale projects a sense of majestic vastness and grandeur, which enhances the painting’s imposingness and appeal. Both abstract ink wash painting and figurative sketching techniques are applied, with settlements vaguely nestled in the rolling peaks. The mountains are towering and intense, which are draped with clouds, and in the valleys are clusters of houses, which are filled with liveliness and vitality. Magnificent seashores and crashing waves are depicted at the beginning and the end of the scroll, with rocks and cliffs in peculiar shapes extending into golden paddies and fields, and farmers and cattle carts are spotted within. Modern infrastructures are seen scattered throughout the island’s rolling topography, adding to the entire scroll’s richness and extraordinary appeal. Viewers are able to appreciate the beauty of the landscapes depicted and admire its exquisite ink techniques and color applications; furthermore, it also offers a window into the past, allowing the viewers to revisit and remember the hard work that our predecessors had put in to cultivate this land.

     

    Although closed for renovation, the National Museum of History’s mission to serve still continues, and by collaborating with the Tainan Art Museum in organizing this exhibition, an opportunity is created for the artwork’s artistic quality and historical significance to be appreciated in a new and modern art museum. Moreover, this exhibition also includes archives, a reproduction of Formosa Evergreen Scroll with landmark identification, a sound installation, and unique cultural features under a multisensory display. The objective is to create an experience that evoke intimate connections between the audience and this grand-scale long scroll painting. By exhibiting this ink masterpiece of epochal significance in Tainan, a city with a profound history and a rich cultural foundation, it is anticipated for unique features of art inspired by Taiwanese traditions and customs to be vividly conveyed. 

     

  • 《寶島長春圖卷》藝術家簡介

    The Artist Introdution of Formosa Evergreen Scroll

     

    0765 0011

     

    張大千(1899-1983)
    原名張正權,又名爰,字季爰,號大千,四川內江人。自幼習畫,又受日本繪畫與織染工藝影響。筆墨經營老練、善仿畫、好交遊。長期旅居歐美,至1977年定居臺灣。其畫學基礎根植傳統,早年喜四僧風格,中年赴敦煌臨摹唐宋壁畫,畫風蛻變,轉而工緻穠麗。後於西方接觸超現實主義,開創高度抽象的潑墨潑彩畫法,為具現代感的中國繪畫開啟了世界的知名度。

    Zhang Da-Qian (1899-1983)

    Born in Neijiang City in Sichuan Province of China, Zhang Da-Qian was born Zhang Zheng-Quan, and others also called him Zhang Yuan or Zhang Ji Yuan. He began learning the art of painting as a young child and was influenced by Japanese painting and textile weaving and dyeing. Zhang was a sociable man, and he demonstrated matured expertise with ink and showed exceptional skills for replicating paintings. After living in Europe and the United States for extended periods of time, he settled in Taiwan in 1977. Zhang’s painting techniques were deeply rooted in tradition, and in his earlier years, he was quite fond of the painting styles of the Four Monks. In his middle age, he traveled to Dunhuang and painstakingly created copies of the Tang and Song dynasties murals in the area. His artistic style then began to transform, taking on more refined and vivid qualities. He was exposed to surrealism in the West and developed the highly abstract techniques of splash-ink and splash-color, which led the way in introducing the genre of modern Chinese painting to the world.

     

    黃君璧1

     

    黃君璧(1898-1991)

    原名韞之,號君璧,受幼時家中古玩字畫啟蒙,後拜李瑤屏為師。創作上以山水負盛名,偏愛「白雲飛瀑」,獨創「倒人字形」、「抖動搖擺形」等法,以傳達瀑布飛動奔騰之視覺效果。畫瀑之水流湍湍,聽似有聲;畫雲則雲隨風動。論者謂其作品早期清麗逸秀、中期蒼健、晚期雄渾。與張大千、溥心畬並稱為「渡海三家」。

     

    Huang Jun-Bi (1898-1991)
    Huang Jun-Bi was born Huang Yun-Chih. He was first inspired by antique Chinese calligraphies and paintings in his childhood home, and he was later under the tutelage of Li Yao-Ping. Known for his landscape paintings, Huang had a special fondness for depicting “white clouds and flying waterfalls” and developed special techniques with pointy brushwork and trembling, shaking painting techniques, which he used to convey the powerful movements of waterfalls. His depictions of waterfalls appear so vivid that sounds of water falling seem to be heard from the paintings, and wind seems to be blowing and moving the clouds. His earlier works are sophisticated and graceful, and the paintings from the middle stage of his career are more matured and vigorous; his later works are, on the other hand, majestic and powerful. Together with Zhang Da-Qian and Pu Xin-Yu, the three are referred to as “The Three Masters Crossing The Sea”.

     

    張穀年1

     

    張榖年(1905-1987)

    初名茀,號懷椿,江蘇武進人。自幼隨馮超然習畫,遍臨各家,奠立深厚國學基礎,尤擅王石谷筆墨畫法。曾於上海鬻畫,後投入公職,隨政府工作遷移,歷覽各地名勝,創作不輟。渡臺後強調寫生,以嶄新的技法來描繪臺灣的自然景觀,為「七友畫會」成員之一。

    Zhang Gu-Nian (1905-1987)

    Born in Wujin of Jiangsu Province, China, Zhang Gu-Nian was born Zhang Fu, and others also called him Zhang Huai-Chun. He began painting under the tutelage of Feng Chao-Ran as a child and had meticulously studied a wide range of styles and works by art masters, especially the calligraphic works and ink paintings by Wang Shi-Gu. The training allowed Zhang to attain a solid foundation for Chinese painting, and he worked as a painter in Shanghai before taking on a job in the public sector. Having to relocate to different places to serve his public duties, Huang was able to travel to different renowned destinations and landmarks, and he also continued to make art during this time. He focused on making outdoor ink sketches after retreating to Taiwan, with innovative techniques applied to depict the natural landscapes in Taiwan. Zhang was a member of the Seven Friends Painting Society.

    胡克敏1

     

    胡克敏(1908-1991)

    別署漾碧軒主。生於江蘇武進。1926年入上海美術專科學校國畫系習畫,受蔡元培所倡「引西潤中」觀念影響,從素描、水彩、油畫等西洋技法入手,並深研書法、水墨與勾勒。其作品範圍極廣,筆墨蒼渾秀雅,以花鳥畫最著。於畫藝之外,亦精研畫理、畫論。

    Hu Ke-Min (1908-1991)
    Born in Wujin of Jiangsu Province, China, Hu Ke-Min also went by the title, Master of Yangpi Pavilion. He studied Chinese painting at the Shanghai Academy of Fine Arts, and was influenced by the concept of “incorporating Western techniques to enhance Chinese art”, a philosophy advocated by Tsai Yuan-Pei. Hu utilized Western techniques of sketching, watercolor, and oil painting, and also engaged in in-depth studies of Chinese calligraphy, ink painting, and outlining techniques. Hu’s oeuvre is quite diverse in range, and demonstrates matured and elegant ink brushwork. Best known for his floral and bird paintings, he was also an expert on theories of painting in addition to being a master painter.

     

    NMH 02 2018年李奇茂先生於淡水住家頂樓接受寶島長春訪問1

     

    李奇茂(1925-2019)

    安徽省渦陽縣人,於家鄉曾與陸化石習畫;來臺後師事政工幹校梁鼎銘昆仲。畢業後留校任教,後轉任國立藝專教授,創作題材廣闊,以人物創作為主軸。1971年受國立歷史博物館特約,創作百幅「國父畫傳」及先賢先烈「史蹟」系列作品,奠定其代表性的水墨人物風格。

    Li Chi-Mao (1925-)
    Born in Guoyang County of Anhui Province, China, Li Chi-Mao learned painting under the tutelage of Lu Hua-Shieh in his hometown, and after retreating to Taiwan, he was trained by Liang Ding-Ming at the Political Staff School. Li taught at the school after he graduated and then transferred to teach at the National Taiwan Academy of Arts. He painted a wide range of subject matters, but his core focus was on portraiture. Commissioned by the National Museum of History in 1971, Li painted a hundred paintings for the series “A Pictorial Biography of Sun Yat-Sen” and “Historical Sites” depicting sages and martyrs. The paintings led to him being known for his iconic ink portrait style.

     

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    范伯洪(1937-1998)

    湖南長沙人,字北鴻,擅水墨,曾師大風堂畫法,以自然為師,自傳統中另覓蹊徑,多寫生、造意及詩詞意境之表達,風格清新雅逸。作品獲省展獎項多次,以及全國美展金尊獎、中國文藝協會國畫獎章、中國畫學會金爵章等。

    Fan Bo-Hong (1937-1998)
    Born in Changsha of Hunan Province, China, Fan Bo-Hong also went by the courtesy name, Pei Hung. He specializes in Chinese ink painting, and was trained in the style of the Dafengtang School of Painting. Inspired by nature, Fan’s approach stemmed from tradition but was innovative and different. With a refreshing and graceful style, he predominately created ink sketches and used art to convey ideas and poetic expressions. Li was recognized with several distinctions, including several awards in the Taiwan Provincial Fine Arts Exhibition; gold prize in the National Art Exhibition, R.O.C.; the Chinese Literary Award; and gold medal in the Art Society of China.

     

    NMH 07 2018年羅芳老師在工作室接受寶島長春訪問1

     

    羅芳(1937-)

    生於湖南長沙。國立臺灣師範大學美術系,師事黃君璧、溥心畬、廖繼春等大家,畢業後留校任教長40餘年。長年鑽研藝術及哲學理論,融合傳統與現代的美學概念,兼容中西,畫風氣勢渾厚。為「十秀畫會」一員,著有《中國的繪畫》及《中國山水畫法及演變》等。

    Lo Fong (1937-)
    Born in Changsha of Hunan Province, China, Lo Fong studied art at the National Taiwan Normal University under the tutelage of art masters such as Huang Jun-Bi, Pu Xin-Yu, and Liao Chi-Chun. After he graduated, she later served as the university’s principal for over four decades. Lo has studied art and philosophy extensively, and his powerful and robust style of painting combines Chinese and Western elements and integrates traditional and modern aesthetic concepts. A member of the Shihhsiu Painting Association, Lo is also the author of Chinese Paintings and The Techniques and Evolution of Chinese Landscape Painting.

     

    蘇峰男1

     

    蘇峰男(1943-)

    生於臺北縣。美國舊金山藝術大學研究所美術碩士M.F.A。
    師承傅狷夫,於美術教育之餘,沉浸水墨創作40餘載,頗得傅派真傳。作品設色鮮明、生動活潑,獨具特色。作品廣為國內外美術館、博物館、大學機構典藏。曾多次獲北市、全省、全國美展等首獎,及中山文藝創作獎。

    Su Fong-Nan (1943-)
    Born in Taipei County, Su Fong-Nan holds a Master of Fine Arts degree from Academy of Art University in San Francisco, U.S. He was under the tutelage of Fu Chuan-Fu, and in addition to his dedication in art education, he has also been creating ink paintings for over 40 years, passing on the legacy of his mentor’s iconic Fu style of painting. Su’s unique paintings are known for their vibrant colors and vivid and lively depictions, with several collected by museum and educational institutions in Taiwan and abroad. A recipient of many distinctions, Su has won first place in the Taipei Art Exhibition; Taiwan Provincial Fine Arts Exhibition; and the National Art Exhibition, R.O.C., and he has also been awarded with the Sun Yat-Sen Award for Arts and Literature.

     

    NMH 05 2018年羅振賢老師在史博館一樓接受寶島春與台灣八景訪問

     

    羅振賢(1946-)

    生於雲林縣,美國Fontbonne University美術研究所藝術暨美術碩士,長年任教之餘,全力投入水墨的研究與創作。受傅派水墨寫生觀念影響,慣以筆墨暢敍自然之情,創作豐碩且著作等身。曾獲全國美展第一名,並曾榮頒中山文藝創作獎、國家文藝獎特別獎。

    Lo Cheng-Hsien (1946-)
    Born in Yunlin County, Lo Cheng-Hsien holds a Master of Fine Arts degree from Fontbonne University in the U.S. Worked as a teacher for many years, Lo is also highly devoted in the research and the making of Chinese ink paintings. Influenced by the Fu style of ink sketch, he is known for using fluid brushwork to express nature, and in addition to a prolific oeuvre, he has also published many books as well. He is also a first place winner of the National Art Exhibition, R.O.C., and a recipient of the Sun Yat-Sen Award for Arts and Literature, and the Nation Cultural Award of R.O.C.

     

    蔡友

     

    蔡友(1947-)

    字樂山,生於南投縣。日本筑波大學藝術碩士。專研水墨,年輕時即開始作畫,對繪畫持之以恆。創作題材平易近人,既有中國傳統韻味,又能緊扣家鄉風土。曾獲全臺美術展第一名、中國文藝獎章等。

    Tsai You (1947-)
    Born in Nantou County, Tsai You also goes by the courtesy name, Le Shan, and he holds a Master of Fine Arts degree from the University of Tsukuba in Japan. An expert of ink painting, Tsai began studying the art of painting at a young age and has remained dedicated to the art form. He is known for his depictions of approachable, everyday subject matters, and his artworks exude a rich traditional Chinese appeal but are also closely connected to homeland and folkloric sentiments. He is a first place winner of the Taiwan Fine Art Exhibition and a recipient of the Chinese Literary Award.

     

    臺灣聲音地圖計畫  編輯版-寶島長春圖

    article-5b88efa0cc531

    吳燦政
    (1973 -) 
    雲林 ‧臺灣

     「聲音具有一種隱性潛伏流動的力量,它能激發甚至構成空間與事件,也是個人內心生活與情感以及世界的思維和意識的基本組成部份。透過聲音想像一個地方的曾經與記憶,聲音像是觸發器,點引出記憶的再度降臨與想像的距離與差異。依據《寶島長春圖卷》圖本身特定的地點與場景,採集收錄與整理重新編輯,現下的時空與過往時間的對應,多重時空環境的轉變,聲音的編輯不會只是再現,而是嘗試對應聲音與圖像本身的想像距離與差異,並開展出另一條我們對歷史時空及環境的思考。‬‬‬‬‬
    試著以目前及重新採集而成的聲音資料庫,分成三大區域的台灣,並編輯三個區域環境的聲響,形塑生活在台灣過往逝去的聲音與未來的記憶。」

     

    Wu Tsan-Cheng
    (1973 - )

    Born in Yunlin County.

    “Sound possesses an energy that is hidden, latent, and itinerant. It can activate or even construct spaces and occurrences, and it is also an essential part of a person’s inner being and emotions, and a fundamental constituent for how the world is considered and perceived. Sound can be used to evoke memories for a particular place, and it acts like a trigger that could point out the gaps and differences between resurfaced memories and imagination. Sounds are recorded at specific locations and settings depicted in Formosa Evergreen Scroll, which are then organized and edited to form a contrast between the present and the past, with multilayered temporal and spatially shifts and changes experienced. The sounds are not edited to merely create a representation, but attempts are made for the gaps and differences between the sounds and the visual image to correspond with one another and to open up an alternative way to think about historical space-times and our environment. By dividing Taiwan into three major regions and categorizing the existing sounds and newly collected sounds on a sound databank according to these three regions, sounds from the past that have disappeared from Taiwan and imprints for the future are molded and shaped.”

     

     

  • 臺南市美術館:林育淳、蕭楷競  |   國立歷史博物館:蔡耀慶、陳奕安

    Tainan Art Museum: Lin Yu-Chun, Hsiao Kai-Ching |   National Museum of History:Tsai Yao-Ching, Chen Yi-An

  • 《戴忠仁的國寶檔案》 -- 寶島長春特集
    https://www.youtube.com/watch?v=LYJ7zAwSBiM&t=187s

     

    「寶島長春」特展 - 環景拍攝

    https://vr360.nmh.gov.tw/FormosaEvergreen/

     

     

    《寶島長春圖卷》

    Formosa Evergreen Scroll

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    圖片一:黃君璧、張大千等,《寶島長春圖卷》局部-張大千題字落款、北海岸礁石,水墨、彩、絹,1982241 x 6571 cm,國立歷史博物館藏。

     

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    圖片二:黃君璧、張大千等,《寶島長春圖卷》局部-嘉南平原、臺南市,水墨、彩、絹,1982241 x 6571 cm,國立歷史博物館藏。
     
     

    《臺灣聲音地圖計畫 編輯版-寶島長春圖》

    Taiwan Sound Map Project: Formosa Evergreen Scroll

    Sound Installation (Mac mini, monitor headphones)

    臺灣聲音地圖計畫