時間 2019/05/25 12:00 ~ 2019/10/13 17:00
《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.
The Artist Introdution of Formosa Evergreen Scroll
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.
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”.
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.
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.
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.
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.
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.
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.
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.
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.
(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
「寶島長春」特展 - 環景拍攝
Formosa Evergreen Scroll
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。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，1982，241 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)