內容簡介

 

《南美學》（The Journal of Tainan Aesthetics）為整合本館學術刊物能量，於2025年合併原本館中文學刊《南美館學刊》與英文學刊《亞洲藝術與美學》（The Journal of Asian Arts & Aesthetics）之全新刊物，希望以更豐富的內容來引發對臺南美術脈動的積極討論。期望未來能更加深化對亞洲及國際當代藝術趨勢的關注，吸引更多國際研究者、藝術家與策展人共同參與，邀請藝術研究、策展田野以及文化對話，積極推動跨領域、跨學科的深度交流。

 

《南美學》創刊號「記憶重構術」主編序

龔卓軍 (臺南市美術館館長)

 

 

《南美學》(The Journal of Tainan Aesthetics)為整合本館學術刊物能量，整合原本館中文學刊《南美館學刊》與英文學刊《亞洲藝術與美學期刊》（Journal of Asian Arts & Aesthetics）之全新刊物，除原本專題企畫的「學術論文」與「技術性研究報告」欄位，為更靈活地回應美術館活躍的展演事件，未來也因此將擴增「藝術評論」、「策展紀要」等內容欄位，希望以更豐富的內容來引發對臺南美術脈動的積極討論。

 

過去中文學刊《南美館學刊》(共5期)自2020年創刊以來，致力於臺南美學的發掘與研究，並藉此促進臺南美術的學術能量。《南美館學刊》已發行的五期專題涵蓋：「微地誌：明末清初臺灣美術」、「藝術與建築的彩繪」、「建築與博物館活化」、「影像的未來」以及「臺南400流變：空間、遺產與藝術」，這些討論不僅針對臺南獨特的文化風貌進行深入剖析，也促進研究與學術交流，成為跨領域對話與知識整合的平臺，更接手「亞洲藝術學會」(The Asia Society of Arts) 編務，至今已發行至第10期。該期刊邀請國內外學者擔任客座主編，專題涵蓋「凝視亞洲藝術」、「亞洲女性藝術家」、「向死而生—從死亡圖像重新思索生命」以及「現代中的傳統」等，內容涉獵美學、藝術研究、藝術史、考古學、建築、雕塑、素描、音樂、文物保存與文化創意等領域。期刊秉持開放、多元、國際化的精神，為亞洲藝術的對話與交流提供了重要的平臺。

 

《南美學》創刊號由2025年4月出任館長的我擔任主編，創刊號以「記憶重構術」為主題，共收錄三篇文章，希望更敏銳地透過學術論文與展覽評論來回應本館「錯中錯‧連環夢：陳春祿攝影典藏研究展」的重要性及延伸效應之外，也持續關心重要的臺南文史研究議題，如本期的「大正公園」(鄰近本館一館的圓環「湯德章公園」)，湯德章公園圓環位於臺南市區的核心地帶，為臺南市市區道路改正之核心，舊稱「七條通」：花園町通(公園路)、大正町通(中山路)、清水町通(青年路)、開山町通(開山路)、幸町通(南門路)、末廣町通(湯德章大道)、錦町通(民生路)共七條道路，猶如都市心臟般，吸吐著都市文化與歷史的層疊複寫痕跡，藉由城市的事件推力，吸吐能量，往不同的方向形構成動態網絡。以下三篇文章概述如下：

 

呂筱渝的〈陳春祿《收藏童年系列》—戰後嬰兒潮世代之臺灣記憶〉，分析「戰後嬰兒潮」世代的陳春祿，如何以童年記憶為核心，結合1960年代以降臺灣的生活經驗、民俗信仰、流行文化與政治局勢等「集體記憶」創作《收藏童年》系列，援引藝術史與心理學，闡釋其符號化影像所蘊含的意義提出《收藏童年》不僅重構陳春祿與同代人的童年經驗，也承載著大時代的記憶與文化風貌，並賦予影像寓意，使個人記憶與集體歷史在藝術中交會。

 

王冠鈞的〈日治時期臺南大正公園空間上的建構與其公共性〉，分析日治時期臺南大正公園不僅整合街道交通，作為市區的核心節點，表現殖民政府的現代化願景。大正公園的開闢不僅改變了城市空間，提供寬廣明亮的公共場域與現代化設施，也讓居民逐漸建立公共空間的使用概念。隨著人們的聚會、遊憩與生活痕跡，隨著白色恐怖的記憶痕跡，公園成為城市蛻變的象徵，承載著百年來的歷史記憶與社會文化。

 

王雅倫的〈一個人的武林—觀陳春祿開天、冥想、超凡的造相世界〉則是對本館「錯中錯‧連環夢：陳春祿攝影典藏研究展」的專業評論，提出本館自2013年至2024年間，陸續典藏陳春祿的攝影作品而成為全國典藏陳春祿作品最完整的館舍。陳春祿的創作不僅足以代表攝影技術如何從銀鹽到數位的轉型發展，也可從其美學內涵洞察此一視覺藝術足以擺脫「機器之眼」忠實再現現實的功能，轉而成為形構人性、記憶與歷史，蘊含著各種思想、主題和時空的複合體，而這正是陳春祿「錯中錯‧連環夢」展覽所帶來的啟示。

 

以《南美學》為名，整合《南美館學刊》與《亞洲藝術與美學期刊》兩本學術刊物的能量，南美館期望未來能更加深化對亞洲及全球藝術趨勢的關注，吸引更多國際學者與藝術家參與，邀請藝術研究、田野探索以及文化對話，積極推動跨文化、跨學科的深度交流。

 

 

《南美學》創刊號 目錄

學術論文

呂筱渝｜陳春祿《收藏童年系列》—戰後嬰兒潮世代之臺灣記憶的重構

 

王冠鈞｜日治時期臺南大正公園空間上的建構與其公共性

 

展覽藝評

 

王雅倫｜一個人的武林—觀陳春祿開天、冥想、超凡的造相世界

 

下載全文請至：華藝線上數位圖書館 www.airitilibrary.com 

 

 

 《南美學》稿約下載：pdf.pdf

Editor-in-Chief 's Note for the Inaugural Issue of The Journal of Tainan Aesthetics

Jow-Jiun Gong ( Director, Tainan Art Museum )

 

 

 

We launch The Journal of Tainan Aesthetics—a single platform that brings together the museum's journals in Chinese and English—Tainan Art Museum Journal and Journal of Asian Arts & Aesthetics. In addition to the existing sections for Research Articles and Technical Notes, future issues will introduce Art Criticism and Curatorial Reports, enabling a more agile response to the museum’s active program of exhibitions and events and inviting dynamic discussion of artistic currents in Tainan.

 

Since its launch in 2020, the Chinese-language Tainan Art Museum Journal (five issues to date) has been dedicated to uncovering and studying aesthetics in Tainan, supporting the city’s scholarly ecosystem in the arts. Its five themed issues have explored “Micro-Topography: Taiwanese Art in Late Ming and Early Qing Period,”“The Crossover of Art and Architecture,”“Architecture and Museum Revitalization,”“The Future of Image Development,” and “Transformation of Tainan 400: Space, Heritage, and Art.” These discussions not only examine the city's distinctive cultural landscape in depth but also foster research and academic exchange, forming a platform for cross-disciplinary dialogue and knowledge integration. The editorial office has also undertaken the English-language Journal of Asian Arts & Aesthetics, published in collaboration with The Asia Society of Arts, and has brought it to its tenth issue. The journal invites guest editors from Taiwan and abroad and has featured themes such as “Gaze Into Asian Art,”“Asian Women Artists,” “Reconsidering Life through Images of Death” and “Tradition in the Modern,” with contributions ranging across aesthetics, art studies, art history, archaeology, architecture, sculpture, drawing, music, conservation, and cultural creativity. Upholding openness, diversity, and internationalism, it provides a vital forum for dialogue and exchange in Asian art.

 

As museum director since April 2025, I serve as chief editor of this inaugural issue of The Journal of Tainan Aesthetics. Framed by the theme “The Technique of Memory Reconstruction,” the issue brings together three essays. Through research articles and exhibition criticism, the issue responds to the significance and afterlives of the museum’s research exhibition Labyrinth of Time: The Research Exhibition of CHEN Chun-Lu’s Photography Collection, while continuing our engagement with key questions in the study of history and culture in Tainan—including this issue’s focus on “Taisho Park”, the roundabout beside Gallery 1—today Tang Te-chang Memorial Park. Situated at the urban core, the roundabout once anchored the city’s early-twentieth-century street realignment and was known for the “Seven Thoroughfares”: Hanazono-chō-dōri (Gongyuan Road), Taishō-chō-dōri (Zhongshan Road), Shimizu-chō-dōri (Qingnian Road), Kaizan-chō-dōri (Kaishan Road), Saiwai-chō-dōri (Nanmen Road), Suehiro-chō-dōri (Tang Te-chang Boulevard), and Nishiki-chō-dōri (Minsheng Road). Like the city’s beating heart, it has breathed layers of culture and history; propelled by urban events, its energies branch outward to shape a dynamic network. The three essays are outlined below.

 

In “CHEN Chun-Lu’s Childhood Collected Series: Reconstructing Memories of Postwar Taiwan’s Baby Boomer Generation,” Hsiao-Yu Lu traces how CHEN Chun-Lu, as a member of the postwar baby-boomer generation, centers his practice on childhood memory, interweaving Taiwan’s post-1960s lived experience—folk beliefs, popular culture, and shifting political conditions—and develops his Childhood Collected series as an inquiry into “collective memory.” Lu draws on art history and psychology to unpack the symbolic charge of these staged images, arguing that Childhood Collected not only reconstructs the childhoods of the artist and his cohort but also registers a larger historical moment, lending the images an allegorical resonance where personal memory meets collective history.

 

In “The Spatial Construction and Publicness of Tainan Taishou Park during the Japanese Colonial Period,” Kuan-Chun Wang shows how, under Japanese rule, Taishou Park not only integrated street traffic and functioned as a central urban node but also embodied the colonial authorities’ modernizing vision. The establishment of the park reshaped the urban fabric, providing spacious, sunlit public grounds and modern amenities while gradually cultivating habits of public-space use among residents. As gatherings, leisure, and everyday traces accumulated—and as memories of the White Terror later settled over the site—the park came to symbolize urban transformation, bearing a century of historical memory and social culture.

 

In “A Martial World of One—Exhibit Commentary on CHEN Chun-Lu’s Image-Making: Creation, meditation, and Transcendence,” Ya-Lun Wang offers a critical reading of the museum’s research exhibition Labyrinth of Time: The Research Exhibition of CHEN Chun-Lu’s Photography Collection, noting that between 2013 and 2024 the museum assembled the most complete public holdings of CHEN’s photographs in Taiwan. He argues that CHEN’s practice not only exemplifies the medium’s shift from silver-halide processes to digital imaging but, in its aesthetic reach, also shows how photography can move beyond the “mechanical eye” of faithful representation to become a medium for shaping humanity, memory, and history—a composite of ideas, themes, and spacetime. In Wang’s account, this is the exhibition’s central insight.

 

With The Journal of Tainan Aesthetics uniting the strengths of Tainan Art Museum Journal and Journal of Asian Arts & Aesthetics, we look to deepen our engagement with artistic trends across Asia and worldwide, to welcome broader participation from international scholars and artists, and to invite art research, fieldwork, and cultural dialogue—actively advancing cross-cultural, cross-disciplinary exchange in real depth.

 

Contents

Hsiao-Yu Lu ｜CHEN Chun Lu’s Collecting Childhood Series: Reconstruction Memories of Postwar Taiwan’s Baby Bommer Generation

 

Kuan-Chun Wang ｜The Spatial Construction and Publicness of Tainan Taisho Park during the Japanese Colonial Period

 

Ya -Lun Wang｜A Martial World of One—Exhibition Commentary on CHEN Chun-Lu’s Image-Making : Creation, Meditation, and Transcendence

 

Download：Airiti Library 華藝線上圖書館 www.airitilibrary.com 

 

 

本刊稿約：南美學稿約.pdf