澄海波瀾──陳澄波百二誕辰東亞巡迴大展 臺南首展
Surging Waves – Chen Cheng-po's 120th Birthday Anniversary Touring Exhibition, Tainan

 

時        間:2014.1.18-3.30
地        點:新營文化中心
Xinying Cultural Center、臺南文化中心 Tainan Cultural Center、鄭成功文物館 Koxinga Museum、國立臺灣文學館 National Museum of Taiwan Literature
策  展  人:蕭瓊瑞 Hsiao Chong-ray、白適銘 Pai Shih-ming
展場設計:都市山葵建築設計工作室 URBANWASABI


陳澄波一生歷經臺灣由傳統移民社會進入日人統治之現代化社會等不同時期,其個人豐富的人生閱歷與創作經驗,正可說是一部臺灣近代美術史之縮影。尤其,其足跡遍歷臺灣、日本、中國三地,為實踐其創作理想,透過旅行寫生,記錄、見證了二十世紀東亞近代社會、美術環境的發展變遷。

本次大展可謂其生前及1947年去世之後,規模最大、數量最多、展品項類最為全面的展覽;為使這些為數龐大的作品、檔案資料發揮最大的展示作用,證見其作為文獻史料、時代證據之價值,特規劃六大主題,交互呈現,以協助觀眾清楚掌握各主題所欲探討之問題,期能獲致深入淺出之最佳展示效果。

Chen Cheng-po's life began during Taiwan's period as an immigrant society, and extended into its era of modernization under Japanese rule. In this sense, his rich life experience and creative ventures make his life a microcosm of Taiwan's art history in the modern era. In particular, the painting from life that he did and the records he kept during his travels through Taiwan, Japan, and China, as one stage in achieving his artistic ideals, are a unique testament to the changing, developing East Asian societies of the 20th century and the artistic environments he encountered.

This exhibition is the largest assemblage ever of Chen Cheng-po's works, whether during his own life or after his death in 1947. It is also the most comprehensive in terms of the various categories of works on display. To ensure the most effective exhibition of this vast collection of his works, writings, and historical materials, and to display to the full the value of these documents of the artist's historical era, six thematic exhibitions have been planned. Each in turn will reveal his works, writings, and related documentation, and together, will aid viewers in grasping the areas explored by each theme. We hope this will provide the best possible overall overview of his life and work.

 

展場 Exhibition Ground

新營文化中心 Xinying Cultural Center

現代之眼 Modern Eyes

早在1913年進入臺灣總督府國語學校,透過學校圖畫、手工勞作課程的接觸,陳澄波已然展開「何謂現代藝術?」的探討熱忱。東京美術學校五年的學習,除學校正規課程的訓練,讓他開啟對現代藝術更為基礎性的認識外,校外的各種展覽、出版,更促使他切身體認現代藝術的精神與創作內涵。

至於1929年之後,又是五年的上海教學,以及與「新派」人士的交往,包括:潘玉良、常玉,以及「決瀾社」的一批同仁,更使他的創作與思維,成為同時代畫家中的前衛者。只有認識陳澄波的這個本質,才能以更正確的眼光認識、瞭解陳澄波的作品。

As early as 1913, when Chen Cheng-po began the academic and crafts courses at the Governor-General's National Language School, he was already pursuing the question of "what is modern art?" During his five years at the Tokyo School of Fine Arts , its standard training courses gave him a more fundamental acquaintance with modern art. Beyond that, he also found a more personal awareness of its spirit and creative elements through numerous exhibitions and publications.

After 1929 came the five-year period of teaching in Shanghai and Chen's contact with "New School" painters such as Pan Yu-liang, Chang Yu, and fellow members of the Dike-breaking Club (Juelan She, 決瀾社). Those influences on Chen's artistic outlook placed him among the avant-garde of artists of the time. Understanding this about Chen Cheng-po is crucial to arriving at a complete and accurate understanding of his work.

美育前線 Art Education

陳澄波一生五十餘年的歲月,扣除童稚無知的時期,從進入臺灣總督府國語學校,到畢業返鄉服務,乃至赴日留學、上海任教,以迄返臺組織臺陽美術協會、推動社會教育,其一生,可謂始終站在美育前線,或為人學生、學習新知,或為人師長、啟發後進。

With the exception of his childhood years, Chen Cheng-po was constantly active in social education during the more than five-decade span of his life. He entered the Taiwan Governor-General's National Language School, then returned to teach in his hometown; he was involved with teaching during his years in Japan, then moved to Shanghai to teach, after which he formed the Taiyang Art Society on his return to Taiwan. Always Chen was on the front lines of education, gaining new knowledge as a student and passing it on to future generations as a teacher.

 

臺南文化中心 Tainan Cultural Center

世界座標 World Coordinates

本主題旨在呈顯這位傑出的藝術家,如何透過日本東京美校的留學,以及各種傳播資訊的吸收,擴大視野,將自我的創作,納入當時所謂「世界性」的美術座標之中,呈現了有別於前世代、乃至同世代其他藝術家的全新面貌,成就了他個人獨特的靜物畫、人物畫,與風景畫,跨越地區性的限制與表現,成為具備「世界座標」意義的偉大藝術家。

The "World Coordinates" theme shows how this gifted artist expanded his horizons, through study at the Tokyo School of Fine Arts and through absorbing broadcasts and other information, making his individual creativity a part of the "global" artistic coordinates of the time. Chen Cheng-po's art had a new look, one that departed from the styles of the previous generation and even his own contemporaries and added distinctiveness to his still lifes, portraits, and landscapes. His art thus surpassed the boundaries and expressions of any one region, making him a great artist whose work had meaning as one of art's "world coordinates."

巴黎想像 Parisian Imagination

作為臺灣第一代西畫家,陳澄波在留學東京後,也亟欲前往當時世界藝術重心的巴黎繼續留學;為此,他甚至勤學法文。但在家庭經濟所限,和老師石川欽一郎的勸告下,終於暫停行動。即使如此,陳澄波的作品中,始終出現許多對巴黎這個「現代藝術之都」的憧憬與想像;而他居留上海時期,任教的新華藝專就位在法國租界,對他的創作也產生一定影響。至於返臺後大力推動美術運動、組織「臺陽美展」,也是對巴黎社會文化想像的一種摹擬與實踐。

As a member of the first generation of Western style painters in Taiwan, Chen Cheng-po was eager, once he had finished his studies in Tokyo, to travel for further studies in Paris, the heart of the art world of that era. Intense study of French was part of his plan, but his family was not well-off, and at the urging of his teacher Kinichiro Ishikawa, Chen was convinced to lay aside his planned trip to Paris. Nevertheless, Chen Cheng-po's work always displays a certain sense of imagination and longing linking it with Paris, the "capital of contemporary art." The Xinhua Art School where he taught in Shanghai was located in the French concession, a fact that exerted an undeniable influence on his work. Upon his return to Taiwan, Chen put his energies to work in its local art movements and organizing the Taiyang Art Society, which was patterned after and helped embody the Parisian culture of his imagination.

 

鄭成功文物館 Koxinga Museum

東方情緒 Oriental Mood

1924年,陳澄波留學日本,適逢日本大正時期民主思潮興起,在「反西化」、追求民族自決、回歸文化主體思考的時潮中,他和當時許多日本知識份子一樣,興起重新認識「東方」文化價值的自覺體認。這種思想背景,加上他受邀前往上海任教的經驗,在在使他在創作上展現出強烈的「東方情緒」。

Chen Cheng-po arrived in Japan in 1924, during its Taisho period, a time when democratic thinking was taking root along with an anti-Western mood, a push for national self-determination, and a return to native cultural roots. The influence of these trends on Chen, as on many Japanese, was a new self-awareness and the desire to rediscover "Eastern" cultural values. These prevailing trends in thought, along with Chen's move to take up a teaching post in Shanghai, help produce a deep "Oriental mood" that can be sensed in much of his creative work.

 

國立臺灣文學館 National Museum of Taiwan Literature

波光瀲灩 Glittering Waves

國立臺灣文學館以同為在地人的心情,共襄盛舉,邀請臺灣知名詩人,為陳澄波的作品寫詩,透過詩人敏銳的靈視與詩心,必能為觀眾揭露畫家傑作下的波光瀲灩,讓畫家的畫魂,得以更為發揚光大;也以詩畫對話的宴饗,作為畫家百二冥誕的獻禮。

The National Museum of Taiwan Literature has invited Taiwan's best-known poets to take part in this great event by writing poems for Chen's works, based on the feelings for their native land they share with the artist. Their acute perception and poetic feelings will undoubtedly enhance viewers' appreciation for the scintillating appeal of Chen's masterful output and his spirit as a painter. This feast of poetry and paintings in dialogue with each other is part of this exhibition's gift of to the painter on the 120th anniversary of his birth. 

 

top