藏鋒──陳澄波特展
Hidden Talent – Chen Cheng-po Exhibition

 

時     間:2014.12.5-2015.3.30
地     點:國立故宮博物院105、107展廳 Exhibition room 105 & 107, National Palace Museum
策  展  人:蕭瓊瑞 Hsiao Chong-ray
展場設計:舞陽美術文化事業有限公司 Sunny Dance Creation Co.

 

2014年是臺灣前輩畫家陳澄波先生120歲的誕辰,大型的紀念展,從臺南、北京、上海、東京一路巡迴,以臺北故宮作為整個活動的最後總結;取名「藏鋒」,意在凸顯一個深受中國傳統水墨思想影響的傑出藝術家,如何在作品中吸納東方繪畫的特質,在「中西融合」的課題上,作出貢獻。
陳澄波曾在1934年受訪問時提到:
「我因一直住在上海的關係,對中國畫多少有些研究。其中特別喜歡倪雲林與八大山人兩位的作品,倪雲林運用線描使整個畫面生動,八大山人則不用線描,而是表現偉大的擦筆技巧。我近年的作品便受這兩人影響而發生大變化。我在畫面所要表現的,便是線條的動態,並且以擦筆使整個畫面活潑起來,或者說是,言語無法傳達的,某種神秘力滲透入畫面吧!這便是我作畫用心處。我們是東洋人不可以生吞活剝地接受西洋人的畫風。」
本展正是基於此一角度切入,期待呈現給觀眾一個不一樣的陳澄波。

2014 is the 120th anniversary of Chen Cheng-po’s birth. To commemorate the occasion, after a series of large-scale touring exhibitions have successively been held in Tainan, Beijing, Shanghai and Tokyo, a final exhibition is staged in National Palace Museum. The name of the exhibition is called “Hidden Talent” to highlight how a highly gifted artist who was deeply influenced by the concepts of traditional Chinese ink-wash paintings contributed towards “integrating Chinese and Western art” by assimilating characteristic features of oriental paintings into his works.
In an interview in 1934, Chen Cheng-po said:
“Since I’ve been living in Shanghai, I have a certain amount of knowledge about Chinese paintings. Amongst all artists, I’m particularly fond of the works of Ni Yun-lin and Badashanren. Ni Yunlin had made use of outlines to make his pictures more vivid. On the other hand, instead of using outlines, Badashanren had displayed mastery skill in the use of dry-brush. My works in recent years have been substantially changed under their influences. What I want to present in my pictures is the dynamism of lines and I would make the whole picture livelier by dry brushing. Or shall I say some kind of mysterious force beyond words has permeated my paintings! This is where I focus my efforts when I paint. We are easterners, so we shouldn’t adopt the styles of western painters indiscriminately.”
It is this attitude that this Exhibition is delving into, hoping to present a different version of Chen Cheng-po to viewers.

 

展場規劃圖 Exhibition planning

 

展場 Exhibition Ground

 

入口意象 Entrance

 

年表 Chronology

 

驚蟄 The Waking of Insects (1895-1924)

從出生到國語學校畢業返鄉任教

From birth until returning to teach school in his hometown upon graduation from the National Language School

陳澄波生於臺灣割讓給日本的1895年,雖深受清末秀才父親漢學的染濡,但也同時接受日本新式教育啟發。自1913年進入臺灣總督府國語學校開始,在日本美術教師石川欽一郎的指導下,接受現代藝術思想之洗禮與啟蒙,開啟了他的藝術探索之門,也立下成為藝術家的志願。

Born in 1895, the year in which Taiwan was ceded to Japan, Chen Cheng-po had been deeply influenced by the classical Chinese coaching of his father, who was a scholar in the final years of the Qing dynasty. But then he had also been enlightened by the modern education of Japan. Upon his enrolling in the National Language School (Japanese School) at the Taiwan Governor-General’s Office in 1913 and being instructed by Japanese art teacher Ishikawa Kinichiro, he had undergone a rite of passage and enlightenment in modern art thinking. This had opened to him the door of art exploration and he subsequently made a wish of become a painter. 

 

初露 Debut (1924-1929)

留日時期,成為第一位入選「帝展」的臺灣油畫家

Japan period, becoming the first Taiwan painter ever selected for the "Imperial Exhibition"

為了不斷自我精進,陳澄波放棄人人稱羨的教職,於1924年隻身前往東京美術學校留學,直至1929年研究所畢業為止。同時,在展覽資訊發達、繪畫資料豐富、競爭人才輩出、藝術環境優異的東京,積極蒐羅歐洲美術最新情報,擴充其對世界美術發展之體認,建立起跨國性的宏觀視野,奠定了他成為傑出藝術家的堅實基礎。

In order to better himself continuously, Chen Cheng-po gave up a much coveted teaching job and went alone to study in Tokyo School of Fine Arts until he finished graduate school there in 1929. In Tokyo, where exhibition information was abundant and materials on painting were bountiful, where art talents were constantly cropping up and the art environment was agreeable, Chen Cheng-po collected in earnest all the latest art information from Europe. These efforts had contributed towards his understanding of art development worldwide and helped him establish a transnational macro vision, which eventually laid a firm foundation for his becoming an outstanding painter.

 

小滿 Grain Full (1929-1933)

上海時期,思考中西融合的現代繪畫

Shanghai period, contemplating modern paintings that integrate Chinese and Western art

陳澄波研究所畢業後,前往中國,任教於上海新華藝專、昌明藝專、藝苑繪畫研究所等多所美術院校,展開一生極具關鍵性的一段旅程,並將家人接往同住。
旅居上海期間,與中國近代重要藝術家密切交流,畫風逐漸產生變化,作品除富立體主義、野獸派、超現實主義等西方前衛畫風的探討,也呈顯對「中國特色」或「東方化」的用心追求。由於突出的創作表現,獲選為中國當代十二代表畫家之一,是其繪畫事業的一個高峰。

After graduated from the Graduate Program of Art Teacher Training Program of the Tokyo School of Fine Arts, Chen went to China and accepted teaching offers from such Shanghai art institutions as Xinhua Art College, Chang Ming Art School, and Yiyuan Painting Research Institute. He brought along his family to live with him and embarked on a vital journey in his lifetime.
During this period, as a result of his frequent contacts with important artists in modern China, his painting style was gradually changing. In his works, not only were there evidences of his exploration of avant-garde styles such as cubism, Fauvism, surrealism, etc, but indications of his pursuit of “Chinese features” and “orientalization” were also apparent. On the strength of his exceptional accomplishments, he was later voted one of China’s twelve top modern artists, making it a high note in his painting career.

 

大暑 Great Heat (1933-1945)

返臺至光復,推動臺灣美術運動及留下大批鄉土之作

Fom returning to Taiwan to restitution of sovereignty, promoting art movement in Taiwan and leaving behind plenty of countryside paintings

因上海爆發中日衝突的「128事件」,法律身分為「日僑」的陳澄波,只得被迫自上海返回臺灣。回臺後的藝術創作,開始超越過去單純尋求美展光環、體驗前衛藝術潮流的階段,轉而進入建構臺灣文化主體性的嶄新思考。同時,更積極參與組織畫會、擔任地方畫會指導,企圖為臺灣社會注入新的活力泉源,提升臺灣文化層次;而作品始終仍充滿著中國水墨繪畫的筆觸特色與寫意精神。

At the outbreak of the 128 Incident in Shanghai, Chen Cheng-po was forced to return to Taiwan because he was overseas Japanese by law. Since his returning, his works began to go beyond the pure pursuit of the laurels of art exhibitions and the experimentation of avant-garde art trends; he had instead entered a stage of new thinking about building Taiwan’s cultural subjectivity. At the same time, in a bid to infuse a new source of vitality into Taiwan society and raise the cultural level of Taiwan, he was active in setting up painting societies and serving as a consultant to local painting clubs. Throughout this period, his works were still replete with the brushstroke characteristics and spontaneity of Chinese ink-wash paintings.

 

霜降 Frost's Descent (1945-1947)

從歡慶臺灣光復到228不幸罹難

From joyous celebration of Taiwan's restitution of sovereignty to meeting a tragic death

1945年8月,日本戰敗投降,臺灣重回祖國懷抱;陳澄波以欣奮的心情,手書「生於前清,死於漢室」,慶幸自己成為名正言順的中國人。他本著服務人群的信念,積極參與社會事務,並於1946年當選嘉義市第一屆參議會議員;然而這股熱忱,卻使他成了時代悲劇的犧牲者。
1947年年初,他在自家畫室留下一幅〈玉山積雪〉後,便在「228事件」中不幸受難。其妻張捷長期保存大批畫作、史料,靜待歷史還其夫婿清白的日子之來臨。

In August 1945, when Japan lost the war and surrendered, Taiwan was returned to its fatherland. Exhilaratingly Chen Cheng-po wrote down the declaration “Born in the Manchurian Qing Dynasty; Die in the Han Nationals’ rule” and rejoiced for rightfully becoming a Chinese. Based on a conviction of serving the public, he actively participated in social affairs and was elected a member of the first session of the city council of Chiayi. Yet it was precisely this dedication that made him a victim of a tragedy of the time.
In early 1947, after he had left the painting Accumulated Snow on Jade Mountain in his studio, he met his tragic death in the “228 Incident”. For a long period afterwards, his wife Zhang Jie kept a host of his artworks and historical materials and quietly waited for the day when the name of her husband would be cleared by history.

 

立春 The Beginning of Spring (1979-2014)

陳澄波重新出土的各項展出、研究成果

The reappearance of Chen Cheng-po's artworks in various exhibitions and the publication of various related studies

一如陳澄波的最後遺作〈玉山積雪〉,覆蓋在玉山之巔的積雪,終有消融之日。在陽光照耀下,南國澎湃的生命力再度煥發動人的光;消融的冰雪,成為滋養大地的活水靈泉。
隨著臺灣社會的逐步解嚴,1979年的陳澄波遺作展,象徵著這位臺灣美術運動先驅,突破困厄壓制際遇的開端。伴隨而來的是大量的報導、各種展覽活動的展開,以及學者運用各種不同理論觀點探討陳澄波的藝術成就、影響及貢獻。
陳澄波百二誕辰東亞巡迴展及《陳澄波全集》的出版,正是此一歷史重建歷程的高峰,並以國立故宮博物院的「藏鋒」特展,作為階段性的總結。

Just as in Chen Cheng-po’s last piece of work, Accumulated Snow on Jade Mountain, there would eventually be a day when the snow accumulated on the top of Jade Mountain melts. Under the shining sun, the raging vitality of the southern country once again radiates invigorating glimmers; the melted snow turns into a spring of running water that nurtures Mother Earth.
With the gradual lifting of martial law in Taiwan, the posthumous exhibition of Chen Cheng-po’s works in 1979 signaled that this pioneer of Taiwan art movement started to break out from all sorts of adversities and suppression. What followed was a flood of reporting, the launching of various exhibition activities, and the discussions of Chen Cheng-po’s art accomplishments, influence and contributions by scholars based on different theories and viewpoints.
These efforts in reconstructing history cumulated in the series of 120th anniversary East Asia touring exhibitions and the publication of Chen Cheng-po Corpus. This “Hidden Talent” Exhibition held in National Palace Museum will be the finale of all the activities in the interim.

 

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