2025「時代印記：國美典藏常設展」，國立台灣美術館，台中，台灣
“Arts as Imprints of the Times: Permanent Collection of the NTMoFA”, National Taiwan Museum of Fine Arts, Taichung, Taiwan
“Arts as Imprints of the Times: Permanent Collection of the NTMoFA”, National Taiwan Museum of Fine Arts, Taichung, Taiwan
王雅慧作品《熱帶計劃：雪人》正於「時代印記：國美典藏常設展」，國立台灣美術館 展出中
Wang Yahui video work “Snowman” is on view at “Arts as Imprints of the Times: Permanent Collection of the NTMoFA”, National Taiwan Museum of Fine Arts, Taichung
典藏是一座美術館的核心價值與定位表徵，是為未來世代保存過往藝術資產的佐證。將靜態的收藏內容積極地透過展示、教育、研究、詮釋等動態活動與大眾接觸，分享與擴散美學、歷史的知識傳播，是美術館的責任，也是美術館典藏的意義。本館逾37年的蒐藏，透過購置、受贈、競賽徵集、移撥四種來源，至2024年底收藏總數量已達22,070件，核心蒐藏範圍自18世紀以降至當今的藝術作品，以及與藏品相關之文獻資料，構成豐富的典藏體系與內容，歷年已經策劃辦理數十檔相關的主題展、斷代史展、藝術家專題展、經典藏品展等，是建構臺灣美術史的重要文化資產。
臺灣在16世紀中葉的大航海時代躍上國際舞臺，成為東西方貿易航線交會的轉運中心。然原住民族大約在8000年前即在此居住活動，是南島語系民族分布的最北端。而自17世紀以降數百年的異族殖民，造就了臺灣人民堅韌、樂天、開朗的個性，臺灣文化則發揮海洋文化的特色，兼容並蓄了不同來源的外來文化，形成各時代多元多樣、相互輝映的豐富景觀。在臺灣美術發展的歷程中，從荷西時期開啟與本島連結的海圖、地圖與原住民生活樣貌的繪製，而後受到中國閩粵地區書畫、從日本移植而來的近代西洋藝術，及第二次世界大戰後歐美當代藝術傳入的影響，無不以間接或直接的方式映射出彼此緊緊相扣的關係，交融根植並發展出本土藝術的獨特面貌。
本次「時代印記：國美典藏常設展」邀請黃冬富教授，與本館研究人員薛燕玲、林振莖、蔡昭儀、馮勝宣共同策劃，規劃五個主題展區：「中原流風：臺灣早期書畫」、「引光顯影：20世紀前期臺灣美術的在地色彩」、「浪潮與衝擊：1945-1979臺灣美術發展」、「激撞與反思：1980s～1990s臺灣美術主體性尋探」、「交融與重構：2000～全球視野與數位浪潮」，分別闡述臺灣明清時期傳統書畫的狂野率性特質如何反映早期拓墾時期的衝創精神；日治時期臺灣畫家如何透過對於風土「在地色彩」的探索形塑現代化與地方認同的意識；戰後至七○年代如何受抽象、普普藝術等西方浪潮衝擊的同時回歸鄉土美術；八○至九○年代解嚴之後又如何積極突圍，衝撞禁忌議題及探問何謂臺灣主體性；2000年以後在全球化與資訊科技的席捲之下，文化地理界線的重劃如何引發自我身分與文化認同之重建，而多元族群、環境議題等等也都成為臺灣藝術家關懷的面向。整體充分展現出不同時期的藝術家，如何透過繁複的題材與手法來演繹時代精神。本展企圖透過本館典藏品的展示、館藏文獻與一手資料的整理研究，來映照臺灣美術史的發展歷程。更以編年的方式，來凸顯藝術創作如何隨著歷史開展與時代變遷顯現與遞延；並將臺灣作為主體，放在世界的脈絡中探看臺灣美術發展之路徑，一方面探勘臺灣藝術在揉雜的現象之下如何追尋與建立自身的主體性，另一方面展望未來與全球藝術脈動更深刻的連結。
本展預計持續至2026年12月，規劃以3檔次模式輪替展示，期待將本館的精彩館藏常態性地展示在大眾面前，提供更多鑑賞的機會，並促進觀眾對臺灣美術發展的了解。
「交融與重構：2000～全球視野與數位浪潮」參展藝術家：
王雅慧、安聖惠、何孟娟、袁廣鳴、吳天章、吳政璋、李足新、姚瑞中、李明維、杜珮詩、林昆穎、林珮淳、陳順築、張立人、張徐展、張恩滿、張乾琦、許哲瑜、陳伯義、陳萬仁、陶亞倫、謝鴻均、蘇匯宇、饒加恩
Standing as testimony to the preservation of artistic heritage for future generations, an art museum’s collection is emblematic of the museum’s core values and orientation. It is the responsibility of art museums to share and diffuse the knowledge of aesthetics and history by actively engaging the public with the contents of their static collections through dynamic activities such as exhibition, education, research, and interpretation, in which the significance of museum collections finds expression. The National Taiwan Museum of Fine Arts (NTMoFA) has built up its collection of 22,070 items over a period of 37 years from acquisition, donation, transfer, and call for competition entries. Its major collection dates from the 18th century to the present along with related archival material, forming a superb collection system rich in content. Over the years, the NTMoFA has organized dozens of themed exhibitions, dynastic history exhibitions, exhibitions on artists, and exhibitions of classic items related to its collection. All of them are vital cultural assets for the construction of Taiwan’s art history.
Taiwan stepped onto the international stage during the Age of Discovery in the mid-16th century, serving as a transit hub where the East-West trade routes converged. However, the indigenous people have been living here since around 8,000 years ago, which marks the northernmost distribution of the Austronesian people. Centuries of colonization by different nations since the 17th century have shaped the resilient, optimistic, and open-minded character of the Taiwanese people. Bearing the signature of maritime culture, Taiwanese society shows an eclectic mix of various external cultures, which results in a kaleidoscope of landscapes that span different eras and make each shine more brilliantly in the other’s company. The course of Taiwanese art has directly or indirectly reflected its close relationships with the nautical charts and maps tied to this island and the illustrations of the indigenous people’s lifestyle in the Dutch-Spanish colonial period, the calligraphy and painting from the Min and Yue regions of China, modern Western art transplanted from Japan, and contemporary art introduced from the Occident after the end of the Second World War. They have gradually fused with one another and put down roots, finally culminating in the sui generis features of Taiwanese art.
The exhibition “Arts as Imprints of the Times: Permanent Collection of the NTMoFA” is co-curated by Prof. HUANG Tung-Fu and four of our in-house research fellows, namely HSUEH Yen-Ling, LIN Chen-Ching, TSAI Chao-Yi, and FENG Sheng-Hsuan. The exhibition comprises five thematic areas, including (1) “Zhongyuan Style: Early Taiwanese Calligraphy and Paintings,” (2) “Revealing the Distinctiveness: The Local Flavor of Taiwanese Art in the Early 20th Century,” (3) “Waves and Impacts: Development of Taiwanese Art from 1945 to 1979,” (4) “Clashes and Reflections: The Search for the Subjectivity of Taiwanese Art from the 1980s to the 1990s,” and (5) “Fusion and Reconstruction: Global Perspectives and the Digital Wave Since 2000.” These thematic areas respectively set forth: (1) how the untrammeled nature of traditional paintings from the Ming and Qing dynasties in Taiwan reflected the pioneering spirit of the early reclamation period; (2) how Taiwanese painters in the Japanese colonial period shaped the consciousness of modernization and local identity through exploring the “local flavor” of Taiwan; (3) how Taiwanese art was influenced by occidental trends such as abstract art and pop art from the end of the Second World War to the 1970s when the nativist art movement reached its peak; (4) how Taiwanese art actively broke through barriers to tackle taboo topics and define Taiwan’s subjectivity after the lifting of martial law in the 1980s and the 1990s; and (5) how the re-demarcation of cultural geography has led to the reconstruction of individual and cultural identities since 2000 on the wave of globalization and information technology. Ethnic diversity and environmental protection have also become aspects of concern for Taiwanese artists. The exhibition as a whole fully demonstrates how artists from different periods interpreted the zeitgeists via sophisticated subject matters and techniques. It seeks to chart the course of Taiwan’s art history by displaying the items and archives in the NTMoFA’s collection as well as by collating and studying pertinent firsthand material. Furthermore, this exhibition employs a chronological approach to foreground how artistic creations have evolved with the change of the times and treats Taiwan as the subject to trace the development of Taiwanese art within the global context. This exhibition, on the one hand, looks into the way in which Taiwanese art pursues its subjectivity; on the other hand, it looks forward to a deeper connection with global art trends in the future.
This exhibition is scheduled to be on view for two years and proceed in three sequential sessions. We anticipate that the NTMoFA’s fascinating collection is able to provide the public with more opportunities for appreciation and to enhance the visitors’ understanding of the development of Taiwanese art.
Fusion and Reconstruction: Global Perspectives and the Digital Wave Since 2000
Participating Artists: WANG Ya-Hui, Eleng Luluan, Isa HO, YUAN Guang-Ming, WU Tien-Chang, WU Cheng-Chang, LEE Chu-Hsin, YAO Ruei-Chung, LEE Ming-Wei, TU Pei-Shih, LIN Kun-Ying, LIN Pey-Chwen, CHEN Shun-Chu, CHANG Li-Ren, ZHANG Xu-Zhan, CHANG En-Man, CHANG Chien-Chi, HSU Che-Yu, CHEN Po-I, CHEN Wan-Jen, TAO Ya-Lun, Juin SHIEH, SU Hui-Yu, JAO Chia-En
2025「時代印記：國美典藏常設展」，國立台灣美術館，台中，台灣
“Arts as Imprints of the Times: Permanent Collection of the NTMoFA”, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2025/04/26 ~ 2025/12/14
點擊觀看更多《熱帶計劃：雪人》的介紹
More info of “Snowman”