人間池塘 | The Earthly Pond

人間池塘 | The Earthly Pond

2021/03/25
2021/04/15
張大千、文人與荷畫藝術大展<br><b>Artworks of Lotus by Chang Dai-Chien and Other Artists</b><br>
展覽頁面呈現形式
橫式
策展者
佛光山佛陀紀念館
國立歷史博物館
展覽封面
6a139f12f3f6822d8495d4942c8670df
展覽資料
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"大風堂門因大千之名享譽畫壇,從上海、四川、香港、巴西到台灣各個時期所收門生為數甚多,較為知名者包括孫雲生、孫家勤、何海霞、李秋君、匡仲英等等,形成大風堂畫派體系。\n\n<br>The Da Feng Tang studio became\nrenowned in the painting field under the influence of Chang. It has nurtured\nmany students from Shanghai, Sichuan, Hong Kong, Brazil, and Taiwan in various\nperiods.", "title": "大千風采 | Chang Dai-Chien" }, "theme-ut07d0f7rr": { "id": "theme-ut07d0f7rr", "type": "theme", "sortable": true, "primaryObj": { "oid": "8871febe1bb7354dfe06d51ae6e00486", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/cdef305f24370f3bf378072c9a5285c3.jpg?itok=wgfrAdmF", "level": "primary", "title": "花卉 | Flowers", "desc": "吳平(1920–2019),字堪白,浙江餘姚人,獲中國畫學會金爵獎和中山文藝獎篆刻類等大獎,曾任故宮博物院書畫處長,為當代少數兼擅書法、繪畫、篆刻藝術家。 \n本幅荷花主題,花青藍彩畫荷葉、黑墨線寫草、淡赭色勾繪白色荷花,花青藍彩茵郁與荷花相應,大寫意用筆清新爽朗。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/cdef305f24370f3bf378072c9a5285c3.jpg?itok=sKniK3WF", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/cdef305f24370f3bf378072c9a5285c3.jpg?itok=9qw2Mi3F", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/cdef305f24370f3bf378072c9a5285c3.jpg?itok=B6n9OHZU", "mfid": "cdef305f24370f3bf378072c9a5285c3", "fileCreator": "吳平 | Wu, Ping", "rights": "國立歷史博物館", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false }, "title": "金石風格 | Jinshi School", "desc": "<span>十九世紀中期興起的金石書風,後亦擴及繪畫。最早由吳熙載開先河,後則有吳昌碩為大家,將北碑的用筆、篆刻的刀勢,融入繪畫之中,成為民初畫壇最具代表性的流派之一。<br></span>\n\nThe Jinshi style of calligraphy, which emerged in the\nmid-nineteenth century, was later developed to include painting. This style was\nfirst pioneered by Wu Xizai, and later developed by Wu\nChang-Shuo, who incorporated the brushwork of the Northern dynasty steles\nand the cutting style of seal engraving into his paintings.", "weight": 7 }, "basic-rhqm1xvlq6": { "id": "basic-rhqm1xvlq6", "type": "basic", "sortable": true, "primaryObj": { "oid": "a479ee5621b65b6b6c025cbcb2e01381", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/472e5b385de9f862455f56df81cc36b2.jpg?itok=VhnPTaOb", "level": "primary", "title": "紅白荷花 | Lotus", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/472e5b385de9f862455f56df81cc36b2.jpg?itok=tlNwX1Ln", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/472e5b385de9f862455f56df81cc36b2.jpg?itok=LYxBQ45I", "thumbBigURI": 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"趙時棡(1874-1945),浙江鄞縣(今寧波)人,原名潤祥,字獻忱,號紉萇,後改名時棡,字叔孺,以字行,篆刻和金石學成就最高,擅長圓朱文及朱白文小璽,與吳昌碩齊名,被推為清末民國第一,近代以來在日本影響尤巨。\n趙叔儒山水、人物、花卉等中國畫的傳統題材無所不精,書法篆刻自立門戶,別具一格。以金石學入畫,擅於描繪蔬果花卉,水墨交融,兼得雅淳之趣。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/9165ebabf09466778fe71673cb13cad2.jpg?itok=zBA52B4M", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/9165ebabf09466778fe71673cb13cad2.jpg?itok=JMkohvuD", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/9165ebabf09466778fe71673cb13cad2.jpg?itok=ZB2CE1KU", "mfid": "9165ebabf09466778fe71673cb13cad2", "fileCreator": "趙時棡(叔儒)\t| Chao, Shih-Kang", "rights": "佛光山佛陀紀念館", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "著作權利所有-僅能瀏覽", "fileDisableLink": "0", "fileOversize": false }, "title": "荷塘情趣 | Lotus Pond", "desc": "<div>趙時棡(叔儒)</div><div>紙本 水墨設色</div><div>137x68 cm</div><div>佛陀紀念館典藏</div>", "weight": 9 }, "basic-gkesa6bdbz": { "id": "basic-gkesa6bdbz", "type": "basic", "sortable": true, "primaryObj": { "oid": "a40feb266784956b5981db05df19c814", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/cf69903bc491c9a48c4c7c86cfbfe157.jpg?itok=fIKheocq", "level": "primary", "title": "和合二仙 | Immortals of Harmony and Union", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/cf69903bc491c9a48c4c7c86cfbfe157.jpg?itok=gUaRCvtC", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/cf69903bc491c9a48c4c7c86cfbfe157.jpg?itok=wXTm3DED", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/cf69903bc491c9a48c4c7c86cfbfe157.jpg?itok=hdjU2bX5", "mfid": "cf69903bc491c9a48c4c7c86cfbfe157", "fileCreator": "王震 | Wang, Zhen", "rights": "佛光山佛陀紀念館", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false }, "title": "和合二仙 | Immortals of Harmony and Union", "desc": "<div>王震</div><div>紙本 水墨設色</div><div>202x94 cm</div><div>佛陀紀念館典藏<br></div>", "weight": 10 }, "basic-58oy72r52q": { "id": "basic-58oy72r52q", "type": "basic", "sortable": true, "primaryObj": { "oid": "df2431d389b3d01e2de4bfbacaa3c21d", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/72b1ed0a307dc4684a0b6eb034ebd3ac.jpg?itok=8ugEcf83", "level": "primary", "title": "秋荷/秋荷 | Autumn Lotus", "desc": "沈耀初(1908–1990)福建詔安人,號「自渡人」,精研書畫古籍、名家真跡,金石筆法入畫,擅長寫意花鳥山石,畫作深具中國文人畫及禪道精神。 本幅盤錯荷葉荷花主題,大範圍荷葉濃淡黑白對比,間以赭紅和花苞,婉轉精練趣味,整體古拙快意。", "thumbURI": 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"https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/3dda460352144cfadb59c803d18ef708.jpg?itok=kF9_7HLO", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/3dda460352144cfadb59c803d18ef708.jpg?itok=PU13Ut31", "mfid": "3dda460352144cfadb59c803d18ef708", "fileCreator": "黃磊生 | Huang, Lui-Sang", "rights": "國立歷史博物館", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false }, "title": "嶺南風光 | Lingnan School", "desc": "近代的中國水墨畫不斷求新求變,廣東嶺南地區的畫家們引西潤中、深入生活、重視寫生,因地域關係名為「嶺南畫派」,也被稱為「折衷派」,它兼容了古今中外繪畫精神與技法之大成,成為近代書畫的創新力量。嶺南畫派創始人派創始人—高劍父、高奇峰、陳樹人,並赴日本習畫,深受世界藝術思想影響,突破國畫窠臼。\n\n<br>Modern Chinese ink painting has been seeking for new\nchanges, and the painters in Lingnan, Guangdong province, drew new elements\nfrom the West and refocused on the importance of sketching. This school was\nnamed “Lingnan” because of their geographical location. This school integrates\nthe techniques of traditional and modern styles, fusing elements from China and\nabroad. The founders of the Lingnan School - Gao\nJianfu, Gao Qifeng, and Chen Shuren&nbsp;- went to Japan to\nstudy painting, and deeply influenced by the artistic ideas in the\ninternational arena, they sought to break through the mold of Chinese painting.", "weight": 13 }, "basic-t0msxy88nu": { "id": "basic-t0msxy88nu", "type": "basic", "sortable": true, "primaryObj": { "oid": "ca6298b7fa6528057103c9fd0ad482c0", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/44274afe7cc797083378a377d649f6cf.jpg?itok=4uRuwGBj", "level": "primary", "title": "荷塘月色/荷塘月色 | Moonlight Over The Lotus Pond", "desc": "歐豪年(1935-)生於廣東省茂名縣,出身嶺南世家,其繪畫題材兼善畫花鳥、山水、人物、畜獸,對書法與詩文亦多有研究,藝術成就多元而豐富。\n本幅畫作細膩描繪荷塘月色景致,含蓄委婉抒發畫家的思緒變化,得靜出靜,以現實情景書寫,意境更高於現實。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/44274afe7cc797083378a377d649f6cf.jpg?itok=jiI7ew3s", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/44274afe7cc797083378a377d649f6cf.jpg?itok=fjAhFiKQ", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/44274afe7cc797083378a377d649f6cf.jpg?itok=FOfUgc4s", "mfid": "44274afe7cc797083378a377d649f6cf", "fileCreator": "歐豪年 | Au, Ho-Nien", "rights": "歐豪年文化基金會", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false }, "title": "荷塘月色", "desc": "<div>李婉慧(1966-),臺灣高雄人,中國文化大學藝術碩士,師事歐豪年教授,專長美術創作、水墨畫、美術理論,任教於文化大學美術系,現任歐豪年基金會秘書長。</div><div>李氏水墨作品融合寫實主義精神,強調空間的深度與張力,畫面清新,極具個人風格,月光下之荷塘,靜謐氤氳,作者透過畫面與觀者對語、溝通。</div>", "weight": 14 }, "basic-sulkh7gsu6": { "id": "basic-sulkh7gsu6", "type": "basic", "sortable": true, "primaryObj": { "oid": "b5bc43bdb23f84eb64d7a792e22ea83d", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/af3fea7e6d096d0a17754ee4c2695a2d.jpg?itok=EiwWVj1K", "level": "primary", "title": "秋塘白鷺/秋塘白鷺 | Egret in Autum", "desc": "李源海(1948-),臺灣苗栗人,拜楊善深為師,為「春風草堂」的入室弟子與唐墨畫友。創作重寫生、重線條、重神態、重氣韻,不偏執一隅,展現大自然生機。\n畫面描寫荷塘白鷺逸趣,展現嶺南墨色融合之美,一筆一畫間無不透露出生機,以開闊的心胸去探索藝術的內涵與意趣。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/af3fea7e6d096d0a17754ee4c2695a2d.jpg?itok=QGnCxc9T", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/af3fea7e6d096d0a17754ee4c2695a2d.jpg?itok=wZ55oNGI", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/af3fea7e6d096d0a17754ee4c2695a2d.jpg?itok=HRRr_OMP", "mfid": "af3fea7e6d096d0a17754ee4c2695a2d", "fileCreator": "李源海 | Li, Yuan-Hai", "rights": "嶺南美術館", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false }, "title": "秋塘白鷺 | Egret in Autumn", "desc": "<div>李源海(1948-),臺灣苗栗人,拜楊善深為師,為「春風草堂」的入室弟子與唐墨畫友。創作重寫生、重線條、重神態、重氣韻,不偏執一隅,展現大自然生機。</div><div>畫面描寫荷塘白鷺逸趣,展現嶺南墨色融合之美,一筆一畫間無不透露出生機,以開闊的心胸去探索藝術的內涵與意趣。</div>", "weight": 15 }, "theme-ij22wt30vz": { "id": "theme-ij22wt30vz", "type": "theme", "sortable": true, "primaryObj": { "oid": "80168daebaf7bf03f2582c5db93752dd", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/b5f388e4a1f6285c8ed4da4765110dca.jpg?itok=_a0tGeV8", "level": "primary", "title": "儷影成雙知香遠 | A Bird Couple at Lotus Pond", "desc": "黃光男, 1944年生於高雄,曾任台北市立美術館館長、國立歷史博物館館長和國立台灣藝術大學校長等。專長水墨創作、中國美術理論、博物館學行政…等。 本幅夏荷清新,荷花盛開,蓮蓬中橫出,兩隻小鳥相依,儷影成雙,氣氛氤氳,展現水墨畫之獨特韻致。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/b5f388e4a1f6285c8ed4da4765110dca.jpg?itok=MrguyWhg", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/b5f388e4a1f6285c8ed4da4765110dca.jpg?itok=rAN22Y60", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/b5f388e4a1f6285c8ed4da4765110dca.jpg?itok=ZexVH1Zf", "mfid": "b5f388e4a1f6285c8ed4da4765110dca", "fileCreator": "黃光男 | Huang, Kuang-Nan", "rights": "國立歷史博物館", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false }, "title": "文人風雅 | Flowers and Birds", "desc": "中國花鳥畫之發展自唐代中期即脫離裝飾藝術主題而成為獨立之畫科,因不同出身畫家與背景而形成「黃家富貴,徐家野逸」二種不同的主要繪畫風格。一種為五代黃荃的勾勒填彩,工筆重彩的畫法;另一則為徐熙為主的水墨淡彩。\n\n<br>Since the mid-Tang Dynasty, Chinese painting of flowers and\nbirds has developed into a separate discipline. One of such examples is Huang Tsuen’s style of outlining and filling in colors, and another is Xu Xi’s style of ink painting using light colors.", "weight": 16 }, "img-yme9n8hwoz": { "id": "img-yme9n8hwoz", "type": "img", "sortable": true, "primaryObj": { "oid": "1284aafdd5d2b7f0a97a823b85deac4e", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/ca47650584b54211b187db92a872b451.jpg?itok=21gvIFIL", "level": "primary", "title": "「荷花」摺扇/「荷花」摺扇 | Lotus on the Folding Fan", "desc": "江明賢,1942年生於台中,畢業於台灣師範大學美術系,畢業後返校擔任美術系教授、系主任、美術研究所所長。創作從寫生出發,加入西方現代藝術的切割重組手法,及拓、印、潑、洒的技法,但始終保持一種高度的人文意境與歷史詩性。\n本件扇正面繪荷塘,一潔白荷花扇面下方緩緩舒展,右方一含苞,左方墨色荷葉。摺扇自古為文人墨士貼身配物,除夏日搧風引涼,亦藉此展現個人品味與修養,為文人一種身份、地位、品位的象徵。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/ca47650584b54211b187db92a872b451.jpg?itok=Y08ekgmY", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/ca47650584b54211b187db92a872b451.jpg?itok=fRITsnK0", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/ca47650584b54211b187db92a872b451.jpg?itok=R-Gq03mC", "mfid": "ca47650584b54211b187db92a872b451", "fileCreator": "江明賢 | Chiang, Ming-Shyan", "rights": "國立歷史博物館", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false }, "title": "「荷花」摺扇", "desc": "<div>江明賢,1942年生於台中,畢業於台灣師範大學美術系,畢業後返校擔任美術系教授、系主任、美術研究所所長。創作從寫生出發,加入西方現代藝術的切割重組手法,及拓、印、潑、洒的技法,但始終保持一種高度的人文意境與歷史詩性。</div><div>本件扇正面繪荷塘,一潔白荷花扇面下方緩緩舒展,右方一含苞,左方墨色荷葉。摺扇自古為文人墨士貼身配物,除夏日搧風引涼,亦藉此展現個人品味與修養,為文人一種身份、地位、品位的象徵。</div>", "weight": 17 }, "basic-6piepslib0": { "id": "basic-6piepslib0", "type": "basic", "sortable": true, "primaryObj": { "oid": "7ad88a45afbfe53eef30e908cfde8c0d", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/5e4d654eeb24ffc17a8eb84043ae9b1d.jpg?itok=n4uJPrbP", "level": "primary", "title": "出淤泥而不染 | Rising Unsullied from the Mud", "desc": "李奇茂(1925–2019),生於安徽渦陽,勤於速寫、素描,人物畫根底深厚,曾創作百幅「國父畫傳」及「史蹟」題材描繪。 \n鍾正山(1935-)生於馬來西亞,祖籍廣東梅縣。畢業於新加坡南洋藝術專科學院藝術教育系,美國舊金山大學公共行政管理系碩士。先後創辦了5所藝術學院,對馬來西亞現代藝術教育貢獻卓著。\n本幅畫作由李奇茂與鍾正山二位畫家合作,筆墨沉穩,畫面錯落有致,畫風清逸高雅,展現蓮池自然清幽之景。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/5e4d654eeb24ffc17a8eb84043ae9b1d.jpg?itok=mg29lqOv", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/5e4d654eeb24ffc17a8eb84043ae9b1d.jpg?itok=JXGnYLZn", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/5e4d654eeb24ffc17a8eb84043ae9b1d.jpg?itok=aAy4qYjq", "mfid": "5e4d654eeb24ffc17a8eb84043ae9b1d", "fileCreator": "李奇茂/鍾正山 | Lee, Chi-Mao/ Chung, Chen-Sun", "rights": "佛光山佛陀紀念館", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "著作權利所有-僅能瀏覽", "fileDisableLink": "0", "fileOversize": false }, "title": "出淤泥而不染 | Rising Unsullied from the Mud", "desc": "<div>李奇茂&nbsp; 鍾正山</div><div>紙本 水墨</div><div>138x139 cm</div><div>佛陀紀念館典藏</div>", "weight": 18 }, "theme-em21n9nxmh": { "id": "theme-em21n9nxmh", "type": "theme", "sortable": true, "primaryObj": { "oid": "32ce2167072fe66c0c919f500518fff4", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/c936c50dcb23159bddb6247c89bd5be3.jpg?itok=i8Dyj0lf", "level": "primary", "title": "荷花", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/c936c50dcb23159bddb6247c89bd5be3.jpg?itok=TFf2hHz9", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/c936c50dcb23159bddb6247c89bd5be3.jpg?itok=bnEkN1Xl", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/c936c50dcb23159bddb6247c89bd5be3.jpg?itok=FNhshDvd", "mfid": "c936c50dcb23159bddb6247c89bd5be3", "fileCreator": "", "rights": "國立歷史博物館", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "公眾領域標章(Public Domain Mark)", "fileDisableLink": "0", "fileOversize": false }, "title": "東西風情 | East and West", "desc": "<span>在中國與台灣現代藝術發展歷程佔有重要位置的如徐悲鴻、林風眠、潘玉良、常玉、劉海粟、李仲生等,於1920~30年代先後赴抵法國、日本學習藝術,吸取西方藝術精華,亟欲為傳統書畫尋求破格表現,以中國繪畫現代化的時代命題做為身為藝術家及當代文人一分子的社會責任,留下對後輩深遠的影響。<br></span>In the 1920s and 1930s, Xu Beihong,\nLin Fengmian, Pan Yuliang, Changyu, Liu Haisu, and Li Zhongsheng,\nwho played an important role in the development of modern art in China and\nTaiwan, went to France and Japan to pursue further studies in art. These\nartists had left a profound influence on their successors.", "weight": 19 }, "basic-47elgfnadr": { "id": "basic-47elgfnadr", "type": "basic", "sortable": true, "primaryObj": { "oid": "0627ba47c5adc1ffde2f77dd64f434db", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/93622a1f79c797b7614426ce57689b72.jpg?itok=rT4oy0np", "level": "primary", "title": "荷/荷 | Lotus", "desc": "常玉(1901–1966),生於中國四川順慶,簡潔有力線條、造形、輪廓呈現個人風格,繪畫造形簡練、色彩單純,裸女、花卉、有動物風景為創作主題。 本幅西方媒材繪荷,盆景荷花,姿態秀麗柔美,造形優雅,枝梗精練線條一筆畫成,流暢有力,整體設色高雅。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/93622a1f79c797b7614426ce57689b72.jpg?itok=YO7BFadt", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/93622a1f79c797b7614426ce57689b72.jpg?itok=kVgAZi0w", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/93622a1f79c797b7614426ce57689b72.jpg?itok=2_o_-pWv", "mfid": 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佛光山佛陀紀念館國立歷史博物館