書封/畫風
書封/畫風
2021/06/11
2021/08/06
展覽頁面呈現形式
橫式
時間軸
「書封/畫風」展品年表
策展者
國立歷史博物館
展覽封面
7752766dd5361009dd35d600c011398c
展覽資料
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"desc": "「書封/畫風:書封設計的斜槓年代」展,以「斜槓」概念發想,結合國立歷史博物館藏畫作與國立臺灣圖書館藏圖書,透過「殖民/現代」、「宣傳/藝術」、「東方/西方」及「跨域/鄉土」 四大主題,追溯近代臺灣藝術創作與書封設計的開拓軌跡。<br><br><b><u><a target=\"_blank\" rel=\"nofollow\" href=\"https://drive.google.com/file/d/1hiS4tXIMezeqO_Tfya_ezPcWjYrJgK5w/view?usp=sharing\">導覽手冊</a></u></b>"
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"desc": "<span> 「斜槓/Slash」—這個從事多重職業以經營理想人生的概念,在2007年由美國一本名為《多重職業》(One Person/Multiple Careers)的暢銷書推出之後,躍然成為熱門關鍵字。而在「斜槓」一詞被廣泛使用之前,臺灣早期藝術創作與藝術設計之間,並不存在明確的界線。畫家、書家、甚至文學家,這些受過繪畫訓練或具備美感天分的藝文工作者,受到所處社會中的產業結構影響,早已實踐著多重職業的藝術生涯。<br><br></span><span> 日殖後期,臺灣社會在現代化建設下具備完整的出版機制,當時臺灣的書封創作,也已具鮮明的設計意識。戰後臺灣藝壇的中華傳統與西方現代思潮的二元特性,是1970年代鄉土文化尋根浪潮的前哨,更是1980年代後「藝術/設計」家的創作養分。<br></span>\n\n<span><br> 圖像透過出版品、展覽、電影、電視等載體,生產並建構著獨特的時代敘事,是後人理解歷史的重要媒介。國立歷史博物館自1955年成立至1980年代,舉辦諸多藝文展覽、累積了豐富館藏,是回顧臺灣戰後藝術與文化發展的重要場域。而國立臺灣圖書館的館藏圖書,源自日殖時期總督府圖書館館藏,以及之後各時期的圖書收藏,見證了臺灣書封面貌的演變。<br><br></span> 本次展覽以「斜槓」概念發想,結合本館典藏30位藝術家的45件藏品,與國臺圖館藏100餘件圖書,希望透過館際合作,體現臺灣一甲子書封與畫風斜槓創作的縮影。本展藉由四大主題:「殖民/現代」、「宣傳/藝術」、「東方/西方」、「跨域/鄉土」, 追溯近代臺灣藝術創作/書封設計的源流及軌跡。\n<span> <br><br> </span> “Slash,” a shorthand for conceptualizing the pursuit of multiple passions, entered into the popular vernacular with the publication of the American bestseller <i>One Person/Multiple Careers</i>. However, long before the term was popularized, artistic creation was never expressly delineated from purpose-oriented design. Painters, calligraphers, and authors alike, influenced by the industrial structures of their societies, had long practiced the art of embodying multiple careers. <br><br> As modernization began to take hold in the latter years of Japanese colonial rule of Taiwan, a complete publishing supply chain emerged. Since then, Taiwanese book covers have exhibited an awareness of design. After World War II, the Taiwanese art circle centered its ideology on traditional Chinese culture and Western postwar modernism. This dichotomy set the tone for the nativist movement of the 1970s, which then served as the ingredients for a new generation of artist-designers after the 1980s. <br><br> Images compose narratives through media such as publications, exhibitions, movies, television and more, which belong to a significant genre of medium for the public to understand history. The National Museum of History (NMH), from its establishment in 1955 through the 1980s, held successive exhibitions and accumulated a collection that has become an important foundation for the examination of arts and culture in Taiwan during the period. The National Taiwan Library collection, which began with holdovers from the Japanese Taiwan Government General Library and continued to grow after World War II, witnesses the development of book cover design. <br><br> This exhibition incorporates the “slash” concept with 45 pieces from 30 artists in the NMH collection alongside more than 100 books from the National Taiwan Library collection. Aiming to represent book cover design and artistic development over a six-decade period, the exhibition consists of four sections: “Colonization/Modernization,” “Propaganda/Art,” “East/West,” and “Interfusion/Nativism.” By presenting the convergence of book covers and painting, the institutional collaborated exhibition aims to reproduce a past in which art and design intersected, and trace the origins and evolutions of modern artistic creation and book cover designs in Taiwan.",
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"desc": "<div> 本區展出日殖時期影響臺灣藝術教育甚鉅的日本畫家石川欽一郎、熱衷民俗研究與藝術創作的鹽月桃甫、插畫家立石鐵臣,以及在官辦展覽中受到推崇的臺灣畫家藍蔭鼎、李梅樹、林玉山、李石樵、楊三郎等專業畫家的畫作與書封設計;顯示當時出版品從主題選擇、符號運用到版面結構所展現的臺灣現代化特質,以及臺灣藝術家運用寫生與插圖等現代化概念,回望自身傳統文化的方式。<br><br> This section showcases a combination of paintings and book cover designs from significant artists in the Japanese colonial period, including arts educator Kinichiro Ishikawa, folk art enthusiast and artist Shiotsuki Touhou, and illustrator Tateishi Tetsuomi, in addition to Taiwanese artists who gained fame in official exhibitions, such as Ran In-ting, Li Mei-shu, Lin Yu-shan, Lee Shih-chiao, and Yang San-lang. Book covers from this period were often designed by professionally trained artists. From design themes, to usage of symbols and cover layouts, all reflected a Taiwanese modernity and represent how the Taiwanese artists used their modernized techniques such as sketching and illustrating in viewing their own traditional culture.<br></div>",
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