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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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.&nbsp;&nbsp;&nbsp;&nbsp; <br><br>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 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.&nbsp;&nbsp;&nbsp;&nbsp; <br><br>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 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.&nbsp;&nbsp;&nbsp;&nbsp; <br><br>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 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.", "weight": 2 }, "theme-6pyn57sbw3": { "id": "theme-6pyn57sbw3", "type": "theme", "sortable": true, "primaryObj": { "oid": "f5b19e0953991ac2360b39f443cd5826", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/cc64b8b146f75f2c1c49a3815bf20324.jpg?itok=xOvKgige", "level": "primary", "title": "殖民/現代", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/cc64b8b146f75f2c1c49a3815bf20324.jpg?itok=kzxtox5H", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/cc64b8b146f75f2c1c49a3815bf20324.jpg?itok=OFr9sgEW", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/cc64b8b146f75f2c1c49a3815bf20324.jpg?itok=bUZQt0fX", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/cc64b8b146f75f2c1c49a3815bf20324.jpg?itok=Ls1q2AUp", "mfid": "cc64b8b146f75f2c1c49a3815bf20324", "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-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": "殖民/現代", "desc": "<div>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;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>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;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>", "weight": 3 }, "imgs-17pg51b6os": { "id": "imgs-17pg51b6os", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "bf5aecbc224ea9d753f42feeea6e87d1", "title": "臺灣藝術", "desc": "新年號V2:1封面", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/453184465772f0d7dd0b499114820f6b.jpg?itok=g8buzFwa", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/453184465772f0d7dd0b499114820f6b.jpg?itok=wnW23mCN", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/453184465772f0d7dd0b499114820f6b.jpg?itok=1crK-Z0S", "background": 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"本作為石川欽一郎（1871-1945）之《村道》，其以較強烈的筆觸描繪畫作背景與鄉間植物，並較細節地勾勒出牛車、民宅，以及悠閒散步在村道上的女孩們，顯示出簡約純樸的鄉間風貌。作為當時執政者官方畫家的石川，對臺灣風土與自然景物的關注，從其作品中可見一斑，而作品當中亦可一窺彼時日本政府對臺灣的觀點及想像。\n\n石川欽一郎，日本靜岡縣人，曾分別於1907至1916、及1924至1932年間前後二次來臺，來臺時間共達18年，是日治時期任職國語學校（臺北師範前身）最久的美術教師，對於臺灣現代美術教育的啟蒙與推動扮演了關鍵性的角色，在臺時間經常赴各地寫生，慣以英式水彩的渲染技法捕捉溼熱的田園風光。\n\n水彩\t縱31橫38公分", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/f5e6b0a09a9812c1055283b3c0a7e663.jpg?itok=jF4YSNEe", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/f5e6b0a09a9812c1055283b3c0a7e663.jpg?itok=LifNgml_", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/f5e6b0a09a9812c1055283b3c0a7e663.jpg?itok=xEIbIWDA", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/f5e6b0a09a9812c1055283b3c0a7e663.jpg?itok=LfgteM5U", "mfid": "f5e6b0a09a9812c1055283b3c0a7e663", "fileURI": 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"fileOversize": false, "level": "primary" }, "title": "《民俗臺灣》Folk Taiwan 1941-1945（昭和16-20年） ", "desc": "&nbsp; &nbsp; &nbsp;&nbsp;《民俗臺灣》雜誌，由民俗研究者金關丈夫（1897-1893）與池田敏雄（1916-1981）創辦，畫家立石鐵臣（1905-1980）則在雜誌的視覺設計上扮演重要角色。立石鐵臣曾於1934年與李石樵、楊三郎等人共組「臺陽美術協會」，他更以其精湛的繪圖功力，受聘為總督府繪圖師。《民俗臺灣》主題明確、美術風格鮮明，呼應著當時日本的民藝運動，是啟蒙臺灣民俗文化研究的重要出版物；而該刊書封常見的民俗工藝圖像，多出自立石鐵臣之手，饒富木刻版畫與圖騰符號的趣味。<br><br><div>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<i>Folk Taiwan</i> was founded by\nKanaseki Takeo (1897-1893) and Ikeda Toshio (1916-1981), with Tateishi Tetsuomi\n(1905-1980) as lead designer. Tateishi also joined the Taiyang Art Association\nin 1934 with Taiwanese artists Lee Shih-chiao and Yang San-lang, and later\nearned a position in the colonial government. The magazine had a clear theme\nand distinct style reminiscent of the Japanese mingei (folk craft) movement\nfrom the same period, and served an important role in initiating people into\nTaiwanese folk studies. The folk craft images that adorned the covers were\nmostly by Tateishi, whose illustrations often featured wood-block prints and\nfolk symbols.<br></div>" }, "imgs-931tbggwls": { "id": "imgs-931tbggwls", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "7df871e42a58f925d1f7f53ab0798022", "title": "李石樵_山路", "desc": "油彩\t縱44橫52公分", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/c44e9fa1424da3ba6a4de0b9cb1804e3.jpg?itok=UqwcJ_YN", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/c44e9fa1424da3ba6a4de0b9cb1804e3.jpg?itok=cxiy_q7n", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/c44e9fa1424da3ba6a4de0b9cb1804e3.jpg?itok=5hcvikEX", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/c44e9fa1424da3ba6a4de0b9cb1804e3.jpg?itok=OrUF45cA", "mfid": "c44e9fa1424da3ba6a4de0b9cb1804e3", "fileURI": 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