论文部分内容阅读
倘若对应于陈澄波的上海时期(1929-1933),我们可以基本明确其中核心的艺术遗产记录:5份美展文献、9份陈氏简历、7份作品著录、35帧历史照片、12幅铅笔速写(有明确上海内容落款)、12幅交游作品、16份交游文献、32幅上海时期油画等——这些是陈澄波从上海带走的艺术遗产的重要部分,这些被长期遮蔽的历史之物和艺术之物,不仅局限于陈氏个人范围,而是扩展为中国近现代美术的上海记忆和缩影,构成了中国近现代美术资源中我们所“看不见”的部分。而恰恰是这部分资源与大陆相关资源,形成了独特而珍贵的互补关系。因此,对于台湾所藏陈澄波上海时期艺术遗产的研究,其问题所指,正是中国近现代美术资源的两岸复合。我们需要以文化战略的意识加以复合,才能真正对应我们依然“看不见”的中国近现代美术;同时我们也需要建立协同合作的机制加以再生,才能将这些艺术遗产转化为真正的、有效的公共文化资源。
If corresponding to Chen Chengbo’s Shanghai Period (1929-1933), we can basically make clear the core art heritage records of them: 5 art exhibition documents, 9 Chen’s resumes, 7 works records, 35 historical photos and 12 pencil sketches There are clear Shanghai content inscribed), 12 cross-cultural works, 16 associate literature, 32 paintings in Shanghai period, etc. - these are the important parts of Chen Chengbo’s artistic heritage taken away from Shanghai. These long-shaded historical objects and art It is not only confined to Chen’s personal sphere, but extends to the memory and epitome of Shanghai in modern and contemporary Chinese art. It constitutes the part of our “invisible” part of Chinese modern and contemporary art resources. It is precisely this part of resources and the mainland-related resources, forming a unique and precious complementary relationship. Therefore, for the research on Chen Cheng-bo’s artistic heritage in Shanghai during his stay in Taiwan, the problem refers to the cross-Strait compounding of modern and contemporary art resources in China. We need to combine the awareness of cultural strategy so that we can truly respond to the modern Chinese art that we still can not see. At the same time, we also need to establish a mechanism for cooperation and regeneration so as to transform these artistic heritage into real and effective Public cultural resources.