Exhibition Modes and Collection Context of Art Museum-A Case Study of Taiwan Provincial Exhibition of Fine Arts

• Main Author: 王韻絜
• Other Authors: 黃心蓉
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/54367161648567573736

碩士 === 國立臺南藝術大學 === 博物館學研究所 === 97 === In the history of Taiwan art development, the Taiwan Provincial Exhibition of Fine Arts (TPEFA) was the first official art exhibition after the early days of Taiwan’s retrocession from Japanese rule and it nurtured a lot of artists. The senior art professionals who strived for art since the Japanese Colonial Era led the new generation towards postwar era together to play an important role in Taiwan art history. TPEFA brought huge contribution in Taiwan art context and influenced on mode and development of art competition from then on. After the literature review of related researches, I find TPEFA not only kept its original functions but also acted for art museum before 80’s. This specialty could be found by its collecting behavior and exhibition modes. Consequently, to retrospect and investigate the exhibition modes and collection context of TPEFA after its past 60 years of development is imperative and meaningful. Because we can understand TPEFA how to represent its value and popularize art by space and exhibit style from the early environment of the TPEFA to art museum. Besides this, we can also set up TPEFA collection context to realize the invisible and practical effects on official cultural heritage, artists and art development in lack for public art museum, immature collecting climate and art market at that time. Though TPEFA and the Taiwan Museum of Art don’t have too much nature in common, they still had close connections. The museum can offer optimal environment for the protection of the collection, in addition to do the research, reconstruct and exhibit newly. They present the diversity of Taiwanese fine arts and its development and become the important cultural heritage for people to build the self-identification, national identity and cultural subjectivity. To sum up, the retrospection of TPEFA’s exhibition modes and collection context helps to express the merit of Taiwanese fine arts. Although TPEFA has already terminated in 2006, some essence of art in the process won’t disappear in changing times. The more important thing which is how to proceed with the spirit in providing art to public is worthy of thinking deeply. TPEFA remains significant value in historical contexts of Taiwanese fine arts is the reality and force of art and it should be the most original nature to seek in any phase of art development.