台湾藏陈澄波上海时期艺术遗产研究——中国近现代美术资源的两岸复合

发布时间：2018-10-17 14:55

【摘要】：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。
[Abstract]:If we correspond to Chen Chengbo's Shanghai period (1929-1933), we can basically define the core art heritage records: 5 art exhibition documents, 9 Chen's resumes, 7 works catalogs, 35 historical photos, 12 pencil sketches (with clear Shanghai references). ), 12 dating works, 16 friendship documents, 32 paintings of the Shanghai period, etc. These are important parts of Chen Chengbo's artistic heritage taken away from Shanghai. These objects of history and art, which have been obscured for a long time, are not only confined to Chen's personal scope, but also extended to the Shanghai memory and epitome of Chinese modern and modern fine arts, forming the "invisible" part of the Chinese modern and modern art resources. It is precisely this part of resources and mainland related resources, formed a unique and precious complementary relationship. Therefore, the study of Chen Chengbo's artistic heritage in Taiwan refers to the combination of modern and modern Chinese art resources. We need to combine our awareness of cultural strategies in order to truly correspond to the modern Chinese art that we still "can't see." at the same time, we also need to establish mechanisms for collaborative cooperation to regenerate. In order to transform these artistic heritage into real, effective public cultural resources.
【作者单位】：上海大学美术学院;
【分类号】：J120.9

【共引文献】