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臺府展故事再現(二):隱匿在時空錯置的畫面下的原貌

【記者廖宥婷/台中報導】

國立臺灣美術館「經典再現——臺府展現存作品特展」在美術館、藝術家家屬及藏家等三方合作下,匯集展出83件臺、府展現存作品,自展出以來即獲得盛大的迴響。藝術家的畫筆記錄了當時的臺灣美術環境,呈現當時臺灣美術發展的風貌外,也讓觀者得以透過作品見證「新美術」的重要發展過程。

    

「經典再現——臺府展現存作品特展」展出現存作品中,有兩幅創作於1943年的作品有著與最初參展時不同的變貌,分別是東洋畫部蔡雲巖〈我的日子〉,與西洋畫部陳碧女〈望山〉。這一改變並非物理保存損壞的改變,而是藝術家因應時代的更迭而有意識的自行修改。

蔡雲巖〈我的日子〉為第六回府展入選作品,創作時間為1943年,以室內景物為題材,描繪母子居家親情溫馨之情狀,背景為臺灣百姓傳統廳堂,以線條構成,呈現細緻素雅的生活空間,母親手拿為兒子準備的玩具飛機,兩側機翼所繪的青天白日黨徽明顯可見。從創作時間點推論,應是藝術家在時局轉變考量下,於戰後將原畫上的日本國旗修改而成的。

陳碧女〈望山〉同樣為入選第六回府展的作品。比照當年的府展圖錄,原畫中的庭院與房舍並無摻置他物,然而在現存作品中,房舍門前卻立有青天白日旗幟。〈忘山〉創作年代時值日治時期,並為參加官展之作品,理應不會出現青天白日國旗,因此畫中旗幟應是戰後因政局變動所增修。

 

 兩幅原畫之圖像符號出現時空錯置,視覺上或許也有不協調感,但反思藝術家的考量,刻意藏匿創作原貌,所為是因時局壓力所致,雖然作品隱匿了最初的樣貌,但卻記憶了環境的變遷與作品的歷史歷程,也讓觀者可感受時代更迭的痕跡及那段艱辛的歲月。

 

經典再現——臺府展現存作品特展

展覽日期:即日-2021年4月11日

展覽地點:國立臺灣美術館301-302展覽室

廖 宥婷

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