官方美術文化空間的比較──1927年台灣美術展覽會與1929年上海全國美術展覽會

A Comparative Study in the Official Dimension of Fine Art -- The Taiwan Fine Art Exhibition of 1927 and the Shanghai National Fine Art Exhibition of 1929

台北與上海分別在1927年與1929年舉行了第一次官辦的全島性或全國性的美術展覽會，代表二十世紀初葉，兩地在近代美術發展史上的重要里程碑，也是現代文化發展的指標。1907年10月日本東京創辦第一回文部省美術展覽會（文展）是亞洲的先例。1927年的台灣美術展覽會便以文展為學習的對象。兩年後，上海的教育部全國美術展覽會也可以說是受到法國沙龍展與日本文展影響的產物。官辦美術展覽會早已成為現代國家文化實力的表徵，並與民族主義思想結合。然而，上海的美術展覽會同時具有商業博覽會的因素存在，因而在表現形式上比台展顯得更為龐大而複雜。台展的表現是由殖民者刻意扶植的，以新取代舊，以日本觀點取代中國文化，美術學生只能跟隨著東京的模式而學習，台展的年輕畫家們似乎過於天真而熱情地接受了台展的形式。相對地，國展的參與者仍以傳統畫家為主，新興西畫家仍處於紛爭狀況，上海畫家似乎揮不去許多的焦慮，迫切的民族存亡問題與美術的發展方向經常糾纏不清。

In 1927, the 1st islandwide official fine art exhibition was held in Taipei. In 1929, the 1st national official fine art exhibition was held in Shanghai. These 2 exhibitions respectively represented an important milestone in the history of modern art in Taiwan and in China in the beginning of the 20th century, and were also indices of modern cultural development. In October 1907, the 1st Japanese Ministry of Education Fine Art Exhibition (Monbushō-bijutsu-tenran-kai, abbreviation 'Bun-ten') was held in Tokyo, Japan -- a precedent in Asia. The Taiwan Fine Art Exhibition of 1927 had modeled after Bun-ten. In the meanwhile, the National Fine Art Exhibition of 2 years later held by the Chinese Ministry of Education could be said as the product resulting from the impact of the salon in France and the Bun-ten. Official fine art exhibitions have long been the symbol of the real strength of modern nations and have converged with nationalistic thoughts. However, since there was also the element of commercial fair in the fine art exhibition of Shanghai, its expressive form was larger and more complex than the expressive form of the Taiwan fine art exhibition. The expression of the Taiwan exhibition was deliberately fostered by the colonists who replaced Chinese culture with Japanese viewpoints. Students of fine art could only follow the Tokyo pattern. And the young painters of the Taiwan exhibition seemed to have accepted the form of Taiwan exhibition too innocently and ardently. On the other hand, the dominant participants in the national exhibition were collectors and traditional painters. The new western style painters in Shanghai were still in endless dispute at this time. The urgent problem of national survival often was too tangled up with the direction of artistic development to unravel.