英文摘要 |
The Taiwan Provincial Museum underwent an organizational and spatial transformation in 1962. The museum established the“educational activities section”for running special exhibitions, and an exhibition space, the“Cultural and Educational Activity Room,”was also added. The brand-new exhibition space made the Taiwan Provincial Museum the first choice for all kinds of art exhibitions. This transformation changed the orientation of exhibitions from outright political propagation to pure art in the 1960s. Yet, these artistic exhibitions were not planned without political agendas. The multitude of exhibitions for Chinese calligraphies and paintings affirmed their paradigmatic status as“national art”and revealed national support for fine art. They helped the national ideology infiltrate all social strata. In other words, the rapid growth of Chinese calligraphy and painting exhibitions reflects the result of the construction of a“national art”by the state. However, due to the openness of the Taiwan Provincial Museum, artist groups established before 1945 as well as graduating students and commercial groups were also able to hold their exhibitions there. This diversity reflects the flourishing social forces after the 1960s and gives the exhibitions in the Taiwan Provincial Museum in the 1960s and 1970s both a national as well as a civil character, embodying especially the interactions of the two of them at different levels. Nonetheless, an underlying national ideology operated in tacit and diverse forms in all kinds of exhibitions from time to time, channeling as well as transforming these exhibitions in various ways. |