| 摘要: | 許文龍（1928-）與他所創辦之奇美博物館，藝術類常設展以臺灣少見的西洋藝術為主，以西洋藝術史發展的脈絡為敘事核心，呈現由13-20世紀創作於西歐的繪畫。由於創辦人的品味與藝術市場可及的作品，18-19世紀的學院藝術在展品中數量最多，這些繪畫也體現創辦人對於繪畫之技術訓練的重視，許文龍以「看得懂」的藝術來概括展場中具象、寫實的作品。注重技術性層面的觀畫方式，與藝術教育的重心有關，進而影響西洋藝術的展示目的。當藝術教育理念逐漸由技術為主轉變為重視人文內涵，藝術展示也由臨摹、學習繪畫技巧為目的，轉變為透過畫作認識藝術發展的歷史與相應的文化脈絡。奇美藝術廳的展示，順應時勢作出調整，同時保持一向堅持的重視繪畫訓練的特色，在當前的藝術教育生態中佔有獨特的棲位。
本文將以許文龍-奇美博物館為核心，探討許文龍如何接受西洋藝術教育，進而以博物館為主體在當代環境中推動相關的教育活動。第一章將探究藝術教育中重視繪畫技術的部分，如何展現在奇美藏品；第二章呈現藝術廳如何詮釋藏品與「看得懂」的藝術；最後，將針對館方提供的藝術教育資源，探討奇美的特殊性與未竟之業 。
;Chimei Museum established in 1992 by Wen-Long Shi (1928-) was relocated to the Tainan Metropolitan Park in 2014 and reopened in 2015. The museum was known for its western art collections, which were rare in Taiwan. In the permanent galleries of fine arts, the artworks from the 13th to the 20th century are displayed in chronological order, allowing visitors to follow the trail of Western art development. According to the personal taste of founder Shi and artworks available on the art market, paintings in display are mainly academic art from the 18th to the 19th century. These well-skilled paintings present technical methods which Shi pays attention to. He considered these figurative, representational, realistic painting to be ‘understandable’ to the public. Ways of viewing art underlining technical skills are related to the tendency of art education, which once emphasized technical skills. As the aim of art education turned from emphasizing technical skills to the humanistic content, the purpose of displaying western art also turned from learning how to paint by imitating to learning historical, cultural, contextual development of art. Chimei Museum, following this trend, changed their ways of display, while maintaining their emphasis on technical skills and figurative paintings, and therefore occupied a unique place in the world of art education.
This thesis attempts to focus on Shi and paintings in Chimei Museum, examining what role Chimei Museum plays in current art environment in Taiwan. The first chapter traces how Shi formed his idea of building a museum and his taste of western art. In this case, art education Shi received, especially the part of media and techniques, was influential. On this basis, he collected artworks and founded the museum. The second chapter focuses on how Chimei Museum displays their artworks, and how they interpret ‘understandable’ art. In the final chapter, I compare the activities and information Chimei released with other organizations to point out the uniqueness of Chimei. |
