官方美术文化空间的比较－1927年台湾美术展览会与1929年上海全国美术展览会

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

台北与上海分别在1927年与1929年举行了第一次官办的全岛性或全国性的美术展览会，代表二十世纪初叶，两地在近代美术发展史上的重要里程碑，也是现代文化发展的指标。1907年10月日本东京创办第一回文部省美术展览会（文展）是亚洲的先例。1927年的台湾美术展览会便以文展为学习的对象。两年後，上海的教育部全国美术展览会也可以说是受到法国沙龙展与日本文展影响的产物。官办美术展览会早已成为现代国家文化实力的表徵，并与民族主义思想结合。然而，上海的美术展览会同时具有商业博览会的因素存在，因而在表现形式上比台展显得更为庞大而复杂。台展的表现是由殖民者刻意扶植的，以新取代旧，以日本观点取代中国文化，美术学生只能跟随着东京的模式而学习，台展的年轻画家们似乎过於天真而热情地接受了台展的形式。相对地，国展的参与者仍以传统画家为主，新兴西画家仍处於纷争状况，上海画家似乎挥不去许多的焦虑，迫切的民族存亡问题与美术的发展方向经常纠缠不清。

In 1927, the 1(superscript st) islandwide official fine art exhibition was held in Taipei. In 1929, the 1(superscript st) 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 20(superscript th) century, and were also indices of modern cultural development. In October 1907, the 1(superscript st) 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.