藝時代崛起：李仲生與臺灣現代藝術發展（中英文對照）

由國立臺灣美術館舉行、陶文岳策劃的「藝時代崛起──李仲生與臺灣現代藝術發展」，展出李仲生和其包括「東方八大響馬」等三十四位不同時期門生的創作，試圖重塑師生間藝術創作之對話，展品包括素描、水彩、油畫、陶藝、複合媒材、雕塑、裝置與數位互動等154件作品，內容精彩豐富。本書為此次展覽之作品圖錄，除收錄展覽中的經典作品圖版，亦收錄由策展人陶文岳、學者蕭瓊瑞及林宏璋所撰寫的三篇研究專文，透過研究成果與圖像展示，銘刻這段臺灣現代藝術史上最膾炙人口的一頁篇章。

李仲生（1912-1984）是臺灣抽象繪畫及推動臺灣現代美術發展的重要人物之一，他的創作結合了佛洛伊德的潛意識思想、超現實意念、自動性技巧與抽象繪畫表現，將個人內心的情緒轉移到畫面空間，呈現出不造作的線條表現和顏色層疊交錯的構成內容。
除了個人的藝術成就，李仲生更被讚譽為「臺灣現代繪畫導師」，其在咖啡館或茶館教學的獨特傳藝方式，並針對每位學生因材施教，與一般學院的教育體制截然不同；李仲生傳授的不是一套技巧或門派方式，而是引領創作者自我對話、發現探索、進而綻放獨特風格的現代藝術精神。他的諸多學生隨後也成為臺灣近、當代美術的中堅份子，持續影響且帶動臺灣畫壇的發展。
由國立臺灣美術館舉行、陶文岳策劃的「藝時代崛起──李仲生與臺灣現代藝術發展」，展出李仲生和其包括「東方八大響馬」等三十四位不同時期門生的創作，試圖重塑師生間藝術創作之對話，展品包括素描、水彩、油畫、陶藝、複合媒材、雕塑、裝置與數位互動等154件作品，內容精彩豐富。本書為此次展覽之作品圖錄，除收錄展覽中的經典作品圖版，亦收錄由策展人陶文岳、學者蕭瓊瑞及林宏璋所撰寫的三篇研究專文，透過研究成果與圖像展示，銘刻這段臺灣現代藝術史上最膾炙人口的一頁篇章。
Li Chun-Shan (1912-1984) who flourished in the 1950s and 1960s could be construed as one of the pioneers of Taiwan’s modern art. The later generations hold Li in deep reverence as the “groundbreaker of Chinese modern painting” and the “mentor of Taiwanese modern painting,” because he was not only an artist par excellence but also an influential educator, a legendary figure in Taiwan’s art world. His abstract paintings, pedagogic strategy, as well as his social and cultural milieus have been eulogized by his disciples and other artists, which is why we can find great delight in studying his abstract art and teaching.
His oeuvre welded together surrealist ideas, Automatism, abstract painting, and Sigmund Freud’s account of the unconscious mind, channeling his personal supra-consciousness to create engrossing compositions characterized by unpretentious lines and imbricated layers of colors. Li’s mentorship was different from traditional academic training, distinguishing itself by his pedagogical approach of teaching in line with the disciple’s ability, which was exemplified by his celebrated one-on-one teaching method.
Li was an artistic icon in Taiwan’s art history. He devoted a lifetime to the promotion of Taiwanese modern art, based on which his disciples have not only evolved their respective creative styles, but also flourished with remarkable fruits.

為落實文化部推動之「重建臺灣藝術史」計畫，國立臺灣美術館近年來積極進行多面向之歸納、梳理，經由展覽、研究、典藏、論壇及學術研討會等形式，建構臺灣美術發展歷程、深化美術的本體價值及脈絡耙梳，對臺灣美術的閱讀與辯證注入新的視角與能量。基於此，「臺灣現代繪畫導師」李仲生，即成為重要之研究目標之一。
李仲生（1912-1984），乃是臺灣50年代以降抽象繪畫創作及推動臺灣現代美術發展的重要人物之一，他的創作以自由簡潔的線條及奔放的色彩交疊建構，蘊含著超現實意念及自發性情緒的轉移，以抽象繪畫之型態呈現，為臺灣最早從事抽象繪畫的傑出藝術創作者。而李仲生除了個人之藝術成就之外，更被讚譽為「臺灣現代繪畫導師」，其迥異於一般學院式體制的前衛教學，以咖啡館或茶館一對一獨特授課傳藝方式，啟發了學生個人的藝術潛能及思維，並進而發展出各自獨特的創作風格，培育出日後「東方畫會」、「自由畫會」、「饕餮畫會」、「現代眼畫會」等藝術團體之重要成員；李仲生的諸多學生成為臺灣近代美術歷程中的重要指標人物，影響且帶動著臺灣畫壇的發展。
國立臺灣美術館為探討李仲生及其門生對臺灣美術發展深刻且長遠之影響，特別邀請陶文岳先生精心策劃「藝時代崛起──李仲生與臺灣現代藝術發展」，除展出李仲生精選作品外，並試圖重塑師生間藝術創作之對話。在展覽的結構上，歸納為「1951年臺北安東街畫室時期」、「1957年彰化時期」、「李仲生門生作品」三大主題區，並輔以許多珍貴文獻對照展出；參展藝術家包括有「八大響馬」之稱的歐陽文苑、霍剛、蕭勤、李元佳、陳道明、吳昊、夏陽及蕭明賢，以及其他時期門生共34位，作品154件共同展出。本展透過藝術家們各自精采且獨具一格的創作表現，關注並探討李氏門生在李仲生自由開放的教學引領下，對於臺灣美術脈動與趨勢發展的影響力，並期望透過本次所策劃之展覽，從一種既回望又前瞻的角度，重新檢閱時代藝術思潮、美學路向、創作內涵延異發展的歷史變因及後續的擴散性影響。
本次展覽得以圓滿展出，特別感謝策展人陶文岳先生所投注的大量心力，以及李仲生現代繪畫文教基金會的大力支持，並且謝謝蕭瓊瑞、林宏璋二位教授特賜專論，增益本展在學術探討及研究內容上的深度與廣度。此外，參展藝術家、臺北市立美術館、收藏家、借展單位等的無私支持，慨允出借珍藏作品，使國美館得以藉由精湛之藝術創作，表彰李氏藝術精神的傳承於臺灣美術史發展上的卓越貢獻，在此一併致上最誠摯的謝意。

Director’s Preface
“Reconstructing Art Histories in Contemporary Taiwan,” an ambitious project administered by the Ministry of Culture, has entailed the National Taiwan Museum of Fine Arts (NTMoFA) to engage actively in multi-dimensional induction and collation in recent years, and the fruitful results have been manifested in the museum’s diverse activities such as exhibitions, researches, collections, forums and symposiums, through which the course of Taiwanese art history is mapped, the ontological value of art is enhanced, and the associated contexts are clarified, thereby channeling new perspective and energy into the reading and dialectic of Taiwanese art. This is why Li Chun-Shan, known as the “mentor of Taiwanese modern painting,” has been one of our crucial research objects.
In the 1950s and after, Li Chun-Shan (1921-1984) was an iconic promoter of Taiwanese modern art in general and abstract painting in particular. His oeuvre was interlaced by simple, untrammeled lines and bold, imbricated coloring, imbued with surreal ideas and qualities of Automatism, and presented in the form of abstract painting, which proved that he was a pioneering abstract painter par excellence in Taiwan. Apart from his artistic achievements, Li also won the kudos as the “mentor of Taiwanese modern painting.” His avant-garde arts education differed radically from conventional academic training. His pedagogical approach featuring one-on-one teaching in a coffeehouse or teahouse not only unlocked his disciples’ artistic potential but also enlightened their minds, based on which they evolved their respective creative styles. Moreover, Li had nurtured the key members of several artistic groups in Taiwan, such as the Tong Fang Painting Association, the Free Painting Association, the Tao Tie Painting Association, and the Modern Eye Painting Association. Many of Li’s disciples have become iconic figures on the trajectory of Taiwanese modern art. They not only have an influential presence in the advancement of Taiwanese painting, but also act as a driving force behind it.
For the purpose of reflecting the profound and enduring influence of Li and his disciples on the development of Taiwanese art, the NTMoFA specifically invited Tao Wen-Yuen to curate the grand exhibition Pioneers of the Avant-Garde Movement in Taiwan: From Li Chun-Shan to His Disciples in an elaborate fashion. In addition to offering a superb selection of Li’s works, this exhibition is intended to reconstruct the brilliant dialogues between Li and his disciples about artistic creation. With regard to its installation, this exhibition comprises three thematic areas, namely “1951-1955: The Atelier on An-dong Street,” “1957-1984: Years in Changhua,” and “Works by Li’s Disciples.” Each area is juxtaposed with a display of precious documents. This exhibition highlights a total of 154 works by Li and his 34 disciples, foremost the “Eight Great Outlaws” (i.e. Oyan Wen-Yuen, Ho Kan, Hsiao Chin, Li Yuan-Chia, Tommy Chen, Wu Hao, Hsia Yang, and Hsiao Ming-Hsien). Through the lens of these artists’ inimitable creative styles, this exhibition can help the visitors understand the influence of Li’s disciples, under the guidance of Li’s free and open pedagogy, upon the dynamism and trends of Taiwanese art. By virtue of this exhibition, we seek to undertake a retrospective and meanwhile forward-looking review of the contemporary strands of artistic thoughts and aesthetic orientations as well as the historical variables of content différance and their far-reaching consequences.
The success of this exhibition would have been impossible without the considerable time and effort invested by the curator Tao Wen-Yuen and the unreserved assistance from the Li Chun-Shan Cultural and Educational Foundation for Modern Painting. I am more than grateful to Prof. Hsiao Chong-Ray and Prof. Lin Hong-John for their monographs that deepen and broaden this exhibition in terms of academic enquiry and research. Last but by no means least, my sincere appreciation is extended to Taipei Fine Arts Museum and all the participating artists, collectors and lenders. Their unconditional support and selfless generosity enable the NTMoFA to harness the power of these artistic gems, thereby honoring Li’s invaluable contribution to and perpetuating his pioneering spirit in Taiwanese art history.

序｜Director's Preface
國立臺灣美術館館長｜林志明
Director, National Taiwan Museum of Fine Arts｜Lin Chi-Ming
策展專文｜Curatorial Essay
凝視空間記憶──從李仲生影響下的臺灣現代藝術現象談起｜陶文岳
The Evocative Imagery of an Art Giant: A Review of the Modern Art Development in Taiwan under the Influence of Li Chun-Shan｜Tao Wen-Yuen
專論｜Essays
李仲生傳奇與藝時代的崛起──臺灣現代藝術發展的一頁重要篇章｜蕭瓊瑞
The Rise of the Legend of Li Chun-Shan and the Era of Art: An Important Chapter in the Development of Avant-Garde Art in Taiwan｜Hsiao Chong-Ray
李仲生的教育轉向｜林宏璋
The Education Turn of Li Chun-Shan｜Lin Hong-John
藝術家作品圖版｜ Artists' Statements and Plates
年表｜ Chronological Table
藝術家簡歷｜ Artists' Biographies
感謝誌｜Acknowledgements