#: locale=zh
## Action
### URL
LinkBehaviour_8348D5D5_9542_6551_41BC_A078099E9EE8.source = https://mtcc.moc.gov.tw/home/zh-tw/dictionary
LinkBehaviour_CE777A55_A106_6C70_417D_2303E88B7CF9.source = https://mtcc.moc.gov.tw/home/zh-tw/dictionary
LinkBehaviour_8D2AB3C1_954E_BDB1_41A2_5AEB9898775A.source = https://mtcc.moc.gov.tw/home/zh-tw/dictionary
LinkBehaviour_DCC49079_A302_1C30_41D1_2AE7E6F7BEA0.source = https://mtcc.moc.gov.tw/home/zh-tw/dictionary
WebFrame_1DF5384A_09F4_ED0B_419D_3D5486C8DD62.url = https://my.shadowmoon.com.tw/?post_type=arts&p=6612
WebFrame_C21C8495_DC68_D5BD_41A2_972A77322563_mobile.url = https://my.shadowmoon.com.tw/?post_type=arts&p=6612
WebFrame_84D0C812_9185_C474_41D7_38BA1BD54AC2_mobile.url = https://my.shadowmoon.com.tw/?post_type=arts&p=6987
## Hotspot
### Text
FlatHotspotPanoramaOverlayTextImage_8B0AE55A_D0E4_F65C_41C8_44D3A92E294C.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8B7F5A23_D0ED_3DEC_41D6_06DE2F0311A4.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8B63F3E7_D0ED_D273_41DC_D88ADB45B3D3.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8B538CFC_D0ED_3655_41CA_CB8A8A8CA9BC.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8B4CB46E_D0ED_3675_41E9_4D5242EDD547.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8B506E65_D0EC_F277_41CD_AACD800FAD7F.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8B3E7D69_D0EB_D67C_41D8_651A4D0BC1AE.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_B79095A5_D0E4_D6F4_41E0_CB5E66CDC99D.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8B4C9FC7_D0E5_52B3_41C8_692055EC3604.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8B499C08_D0E5_35BD_41C9_EF910B074516.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8B6C2C1F_D0E5_D5D3_41E6_45A88E1FBCDE.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8BB43E13_D0E5_55AC_41D2_4CA4E32B7DA9.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8BB553EB_D0E4_F273_41EA_A7277871EC53.text = 參觀方向
FlatHotspotPanoramaOverlayTextImage_8BB51DD0_D0E7_36AD_41D9_1E88C34AFF23.text = 參觀方向
### Tooltip
FlatHotspotPanoramaOverlayArea_028584A0_19D3_8BE8_41B7_1E9E1B8268DC.toolTip = 台中港
FlatHotspotPanoramaOverlayArea_C2386AB5_D60E_27A1_41E3_ADB12109A028.toolTip = 台中港
FlatHotspotPanoramaOverlayArea_0F7B156F_19B6_9578_418A_BE52837B270B.toolTip = 台中港
HotspotMapOverlayArea_3689FAE0_1952_9F68_41B7_5BAF34346B44.toolTip = 吾土.吾民(書畫)
HotspotMapOverlayArea_372297F2_1953_B568_41B3_90D987B5AD20.toolTip = 吾土.吾民(書畫)
HotspotMapOverlayArea_36C992F8_1953_8F59_41B4_0DC1F32492B3.toolTip = 吾土.吾民(書畫)
HotspotMapOverlayArea_078E0670_1951_B769_41B9_AAB2F11A0624.toolTip = 吾土.吾民(書畫)
HotspotMapOverlayArea_075D69BB_1951_9DD8_41B3_88D35340B876.toolTip = 吾土.吾民(書畫)
HotspotMapOverlayArea_05400867_1951_FB68_41B8_490F85162BB6.toolTip = 吾土.吾民(書畫)
FlatHotspotPanoramaOverlayArea_035E0252_19F1_8EA9_419F_57738C83BA44.toolTip = 吾土.吾民(書畫)
FlatHotspotPanoramaOverlayArea_0F612F51_19D1_96AB_41B0_E0A6B384911C.toolTip = 吾土.吾民(書畫)
FlatHotspotPanoramaOverlayArea_C7EB19EB_D5F2_25A1_41E7_4B8665553159.toolTip = 吾土.吾民(書畫)
FlatHotspotPanoramaOverlayArea_0C4BC7A9_1973_95FB_419C_6F5A1B8E444B.toolTip = 國父嘉言
FlatHotspotPanoramaOverlayArea_C1AFEAB7_D5F2_67A1_41B8_72684C425753.toolTip = 國父嘉言
FlatHotspotPanoramaOverlayArea_05355E13_19D2_96AF_4195_D5E79FB76D0D.toolTip = 國父嘉言
FlatHotspotPanoramaOverlayArea_02861D81_19D1_75AB_41B0_E2AEDDBB4EB3.toolTip = 太武雄風
FlatHotspotPanoramaOverlayArea_0E882889_19B7_FBBB_41B1_7306E83AC92A.toolTip = 太武雄風
FlatHotspotPanoramaOverlayArea_C1D4465C_D5F2_EEE7_41D2_F677F60994BD.toolTip = 太武雄風
FlatHotspotPanoramaOverlayArea_0E855A94_19D3_7FA9_41A3_6BF66F4F81A3.toolTip = 安土敦仁 道濟天下
FlatHotspotPanoramaOverlayArea_C00C52F5_D616_67A1_41CB_D03124A3001A.toolTip = 安土敦仁 道濟天下
FlatHotspotPanoramaOverlayArea_02A39AF8_19F3_9F58_41A0_2A83707196D0.toolTip = 安土敦仁 道濟天下
FlatHotspotPanoramaOverlayArea_C1E469B9_D5F2_E5AE_41E1_49A7CF48D379.toolTip = 山居客來
FlatHotspotPanoramaOverlayArea_0F478E64_19B7_7769_41AD_D52C9D7A4BF3.toolTip = 山居客來
FlatHotspotPanoramaOverlayArea_0EAE87DB_19B6_955F_4174_0FB9FE287A16.toolTip = 山居客來
FlatHotspotPanoramaOverlayArea_028922F1_19D1_8F68_418C_1B12ACAE5ED9.toolTip = 山居客來
FlatHotspotPanoramaOverlayArea_C2276E13_D60E_1E61_41BC_B3A91FFCF473.toolTip = 山居客來
FlatHotspotPanoramaOverlayArea_02975BC5_19D3_BDAB_41B4_326FB5D82FC9.toolTip = 山居客來
FlatHotspotPanoramaOverlayArea_0C542D7A_196E_9559_41B0_0B883D86BAC4.toolTip = 岑參逢入京使
FlatHotspotPanoramaOverlayArea_02B65CBF_19D2_BBD7_41B5_48B8AB06EB39.toolTip = 岑參逢入京使
FlatHotspotPanoramaOverlayArea_C1DDEA53_D5F6_66E1_41E5_D7602D71BCA2.toolTip = 岑參逢入京使
FlatHotspotPanoramaOverlayArea_C3DB276A_D612_2EA2_41D6_8FA876F80462.toolTip = 平等互惠 交流合作
FlatHotspotPanoramaOverlayArea_03559E43_19F1_F6AF_419F_94938FCEEC1B.toolTip = 平等互惠 交流合作
FlatHotspotPanoramaOverlayArea_009FB41B_19D1_8AD8_41A8_E2F886F34020.toolTip = 平等互惠 交流合作
FlatHotspotPanoramaOverlayArea_02A07FBB_19D2_95DF_41B8_07D2A298F750.toolTip = 張猛龍碑
FlatHotspotPanoramaOverlayArea_C1CE524D_D5F6_26E6_41E0_D045546137A4.toolTip = 張猛龍碑
FlatHotspotPanoramaOverlayArea_0CD5F860_196F_BB69_41B1_249A3F77126E.toolTip = 張猛龍碑
FlatHotspotPanoramaOverlayArea_028D7735_19D7_96EB_41AB_2DDB47A1673D.toolTip = 承先啟後 繼往開來
FlatHotspotPanoramaOverlayArea_C1D657FC_D5F2_2DA7_41E5_43C1366E8CE1.toolTip = 承先啟後 繼往開來
FlatHotspotPanoramaOverlayArea_0EE587C0_19B1_75A8_41AB_15E24A3F42D5.toolTip = 承先啟後 繼往開來
HotspotMapOverlayArea_053FE364_1953_8D69_41B6_3BCE124CE3CE.toolTip = 承先.繼往(書法)
HotspotMapOverlayArea_04C10BBF_1952_9DD7_41AD_EAE2744ED6A1.toolTip = 承先.繼往(書法)
HotspotMapOverlayArea_378888CA_1953_FBB8_416F_7A0674F12624.toolTip = 承先.繼往(書法)
FlatHotspotPanoramaOverlayArea_0C4D9402_1972_8AA8_4189_68BFC03CF1AD.toolTip = 承先.繼往(書法)
FlatHotspotPanoramaOverlayArea_8C3A5D3F_D0A7_D7D3_41E6_13BC03B8AF7F.toolTip = 承先.繼往(書法)
FlatHotspotPanoramaOverlayArea_0D9C981C_1971_7AD8_41B7_F38FF2594012.toolTip = 承先.繼往(書法)
FlatHotspotPanoramaOverlayArea_02240E23_19D1_B6EF_4179_127AE7DA00B6.toolTip = 承先.繼往(書法)
HotspotMapOverlayArea_315695E3_1951_B56F_41B4_96D25396202C.toolTip = 承先.繼往(書法)
FlatHotspotPanoramaOverlayArea_C423E0EF_D5F6_23A1_41B6_546C9CDBE332.toolTip = 承先.繼往(書法)
FlatHotspotPanoramaOverlayArea_02BD416E_19D2_8D79_4184_DCF75858FA46.toolTip = 承先.繼往(書法)
FlatHotspotPanoramaOverlayArea_C3E0666E_D612_2EA3_41C1_68D33EED671E.toolTip = 服務人民 廉能政府
FlatHotspotPanoramaOverlayArea_02A6521D_19F2_8ED8_4198_5E15744426AE.toolTip = 服務人民 廉能政府
FlatHotspotPanoramaOverlayArea_0F4E07F7_19D3_9557_41B6_88D12EB033C7.toolTip = 服務人民 廉能政府
FlatHotspotPanoramaOverlayArea_0C4F19E7_196E_9D68_41B0_61D996C4F3ED.toolTip = 杜甫詠懷古跡五首
FlatHotspotPanoramaOverlayArea_02AF95D6_19D2_95A8_416B_F2BA74189A22.toolTip = 杜甫詠懷古跡五首
FlatHotspotPanoramaOverlayArea_C1DB0257_D5F6_26E1_41E3_CFC61E6BE5EB.toolTip = 杜甫詠懷古跡五首
FlatHotspotPanoramaOverlayArea_025E7E95_19DF_F7AB_41AF_6323247F1285.toolTip = 東漢史晨碑
FlatHotspotPanoramaOverlayArea_0CE48166_1976_8D69_41B5_4CDC21177A83.toolTip = 東漢史晨碑
FlatHotspotPanoramaOverlayArea_C762A000_D5FE_625F_41DD_010CECFCAB48.toolTip = 東漢史晨碑
FlatHotspotPanoramaOverlayArea_C1D07563_D5F3_E2A1_41E0_2758AB5CDEC7.toolTip = 橫貫公路一角
FlatHotspotPanoramaOverlayArea_029E146E_19D1_8B79_418D_1834340E007F.toolTip = 橫貫公路一角
FlatHotspotPanoramaOverlayArea_C1D7B06D_D5F2_E2A1_41DD_4F6BE48BA4F7.toolTip = 橫貫公路一角
FlatHotspotPanoramaOverlayArea_0E8A78D3_19BE_9BAF_41A3_38D6A776EB88.toolTip = 橫貫公路一角
FlatHotspotPanoramaOverlayArea_028597F5_19D1_756B_413F_F2270DB7EA7C.toolTip = 橫貫公路一角
FlatHotspotPanoramaOverlayArea_0F684A29_19B7_BEF8_418C_2311BEDA9CE9.toolTip = 橫貫公路一角
FlatHotspotPanoramaOverlayArea_C3EF1B73_D612_26A1_41E8_93D85E6909F1.toolTip = 水牛精神 歷久彌新
FlatHotspotPanoramaOverlayArea_0F710CCE_19D1_BBB8_41B4_28321ED7E50B.toolTip = 水牛精神 歷久彌新
FlatHotspotPanoramaOverlayArea_02A46690_19F1_97A9_41AD_D0E853856AE2.toolTip = 水牛精神 歷久彌新
FlatHotspotPanoramaOverlayArea_02A04717_19EF_B6A8_41B6_FAC618400992.toolTip = 溪戲
FlatHotspotPanoramaOverlayArea_0F5E4919_19B2_BADB_41A2_EEE0A336307A.toolTip = 溪戲
FlatHotspotPanoramaOverlayArea_C2299918_D60E_626F_41E0_07BB71BC786B.toolTip = 溪戲
FlatHotspotPanoramaOverlayArea_0C2E2267_1976_8F77_41A3_C4120D770ADB.toolTip = 漢隸禮運大同篇
FlatHotspotPanoramaOverlayArea_C40BE795_D5F2_2E61_41D7_1FA97080BB11.toolTip = 漢隸禮運大同篇
FlatHotspotPanoramaOverlayArea_03F4DED4_19DE_97A9_41A2_C928FE20D3CE.toolTip = 漢隸禮運大同篇
FlatHotspotPanoramaOverlayArea_0F4F1502_19BE_8AA8_41B0_7AA301E12FBD.toolTip = 筆墨.寫心(水墨)
FlatHotspotPanoramaOverlayArea_C40ABF38_D5F2_1EAF_41E1_73CB5213A4A0.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_3175ADA1_1952_95EB_41A8_C14A03F637E0.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_3166D0A6_1951_8BE8_4181_82DAE95D046A.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_364D9F70_1952_B568_41B2_F469FD72FA44.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_31CCF47F_1952_8B57_418C_25E0C6B9A8E1.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_0436D4DC_1952_8B58_416E_70735B3A68FF.toolTip = 筆墨.寫心(水墨)
FlatHotspotPanoramaOverlayArea_C417937C_D5F2_26A7_41E8_641547F531F8.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_049CD245_1952_8EA8_41B6_6287ABFC8E9A.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_31923805_1952_9AA8_41B9_CCDFA5FFEEDF.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_0469150C_1952_8AB9_41B3_E882D30FADE1.toolTip = 筆墨.寫心(水墨)
FlatHotspotPanoramaOverlayArea_0294ADDD_19D1_955B_4199_DF5F11D2D3E9.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_042B0FF2_1952_9569_418C_932CACB1F87E.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_31849A8C_1952_BFB8_416B_415FE5594655.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_07F9D368_1951_8D78_4183_10AE88AA2E88.toolTip = 筆墨.寫心(水墨)
HotspotMapOverlayArea_044D6667_1952_9768_41AB_618EEE2024A5.toolTip = 筆墨.寫心(水墨)
FlatHotspotPanoramaOverlayArea_028DCBE3_19D1_9D6F_41A0_E8F056A29172.toolTip = 筆墨.寫心(水墨)
FlatHotspotPanoramaOverlayArea_0EAEC290_19B6_8FA8_41B9_15EEE9047560.toolTip = 筆墨.寫心(水墨)
FlatHotspotPanoramaOverlayArea_081D1B30_1972_9EE8_41A0_80C2CFEBCCF4.toolTip = 策展論述
FlatHotspotPanoramaOverlayArea_0C68D822_1971_BAE9_41B4_7C183A970AC5.toolTip = 策展論述
FlatHotspotPanoramaOverlayArea_01F0414B_19D1_8ABF_41AB_A97229679BA6.toolTip = 策展論述
FlatHotspotPanoramaOverlayArea_0A3EBF49_1971_B6BB_41B5_A4B9EA4587E0.toolTip = 策展論述
FlatHotspotPanoramaOverlayArea_005F0665_19D1_976B_41AF_FE5F28BABC75.toolTip = 策展論述
FlatHotspotPanoramaOverlayArea_0B6C3564_1972_9569_412D_BECABC8F3F20.toolTip = 策展論述
FlatHotspotPanoramaOverlayArea_01EDCE03_19D6_B6A8_41AD_96ECD51849E9.toolTip = 策展論述
FlatHotspotPanoramaOverlayArea_C463B45C_D5F5_E2E6_41E0_4EBB55953A62.toolTip = 策展論述
FlatHotspotPanoramaOverlayArea_C7B72484_D5F2_2267_41DE_BD06A42A3592.toolTip = 節臨朱雨田碑
FlatHotspotPanoramaOverlayArea_8D159B74_D0BD_5255_41E5_C24D96D6A934.toolTip = 節臨朱雨田碑
FlatHotspotPanoramaOverlayArea_02B127BF_19D2_B5D8_41AD_BF1B7AD9DC6D.toolTip = 篆書中堂
FlatHotspotPanoramaOverlayArea_0C7BE2F4_196E_8F69_41A7_695586331ED6.toolTip = 篆書中堂
FlatHotspotPanoramaOverlayArea_C1E721C9_D5F6_65E1_41E9_618E6A6C7973.toolTip = 篆書中堂
FlatHotspotPanoramaOverlayArea_C1D7A8FB_D5F6_23A1_418C_8423595EF063.toolTip = 篆書先賢勵志詩
FlatHotspotPanoramaOverlayArea_02AF028A_19D6_8FB8_41B6_AC145E02A482.toolTip = 篆書先賢勵志詩
FlatHotspotPanoramaOverlayArea_0C15B8DB_196E_9B5F_41AF_1FA3533CE73D.toolTip = 篆書先賢勵志詩
FlatHotspotPanoramaOverlayArea_0C04A760_1973_9569_41B8_535A6BCF81FA.toolTip = 篆書詠茶聯
FlatHotspotPanoramaOverlayArea_0509FE1C_19D2_B6D9_41B6_A3D95DCCDDD4.toolTip = 篆書詠茶聯
FlatHotspotPanoramaOverlayArea_C1D59A29_D5F2_E6A1_41E7_FE0CB905118A.toolTip = 篆書詠茶聯
FlatHotspotPanoramaOverlayArea_0F661189_19B2_8DBB_41B2_3C35F53392F9.toolTip = 米點筆意煙雨情
FlatHotspotPanoramaOverlayArea_C22CFDBF_D60E_1DA1_41E9_6B0D96FDF9A6.toolTip = 米點筆意煙雨情
FlatHotspotPanoramaOverlayArea_02A65B3E_19EF_BED9_41A7_C9FCEE069702.toolTip = 米點筆意煙雨情
FlatHotspotPanoramaOverlayArea_30A4C616_1AF1_76A8_41A5_39747B4D4BB2.toolTip = 結束參觀
FlatHotspotPanoramaOverlayArea_02AF79B8_19EE_BDD9_4196_8C4D93CD5B53.toolTip = 荒城之月
FlatHotspotPanoramaOverlayArea_C1E1C1CF_D612_E5E1_41C8_A28EA1533669.toolTip = 荒城之月
FlatHotspotPanoramaOverlayArea_0F584819_19B3_9ADB_41AF_FBA0C3D77ADA.toolTip = 荒城之月
FlatHotspotPanoramaOverlayArea_05233349_19D2_8EBB_41B4_4F5F5EABE765.toolTip = 蘇軾飲湖上初晴後雨
FlatHotspotPanoramaOverlayArea_0C6409EC_1973_9D79_418A_B5EF32EC424B.toolTip = 蘇軾飲湖上初晴後雨
FlatHotspotPanoramaOverlayArea_C19330BB_D5F2_23A1_41D0_44AF69FF6667.toolTip = 蘇軾飲湖上初晴後雨
FlatHotspotPanoramaOverlayArea_C76AE05D_D5FE_22E1_41C4_53C324476A3B.toolTip = 行書
FlatHotspotPanoramaOverlayArea_0C8D9606_1971_76A8_4197_21B74B4D4DFD.toolTip = 行書
FlatHotspotPanoramaOverlayArea_0294E1FC_19DE_8D59_41A3_CC53B6743721.toolTip = 行書
FlatHotspotPanoramaOverlayArea_0F4AC986_1971_BDA9_41A6_3AAEB85DE57E.toolTip = 謝靈運詩齋中讀書
FlatHotspotPanoramaOverlayArea_C77EC18A_D5FE_2263_41E9_2F36F96BA1FD.toolTip = 謝靈運詩齋中讀書
FlatHotspotPanoramaOverlayArea_052FF151_19DE_8AAB_4180_0C679BC1A29D.toolTip = 謝靈運詩齋中讀書
HotspotMapOverlayArea_05E110CF_1953_8BB7_418F_9A8B02C32040.toolTip = 載道.抒懷(書法)
HotspotMapOverlayArea_33E24325_1952_8EEB_41B6_3E88059A7990.toolTip = 載道.抒懷(書法)
FlatHotspotPanoramaOverlayArea_0DB9C4F0_1977_8B69_41A9_636E8A25B1CE.toolTip = 載道.抒懷(書法)
FlatHotspotPanoramaOverlayArea_059EB111_19D2_8AAB_41AF_96DF29B93E24.toolTip = 載道.抒懷(書法)
HotspotMapOverlayArea_0503581A_1953_BAD9_41B0_DEDC09077AA8.toolTip = 載道.抒懷(書法)
HotspotMapOverlayArea_37EE2AC9_1953_BFBB_419E_089403A4F2D6.toolTip = 載道.抒懷(書法)
FlatHotspotPanoramaOverlayArea_835F16AB_D0BD_52F3_41E1_7497C45422D0.toolTip = 載道.抒懷(書法)
FlatHotspotPanoramaOverlayArea_0355930A_19EF_8EB8_41B7_586B3EDECA6B.toolTip = 迎春賀年國運昌隆
FlatHotspotPanoramaOverlayArea_C1D9EC34_D612_22A7_41DD_5424132D31F4.toolTip = 迎春賀年國運昌隆
FlatHotspotPanoramaOverlayArea_C21D649D_D60E_6261_41B6_8787AD49A63F.toolTip = 迎春賀年國運昌隆
FlatHotspotPanoramaOverlayArea_02A3952A_19EE_8AF9_41B4_C076C7B0AAA5.toolTip = 迎春賀年國運昌隆
FlatHotspotPanoramaOverlayArea_0F724A53_19B3_9EAF_41AB_675983B1EC33.toolTip = 迎春賀年國運昌隆
FlatHotspotPanoramaOverlayArea_0E94FC03_19B2_FAA8_41A4_4B20A3E3F2E6.toolTip = 迎春賀年國運昌隆
FlatHotspotPanoramaOverlayArea_028B8006_19D3_8AA9_41A5_67A5924B10E7.toolTip = 達見水庫
FlatHotspotPanoramaOverlayArea_0F502638_19B6_96D9_41B5_E87E902B19DE.toolTip = 達見水庫
FlatHotspotPanoramaOverlayArea_C2344463_D60E_22A1_41E5_AC9B830DC29A.toolTip = 達見水庫
FlatHotspotPanoramaOverlayArea_C1F67527_D5F6_62A1_41C0_41459745540F.toolTip = 陳少白謁鄭國姓廟詩
FlatHotspotPanoramaOverlayArea_0C2F6BF9_1971_BD58_41B8_3C17B8E19E72.toolTip = 陳少白謁鄭國姓廟詩
FlatHotspotPanoramaOverlayArea_02809BCF_19D2_9DB7_4191_028D627A4A7C.toolTip = 陳少白謁鄭國姓廟詩
FlatHotspotPanoramaOverlayArea_0CF5A182_1972_8DA9_41A9_2B143E19133A.toolTip = 陸龜蒙詩
FlatHotspotPanoramaOverlayArea_C1EE4105_D5F2_E261_41AA_3A6B1BB396E9.toolTip = 陸龜蒙詩
FlatHotspotPanoramaOverlayArea_02646130_19D1_8AE8_4191_155621D1738E.toolTip = 陸龜蒙詩
FlatHotspotPanoramaOverlayArea_C1E75135_D5F2_22A1_41D4_39DE924A8096.toolTip = 隸書魯迅題三義塔詩句
FlatHotspotPanoramaOverlayArea_02872B60_19D7_9D68_41AC_DA7E5D9F99A3.toolTip = 隸書魯迅題三義塔詩句
FlatHotspotPanoramaOverlayArea_0F4F49A5_19B1_BDE8_41AD_D78124E6AFAF.toolTip = 隸書魯迅題三義塔詩句
FlatHotspotPanoramaOverlayArea_C3F21E9A_D612_3E63_41D9_E021DAE5BBBD.toolTip = 革命起源 思想傳承
FlatHotspotPanoramaOverlayArea_0354F68E_19F3_97B9_41B1_527F84D6BC75.toolTip = 革命起源 思想傳承
FlatHotspotPanoramaOverlayArea_035A2DE9_19F2_9578_417F_F17B2CF1E3D5.toolTip = 革命起源 思想傳承
FlatHotspotPanoramaOverlayArea_0F4ABD57_19D2_BAA8_4177_E5039B882DE4.toolTip = 革命起源 思想傳承
FlatHotspotPanoramaOverlayArea_0E80177C_19D2_9559_41A8_3FCBEE96A99D.toolTip = 革命起源 思想傳承
FlatHotspotPanoramaOverlayArea_C006E6CF_D616_6FE1_41D3_302E7B14FE96.toolTip = 革命起源 思想傳承
FlatHotspotPanoramaOverlayArea_0C29BD93_1973_95AF_4194_D83C91550C86.toolTip = 黎遂球琉璃盤雙江魚記
FlatHotspotPanoramaOverlayArea_053856FC_19D2_9759_41B4_90C5CE945329.toolTip = 黎遂球琉璃盤雙江魚記
FlatHotspotPanoramaOverlayArea_C1B955DC_D5F2_2DE7_41D9_FE9DA0AE803F.toolTip = 黎遂球琉璃盤雙江魚記
FlatHotspotPanoramaOverlayArea_C22F6B1A_D60E_E663_41D0_D18616675B03.toolTip = 龍洞奇岩
FlatHotspotPanoramaOverlayArea_05D7E377_19EF_8D57_4172_D4BF01DADF52.toolTip = 龍洞奇岩
FlatHotspotPanoramaOverlayArea_0E9A9945_19B1_BAA8_418A_935D38C1A6EB.toolTip = 龍洞奇岩
## Media
### 360 Video
### Audio
audiores_06FDB4C1_64C5_B0EE_41C3_BB53B17C0A85.mp3Url = media/audio_F103D487_BD5A_D920_41AA_F34D4286CD66_zh.mp3
### Audio Subtitles
### Floorplan
### Image
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### Popup Image
### Title
panorama_D5B561EC_C6EC_A483_41E7_3EFD8A60F7B4.label = 126A7352 全景-DeNoiseAI-clear
panorama_D7589C31_C6ED_E385_41B2_C0E73777F27F.label = 126A7677 全景 (1)-DeNoiseAI-clear
panorama_D75873E0_C6EC_A483_41C9_1FB6332E33EE.label = 126A7889 全景-DeNoiseAI-clear
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panorama_D7581026_C6EB_638F_41DB_F0FA812EF586.label = 126A8213 全景-DeNoiseAI-clear
panorama_D75892FA_C6EB_A487_41E2_8D541C39A567.label = 126A8321 全景-DeNoiseAI-clear
panorama_D758F5BD_C6EB_ECFD_41E3_0C3F29C7138A.label = 126A8429 全景-DeNoiseAI-clear
panorama_D75969AF_C6EB_A49D_41E3_E03B83C48346.label = 126A8537 全景-DeNoiseAI-clear
panorama_D759E02C_C6E4_E383_41E8_8EF1271A5323.label = 126A8756 全景-DeNoiseAI-clear
panorama_CA88F9E9_D0E4_FE7E_41E3_415108937363.label = 126A8867 全景-DeNoiseAI-clear
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panorama_D7584044_C6ED_6383_41E5_9A2FB2213CBC.label = 承先.繼往(書法)
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### Video
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### Video Subtitles
## Skin
### Button
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Button_CE7BEA34_A106_6C30_41C0_AD17EB2FB070.label = 2F
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Button_52BBE750_5D47_90C2_41C9_BA53F989B96A.label = 2F
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Button_942433AA_8C03_9AEA_4196_70577FFA8C1C.label = 3F
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Button_DCC6F05D_A302_1C70_41DD_782692127A9A_mobile.label = 3F
Button_3D8E35DE_1951_F559_41A7_1E4ABDE446EA.label = VR模式
Button_DCC47079_A302_1C30_41DF_60C7156515B9_mobile.label = VR模式
Button_976F389C_8B1A_5F94_41CD_6AD1D48B1A19_mobile.label = 佛龕發現之 48 件寶物
Button_DCC6E060_A302_1C4F_41B3_E3BEE2A91D6E_mobile.label = 吾土.吾民
Button_CE747A39_A106_6C30_41C1_3349B8FD8CD6.label = 吾土.吾民
Button_831257D0_9187_CBF4_41DF_C768F546E5C9.label = 啟用 VR
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Button_CE77BA55_A106_6C70_41DE_DE51FEE18939.label = 地圖
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Button_93453705_8B2B_B274_41C7_C33CEC616954_mobile.label = 宗喀巴讚
Button_DCC7D078_A302_1C30_41BC_3350DA586BC3_mobile.label = 小詞典
Button_CE760A54_A106_6C70_41CF_5F05664F1397.label = 小詞典
Button_82FC1AB1_9541_EFD1_41E2_56EA54B5E072_mobile.label = 展覽小詞典
Button_86BB0BC0_9547_ADAF_41BB_BA19E0762F8A.label = 展覽小辭典
Button_904B60DE_8B1A_4F97_41AE_252B53FBF160_mobile.label = 展覽源起與藏傳佛教四大教派
Button_9E9BF65A_90CF_DF18_41DD_84123F435A6A.label = 影片
Button_CE760A53_A106_6C70_41A0_69BB7ED7A208.label = 影片
Button_81A038EB_90DB_D338_41CC_3A1F28172BB1_mobile.label = 影片
Button_DCC61078_A302_1C3F_41BC_3023D8AA7338_mobile.label = 影片
Button_DCC00056_A302_1C70_41D5_E1E9DC20C082_mobile.label = 承先.繼往
Button_CE7B8A31_A106_6C30_41CE_989B15C79FBD.label = 承先.繼往
Button_CE748A3E_A106_6C30_419A_B6CA5745F05E.label = 筆墨.寫心
Button_DCC68065_A302_1C51_41D4_4499B45F21EC_mobile.label = 筆墨.寫心
Button_CE7B0A2E_A106_6FD0_41E4_2769F514F7AA.label = 策展論述
Button_DCC3C052_A302_1C73_41C9_2B38E9F1E51F_mobile.label = 策展論述
Button_9048CD71_8B1A_56AD_41CB_E8C8892C2EFF_mobile.label = 羌姆面具
Button_DCC26050_A302_1C4F_41E3_8BD3C770C933_mobile.label = 載道.抒懷
Button_CE7A8A2B_A106_6FD0_41B8_351E0F78EBA5.label = 載道.抒懷
Button_90480F32_8B1A_52AF_41DC_0B78EDEC272F_mobile.label = 酥油花燈製作
Button_09AA09D9_1CFA_D876_41B4_F06554CCC34C_mobile.label = 重新參觀
Button_09AA09D9_1CFA_D876_41B4_F06554CCC34C.label = 重新參觀
Button_21C3F60A_3C36_683A_41C9_ED9AFA0837BA_mobile.label = 開始體驗
Button_77B047BD_619E_F528_41D0_64D804E39035.label = 開始體驗
Button_A57C57F9_8C03_9A76_41D7_EB585DC3A9BC_mobile.label = 首頁
Button_954F8D2F_8C06_8FEA_41D4_8D96ABB63231.label = 首頁
### Image
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吾土.吾民(書畫)
以國父紀念館過往委託不同書家、畫家合作而成「吾土吾民」系列作品中屬中部書畫家之作品部分為此一子題之展品,以書畫作品呈現當年中山先生理想中的民主、康樂、大同之理想世界。
藝術家:林進忠(畫)、蔡明讚。林隆達(書)、孫家勤。林榮森(書)、高義瑝。董學武(畫)、連勝彥。蕭世瓊(書)、廖美蘭。
My Country, My People (Calligraphy and Painting)
This section presents works from central Taiwan calligraphers and painters, drawn from the “My Country and My People” series—projects previously commissioned by the National Dr. Sun Yat-sen Memorial Hall in collaboration with a range of artists. Through calligraphy and painting, these works embody Dr. Sun Yat-sen’s vision of an ideal world—one founded on democracy, well-being, and the Great Unity—guided by the principles of the Three People’s Principles.
Artists: Lin Chin-Chung(Painting), Tsai Ming-tzann. Lin Long-da(Calligarphy), Sun Jia-cin. Lin Rong-sen(Calligarphy), Kao Yi-huang. Tung Hsueh-wu(Painting), Lian Shenq-yann. Siao Shih-cyong(Calligarphy), Liao Mei-lan.
HTMLText_F5DF4C08_D3AB_D5BD_41E6_C197988FB2B6.html = 承先.繼往(書法)
承續前一主題,梳理出此中具有師承關係之不同屆數之得獎者作品,透過一系列之作品展陳、對映,呈現不同時期的書法創作者們跨世代之傳承。此展題中最資深之杜忠誥為獎賽初創時期的得獎者,當年尚於大學就讀,及今已是譽滿華人文化圈的著名書家、教育者,執教上庠數十年,春風拂潤桃李無數。蕭世瓊則為此一獎賽中期的得獎者,亦從學生、小學教師、中學教師一路發展,今為逢甲大學教授,並主持校內「游瀚堂」書法藝術與推廣教學空間,亦已桃李滿門。吳啟林則為此獎賽後期的常勝軍,並為「全國青年學生書畫比賽」停辦後,新起的「中山青年藝術獎」第4屆得主,可謂與國父紀念館淵源甚深的青壯輩創作者。而此一專題三位具有師承關係的作者,不僅在國館所辦獎賽中脫穎而出,在全國性的全國美展、全省美展、全國美術展中也都先後獲得「免審查資格」之最高榮譽,可見其實力堅實,獲獎絕非偶然。而今,三位也都陸續擔任「中山青年藝術獎」評審,亦是「學而優則仕」的典範。
另國父紀念館興辦十載的「中山青年藝術獎」書法類得主,除了吳啟林出身中部,第1屆得主林俊臣、第5屆得主陳昭坤亦皆設籍彰化,此地文風之盛,人才輩出,由是可見。
藝術家:杜忠誥、蕭世瓊、吳啟林
Inheriting Tradition, Inspiring Innovation (Calligraphy)
Building upon the previous theme, this section presents works by award-winning artists from different years of the competition who share teacher-student relationships. Through carefully curated pairings and comparisons, the exhibition illustrates the cross-generational legacy of calligraphy and the continuity of artistic spirit across eras.
The most senior featured artist, Tu Chung-kao, was a prizewinner during the early years of the National Youth Calligraphy and Painting Competition, back when he was still a university student. Today, he is a highly acclaimed calligrapher and educator across the Chinese-speaking world. Over the decades, he has taught at top institutions, mentoring generations of students with dedication and grace.
Siao Shih-cyonh, a mid-period awardee of the same competition, progressed from student to elementary and high school teacher, and is now a professor at Feng Chia University. He leads the university’s “You Han Hall,” a dedicated space for calligraphy education and promotion, and has also nurtured a large number of talented students. Wu Chi-lin, a frequent winner during the later years of the competition, became the 4th calligraphy awardee of the " Chung-Shan Youth Art Awards," which was established after the original competition ended. His deep connection with National Dr. Sun Yat-sen Memorial Hall and his continued artistic achievements mark him as a rising force among the younger generation of calligraphers.
These three artists—linked not only by shared awards but also through a direct lineage of mentorship—have each earned top honors such as exemption from preliminary reviews in prestigious national art exhibitions, including the National Art Exhibition and Taiwan Provincial Art Exhibition. Their achievements speak to their solid foundations and artistic excellence, far beyond coincidence. Today, all three serve as judges for the Chung-Shan Youth Art Awards, embodying the ideal of scholars who excel both in study and public contribution.
Additionally, many winners of the calligraphy category in the Chung-Shan Youth Art Awards have hailed from central Taiwan. Notably, Wu Chi-lin (central region), Lin Chun-chen (1st edition), and Chen Chao-kun (5th edition) are all from Changhua County—a testament to the region’s deep cultural roots and its flourishing tradition of calligraphy talent.
Artists: Tu Chung-kao, Siao Shih-cyonh, Wu Chi-lin.
HTMLText_F9AF7C35_D3A7_55D7_41E4_3890F10403D7.html = 筆墨.寫心(水墨)
「全國青年學生書畫比賽」水墨類參賽作品在「選題」及「作品呈現風格」上隨著時代的演進而產生了明顯差異。早期作品絕大多數為單純寫景之作,而後漸有以「抒寫心象」之作獲獎。而就個別作者論,早期作品亦多透過「寫生」方式追摹前人筆墨,而後漸次成熟,「個人情性」透過筆墨融入作品,使作者個人特色愈發鮮明,此一子題即透過不同作者、不同時期之作,相互參照、交織出一頁透過國立國父紀念觀獎賽平臺所建構而成的臺灣現代水墨發展片段。
藝術家:林進忠、陳士侯、謝榮源、羅仁志、董學武、葉宗河。
Brush and Ink, Expressing the Heart
The ink painting entries in the National Youth Calligraphy and Painting Competition have undergone marked changes over time in both subject matter and style. Early works were predominantly straightforward landscape depictions, emphasizing realism. Gradually, however, works conveying the artist’s inner vision and personal imagery began to gain recognition and win awards.
On an individual level, early pieces often relied on copying from classical masters or sketching from life, reflecting a strong grounding in traditional techniques. As these artists matured, they increasingly infused their individuality and sensibilities into their brushwork, giving rise to more distinctive and expressive styles.
This section of the exhibition presents works from different artists across different periods, weaving together a narrative of Taiwan’s modern ink painting as seen through the platform of the National Dr. Sun Yat-sen Memorial Hall competition. It illustrates the progression from technical imitation to the articulation of personal artistic expression.
Artists: Lin Chin-Chung, Chen Shi-hou, Hsieh Rong-yuan, Lo Jen-chih, Dong Shueh-wu, Yeh Tsung-ho
HTMLText_82F93DF6_90F4_9539_41D5_1827A9AD6EC3.html = 策展論述
國立國父紀念館過往除了每年例行受理藝文領域團體或個人申請的館內展演之外,亦積極向外發展。除了帶著當年度「中山青年藝術獎」首獎得主前往「藝博會」,為青年創作者開展出另一個獎賽與收藏市場接軌的平台外,近年也辦理了多場「典藏品巡迴展」與「中山青年藝術獎」得獎作品之巡迴展,建立了與地方縣市美術館、文化中心、生活美學館的跨縣市館際合作,也將館內過去鮮少出館展出的典藏品帶至不同城市,實現了「全民藝享—讓美學走進不同城市」的理想。
2025年國立國父紀念館獲「文化部委託公立博物館協助辦理支持臺灣文化內容再開發計畫」支持,於彰化與高雄兩個城市舉辦「『全民藝享—讓美學走進你的城市』2025國立國父紀念館典藏品交流展」。其中114年7月3日至114年8月3日預定假彰化縣立美術館「1樓展示室」及「藝廊」舉辨典藏作品展,展品以館內典藏臺灣中部地區書畫創作者作品為主;而114年 9月 13日至114年10月8日則於高雄市文化中心「至高館」展出館藏臺灣南部地區書畫創作者作品。
除了以創作者與展出城市的地緣關係為選件考量外,另一選件原則則聚焦在過往國父紀念館辦理了38屆的「全國青年學生書畫比賽」,所有參展作者均為昔日此一獎賽曾獲各組前三名佳績之書畫藝術家。展出內容除了有此數位藝術家當年參與該獎項競逐獲獎的昔日作品,亦有數位參展者於獲獎後,透過其它邀請展、申請展或獎賽而有新作獲選入藏國立國父紀念館者。這些展出作品之創作間隔,或近或遠,相距最甚者,當有40年之譜。透過同一作者不同時期的作品「對映」與「對話」,可以觀察該作者的風格遞變與成長。
「中山文藝創作獎」的創設與「全省美展」增設「書法部」,都是在對岸推行「文化大革命」的時代背景之下,政府部門為了維護傳統文化而起的積極對應作為。1967年第22屆「全省美展」增設「書法部」,1966年創設的「中山文藝創作獎」,年年都有「國畫類」得主,但直至1974年才有首位「書法類」獲獎者產生。此二展賽在當年的「書畫競賽」中具有相當指標意義,但基本上因無年齡限制,獲獎者絕少是年歲尚為青年者,多數是頗具火候的中壯輩創作者。尤其「中山文藝獎」因每年各類名額僅只有一、二,能獲獎者多半已是蜚聲藝壇之中壯輩或具相當成就的資深前輩創作者。在此狀態下,國父紀念館所舉辦之「全國青年學生書畫比賽」對於青年創作者所起的鼓勵作用自是不言可喻。
此一競賽初期正逢1970年代「鄉土文學運動」勃興之際。在近現代臺灣藝術史研究中,曾有不少針對當時之西畫、水墨創作者所選畫題與鄉土文學風潮進行時代背景、社會思潮、創作意識等等之交錯影響進行研究。而此一書畫比賽,其參賽者與得獎者在作品選題上是否也在「競賽規章」中之限定外,受到當時的文藝思潮影響,或許未必全然如此,但仍有某種程度的影響,因而以臺灣風土人文景象為題的水墨作品佔比不少。透過寫景之筆來紀錄眼下美景,也可能有藉此抒發個人對家鄉、土地的認同之意。至於書法類作品,則在早期節臨原帖文字、選擇書寫中山學說思想文章、傳錄古典經典文學作品的幾項主題中發展,同時也以「襲古之風」為尚,再逐年漸次開展出以純文學作品為題,並以個人或師門書風為主要表現手法的新風氣。由以「襲古」為尚,往「發揮自我情性」的方向挪移,可說是國父紀念館主辦獎賽中書法類得獎作品的概略發展軌跡,同時,也是臺灣書法獎賽與展演的成長實況。而水墨類也從描寫現實之景慢慢發展,出現了以筆墨傳達「心象」而非「實景」的新貌。凡此種種,皆可見此一獎賽,在時間的推移下,除了見證了不同藝術創作者的成長,也記錄了臺灣近半世紀的書法、水墨獎賽風格的傳衍與遞變。
放眼當前公辦美展,除了已停辦的「全國美展」、「全省美展」、「教育部文藝創作獎」與尚持續徵件的「南瀛美展」,後起之「大墩美展」外,論及辦理屆數與書畫二類的送件數及得獎作品水平,幾無可與當年「全國青年學生書畫比賽」相駢比者。若以「聚焦獎挹青年創作者」之角度視之,那此一獎賽在此一段時期的臺灣美術發展史頁中,更是具有獨特意義的存在。而這也正是默默屹立於晴雨之中的「國立國父紀念館」與館內諸多典藏作品在持續不斷發展的臺灣美術史中最具意義之處。
策展人:古耀華
Curatorial Statement
In addition to its annual tradition of hosting exhibitions and performances by artists and cultural groups, National Dr. Sun Yat-sen Memorial Hall has actively expanded its outreach efforts. Beyond presenting the annual first-prize winner of the “Chung-Shan Youth Art Awards” at major art fairs, thereby creating an additional platform for young artists to connect with competitions, the art market, and collectors, the Memorial Hall has also organized multiple touring exhibitions in recent years. These include the "Collection Touring Exhibition" and traveling displays of works by recipients of the “Chung-Shan Youth Art Awards.” Through these initiatives, the Memorial Hall has established cross-regional collaborations with local art museums, cultural centers, and lifestyle aesthetics centers across different counties and cities. By bringing rarely displayed collections from its holdings to diverse cities, the Memorial Hall has realized its vision of “Art for All—Bringing Aesthetics to Diverse Cities.”
In 2025, with the support of the Ministry of Culture’s “Public Museum Assistance Program for the Redevelopment of Taiwanese Cultural Content”, the Memorial Hall will host the “Art for All-Bringing Aesthetics to Your City:2025 National Dr. Sun Yat-sen Memorial Hall Collection Exchange Exhibition” in Changhua and Kaohsiung. From July 3 to August 3, the exhibition will take place at the Changhua County Art Museum in the “First Floor Exhibition Room” and “Art Gallery,” featuring curated sworks from the Memorial Hall’s collection by artists from central Taiwan. Subsequently, from September 13 to October 8, the exhibition will move to the Kaohsiung City Cultural Center’s “Zhigao Hall,” showcasing works by artists from southern Taiwan from the Memorial Hall’s collection.
In addition to selecting artworks based on the geographic connection between the artists and the exhibition cities, another key curatorial principle draws on the 38 editions of the “National Youth Calligraphy and Painting Competition” held by the National Dr. Sun Yat-sen Memorial Hall. All exhibited artists are former top-three winners in their respective categories of this prestigious competition. The exhibition features both their original award-winning works and newer pieces later acquired by the Memorial Hall through invitational shows, open calls, or other competitions. The creation dates of these works span varying intervals, with the longest gap reaching up to 40 years. By presenting works from different periods of the same artist side by side, the exhibition invites viewers to observe the evolution and growth of their artistic styles through a dialogue between past and present creations.
The establishment of the “Chung-Shan Literary and Art Creation Award” and the addition of a Calligraphy section to the “Taiwan Provincial Art Exhibition” were both proactive measures by the government to safeguard traditional culture amid the Cultural Revolution taking place on the other side of the strait. The “Chung-Shan Literary and Art Creation Award,” launched in 1966, consistently recognized winners in the Traditional Chinese Painting category, though it was not until 1974 that the first award in the Calligraphy category was given. In 1967, the 22nd Taiwan Provincial Art Exhibition also introduced a Calligraphy section. These two competitions served as important benchmarks in the calligraphy and painting scene of the time. However, as there were no age restrictions, winners were seldom young artists; most were seasoned mid-career or senior creators with well-established reputations. The “Chung-Shan Literary and Art Creation Award,” in particular, was highly competitive, limited to just one or two recipients per category each year, and most often honoring artists already prominent or accomplished veterans in the art world. Against this backdrop, the “National Youth Calligraphy and Painting Competition” organized by the National Dr. Sun Yat-sen Memorial Hall played a pivotal role in encouraging and fostering young talent.
The competition’s early years unfolded during the rise of the “Nativist Literature Movement” in the 1970s. Scholars of modern Taiwanese art history have examined how Western-style and ink painters of the time chose their subjects under the influence of the Nativist literary trend, analyzing its interplay with social thought and artistic consciousness. Although the themes were not strictly bound by competition rules, they were nevertheless shaped to some extent by the artistic and literary currents of the time. As a result, many ink paintings depicted Taiwan’s landscapes, local culture, and everyday life, often conveying a sense of identity and attachment to the homeland.
In the calligraphy category, early works focused on copying classical texts, transcribing Sun Yat-sen’s writings, or reproducing traditional literary works, reflecting the prevailing ethos of “emulating the ancients.” Over time, however, a new trend emerged, as calligraphers began drawing on pure literary texts and expressing individual sensibilities or the stylistic influences of their mentors. This shift from “emulating the ancients” to “individual expression” broadly outlines the developmental trajectory of award-winning calligraphy works, while also reflecting the broader evolution of Taiwan’s calligraphy competitions and exhibitions.
Similarly, ink painting evolved from realistic landscapes to expressions of inner vision rather than literal representation. Taken together, these developments show how the competition has, over time, not only nurtured the growth of individual artists but also chronicled the stylistic evolution of Taiwanese calligraphy and ink painting over nearly half a century.
When examining current publicly organized art exhibitions, few can compare to the “National Youth Calligraphy and Painting Competition” in terms of its longevity, the volume of submissions in both calligraphy and painting categories, and the quality of award-winning works. Notable exhibitions such as the now-discontinued “National Art Exhibition,” “Provincial Art Exhibition,” and “Ministry of Education Literary and Art Creation Award,” as well as the ongoing “Nanying Art Exhibition” and the later-established “Dadun Art Exhibition,” stand out. However, from the perspective of “fostering young artists through awards,” the “National Youth (Student) Calligraphy and Painting Competition” holds a uniquely significant place in the history of Taiwanese art development during this period. This enduring legacy underscores the profound importance of the National Dr. Sun Yat-sen Memorial Hall, standing steadfast through sun and rain, and its extensive collection of artworks in the ongoing narrative of Taiwan’s art history.
Curator: Ku Yao-hua
HTMLText_F250B36A_D0E5_327C_41C4_F2AB86AF785A.html = 載道.抒懷(書法)
此一子題以過往舉辦了38屆的「全國青年學生書畫比賽」書法類前三名得獎者當年的得獎作品為主,相同作者透過其它邀請展、申請展或獎賽而獲選入藏國立國父紀念館之作品為對照,展出不同得獎者之昔、近之作。過往此一獎賽的得獎作品除了明確節錄臨摹古典碑帖者外,另有一部分是在吸收、消化古典碑帖後,取「中山學說」或「前賢文章」自運書成,可謂「以書載道」之作。此一子題即以此類作品為基,加上相同作者群晚近「以書抒懷」之作,相互參照,以構築此子題作者群由「載道」漸進「抒懷」的書藝表現。
藝術家:林進忠、林隆達、林榮森、吳啟禎、施永華、葉宗河。
Carrying the Way, Expressing the Self (Calligraphy)
This section focuses on award-winning calligraphy works from the National Youth Calligraphy and Painting Competition, which has been held for 38 editions. It features the first, second, and third prize winners in calligraphy from past years. These works are presented alongside other pieces by the same artists that were later selected for the National Dr. Sun Yat-sen Memorial Hall collection through invitational or juried exhibitions, offering a comparison of their earlier and more recent creations.
While some of the competition pieces clearly imitate classical calligraphy rubbings and inscriptions, others showcase a deeper level of understanding, blending traditional techniques with personal interpretation. Many such works take inspiration from Sun Yat-sen’s teachings or the writings of esteemed historical figures, reflecting the idea of “conveying moral principles through calligraphy.”
This exhibition theme highlights these concept-driven works and pairs them with the same artists’ more recent creations that express personal emotions and reflections through calligraphy. Together, they illustrate an artistic journey from “expressing principles” to “expressing feelings.”
Artists: Lin Chin-Chung, Lin Long-da, Shih Yung-hua, Lin Rong-sen, Lin Rong-sen, Wu Chi-jen, Yeh Tsung-ho.
HTMLText_09B999BE_1CFA_D82A_41A8_51FA5E797C24.html =
藝術家
吳啟林
吳啟禎
杜忠誥
林進忠
林隆達
林榮森
施永華
陳士侯
葉宗河
董學武
蕭世瓊
謝榮源
羅仁志
(依姓氏筆劃排序)
Artists
Wu Chi-lin
Wu Chi-jen
Tu Chung-kao
Lin Chin-Chung
Lin Long-da
Lin Rong-sen
Shih Yung-hua
Chen Shi-hou
Yeh Tsung-ho
Tung Hsueh-wu
Siao Shih-cyonh
Hsieh Rong-yuan
Lo Jen-chih
(Sort by strokes of Chinese last name)
指導單位
文化部
彰化縣政府
主辦單位
國立國父紀念館
彰化縣文化局
Guiding Units
Ministry of Culture
Changhua County Government
Organizers
National Dr. Sun Yat-Sen Memorial Hall
Changhua County Cultural Bureau
HTMLText_09B999BE_1CFA_D82A_41A8_51FA5E797C24_mobile.html =
藝術家
吳啟林
吳啟禎
杜忠誥
林進忠
林隆達
林榮森
施永華
陳士侯
葉宗河
董學武
蕭世瓊
謝榮源
羅仁志
(依姓氏筆劃排序)
Artists
Wu Chi-lin
Wu Chi-jen
Tu Chung-kao
Lin Chin-Chung
Lin Long-da
Lin Rong-sen
Shih Yung-hua
Chen Shi-hou
Yeh Tsung-ho
Tung Hsueh-wu
Siao Shih-cyonh
Hsieh Rong-yuan
Lo Jen-chih
(Sort by strokes of Chinese last name)
指導單位
文化部
彰化縣政府
主辦單位
國立國父紀念館
彰化縣文化局
Guiding Units
Ministry of Culture
Changhua County Government
Organizers
National Dr. Sun Yat-Sen Memorial Hall
Changhua County Cultural Bureau
HTMLText_3920CDD5_2321_0DAA_41BD_181233EF250B_mobile.html = 吾土.吾民(書畫)
以國父紀念館過往委託不同書家、畫家合作而成「吾土吾民」系列作品中屬中部書畫家之作品部分為此一子題之展品,以書畫作品呈現當年中山先生理想中的民主、康樂、大同之理想世界。
藝術家:林進忠(畫)、蔡明讚。林隆達(書)、孫家勤。林榮森(書)、高義瑝。董學武(畫)、連勝彥。蕭世瓊(書)、廖美蘭。
My Country, My People (Calligraphy and Painting)
This section presents works from central Taiwan calligraphers and painters, drawn from the “My Country and My People” series—projects previously commissioned by the National Dr. Sun Yat-sen Memorial Hall in collaboration with a range of artists. Through calligraphy and painting, these works embody Dr. Sun Yat-sen’s vision of an ideal world—one founded on democracy, well-being, and the Great Unity—guided by the principles of the Three People’s Principles.
Artists: Lin Chin-Chung(Painting), Tsai Ming-tzann. Lin Long-da(Calligarphy), Sun Jia-cin. Lin Rong-sen(Calligarphy), Kao Yi-huang. Tung Hsueh-wu(Painting), Lian Shenq-yann. Siao Shih-cyong(Calligarphy), Liao Mei-lan.
HTMLText_3ADC8A95_2321_37AA_418C_122A9489EDD2_mobile.html = 吾土.吾民(書畫)
以國父紀念館過往委託不同書家、畫家合作而成「吾土吾民」系列作品中屬中部書畫家之作品部分為此一子題之展品,以書畫作品呈現當年中山先生理想中的民主、康樂、大同之理想世界。
藝術家:林進忠(畫)、蔡明讚。林隆達(書)、孫家勤。林榮森(書)、高義瑝。董學武(畫)、連勝彥。蕭世瓊(書)、廖美蘭。
My Country, My People (Calligraphy and Painting)
This section presents works from central Taiwan calligraphers and painters, drawn from the “My Country and My People” series—projects previously commissioned by the National Dr. Sun Yat-sen Memorial Hall in collaboration with a range of artists. Through calligraphy and painting, these works embody Dr. Sun Yat-sen’s vision of an ideal world—one founded on democracy, well-being, and the Great Unity—guided by the principles of the Three People’s Principles.
Artists: Lin Chin-Chung(Painting), Tsai Ming-tzann. Lin Long-da(Calligarphy), Sun Jia-cin. Lin Rong-sen(Calligarphy), Kao Yi-huang. Tung Hsueh-wu(Painting), Lian Shenq-yann. Siao Shih-cyong(Calligarphy), Liao Mei-lan.
HTMLText_392BAF74_2321_0D6A_41BF_475BBAE0C641_mobile.html = 吾土.吾民(書畫)
以國父紀念館過往委託不同書家、畫家合作而成「吾土吾民」系列作品中屬中部書畫家之作品部分為此一子題之展品,以書畫作品呈現當年中山先生理想中的民主、康樂、大同之理想世界。
藝術家:林進忠(畫)、蔡明讚。林隆達(書)、孫家勤。林榮森(書)、高義瑝。董學武(畫)、連勝彥。蕭世瓊(書)、廖美蘭。
My Country, My People (Calligraphy and Painting)
This section presents works from central Taiwan calligraphers and painters, drawn from the “My Country and My People” series—projects previously commissioned by the National Dr. Sun Yat-sen Memorial Hall in collaboration with a range of artists. Through calligraphy and painting, these works embody Dr. Sun Yat-sen’s vision of an ideal world—one founded on democracy, well-being, and the Great Unity—guided by the principles of the Three People’s Principles.
Artists: Lin Chin-Chung(Painting), Tsai Ming-tzann. Lin Long-da(Calligarphy), Sun Jia-cin. Lin Rong-sen(Calligarphy), Kao Yi-huang. Tung Hsueh-wu(Painting), Lian Shenq-yann. Siao Shih-cyong(Calligarphy), Liao Mei-lan.
HTMLText_EC52CBCD_D0E5_32B7_41E2_1DB7CA722424_mobile.html = 吾土.吾民(書畫)
以國父紀念館過往委託不同書家、畫家合作而成「吾土吾民」系列作品中屬中部書畫家之作品部分為此一子題之展品,以書畫作品呈現當年中山先生理想中的民主、康樂、大同之理想世界。
藝術家:林進忠(畫)、蔡明讚。林隆達(書)、孫家勤。林榮森(書)、高義瑝。董學武(畫)、連勝彥。蕭世瓊(書)、廖美蘭。
My Country, My People (Calligraphy and Painting)
This section presents works from central Taiwan calligraphers and painters, drawn from the “My Country and My People” series—projects previously commissioned by the National Dr. Sun Yat-sen Memorial Hall in collaboration with a range of artists. Through calligraphy and painting, these works embody Dr. Sun Yat-sen’s vision of an ideal world—one founded on democracy, well-being, and the Great Unity—guided by the principles of the Three People’s Principles.
Artists: Lin Chin-Chung(Painting), Tsai Ming-tzann. Lin Long-da(Calligarphy), Sun Jia-cin. Lin Rong-sen(Calligarphy), Kao Yi-huang. Tung Hsueh-wu(Painting), Lian Shenq-yann. Siao Shih-cyong(Calligarphy), Liao Mei-lan.
HTMLText_39362C38_2321_32DA_41A7_B5A3225CA9B3_mobile.html = 吾土.吾民(書畫)
以國父紀念館過往委託不同書家、畫家合作而成「吾土吾民」系列作品中屬中部書畫家之作品部分為此一子題之展品,以書畫作品呈現當年中山先生理想中的民主、康樂、大同之理想世界。
藝術家:林進忠(畫)、蔡明讚。林隆達(書)、孫家勤。林榮森(書)、高義瑝。董學武(畫)、連勝彥。蕭世瓊(書)、廖美蘭。
My Country, My People (Calligraphy and Painting)
This section presents works from central Taiwan calligraphers and painters, drawn from the “My Country and My People” series—projects previously commissioned by the National Dr. Sun Yat-sen Memorial Hall in collaboration with a range of artists. Through calligraphy and painting, these works embody Dr. Sun Yat-sen’s vision of an ideal world—one founded on democracy, well-being, and the Great Unity—guided by the principles of the Three People’s Principles.
Artists: Lin Chin-Chung(Painting), Tsai Ming-tzann. Lin Long-da(Calligarphy), Sun Jia-cin. Lin Rong-sen(Calligarphy), Kao Yi-huang. Tung Hsueh-wu(Painting), Lian Shenq-yann. Siao Shih-cyong(Calligarphy), Liao Mei-lan.
HTMLText_3A8A7667_2321_3F75_41A3_06911275CBD5_mobile.html = 承先.繼往(書法)
承續前一主題,梳理出此中具有師承關係之不同屆數之得獎者作品,透過一系列之作品展陳、對映,呈現不同時期的書法創作者們跨世代之傳承。此展題中最資深之杜忠誥為獎賽初創時期的得獎者,當年尚於大學就讀,及今已是譽滿華人文化圈的著名書家、教育者,執教上庠數十年,春風拂潤桃李無數。蕭世瓊則為此一獎賽中期的得獎者,亦從學生、小學教師、中學教師一路發展,今為逢甲大學教授,並主持校內「游瀚堂」書法藝術與推廣教學空間,亦已桃李滿門。吳啟林則為此獎賽後期的常勝軍,並為「全國青年學生書畫比賽」停辦後,新起的「中山青年藝術獎」第4屆得主,可謂與國父紀念館淵源甚深的青壯輩創作者。而此一專題三位具有師承關係的作者,不僅在國館所辦獎賽中脫穎而出,在全國性的全國美展、全省美展、全國美術展中也都先後獲得「免審查資格」之最高榮譽,可見其實力堅實,獲獎絕非偶然。而今,三位也都陸續擔任「中山青年藝術獎」評審,亦是「學而優則仕」的典範。
另國父紀念館興辦十載的「中山青年藝術獎」書法類得主,除了吳啟林出身中部,第1屆得主林俊臣、第5屆得主陳昭坤亦皆設籍彰化,此地文風之盛,人才輩出,由是可見。
藝術家:杜忠誥、蕭世瓊、吳啟林
Inheriting Tradition, Inspiring Innovation (Calligraphy)
Building upon the previous theme, this section presents works by award-winning artists from different years of the competition who share teacher-student relationships. Through carefully curated pairings and comparisons, the exhibition illustrates the cross-generational legacy of calligraphy and the continuity of artistic spirit across eras.
The most senior featured artist, Tu Chung-kao, was a prizewinner during the early years of the National Youth Calligraphy and Painting Competition, back when he was still a university student. Today, he is a highly acclaimed calligrapher and educator across the Chinese-speaking world. Over the decades, he has taught at top institutions, mentoring generations of students with dedication and grace.
Siao Shih-cyonh, a mid-period awardee of the same competition, progressed from student to elementary and high school teacher, and is now a professor at Feng Chia University. He leads the university’s “You Han Hall,” a dedicated space for calligraphy education and promotion, and has also nurtured a large number of talented students. Wu Chi-lin, a frequent winner during the later years of the competition, became the 4th calligraphy awardee of the " Chung-Shan Youth Art Awards," which was established after the original competition ended. His deep connection with National Dr. Sun Yat-sen Memorial Hall and his continued artistic achievements mark him as a rising force among the younger generation of calligraphers.
These three artists—linked not only by shared awards but also through a direct lineage of mentorship—have each earned top honors such as exemption from preliminary reviews in prestigious national art exhibitions, including the National Art Exhibition and Taiwan Provincial Art Exhibition. Their achievements speak to their solid foundations and artistic excellence, far beyond coincidence. Today, all three serve as judges for the Chung-Shan Youth Art Awards, embodying the ideal of scholars who excel both in study and public contribution.
Additionally, many winners of the calligraphy category in the Chung-Shan Youth Art Awards have hailed from central Taiwan. Notably, Wu Chi-lin (central region), Lin Chun-chen (1st edition), and Chen Chao-kun (5th edition) are all from Changhua County—a testament to the region’s deep cultural roots and its flourishing tradition of calligraphy talent.
Artists: Tu Chung-kao, Siao Shih-cyonh, Wu Chi-lin.
HTMLText_3A5FA010_2321_32AC_41AE_5731AFF8347D_mobile.html = 承先.繼往(書法)
承續前一主題,梳理出此中具有師承關係之不同屆數之得獎者作品,透過一系列之作品展陳、對映,呈現不同時期的書法創作者們跨世代之傳承。此展題中最資深之杜忠誥為獎賽初創時期的得獎者,當年尚於大學就讀,及今已是譽滿華人文化圈的著名書家、教育者,執教上庠數十年,春風拂潤桃李無數。蕭世瓊則為此一獎賽中期的得獎者,亦從學生、小學教師、中學教師一路發展,今為逢甲大學教授,並主持校內「游瀚堂」書法藝術與推廣教學空間,亦已桃李滿門。吳啟林則為此獎賽後期的常勝軍,並為「全國青年學生書畫比賽」停辦後,新起的「中山青年藝術獎」第4屆得主,可謂與國父紀念館淵源甚深的青壯輩創作者。而此一專題三位具有師承關係的作者,不僅在國館所辦獎賽中脫穎而出,在全國性的全國美展、全省美展、全國美術展中也都先後獲得「免審查資格」之最高榮譽,可見其實力堅實,獲獎絕非偶然。而今,三位也都陸續擔任「中山青年藝術獎」評審,亦是「學而優則仕」的典範。
另國父紀念館興辦十載的「中山青年藝術獎」書法類得主,除了吳啟林出身中部,第1屆得主林俊臣、第5屆得主陳昭坤亦皆設籍彰化,此地文風之盛,人才輩出,由是可見。
藝術家:杜忠誥、蕭世瓊、吳啟林
Inheriting Tradition, Inspiring Innovation (Calligraphy)
Building upon the previous theme, this section presents works by award-winning artists from different years of the competition who share teacher-student relationships. Through carefully curated pairings and comparisons, the exhibition illustrates the cross-generational legacy of calligraphy and the continuity of artistic spirit across eras.
The most senior featured artist, Tu Chung-kao, was a prizewinner during the early years of the National Youth Calligraphy and Painting Competition, back when he was still a university student. Today, he is a highly acclaimed calligrapher and educator across the Chinese-speaking world. Over the decades, he has taught at top institutions, mentoring generations of students with dedication and grace.
Siao Shih-cyonh, a mid-period awardee of the same competition, progressed from student to elementary and high school teacher, and is now a professor at Feng Chia University. He leads the university’s “You Han Hall,” a dedicated space for calligraphy education and promotion, and has also nurtured a large number of talented students. Wu Chi-lin, a frequent winner during the later years of the competition, became the 4th calligraphy awardee of the " Chung-Shan Youth Art Awards," which was established after the original competition ended. His deep connection with National Dr. Sun Yat-sen Memorial Hall and his continued artistic achievements mark him as a rising force among the younger generation of calligraphers.
These three artists—linked not only by shared awards but also through a direct lineage of mentorship—have each earned top honors such as exemption from preliminary reviews in prestigious national art exhibitions, including the National Art Exhibition and Taiwan Provincial Art Exhibition. Their achievements speak to their solid foundations and artistic excellence, far beyond coincidence. Today, all three serve as judges for the Chung-Shan Youth Art Awards, embodying the ideal of scholars who excel both in study and public contribution.
Additionally, many winners of the calligraphy category in the Chung-Shan Youth Art Awards have hailed from central Taiwan. Notably, Wu Chi-lin (central region), Lin Chun-chen (1st edition), and Chen Chao-kun (5th edition) are all from Changhua County—a testament to the region’s deep cultural roots and its flourishing tradition of calligraphy talent.
Artists: Tu Chung-kao, Siao Shih-cyonh, Wu Chi-lin.
HTMLText_3AA1A28A_2321_37BF_4189_727E572835B7_mobile.html = 承先.繼往(書法)
承續前一主題,梳理出此中具有師承關係之不同屆數之得獎者作品,透過一系列之作品展陳、對映,呈現不同時期的書法創作者們跨世代之傳承。此展題中最資深之杜忠誥為獎賽初創時期的得獎者,當年尚於大學就讀,及今已是譽滿華人文化圈的著名書家、教育者,執教上庠數十年,春風拂潤桃李無數。蕭世瓊則為此一獎賽中期的得獎者,亦從學生、小學教師、中學教師一路發展,今為逢甲大學教授,並主持校內「游瀚堂」書法藝術與推廣教學空間,亦已桃李滿門。吳啟林則為此獎賽後期的常勝軍,並為「全國青年學生書畫比賽」停辦後,新起的「中山青年藝術獎」第4屆得主,可謂與國父紀念館淵源甚深的青壯輩創作者。而此一專題三位具有師承關係的作者,不僅在國館所辦獎賽中脫穎而出,在全國性的全國美展、全省美展、全國美術展中也都先後獲得「免審查資格」之最高榮譽,可見其實力堅實,獲獎絕非偶然。而今,三位也都陸續擔任「中山青年藝術獎」評審,亦是「學而優則仕」的典範。
另國父紀念館興辦十載的「中山青年藝術獎」書法類得主,除了吳啟林出身中部,第1屆得主林俊臣、第5屆得主陳昭坤亦皆設籍彰化,此地文風之盛,人才輩出,由是可見。
藝術家:杜忠誥、蕭世瓊、吳啟林
Inheriting Tradition, Inspiring Innovation (Calligraphy)
Building upon the previous theme, this section presents works by award-winning artists from different years of the competition who share teacher-student relationships. Through carefully curated pairings and comparisons, the exhibition illustrates the cross-generational legacy of calligraphy and the continuity of artistic spirit across eras.
The most senior featured artist, Tu Chung-kao, was a prizewinner during the early years of the National Youth Calligraphy and Painting Competition, back when he was still a university student. Today, he is a highly acclaimed calligrapher and educator across the Chinese-speaking world. Over the decades, he has taught at top institutions, mentoring generations of students with dedication and grace.
Siao Shih-cyonh, a mid-period awardee of the same competition, progressed from student to elementary and high school teacher, and is now a professor at Feng Chia University. He leads the university’s “You Han Hall,” a dedicated space for calligraphy education and promotion, and has also nurtured a large number of talented students. Wu Chi-lin, a frequent winner during the later years of the competition, became the 4th calligraphy awardee of the " Chung-Shan Youth Art Awards," which was established after the original competition ended. His deep connection with National Dr. Sun Yat-sen Memorial Hall and his continued artistic achievements mark him as a rising force among the younger generation of calligraphers.
These three artists—linked not only by shared awards but also through a direct lineage of mentorship—have each earned top honors such as exemption from preliminary reviews in prestigious national art exhibitions, including the National Art Exhibition and Taiwan Provincial Art Exhibition. Their achievements speak to their solid foundations and artistic excellence, far beyond coincidence. Today, all three serve as judges for the Chung-Shan Youth Art Awards, embodying the ideal of scholars who excel both in study and public contribution.
Additionally, many winners of the calligraphy category in the Chung-Shan Youth Art Awards have hailed from central Taiwan. Notably, Wu Chi-lin (central region), Lin Chun-chen (1st edition), and Chen Chao-kun (5th edition) are all from Changhua County—a testament to the region’s deep cultural roots and its flourishing tradition of calligraphy talent.
Artists: Tu Chung-kao, Siao Shih-cyonh, Wu Chi-lin.
HTMLText_3AB5846D_2321_3375_41A2_4D6265A0E5A7_mobile.html = 承先.繼往(書法)
承續前一主題,梳理出此中具有師承關係之不同屆數之得獎者作品,透過一系列之作品展陳、對映,呈現不同時期的書法創作者們跨世代之傳承。此展題中最資深之杜忠誥為獎賽初創時期的得獎者,當年尚於大學就讀,及今已是譽滿華人文化圈的著名書家、教育者,執教上庠數十年,春風拂潤桃李無數。蕭世瓊則為此一獎賽中期的得獎者,亦從學生、小學教師、中學教師一路發展,今為逢甲大學教授,並主持校內「游瀚堂」書法藝術與推廣教學空間,亦已桃李滿門。吳啟林則為此獎賽後期的常勝軍,並為「全國青年學生書畫比賽」停辦後,新起的「中山青年藝術獎」第4屆得主,可謂與國父紀念館淵源甚深的青壯輩創作者。而此一專題三位具有師承關係的作者,不僅在國館所辦獎賽中脫穎而出,在全國性的全國美展、全省美展、全國美術展中也都先後獲得「免審查資格」之最高榮譽,可見其實力堅實,獲獎絕非偶然。而今,三位也都陸續擔任「中山青年藝術獎」評審,亦是「學而優則仕」的典範。
另國父紀念館興辦十載的「中山青年藝術獎」書法類得主,除了吳啟林出身中部,第1屆得主林俊臣、第5屆得主陳昭坤亦皆設籍彰化,此地文風之盛,人才輩出,由是可見。
藝術家:杜忠誥、蕭世瓊、吳啟林
Inheriting Tradition, Inspiring Innovation (Calligraphy)
Building upon the previous theme, this section presents works by award-winning artists from different years of the competition who share teacher-student relationships. Through carefully curated pairings and comparisons, the exhibition illustrates the cross-generational legacy of calligraphy and the continuity of artistic spirit across eras.
The most senior featured artist, Tu Chung-kao, was a prizewinner during the early years of the National Youth Calligraphy and Painting Competition, back when he was still a university student. Today, he is a highly acclaimed calligrapher and educator across the Chinese-speaking world. Over the decades, he has taught at top institutions, mentoring generations of students with dedication and grace.
Siao Shih-cyonh, a mid-period awardee of the same competition, progressed from student to elementary and high school teacher, and is now a professor at Feng Chia University. He leads the university’s “You Han Hall,” a dedicated space for calligraphy education and promotion, and has also nurtured a large number of talented students. Wu Chi-lin, a frequent winner during the later years of the competition, became the 4th calligraphy awardee of the " Chung-Shan Youth Art Awards," which was established after the original competition ended. His deep connection with National Dr. Sun Yat-sen Memorial Hall and his continued artistic achievements mark him as a rising force among the younger generation of calligraphers.
These three artists—linked not only by shared awards but also through a direct lineage of mentorship—have each earned top honors such as exemption from preliminary reviews in prestigious national art exhibitions, including the National Art Exhibition and Taiwan Provincial Art Exhibition. Their achievements speak to their solid foundations and artistic excellence, far beyond coincidence. Today, all three serve as judges for the Chung-Shan Youth Art Awards, embodying the ideal of scholars who excel both in study and public contribution.
Additionally, many winners of the calligraphy category in the Chung-Shan Youth Art Awards have hailed from central Taiwan. Notably, Wu Chi-lin (central region), Lin Chun-chen (1st edition), and Chen Chao-kun (5th edition) are all from Changhua County—a testament to the region’s deep cultural roots and its flourishing tradition of calligraphy talent.
Artists: Tu Chung-kao, Siao Shih-cyonh, Wu Chi-lin.
HTMLText_EB0B9025_D09D_4DF7_41BC_481635A82198_mobile.html = 承先.繼往(書法)
承續前一主題,梳理出此中具有師承關係之不同屆數之得獎者作品,透過一系列之作品展陳、對映,呈現不同時期的書法創作者們跨世代之傳承。此展題中最資深之杜忠誥為獎賽初創時期的得獎者,當年尚於大學就讀,及今已是譽滿華人文化圈的著名書家、教育者,執教上庠數十年,春風拂潤桃李無數。蕭世瓊則為此一獎賽中期的得獎者,亦從學生、小學教師、中學教師一路發展,今為逢甲大學教授,並主持校內「游瀚堂」書法藝術與推廣教學空間,亦已桃李滿門。吳啟林則為此獎賽後期的常勝軍,並為「全國青年學生書畫比賽」停辦後,新起的「中山青年藝術獎」第4屆得主,可謂與國父紀念館淵源甚深的青壯輩創作者。而此一專題三位具有師承關係的作者,不僅在國館所辦獎賽中脫穎而出,在全國性的全國美展、全省美展、全國美術展中也都先後獲得「免審查資格」之最高榮譽,可見其實力堅實,獲獎絕非偶然。而今,三位也都陸續擔任「中山青年藝術獎」評審,亦是「學而優則仕」的典範。
另國父紀念館興辦十載的「中山青年藝術獎」書法類得主,除了吳啟林出身中部,第1屆得主林俊臣、第5屆得主陳昭坤亦皆設籍彰化,此地文風之盛,人才輩出,由是可見。
藝術家:杜忠誥、蕭世瓊、吳啟林
Inheriting Tradition, Inspiring Innovation (Calligraphy)
Building upon the previous theme, this section presents works by award-winning artists from different years of the competition who share teacher-student relationships. Through carefully curated pairings and comparisons, the exhibition illustrates the cross-generational legacy of calligraphy and the continuity of artistic spirit across eras.
The most senior featured artist, Tu Chung-kao, was a prizewinner during the early years of the National Youth Calligraphy and Painting Competition, back when he was still a university student. Today, he is a highly acclaimed calligrapher and educator across the Chinese-speaking world. Over the decades, he has taught at top institutions, mentoring generations of students with dedication and grace.
Siao Shih-cyonh, a mid-period awardee of the same competition, progressed from student to elementary and high school teacher, and is now a professor at Feng Chia University. He leads the university’s “You Han Hall,” a dedicated space for calligraphy education and promotion, and has also nurtured a large number of talented students. Wu Chi-lin, a frequent winner during the later years of the competition, became the 4th calligraphy awardee of the " Chung-Shan Youth Art Awards," which was established after the original competition ended. His deep connection with National Dr. Sun Yat-sen Memorial Hall and his continued artistic achievements mark him as a rising force among the younger generation of calligraphers.
These three artists—linked not only by shared awards but also through a direct lineage of mentorship—have each earned top honors such as exemption from preliminary reviews in prestigious national art exhibitions, including the National Art Exhibition and Taiwan Provincial Art Exhibition. Their achievements speak to their solid foundations and artistic excellence, far beyond coincidence. Today, all three serve as judges for the Chung-Shan Youth Art Awards, embodying the ideal of scholars who excel both in study and public contribution.
Additionally, many winners of the calligraphy category in the Chung-Shan Youth Art Awards have hailed from central Taiwan. Notably, Wu Chi-lin (central region), Lin Chun-chen (1st edition), and Chen Chao-kun (5th edition) are all from Changhua County—a testament to the region’s deep cultural roots and its flourishing tradition of calligraphy talent.
Artists: Tu Chung-kao, Siao Shih-cyonh, Wu Chi-lin.
HTMLText_3AD83917_2321_32D5_41B4_C780215B67CA_mobile.html = 筆墨.寫心(水墨)
「全國青年學生書畫比賽」水墨類參賽作品在「選題」及「作品呈現風格」上隨著時代的演進而產生了明顯差異。早期作品絕大多數為單純寫景之作,而後漸有以「抒寫心象」之作獲獎。而就個別作者論,早期作品亦多透過「寫生」方式追摹前人筆墨,而後漸次成熟,「個人情性」透過筆墨融入作品,使作者個人特色愈發鮮明,此一子題即透過不同作者、不同時期之作,相互參照、交織出一頁透過國立國父紀念觀獎賽平臺所建構而成的臺灣現代水墨發展片段。
藝術家:林進忠、陳士侯、謝榮源、羅仁志、董學武、葉宗河。
Brush and Ink, Expressing the Heart
The ink painting entries in the National Youth Calligraphy and Painting Competition have undergone marked changes over time in both subject matter and style. Early works were predominantly straightforward landscape depictions, emphasizing realism. Gradually, however, works conveying the artist’s inner vision and personal imagery began to gain recognition and win awards.
On an individual level, early pieces often relied on copying from classical masters or sketching from life, reflecting a strong grounding in traditional techniques. As these artists matured, they increasingly infused their individuality and sensibilities into their brushwork, giving rise to more distinctive and expressive styles.
This section of the exhibition presents works from different artists across different periods, weaving together a narrative of Taiwan’s modern ink painting as seen through the platform of the National Dr. Sun Yat-sen Memorial Hall competition. It illustrates the progression from technical imitation to the articulation of personal artistic expression.
Artists: Lin Chin-Chung, Chen Shi-hou, Hsieh Rong-yuan, Lo Jen-chih, Dong Shueh-wu, Yeh Tsung-ho
HTMLText_3ACEA468_2321_337B_41BE_B55BECAB27EA_mobile.html = 筆墨.寫心(水墨)
「全國青年學生書畫比賽」水墨類參賽作品在「選題」及「作品呈現風格」上隨著時代的演進而產生了明顯差異。早期作品絕大多數為單純寫景之作,而後漸有以「抒寫心象」之作獲獎。而就個別作者論,早期作品亦多透過「寫生」方式追摹前人筆墨,而後漸次成熟,「個人情性」透過筆墨融入作品,使作者個人特色愈發鮮明,此一子題即透過不同作者、不同時期之作,相互參照、交織出一頁透過國立國父紀念觀獎賽平臺所建構而成的臺灣現代水墨發展片段。
藝術家:林進忠、陳士侯、謝榮源、羅仁志、董學武、葉宗河。
Brush and Ink, Expressing the Heart
The ink painting entries in the National Youth Calligraphy and Painting Competition have undergone marked changes over time in both subject matter and style. Early works were predominantly straightforward landscape depictions, emphasizing realism. Gradually, however, works conveying the artist’s inner vision and personal imagery began to gain recognition and win awards.
On an individual level, early pieces often relied on copying from classical masters or sketching from life, reflecting a strong grounding in traditional techniques. As these artists matured, they increasingly infused their individuality and sensibilities into their brushwork, giving rise to more distinctive and expressive styles.
This section of the exhibition presents works from different artists across different periods, weaving together a narrative of Taiwan’s modern ink painting as seen through the platform of the National Dr. Sun Yat-sen Memorial Hall competition. It illustrates the progression from technical imitation to the articulation of personal artistic expression.
Artists: Lin Chin-Chung, Chen Shi-hou, Hsieh Rong-yuan, Lo Jen-chih, Dong Shueh-wu, Yeh Tsung-ho
HTMLText_3AC546FE_2321_3F54_41AC_CCD88A99F256_mobile.html = 筆墨.寫心(水墨)
「全國青年學生書畫比賽」水墨類參賽作品在「選題」及「作品呈現風格」上隨著時代的演進而產生了明顯差異。早期作品絕大多數為單純寫景之作,而後漸有以「抒寫心象」之作獲獎。而就個別作者論,早期作品亦多透過「寫生」方式追摹前人筆墨,而後漸次成熟,「個人情性」透過筆墨融入作品,使作者個人特色愈發鮮明,此一子題即透過不同作者、不同時期之作,相互參照、交織出一頁透過國立國父紀念觀獎賽平臺所建構而成的臺灣現代水墨發展片段。
藝術家:林進忠、陳士侯、謝榮源、羅仁志、董學武、葉宗河。
Brush and Ink, Expressing the Heart
The ink painting entries in the National Youth Calligraphy and Painting Competition have undergone marked changes over time in both subject matter and style. Early works were predominantly straightforward landscape depictions, emphasizing realism. Gradually, however, works conveying the artist’s inner vision and personal imagery began to gain recognition and win awards.
On an individual level, early pieces often relied on copying from classical masters or sketching from life, reflecting a strong grounding in traditional techniques. As these artists matured, they increasingly infused their individuality and sensibilities into their brushwork, giving rise to more distinctive and expressive styles.
This section of the exhibition presents works from different artists across different periods, weaving together a narrative of Taiwan’s modern ink painting as seen through the platform of the National Dr. Sun Yat-sen Memorial Hall competition. It illustrates the progression from technical imitation to the articulation of personal artistic expression.
Artists: Lin Chin-Chung, Chen Shi-hou, Hsieh Rong-yuan, Lo Jen-chih, Dong Shueh-wu, Yeh Tsung-ho
HTMLText_EF96D304_D09B_D3B5_41DB_28C61C3EEA44_mobile.html = 筆墨.寫心(水墨)
「全國青年學生書畫比賽」水墨類參賽作品在「選題」及「作品呈現風格」上隨著時代的演進而產生了明顯差異。早期作品絕大多數為單純寫景之作,而後漸有以「抒寫心象」之作獲獎。而就個別作者論,早期作品亦多透過「寫生」方式追摹前人筆墨,而後漸次成熟,「個人情性」透過筆墨融入作品,使作者個人特色愈發鮮明,此一子題即透過不同作者、不同時期之作,相互參照、交織出一頁透過國立國父紀念觀獎賽平臺所建構而成的臺灣現代水墨發展片段。
藝術家:林進忠、陳士侯、謝榮源、羅仁志、董學武、葉宗河。
Brush and Ink, Expressing the Heart
The ink painting entries in the National Youth Calligraphy and Painting Competition have undergone marked changes over time in both subject matter and style. Early works were predominantly straightforward landscape depictions, emphasizing realism. Gradually, however, works conveying the artist’s inner vision and personal imagery began to gain recognition and win awards.
On an individual level, early pieces often relied on copying from classical masters or sketching from life, reflecting a strong grounding in traditional techniques. As these artists matured, they increasingly infused their individuality and sensibilities into their brushwork, giving rise to more distinctive and expressive styles.
This section of the exhibition presents works from different artists across different periods, weaving together a narrative of Taiwan’s modern ink painting as seen through the platform of the National Dr. Sun Yat-sen Memorial Hall competition. It illustrates the progression from technical imitation to the articulation of personal artistic expression.
Artists: Lin Chin-Chung, Chen Shi-hou, Hsieh Rong-yuan, Lo Jen-chih, Dong Shueh-wu, Yeh Tsung-ho
HTMLText_3AE9C243_2321_36AD_419A_202CF919AC16_mobile.html = 筆墨.寫心(水墨)
「全國青年學生書畫比賽」水墨類參賽作品在「選題」及「作品呈現風格」上隨著時代的演進而產生了明顯差異。早期作品絕大多數為單純寫景之作,而後漸有以「抒寫心象」之作獲獎。而就個別作者論,早期作品亦多透過「寫生」方式追摹前人筆墨,而後漸次成熟,「個人情性」透過筆墨融入作品,使作者個人特色愈發鮮明,此一子題即透過不同作者、不同時期之作,相互參照、交織出一頁透過國立國父紀念觀獎賽平臺所建構而成的臺灣現代水墨發展片段。
藝術家:林進忠、陳士侯、謝榮源、羅仁志、董學武、葉宗河。
Brush and Ink, Expressing the Heart
The ink painting entries in the National Youth Calligraphy and Painting Competition have undergone marked changes over time in both subject matter and style. Early works were predominantly straightforward landscape depictions, emphasizing realism. Gradually, however, works conveying the artist’s inner vision and personal imagery began to gain recognition and win awards.
On an individual level, early pieces often relied on copying from classical masters or sketching from life, reflecting a strong grounding in traditional techniques. As these artists matured, they increasingly infused their individuality and sensibilities into their brushwork, giving rise to more distinctive and expressive styles.
This section of the exhibition presents works from different artists across different periods, weaving together a narrative of Taiwan’s modern ink painting as seen through the platform of the National Dr. Sun Yat-sen Memorial Hall competition. It illustrates the progression from technical imitation to the articulation of personal artistic expression.
Artists: Lin Chin-Chung, Chen Shi-hou, Hsieh Rong-yuan, Lo Jen-chih, Dong Shueh-wu, Yeh Tsung-ho
HTMLText_04788DDB_2327_0D5E_41BC_A1385890CA36_mobile.html = 策展論述
國立國父紀念館過往除了每年例行受理藝文領域團體或個人申請的館內展演之外,亦積極向外發展。除了帶著當年度「中山青年藝術獎」首獎得主前往「藝博會」,為青年創作者開展出另一個獎賽與收藏市場接軌的平台外,近年也辦理了多場「典藏品巡迴展」與「中山青年藝術獎」得獎作品之巡迴展,建立了與地方縣市美術館、文化中心、生活美學館的跨縣市館際合作,也將館內過去鮮少出館展出的典藏品帶至不同城市,實現了「全民藝享—讓美學走進不同城市」的理想。
2025年國立國父紀念館獲「文化部委託公立博物館協助辦理支持臺灣文化內容再開發計畫」支持,於彰化與高雄兩個城市舉辦「『全民藝享—讓美學走進你的城市』2025國立國父紀念館典藏品交流展」。其中114年7月3日至114年8月3日預定假彰化縣立美術館「1樓展示室」及「藝廊」舉辨典藏作品展,展品以館內典藏臺灣中部地區書畫創作者作品為主;而114年 9月 13日至114年10月8日則於高雄市文化中心「至高館」展出館藏臺灣南部地區書畫創作者作品。
除了以創作者與展出城市的地緣關係為選件考量外,另一選件原則則聚焦在過往國父紀念館辦理了38屆的「全國青年學生書畫比賽」,所有參展作者均為昔日此一獎賽曾獲各組前三名佳績之書畫藝術家。展出內容除了有此數位藝術家當年參與該獎項競逐獲獎的昔日作品,亦有數位參展者於獲獎後,透過其它邀請展、申請展或獎賽而有新作獲選入藏國立國父紀念館者。這些展出作品之創作間隔,或近或遠,相距最甚者,當有40年之譜。透過同一作者不同時期的作品「對映」與「對話」,可以觀察該作者的風格遞變與成長。
「中山文藝創作獎」的創設與「全省美展」增設「書法部」,都是在對岸推行「文化大革命」的時代背景之下,政府部門為了維護傳統文化而起的積極對應作為。1967年第22屆「全省美展」增設「書法部」,1966年創設的「中山文藝創作獎」,年年都有「國畫類」得主,但直至1974年才有首位「書法類」獲獎者產生。此二展賽在當年的「書畫競賽」中具有相當指標意義,但基本上因無年齡限制,獲獎者絕少是年歲尚為青年者,多數是頗具火候的中壯輩創作者。尤其「中山文藝獎」因每年各類名額僅只有一、二,能獲獎者多半已是蜚聲藝壇之中壯輩或具相當成就的資深前輩創作者。在此狀態下,國父紀念館所舉辦之「全國青年學生書畫比賽」對於青年創作者所起的鼓勵作用自是不言可喻。
此一競賽初期正逢1970年代「鄉土文學運動」勃興之際。在近現代臺灣藝術史研究中,曾有不少針對當時之西畫、水墨創作者所選畫題與鄉土文學風潮進行時代背景、社會思潮、創作意識等等之交錯影響進行研究。而此一書畫比賽,其參賽者與得獎者在作品選題上是否也在「競賽規章」中之限定外,受到當時的文藝思潮影響,或許未必全然如此,但仍有某種程度的影響,因而以臺灣風土人文景象為題的水墨作品佔比不少。透過寫景之筆來紀錄眼下美景,也可能有藉此抒發個人對家鄉、土地的認同之意。至於書法類作品,則在早期節臨原帖文字、選擇書寫中山學說思想文章、傳錄古典經典文學作品的幾項主題中發展,同時也以「襲古之風」為尚,再逐年漸次開展出以純文學作品為題,並以個人或師門書風為主要表現手法的新風氣。由以「襲古」為尚,往「發揮自我情性」的方向挪移,可說是國父紀念館主辦獎賽中書法類得獎作品的概略發展軌跡,同時,也是臺灣書法獎賽與展演的成長實況。而水墨類也從描寫現實之景慢慢發展,出現了以筆墨傳達「心象」而非「實景」的新貌。凡此種種,皆可見此一獎賽,在時間的推移下,除了見證了不同藝術創作者的成長,也記錄了臺灣近半世紀的書法、水墨獎賽風格的傳衍與遞變。
放眼當前公辦美展,除了已停辦的「全國美展」、「全省美展」、「教育部文藝創作獎」與尚持續徵件的「南瀛美展」,後起之「大墩美展」外,論及辦理屆數與書畫二類的送件數及得獎作品水平,幾無可與當年「全國青年學生書畫比賽」相駢比者。若以「聚焦獎挹青年創作者」之角度視之,那此一獎賽在此一段時期的臺灣美術發展史頁中,更是具有獨特意義的存在。而這也正是默默屹立於晴雨之中的「國立國父紀念館」與館內諸多典藏作品在持續不斷發展的臺灣美術史中最具意義之處。
策展人:古耀華
Curatorial Statement
In addition to its annual tradition of hosting exhibitions and performances by artists and cultural groups, National Dr. Sun Yat-sen Memorial Hall has actively expanded its outreach efforts. Beyond presenting the annual first-prize winner of the “Chung-Shan Youth Art Awards” at major art fairs, thereby creating an additional platform for young artists to connect with competitions, the art market, and collectors, the Memorial Hall has also organized multiple touring exhibitions in recent years. These include the "Collection Touring Exhibition" and traveling displays of works by recipients of the “Chung-Shan Youth Art Awards.” Through these initiatives, the Memorial Hall has established cross-regional collaborations with local art museums, cultural centers, and lifestyle aesthetics centers across different counties and cities. By bringing rarely displayed collections from its holdings to diverse cities, the Memorial Hall has realized its vision of “Art for All—Bringing Aesthetics to Diverse Cities.”
In 2025, with the support of the Ministry of Culture’s “Public Museum Assistance Program for the Redevelopment of Taiwanese Cultural Content”, the Memorial Hall will host the “Art for All-Bringing Aesthetics to Your City:2025 National Dr. Sun Yat-sen Memorial Hall Collection Exchange Exhibition” in Changhua and Kaohsiung. From July 3 to August 3, the exhibition will take place at the Changhua County Art Museum in the “First Floor Exhibition Room” and “Art Gallery,” featuring curated sworks from the Memorial Hall’s collection by artists from central Taiwan. Subsequently, from September 13 to October 8, the exhibition will move to the Kaohsiung City Cultural Center’s “Zhigao Hall,” showcasing works by artists from southern Taiwan from the Memorial Hall’s collection.
In addition to selecting artworks based on the geographic connection between the artists and the exhibition cities, another key curatorial principle draws on the 38 editions of the “National Youth Calligraphy and Painting Competition” held by the National Dr. Sun Yat-sen Memorial Hall. All exhibited artists are former top-three winners in their respective categories of this prestigious competition. The exhibition features both their original award-winning works and newer pieces later acquired by the Memorial Hall through invitational shows, open calls, or other competitions. The creation dates of these works span varying intervals, with the longest gap reaching up to 40 years. By presenting works from different periods of the same artist side by side, the exhibition invites viewers to observe the evolution and growth of their artistic styles through a dialogue between past and present creations.
The establishment of the “Chung-Shan Literary and Art Creation Award” and the addition of a Calligraphy section to the “Taiwan Provincial Art Exhibition” were both proactive measures by the government to safeguard traditional culture amid the Cultural Revolution taking place on the other side of the strait. The “Chung-Shan Literary and Art Creation Award,” launched in 1966, consistently recognized winners in the Traditional Chinese Painting category, though it was not until 1974 that the first award in the Calligraphy category was given. In 1967, the 22nd Taiwan Provincial Art Exhibition also introduced a Calligraphy section. These two competitions served as important benchmarks in the calligraphy and painting scene of the time. However, as there were no age restrictions, winners were seldom young artists; most were seasoned mid-career or senior creators with well-established reputations. The “Chung-Shan Literary and Art Creation Award,” in particular, was highly competitive, limited to just one or two recipients per category each year, and most often honoring artists already prominent or accomplished veterans in the art world. Against this backdrop, the “National Youth Calligraphy and Painting Competition” organized by the National Dr. Sun Yat-sen Memorial Hall played a pivotal role in encouraging and fostering young talent.
The competition’s early years unfolded during the rise of the “Nativist Literature Movement” in the 1970s. Scholars of modern Taiwanese art history have examined how Western-style and ink painters of the time chose their subjects under the influence of the Nativist literary trend, analyzing its interplay with social thought and artistic consciousness. Although the themes were not strictly bound by competition rules, they were nevertheless shaped to some extent by the artistic and literary currents of the time. As a result, many ink paintings depicted Taiwan’s landscapes, local culture, and everyday life, often conveying a sense of identity and attachment to the homeland.
In the calligraphy category, early works focused on copying classical texts, transcribing Sun Yat-sen’s writings, or reproducing traditional literary works, reflecting the prevailing ethos of “emulating the ancients.” Over time, however, a new trend emerged, as calligraphers began drawing on pure literary texts and expressing individual sensibilities or the stylistic influences of their mentors. This shift from “emulating the ancients” to “individual expression” broadly outlines the developmental trajectory of award-winning calligraphy works, while also reflecting the broader evolution of Taiwan’s calligraphy competitions and exhibitions.
Similarly, ink painting evolved from realistic landscapes to expressions of inner vision rather than literal representation. Taken together, these developments show how the competition has, over time, not only nurtured the growth of individual artists but also chronicled the stylistic evolution of Taiwanese calligraphy and ink painting over nearly half a century.
When examining current publicly organized art exhibitions, few can compare to the “National Youth Calligraphy and Painting Competition” in terms of its longevity, the volume of submissions in both calligraphy and painting categories, and the quality of award-winning works. Notable exhibitions such as the now-discontinued “National Art Exhibition,” “Provincial Art Exhibition,” and “Ministry of Education Literary and Art Creation Award,” as well as the ongoing “Nanying Art Exhibition” and the later-established “Dadun Art Exhibition,” stand out. However, from the perspective of “fostering young artists through awards,” the “National Youth (Student) Calligraphy and Painting Competition” holds a uniquely significant place in the history of Taiwanese art development during this period. This enduring legacy underscores the profound importance of the National Dr. Sun Yat-sen Memorial Hall, standing steadfast through sun and rain, and its extensive collection of artworks in the ongoing narrative of Taiwan’s art history.
Curator: Ku Yao-hua
HTMLText_0443905D_2327_135A_41A3_90DC7C93FB6C_mobile.html = 策展論述
國立國父紀念館過往除了每年例行受理藝文領域團體或個人申請的館內展演之外,亦積極向外發展。除了帶著當年度「中山青年藝術獎」首獎得主前往「藝博會」,為青年創作者開展出另一個獎賽與收藏市場接軌的平台外,近年也辦理了多場「典藏品巡迴展」與「中山青年藝術獎」得獎作品之巡迴展,建立了與地方縣市美術館、文化中心、生活美學館的跨縣市館際合作,也將館內過去鮮少出館展出的典藏品帶至不同城市,實現了「全民藝享—讓美學走進不同城市」的理想。
2025年國立國父紀念館獲「文化部委託公立博物館協助辦理支持臺灣文化內容再開發計畫」支持,於彰化與高雄兩個城市舉辦「『全民藝享—讓美學走進你的城市』2025國立國父紀念館典藏品交流展」。其中114年7月3日至114年8月3日預定假彰化縣立美術館「1樓展示室」及「藝廊」舉辨典藏作品展,展品以館內典藏臺灣中部地區書畫創作者作品為主;而114年 9月 13日至114年10月8日則於高雄市文化中心「至高館」展出館藏臺灣南部地區書畫創作者作品。
除了以創作者與展出城市的地緣關係為選件考量外,另一選件原則則聚焦在過往國父紀念館辦理了38屆的「全國青年學生書畫比賽」,所有參展作者均為昔日此一獎賽曾獲各組前三名佳績之書畫藝術家。展出內容除了有此數位藝術家當年參與該獎項競逐獲獎的昔日作品,亦有數位參展者於獲獎後,透過其它邀請展、申請展或獎賽而有新作獲選入藏國立國父紀念館者。這些展出作品之創作間隔,或近或遠,相距最甚者,當有40年之譜。透過同一作者不同時期的作品「對映」與「對話」,可以觀察該作者的風格遞變與成長。
「中山文藝創作獎」的創設與「全省美展」增設「書法部」,都是在對岸推行「文化大革命」的時代背景之下,政府部門為了維護傳統文化而起的積極對應作為。1967年第22屆「全省美展」增設「書法部」,1966年創設的「中山文藝創作獎」,年年都有「國畫類」得主,但直至1974年才有首位「書法類」獲獎者產生。此二展賽在當年的「書畫競賽」中具有相當指標意義,但基本上因無年齡限制,獲獎者絕少是年歲尚為青年者,多數是頗具火候的中壯輩創作者。尤其「中山文藝獎」因每年各類名額僅只有一、二,能獲獎者多半已是蜚聲藝壇之中壯輩或具相當成就的資深前輩創作者。在此狀態下,國父紀念館所舉辦之「全國青年學生書畫比賽」對於青年創作者所起的鼓勵作用自是不言可喻。
此一競賽初期正逢1970年代「鄉土文學運動」勃興之際。在近現代臺灣藝術史研究中,曾有不少針對當時之西畫、水墨創作者所選畫題與鄉土文學風潮進行時代背景、社會思潮、創作意識等等之交錯影響進行研究。而此一書畫比賽,其參賽者與得獎者在作品選題上是否也在「競賽規章」中之限定外,受到當時的文藝思潮影響,或許未必全然如此,但仍有某種程度的影響,因而以臺灣風土人文景象為題的水墨作品佔比不少。透過寫景之筆來紀錄眼下美景,也可能有藉此抒發個人對家鄉、土地的認同之意。至於書法類作品,則在早期節臨原帖文字、選擇書寫中山學說思想文章、傳錄古典經典文學作品的幾項主題中發展,同時也以「襲古之風」為尚,再逐年漸次開展出以純文學作品為題,並以個人或師門書風為主要表現手法的新風氣。由以「襲古」為尚,往「發揮自我情性」的方向挪移,可說是國父紀念館主辦獎賽中書法類得獎作品的概略發展軌跡,同時,也是臺灣書法獎賽與展演的成長實況。而水墨類也從描寫現實之景慢慢發展,出現了以筆墨傳達「心象」而非「實景」的新貌。凡此種種,皆可見此一獎賽,在時間的推移下,除了見證了不同藝術創作者的成長,也記錄了臺灣近半世紀的書法、水墨獎賽風格的傳衍與遞變。
放眼當前公辦美展,除了已停辦的「全國美展」、「全省美展」、「教育部文藝創作獎」與尚持續徵件的「南瀛美展」,後起之「大墩美展」外,論及辦理屆數與書畫二類的送件數及得獎作品水平,幾無可與當年「全國青年學生書畫比賽」相駢比者。若以「聚焦獎挹青年創作者」之角度視之,那此一獎賽在此一段時期的臺灣美術發展史頁中,更是具有獨特意義的存在。而這也正是默默屹立於晴雨之中的「國立國父紀念館」與館內諸多典藏作品在持續不斷發展的臺灣美術史中最具意義之處。
策展人:古耀華
Curatorial Statement
In addition to its annual tradition of hosting exhibitions and performances by artists and cultural groups, National Dr. Sun Yat-sen Memorial Hall has actively expanded its outreach efforts. Beyond presenting the annual first-prize winner of the “Chung-Shan Youth Art Awards” at major art fairs, thereby creating an additional platform for young artists to connect with competitions, the art market, and collectors, the Memorial Hall has also organized multiple touring exhibitions in recent years. These include the "Collection Touring Exhibition" and traveling displays of works by recipients of the “Chung-Shan Youth Art Awards.” Through these initiatives, the Memorial Hall has established cross-regional collaborations with local art museums, cultural centers, and lifestyle aesthetics centers across different counties and cities. By bringing rarely displayed collections from its holdings to diverse cities, the Memorial Hall has realized its vision of “Art for All—Bringing Aesthetics to Diverse Cities.”
In 2025, with the support of the Ministry of Culture’s “Public Museum Assistance Program for the Redevelopment of Taiwanese Cultural Content”, the Memorial Hall will host the “Art for All-Bringing Aesthetics to Your City:2025 National Dr. Sun Yat-sen Memorial Hall Collection Exchange Exhibition” in Changhua and Kaohsiung. From July 3 to August 3, the exhibition will take place at the Changhua County Art Museum in the “First Floor Exhibition Room” and “Art Gallery,” featuring curated sworks from the Memorial Hall’s collection by artists from central Taiwan. Subsequently, from September 13 to October 8, the exhibition will move to the Kaohsiung City Cultural Center’s “Zhigao Hall,” showcasing works by artists from southern Taiwan from the Memorial Hall’s collection.
In addition to selecting artworks based on the geographic connection between the artists and the exhibition cities, another key curatorial principle draws on the 38 editions of the “National Youth Calligraphy and Painting Competition” held by the National Dr. Sun Yat-sen Memorial Hall. All exhibited artists are former top-three winners in their respective categories of this prestigious competition. The exhibition features both their original award-winning works and newer pieces later acquired by the Memorial Hall through invitational shows, open calls, or other competitions. The creation dates of these works span varying intervals, with the longest gap reaching up to 40 years. By presenting works from different periods of the same artist side by side, the exhibition invites viewers to observe the evolution and growth of their artistic styles through a dialogue between past and present creations.
The establishment of the “Chung-Shan Literary and Art Creation Award” and the addition of a Calligraphy section to the “Taiwan Provincial Art Exhibition” were both proactive measures by the government to safeguard traditional culture amid the Cultural Revolution taking place on the other side of the strait. The “Chung-Shan Literary and Art Creation Award,” launched in 1966, consistently recognized winners in the Traditional Chinese Painting category, though it was not until 1974 that the first award in the Calligraphy category was given. In 1967, the 22nd Taiwan Provincial Art Exhibition also introduced a Calligraphy section. These two competitions served as important benchmarks in the calligraphy and painting scene of the time. However, as there were no age restrictions, winners were seldom young artists; most were seasoned mid-career or senior creators with well-established reputations. The “Chung-Shan Literary and Art Creation Award,” in particular, was highly competitive, limited to just one or two recipients per category each year, and most often honoring artists already prominent or accomplished veterans in the art world. Against this backdrop, the “National Youth Calligraphy and Painting Competition” organized by the National Dr. Sun Yat-sen Memorial Hall played a pivotal role in encouraging and fostering young talent.
The competition’s early years unfolded during the rise of the “Nativist Literature Movement” in the 1970s. Scholars of modern Taiwanese art history have examined how Western-style and ink painters of the time chose their subjects under the influence of the Nativist literary trend, analyzing its interplay with social thought and artistic consciousness. Although the themes were not strictly bound by competition rules, they were nevertheless shaped to some extent by the artistic and literary currents of the time. As a result, many ink paintings depicted Taiwan’s landscapes, local culture, and everyday life, often conveying a sense of identity and attachment to the homeland.
In the calligraphy category, early works focused on copying classical texts, transcribing Sun Yat-sen’s writings, or reproducing traditional literary works, reflecting the prevailing ethos of “emulating the ancients.” Over time, however, a new trend emerged, as calligraphers began drawing on pure literary texts and expressing individual sensibilities or the stylistic influences of their mentors. This shift from “emulating the ancients” to “individual expression” broadly outlines the developmental trajectory of award-winning calligraphy works, while also reflecting the broader evolution of Taiwan’s calligraphy competitions and exhibitions.
Similarly, ink painting evolved from realistic landscapes to expressions of inner vision rather than literal representation. Taken together, these developments show how the competition has, over time, not only nurtured the growth of individual artists but also chronicled the stylistic evolution of Taiwanese calligraphy and ink painting over nearly half a century.
When examining current publicly organized art exhibitions, few can compare to the “National Youth Calligraphy and Painting Competition” in terms of its longevity, the volume of submissions in both calligraphy and painting categories, and the quality of award-winning works. Notable exhibitions such as the now-discontinued “National Art Exhibition,” “Provincial Art Exhibition,” and “Ministry of Education Literary and Art Creation Award,” as well as the ongoing “Nanying Art Exhibition” and the later-established “Dadun Art Exhibition,” stand out. However, from the perspective of “fostering young artists through awards,” the “National Youth (Student) Calligraphy and Painting Competition” holds a uniquely significant place in the history of Taiwanese art development during this period. This enduring legacy underscores the profound importance of the National Dr. Sun Yat-sen Memorial Hall, standing steadfast through sun and rain, and its extensive collection of artworks in the ongoing narrative of Taiwan’s art history.
Curator: Ku Yao-hua
HTMLText_05A6EBB0_2327_75EB_41B9_C2E79B7824DD_mobile.html = 策展論述
國立國父紀念館過往除了每年例行受理藝文領域團體或個人申請的館內展演之外,亦積極向外發展。除了帶著當年度「中山青年藝術獎」首獎得主前往「藝博會」,為青年創作者開展出另一個獎賽與收藏市場接軌的平台外,近年也辦理了多場「典藏品巡迴展」與「中山青年藝術獎」得獎作品之巡迴展,建立了與地方縣市美術館、文化中心、生活美學館的跨縣市館際合作,也將館內過去鮮少出館展出的典藏品帶至不同城市,實現了「全民藝享—讓美學走進不同城市」的理想。
2025年國立國父紀念館獲「文化部委託公立博物館協助辦理支持臺灣文化內容再開發計畫」支持,於彰化與高雄兩個城市舉辦「『全民藝享—讓美學走進你的城市』2025國立國父紀念館典藏品交流展」。其中114年7月3日至114年8月3日預定假彰化縣立美術館「1樓展示室」及「藝廊」舉辨典藏作品展,展品以館內典藏臺灣中部地區書畫創作者作品為主;而114年 9月 13日至114年10月8日則於高雄市文化中心「至高館」展出館藏臺灣南部地區書畫創作者作品。
除了以創作者與展出城市的地緣關係為選件考量外,另一選件原則則聚焦在過往國父紀念館辦理了38屆的「全國青年學生書畫比賽」,所有參展作者均為昔日此一獎賽曾獲各組前三名佳績之書畫藝術家。展出內容除了有此數位藝術家當年參與該獎項競逐獲獎的昔日作品,亦有數位參展者於獲獎後,透過其它邀請展、申請展或獎賽而有新作獲選入藏國立國父紀念館者。這些展出作品之創作間隔,或近或遠,相距最甚者,當有40年之譜。透過同一作者不同時期的作品「對映」與「對話」,可以觀察該作者的風格遞變與成長。
「中山文藝創作獎」的創設與「全省美展」增設「書法部」,都是在對岸推行「文化大革命」的時代背景之下,政府部門為了維護傳統文化而起的積極對應作為。1967年第22屆「全省美展」增設「書法部」,1966年創設的「中山文藝創作獎」,年年都有「國畫類」得主,但直至1974年才有首位「書法類」獲獎者產生。此二展賽在當年的「書畫競賽」中具有相當指標意義,但基本上因無年齡限制,獲獎者絕少是年歲尚為青年者,多數是頗具火候的中壯輩創作者。尤其「中山文藝獎」因每年各類名額僅只有一、二,能獲獎者多半已是蜚聲藝壇之中壯輩或具相當成就的資深前輩創作者。在此狀態下,國父紀念館所舉辦之「全國青年學生書畫比賽」對於青年創作者所起的鼓勵作用自是不言可喻。
此一競賽初期正逢1970年代「鄉土文學運動」勃興之際。在近現代臺灣藝術史研究中,曾有不少針對當時之西畫、水墨創作者所選畫題與鄉土文學風潮進行時代背景、社會思潮、創作意識等等之交錯影響進行研究。而此一書畫比賽,其參賽者與得獎者在作品選題上是否也在「競賽規章」中之限定外,受到當時的文藝思潮影響,或許未必全然如此,但仍有某種程度的影響,因而以臺灣風土人文景象為題的水墨作品佔比不少。透過寫景之筆來紀錄眼下美景,也可能有藉此抒發個人對家鄉、土地的認同之意。至於書法類作品,則在早期節臨原帖文字、選擇書寫中山學說思想文章、傳錄古典經典文學作品的幾項主題中發展,同時也以「襲古之風」為尚,再逐年漸次開展出以純文學作品為題,並以個人或師門書風為主要表現手法的新風氣。由以「襲古」為尚,往「發揮自我情性」的方向挪移,可說是國父紀念館主辦獎賽中書法類得獎作品的概略發展軌跡,同時,也是臺灣書法獎賽與展演的成長實況。而水墨類也從描寫現實之景慢慢發展,出現了以筆墨傳達「心象」而非「實景」的新貌。凡此種種,皆可見此一獎賽,在時間的推移下,除了見證了不同藝術創作者的成長,也記錄了臺灣近半世紀的書法、水墨獎賽風格的傳衍與遞變。
放眼當前公辦美展,除了已停辦的「全國美展」、「全省美展」、「教育部文藝創作獎」與尚持續徵件的「南瀛美展」,後起之「大墩美展」外,論及辦理屆數與書畫二類的送件數及得獎作品水平,幾無可與當年「全國青年學生書畫比賽」相駢比者。若以「聚焦獎挹青年創作者」之角度視之,那此一獎賽在此一段時期的臺灣美術發展史頁中,更是具有獨特意義的存在。而這也正是默默屹立於晴雨之中的「國立國父紀念館」與館內諸多典藏作品在持續不斷發展的臺灣美術史中最具意義之處。
策展人:古耀華
Curatorial Statement
In addition to its annual tradition of hosting exhibitions and performances by artists and cultural groups, National Dr. Sun Yat-sen Memorial Hall has actively expanded its outreach efforts. Beyond presenting the annual first-prize winner of the “Chung-Shan Youth Art Awards” at major art fairs, thereby creating an additional platform for young artists to connect with competitions, the art market, and collectors, the Memorial Hall has also organized multiple touring exhibitions in recent years. These include the "Collection Touring Exhibition" and traveling displays of works by recipients of the “Chung-Shan Youth Art Awards.” Through these initiatives, the Memorial Hall has established cross-regional collaborations with local art museums, cultural centers, and lifestyle aesthetics centers across different counties and cities. By bringing rarely displayed collections from its holdings to diverse cities, the Memorial Hall has realized its vision of “Art for All—Bringing Aesthetics to Diverse Cities.”
In 2025, with the support of the Ministry of Culture’s “Public Museum Assistance Program for the Redevelopment of Taiwanese Cultural Content”, the Memorial Hall will host the “Art for All-Bringing Aesthetics to Your City:2025 National Dr. Sun Yat-sen Memorial Hall Collection Exchange Exhibition” in Changhua and Kaohsiung. From July 3 to August 3, the exhibition will take place at the Changhua County Art Museum in the “First Floor Exhibition Room” and “Art Gallery,” featuring curated sworks from the Memorial Hall’s collection by artists from central Taiwan. Subsequently, from September 13 to October 8, the exhibition will move to the Kaohsiung City Cultural Center’s “Zhigao Hall,” showcasing works by artists from southern Taiwan from the Memorial Hall’s collection.
In addition to selecting artworks based on the geographic connection between the artists and the exhibition cities, another key curatorial principle draws on the 38 editions of the “National Youth Calligraphy and Painting Competition” held by the National Dr. Sun Yat-sen Memorial Hall. All exhibited artists are former top-three winners in their respective categories of this prestigious competition. The exhibition features both their original award-winning works and newer pieces later acquired by the Memorial Hall through invitational shows, open calls, or other competitions. The creation dates of these works span varying intervals, with the longest gap reaching up to 40 years. By presenting works from different periods of the same artist side by side, the exhibition invites viewers to observe the evolution and growth of their artistic styles through a dialogue between past and present creations.
The establishment of the “Chung-Shan Literary and Art Creation Award” and the addition of a Calligraphy section to the “Taiwan Provincial Art Exhibition” were both proactive measures by the government to safeguard traditional culture amid the Cultural Revolution taking place on the other side of the strait. The “Chung-Shan Literary and Art Creation Award,” launched in 1966, consistently recognized winners in the Traditional Chinese Painting category, though it was not until 1974 that the first award in the Calligraphy category was given. In 1967, the 22nd Taiwan Provincial Art Exhibition also introduced a Calligraphy section. These two competitions served as important benchmarks in the calligraphy and painting scene of the time. However, as there were no age restrictions, winners were seldom young artists; most were seasoned mid-career or senior creators with well-established reputations. The “Chung-Shan Literary and Art Creation Award,” in particular, was highly competitive, limited to just one or two recipients per category each year, and most often honoring artists already prominent or accomplished veterans in the art world. Against this backdrop, the “National Youth Calligraphy and Painting Competition” organized by the National Dr. Sun Yat-sen Memorial Hall played a pivotal role in encouraging and fostering young talent.
The competition’s early years unfolded during the rise of the “Nativist Literature Movement” in the 1970s. Scholars of modern Taiwanese art history have examined how Western-style and ink painters of the time chose their subjects under the influence of the Nativist literary trend, analyzing its interplay with social thought and artistic consciousness. Although the themes were not strictly bound by competition rules, they were nevertheless shaped to some extent by the artistic and literary currents of the time. As a result, many ink paintings depicted Taiwan’s landscapes, local culture, and everyday life, often conveying a sense of identity and attachment to the homeland.
In the calligraphy category, early works focused on copying classical texts, transcribing Sun Yat-sen’s writings, or reproducing traditional literary works, reflecting the prevailing ethos of “emulating the ancients.” Over time, however, a new trend emerged, as calligraphers began drawing on pure literary texts and expressing individual sensibilities or the stylistic influences of their mentors. This shift from “emulating the ancients” to “individual expression” broadly outlines the developmental trajectory of award-winning calligraphy works, while also reflecting the broader evolution of Taiwan’s calligraphy competitions and exhibitions.
Similarly, ink painting evolved from realistic landscapes to expressions of inner vision rather than literal representation. Taken together, these developments show how the competition has, over time, not only nurtured the growth of individual artists but also chronicled the stylistic evolution of Taiwanese calligraphy and ink painting over nearly half a century.
When examining current publicly organized art exhibitions, few can compare to the “National Youth Calligraphy and Painting Competition” in terms of its longevity, the volume of submissions in both calligraphy and painting categories, and the quality of award-winning works. Notable exhibitions such as the now-discontinued “National Art Exhibition,” “Provincial Art Exhibition,” and “Ministry of Education Literary and Art Creation Award,” as well as the ongoing “Nanying Art Exhibition” and the later-established “Dadun Art Exhibition,” stand out. However, from the perspective of “fostering young artists through awards,” the “National Youth (Student) Calligraphy and Painting Competition” holds a uniquely significant place in the history of Taiwanese art development during this period. This enduring legacy underscores the profound importance of the National Dr. Sun Yat-sen Memorial Hall, standing steadfast through sun and rain, and its extensive collection of artworks in the ongoing narrative of Taiwan’s art history.
Curator: Ku Yao-hua
HTMLText_0429826A_2327_177F_4184_E88A94FDAC42_mobile.html = 策展論述
國立國父紀念館過往除了每年例行受理藝文領域團體或個人申請的館內展演之外,亦積極向外發展。除了帶著當年度「中山青年藝術獎」首獎得主前往「藝博會」,為青年創作者開展出另一個獎賽與收藏市場接軌的平台外,近年也辦理了多場「典藏品巡迴展」與「中山青年藝術獎」得獎作品之巡迴展,建立了與地方縣市美術館、文化中心、生活美學館的跨縣市館際合作,也將館內過去鮮少出館展出的典藏品帶至不同城市,實現了「全民藝享—讓美學走進不同城市」的理想。
2025年國立國父紀念館獲「文化部委託公立博物館協助辦理支持臺灣文化內容再開發計畫」支持,於彰化與高雄兩個城市舉辦「『全民藝享—讓美學走進你的城市』2025國立國父紀念館典藏品交流展」。其中114年7月3日至114年8月3日預定假彰化縣立美術館「1樓展示室」及「藝廊」舉辨典藏作品展,展品以館內典藏臺灣中部地區書畫創作者作品為主;而114年 9月 13日至114年10月8日則於高雄市文化中心「至高館」展出館藏臺灣南部地區書畫創作者作品。
除了以創作者與展出城市的地緣關係為選件考量外,另一選件原則則聚焦在過往國父紀念館辦理了38屆的「全國青年學生書畫比賽」,所有參展作者均為昔日此一獎賽曾獲各組前三名佳績之書畫藝術家。展出內容除了有此數位藝術家當年參與該獎項競逐獲獎的昔日作品,亦有數位參展者於獲獎後,透過其它邀請展、申請展或獎賽而有新作獲選入藏國立國父紀念館者。這些展出作品之創作間隔,或近或遠,相距最甚者,當有40年之譜。透過同一作者不同時期的作品「對映」與「對話」,可以觀察該作者的風格遞變與成長。
「中山文藝創作獎」的創設與「全省美展」增設「書法部」,都是在對岸推行「文化大革命」的時代背景之下,政府部門為了維護傳統文化而起的積極對應作為。1967年第22屆「全省美展」增設「書法部」,1966年創設的「中山文藝創作獎」,年年都有「國畫類」得主,但直至1974年才有首位「書法類」獲獎者產生。此二展賽在當年的「書畫競賽」中具有相當指標意義,但基本上因無年齡限制,獲獎者絕少是年歲尚為青年者,多數是頗具火候的中壯輩創作者。尤其「中山文藝獎」因每年各類名額僅只有一、二,能獲獎者多半已是蜚聲藝壇之中壯輩或具相當成就的資深前輩創作者。在此狀態下,國父紀念館所舉辦之「全國青年學生書畫比賽」對於青年創作者所起的鼓勵作用自是不言可喻。
此一競賽初期正逢1970年代「鄉土文學運動」勃興之際。在近現代臺灣藝術史研究中,曾有不少針對當時之西畫、水墨創作者所選畫題與鄉土文學風潮進行時代背景、社會思潮、創作意識等等之交錯影響進行研究。而此一書畫比賽,其參賽者與得獎者在作品選題上是否也在「競賽規章」中之限定外,受到當時的文藝思潮影響,或許未必全然如此,但仍有某種程度的影響,因而以臺灣風土人文景象為題的水墨作品佔比不少。透過寫景之筆來紀錄眼下美景,也可能有藉此抒發個人對家鄉、土地的認同之意。至於書法類作品,則在早期節臨原帖文字、選擇書寫中山學說思想文章、傳錄古典經典文學作品的幾項主題中發展,同時也以「襲古之風」為尚,再逐年漸次開展出以純文學作品為題,並以個人或師門書風為主要表現手法的新風氣。由以「襲古」為尚,往「發揮自我情性」的方向挪移,可說是國父紀念館主辦獎賽中書法類得獎作品的概略發展軌跡,同時,也是臺灣書法獎賽與展演的成長實況。而水墨類也從描寫現實之景慢慢發展,出現了以筆墨傳達「心象」而非「實景」的新貌。凡此種種,皆可見此一獎賽,在時間的推移下,除了見證了不同藝術創作者的成長,也記錄了臺灣近半世紀的書法、水墨獎賽風格的傳衍與遞變。
放眼當前公辦美展,除了已停辦的「全國美展」、「全省美展」、「教育部文藝創作獎」與尚持續徵件的「南瀛美展」,後起之「大墩美展」外,論及辦理屆數與書畫二類的送件數及得獎作品水平,幾無可與當年「全國青年學生書畫比賽」相駢比者。若以「聚焦獎挹青年創作者」之角度視之,那此一獎賽在此一段時期的臺灣美術發展史頁中,更是具有獨特意義的存在。而這也正是默默屹立於晴雨之中的「國立國父紀念館」與館內諸多典藏作品在持續不斷發展的臺灣美術史中最具意義之處。
策展人:古耀華
Curatorial Statement
In addition to its annual tradition of hosting exhibitions and performances by artists and cultural groups, National Dr. Sun Yat-sen Memorial Hall has actively expanded its outreach efforts. Beyond presenting the annual first-prize winner of the “Chung-Shan Youth Art Awards” at major art fairs, thereby creating an additional platform for young artists to connect with competitions, the art market, and collectors, the Memorial Hall has also organized multiple touring exhibitions in recent years. These include the "Collection Touring Exhibition" and traveling displays of works by recipients of the “Chung-Shan Youth Art Awards.” Through these initiatives, the Memorial Hall has established cross-regional collaborations with local art museums, cultural centers, and lifestyle aesthetics centers across different counties and cities. By bringing rarely displayed collections from its holdings to diverse cities, the Memorial Hall has realized its vision of “Art for All—Bringing Aesthetics to Diverse Cities.”
In 2025, with the support of the Ministry of Culture’s “Public Museum Assistance Program for the Redevelopment of Taiwanese Cultural Content”, the Memorial Hall will host the “Art for All-Bringing Aesthetics to Your City:2025 National Dr. Sun Yat-sen Memorial Hall Collection Exchange Exhibition” in Changhua and Kaohsiung. From July 3 to August 3, the exhibition will take place at the Changhua County Art Museum in the “First Floor Exhibition Room” and “Art Gallery,” featuring curated sworks from the Memorial Hall’s collection by artists from central Taiwan. Subsequently, from September 13 to October 8, the exhibition will move to the Kaohsiung City Cultural Center’s “Zhigao Hall,” showcasing works by artists from southern Taiwan from the Memorial Hall’s collection.
In addition to selecting artworks based on the geographic connection between the artists and the exhibition cities, another key curatorial principle draws on the 38 editions of the “National Youth Calligraphy and Painting Competition” held by the National Dr. Sun Yat-sen Memorial Hall. All exhibited artists are former top-three winners in their respective categories of this prestigious competition. The exhibition features both their original award-winning works and newer pieces later acquired by the Memorial Hall through invitational shows, open calls, or other competitions. The creation dates of these works span varying intervals, with the longest gap reaching up to 40 years. By presenting works from different periods of the same artist side by side, the exhibition invites viewers to observe the evolution and growth of their artistic styles through a dialogue between past and present creations.
The establishment of the “Chung-Shan Literary and Art Creation Award” and the addition of a Calligraphy section to the “Taiwan Provincial Art Exhibition” were both proactive measures by the government to safeguard traditional culture amid the Cultural Revolution taking place on the other side of the strait. The “Chung-Shan Literary and Art Creation Award,” launched in 1966, consistently recognized winners in the Traditional Chinese Painting category, though it was not until 1974 that the first award in the Calligraphy category was given. In 1967, the 22nd Taiwan Provincial Art Exhibition also introduced a Calligraphy section. These two competitions served as important benchmarks in the calligraphy and painting scene of the time. However, as there were no age restrictions, winners were seldom young artists; most were seasoned mid-career or senior creators with well-established reputations. The “Chung-Shan Literary and Art Creation Award,” in particular, was highly competitive, limited to just one or two recipients per category each year, and most often honoring artists already prominent or accomplished veterans in the art world. Against this backdrop, the “National Youth Calligraphy and Painting Competition” organized by the National Dr. Sun Yat-sen Memorial Hall played a pivotal role in encouraging and fostering young talent.
The competition’s early years unfolded during the rise of the “Nativist Literature Movement” in the 1970s. Scholars of modern Taiwanese art history have examined how Western-style and ink painters of the time chose their subjects under the influence of the Nativist literary trend, analyzing its interplay with social thought and artistic consciousness. Although the themes were not strictly bound by competition rules, they were nevertheless shaped to some extent by the artistic and literary currents of the time. As a result, many ink paintings depicted Taiwan’s landscapes, local culture, and everyday life, often conveying a sense of identity and attachment to the homeland.
In the calligraphy category, early works focused on copying classical texts, transcribing Sun Yat-sen’s writings, or reproducing traditional literary works, reflecting the prevailing ethos of “emulating the ancients.” Over time, however, a new trend emerged, as calligraphers began drawing on pure literary texts and expressing individual sensibilities or the stylistic influences of their mentors. This shift from “emulating the ancients” to “individual expression” broadly outlines the developmental trajectory of award-winning calligraphy works, while also reflecting the broader evolution of Taiwan’s calligraphy competitions and exhibitions.
Similarly, ink painting evolved from realistic landscapes to expressions of inner vision rather than literal representation. Taken together, these developments show how the competition has, over time, not only nurtured the growth of individual artists but also chronicled the stylistic evolution of Taiwanese calligraphy and ink painting over nearly half a century.
When examining current publicly organized art exhibitions, few can compare to the “National Youth Calligraphy and Painting Competition” in terms of its longevity, the volume of submissions in both calligraphy and painting categories, and the quality of award-winning works. Notable exhibitions such as the now-discontinued “National Art Exhibition,” “Provincial Art Exhibition,” and “Ministry of Education Literary and Art Creation Award,” as well as the ongoing “Nanying Art Exhibition” and the later-established “Dadun Art Exhibition,” stand out. However, from the perspective of “fostering young artists through awards,” the “National Youth (Student) Calligraphy and Painting Competition” holds a uniquely significant place in the history of Taiwanese art development during this period. This enduring legacy underscores the profound importance of the National Dr. Sun Yat-sen Memorial Hall, standing steadfast through sun and rain, and its extensive collection of artworks in the ongoing narrative of Taiwan’s art history.
Curator: Ku Yao-hua
HTMLText_0565001F_2321_F2D6_41A2_CB99CB02261A_mobile.html = 策展論述
國立國父紀念館過往除了每年例行受理藝文領域團體或個人申請的館內展演之外,亦積極向外發展。除了帶著當年度「中山青年藝術獎」首獎得主前往「藝博會」,為青年創作者開展出另一個獎賽與收藏市場接軌的平台外,近年也辦理了多場「典藏品巡迴展」與「中山青年藝術獎」得獎作品之巡迴展,建立了與地方縣市美術館、文化中心、生活美學館的跨縣市館際合作,也將館內過去鮮少出館展出的典藏品帶至不同城市,實現了「全民藝享—讓美學走進不同城市」的理想。
2025年國立國父紀念館獲「文化部委託公立博物館協助辦理支持臺灣文化內容再開發計畫」支持,於彰化與高雄兩個城市舉辦「『全民藝享—讓美學走進你的城市』2025國立國父紀念館典藏品交流展」。其中114年7月3日至114年8月3日預定假彰化縣立美術館「1樓展示室」及「藝廊」舉辨典藏作品展,展品以館內典藏臺灣中部地區書畫創作者作品為主;而114年 9月 13日至114年10月8日則於高雄市文化中心「至高館」展出館藏臺灣南部地區書畫創作者作品。
除了以創作者與展出城市的地緣關係為選件考量外,另一選件原則則聚焦在過往國父紀念館辦理了38屆的「全國青年學生書畫比賽」,所有參展作者均為昔日此一獎賽曾獲各組前三名佳績之書畫藝術家。展出內容除了有此數位藝術家當年參與該獎項競逐獲獎的昔日作品,亦有數位參展者於獲獎後,透過其它邀請展、申請展或獎賽而有新作獲選入藏國立國父紀念館者。這些展出作品之創作間隔,或近或遠,相距最甚者,當有40年之譜。透過同一作者不同時期的作品「對映」與「對話」,可以觀察該作者的風格遞變與成長。
「中山文藝創作獎」的創設與「全省美展」增設「書法部」,都是在對岸推行「文化大革命」的時代背景之下,政府部門為了維護傳統文化而起的積極對應作為。1967年第22屆「全省美展」增設「書法部」,1966年創設的「中山文藝創作獎」,年年都有「國畫類」得主,但直至1974年才有首位「書法類」獲獎者產生。此二展賽在當年的「書畫競賽」中具有相當指標意義,但基本上因無年齡限制,獲獎者絕少是年歲尚為青年者,多數是頗具火候的中壯輩創作者。尤其「中山文藝獎」因每年各類名額僅只有一、二,能獲獎者多半已是蜚聲藝壇之中壯輩或具相當成就的資深前輩創作者。在此狀態下,國父紀念館所舉辦之「全國青年學生書畫比賽」對於青年創作者所起的鼓勵作用自是不言可喻。
此一競賽初期正逢1970年代「鄉土文學運動」勃興之際。在近現代臺灣藝術史研究中,曾有不少針對當時之西畫、水墨創作者所選畫題與鄉土文學風潮進行時代背景、社會思潮、創作意識等等之交錯影響進行研究。而此一書畫比賽,其參賽者與得獎者在作品選題上是否也在「競賽規章」中之限定外,受到當時的文藝思潮影響,或許未必全然如此,但仍有某種程度的影響,因而以臺灣風土人文景象為題的水墨作品佔比不少。透過寫景之筆來紀錄眼下美景,也可能有藉此抒發個人對家鄉、土地的認同之意。至於書法類作品,則在早期節臨原帖文字、選擇書寫中山學說思想文章、傳錄古典經典文學作品的幾項主題中發展,同時也以「襲古之風」為尚,再逐年漸次開展出以純文學作品為題,並以個人或師門書風為主要表現手法的新風氣。由以「襲古」為尚,往「發揮自我情性」的方向挪移,可說是國父紀念館主辦獎賽中書法類得獎作品的概略發展軌跡,同時,也是臺灣書法獎賽與展演的成長實況。而水墨類也從描寫現實之景慢慢發展,出現了以筆墨傳達「心象」而非「實景」的新貌。凡此種種,皆可見此一獎賽,在時間的推移下,除了見證了不同藝術創作者的成長,也記錄了臺灣近半世紀的書法、水墨獎賽風格的傳衍與遞變。
放眼當前公辦美展,除了已停辦的「全國美展」、「全省美展」、「教育部文藝創作獎」與尚持續徵件的「南瀛美展」,後起之「大墩美展」外,論及辦理屆數與書畫二類的送件數及得獎作品水平,幾無可與當年「全國青年學生書畫比賽」相駢比者。若以「聚焦獎挹青年創作者」之角度視之,那此一獎賽在此一段時期的臺灣美術發展史頁中,更是具有獨特意義的存在。而這也正是默默屹立於晴雨之中的「國立國父紀念館」與館內諸多典藏作品在持續不斷發展的臺灣美術史中最具意義之處。
策展人:古耀華
Curatorial Statement
In addition to its annual tradition of hosting exhibitions and performances by artists and cultural groups, National Dr. Sun Yat-sen Memorial Hall has actively expanded its outreach efforts. Beyond presenting the annual first-prize winner of the “Chung-Shan Youth Art Awards” at major art fairs, thereby creating an additional platform for young artists to connect with competitions, the art market, and collectors, the Memorial Hall has also organized multiple touring exhibitions in recent years. These include the "Collection Touring Exhibition" and traveling displays of works by recipients of the “Chung-Shan Youth Art Awards.” Through these initiatives, the Memorial Hall has established cross-regional collaborations with local art museums, cultural centers, and lifestyle aesthetics centers across different counties and cities. By bringing rarely displayed collections from its holdings to diverse cities, the Memorial Hall has realized its vision of “Art for All—Bringing Aesthetics to Diverse Cities.”
In 2025, with the support of the Ministry of Culture’s “Public Museum Assistance Program for the Redevelopment of Taiwanese Cultural Content”, the Memorial Hall will host the “Art for All-Bringing Aesthetics to Your City:2025 National Dr. Sun Yat-sen Memorial Hall Collection Exchange Exhibition” in Changhua and Kaohsiung. From July 3 to August 3, the exhibition will take place at the Changhua County Art Museum in the “First Floor Exhibition Room” and “Art Gallery,” featuring curated sworks from the Memorial Hall’s collection by artists from central Taiwan. Subsequently, from September 13 to October 8, the exhibition will move to the Kaohsiung City Cultural Center’s “Zhigao Hall,” showcasing works by artists from southern Taiwan from the Memorial Hall’s collection.
In addition to selecting artworks based on the geographic connection between the artists and the exhibition cities, another key curatorial principle draws on the 38 editions of the “National Youth Calligraphy and Painting Competition” held by the National Dr. Sun Yat-sen Memorial Hall. All exhibited artists are former top-three winners in their respective categories of this prestigious competition. The exhibition features both their original award-winning works and newer pieces later acquired by the Memorial Hall through invitational shows, open calls, or other competitions. The creation dates of these works span varying intervals, with the longest gap reaching up to 40 years. By presenting works from different periods of the same artist side by side, the exhibition invites viewers to observe the evolution and growth of their artistic styles through a dialogue between past and present creations.
The establishment of the “Chung-Shan Literary and Art Creation Award” and the addition of a Calligraphy section to the “Taiwan Provincial Art Exhibition” were both proactive measures by the government to safeguard traditional culture amid the Cultural Revolution taking place on the other side of the strait. The “Chung-Shan Literary and Art Creation Award,” launched in 1966, consistently recognized winners in the Traditional Chinese Painting category, though it was not until 1974 that the first award in the Calligraphy category was given. In 1967, the 22nd Taiwan Provincial Art Exhibition also introduced a Calligraphy section. These two competitions served as important benchmarks in the calligraphy and painting scene of the time. However, as there were no age restrictions, winners were seldom young artists; most were seasoned mid-career or senior creators with well-established reputations. The “Chung-Shan Literary and Art Creation Award,” in particular, was highly competitive, limited to just one or two recipients per category each year, and most often honoring artists already prominent or accomplished veterans in the art world. Against this backdrop, the “National Youth Calligraphy and Painting Competition” organized by the National Dr. Sun Yat-sen Memorial Hall played a pivotal role in encouraging and fostering young talent.
The competition’s early years unfolded during the rise of the “Nativist Literature Movement” in the 1970s. Scholars of modern Taiwanese art history have examined how Western-style and ink painters of the time chose their subjects under the influence of the Nativist literary trend, analyzing its interplay with social thought and artistic consciousness. Although the themes were not strictly bound by competition rules, they were nevertheless shaped to some extent by the artistic and literary currents of the time. As a result, many ink paintings depicted Taiwan’s landscapes, local culture, and everyday life, often conveying a sense of identity and attachment to the homeland.
In the calligraphy category, early works focused on copying classical texts, transcribing Sun Yat-sen’s writings, or reproducing traditional literary works, reflecting the prevailing ethos of “emulating the ancients.” Over time, however, a new trend emerged, as calligraphers began drawing on pure literary texts and expressing individual sensibilities or the stylistic influences of their mentors. This shift from “emulating the ancients” to “individual expression” broadly outlines the developmental trajectory of award-winning calligraphy works, while also reflecting the broader evolution of Taiwan’s calligraphy competitions and exhibitions.
Similarly, ink painting evolved from realistic landscapes to expressions of inner vision rather than literal representation. Taken together, these developments show how the competition has, over time, not only nurtured the growth of individual artists but also chronicled the stylistic evolution of Taiwanese calligraphy and ink painting over nearly half a century.
When examining current publicly organized art exhibitions, few can compare to the “National Youth Calligraphy and Painting Competition” in terms of its longevity, the volume of submissions in both calligraphy and painting categories, and the quality of award-winning works. Notable exhibitions such as the now-discontinued “National Art Exhibition,” “Provincial Art Exhibition,” and “Ministry of Education Literary and Art Creation Award,” as well as the ongoing “Nanying Art Exhibition” and the later-established “Dadun Art Exhibition,” stand out. However, from the perspective of “fostering young artists through awards,” the “National Youth (Student) Calligraphy and Painting Competition” holds a uniquely significant place in the history of Taiwanese art development during this period. This enduring legacy underscores the profound importance of the National Dr. Sun Yat-sen Memorial Hall, standing steadfast through sun and rain, and its extensive collection of artworks in the ongoing narrative of Taiwan’s art history.
Curator: Ku Yao-hua
HTMLText_053BE25B_2321_F75E_41B4_DE2E8BF7C88E_mobile.html = 策展論述
國立國父紀念館過往除了每年例行受理藝文領域團體或個人申請的館內展演之外,亦積極向外發展。除了帶著當年度「中山青年藝術獎」首獎得主前往「藝博會」,為青年創作者開展出另一個獎賽與收藏市場接軌的平台外,近年也辦理了多場「典藏品巡迴展」與「中山青年藝術獎」得獎作品之巡迴展,建立了與地方縣市美術館、文化中心、生活美學館的跨縣市館際合作,也將館內過去鮮少出館展出的典藏品帶至不同城市,實現了「全民藝享—讓美學走進不同城市」的理想。
2025年國立國父紀念館獲「文化部委託公立博物館協助辦理支持臺灣文化內容再開發計畫」支持,於彰化與高雄兩個城市舉辦「『全民藝享—讓美學走進你的城市』2025國立國父紀念館典藏品交流展」。其中114年7月3日至114年8月3日預定假彰化縣立美術館「1樓展示室」及「藝廊」舉辨典藏作品展,展品以館內典藏臺灣中部地區書畫創作者作品為主;而114年 9月 13日至114年10月8日則於高雄市文化中心「至高館」展出館藏臺灣南部地區書畫創作者作品。
除了以創作者與展出城市的地緣關係為選件考量外,另一選件原則則聚焦在過往國父紀念館辦理了38屆的「全國青年學生書畫比賽」,所有參展作者均為昔日此一獎賽曾獲各組前三名佳績之書畫藝術家。展出內容除了有此數位藝術家當年參與該獎項競逐獲獎的昔日作品,亦有數位參展者於獲獎後,透過其它邀請展、申請展或獎賽而有新作獲選入藏國立國父紀念館者。這些展出作品之創作間隔,或近或遠,相距最甚者,當有40年之譜。透過同一作者不同時期的作品「對映」與「對話」,可以觀察該作者的風格遞變與成長。
「中山文藝創作獎」的創設與「全省美展」增設「書法部」,都是在對岸推行「文化大革命」的時代背景之下,政府部門為了維護傳統文化而起的積極對應作為。1967年第22屆「全省美展」增設「書法部」,1966年創設的「中山文藝創作獎」,年年都有「國畫類」得主,但直至1974年才有首位「書法類」獲獎者產生。此二展賽在當年的「書畫競賽」中具有相當指標意義,但基本上因無年齡限制,獲獎者絕少是年歲尚為青年者,多數是頗具火候的中壯輩創作者。尤其「中山文藝獎」因每年各類名額僅只有一、二,能獲獎者多半已是蜚聲藝壇之中壯輩或具相當成就的資深前輩創作者。在此狀態下,國父紀念館所舉辦之「全國青年學生書畫比賽」對於青年創作者所起的鼓勵作用自是不言可喻。
此一競賽初期正逢1970年代「鄉土文學運動」勃興之際。在近現代臺灣藝術史研究中,曾有不少針對當時之西畫、水墨創作者所選畫題與鄉土文學風潮進行時代背景、社會思潮、創作意識等等之交錯影響進行研究。而此一書畫比賽,其參賽者與得獎者在作品選題上是否也在「競賽規章」中之限定外,受到當時的文藝思潮影響,或許未必全然如此,但仍有某種程度的影響,因而以臺灣風土人文景象為題的水墨作品佔比不少。透過寫景之筆來紀錄眼下美景,也可能有藉此抒發個人對家鄉、土地的認同之意。至於書法類作品,則在早期節臨原帖文字、選擇書寫中山學說思想文章、傳錄古典經典文學作品的幾項主題中發展,同時也以「襲古之風」為尚,再逐年漸次開展出以純文學作品為題,並以個人或師門書風為主要表現手法的新風氣。由以「襲古」為尚,往「發揮自我情性」的方向挪移,可說是國父紀念館主辦獎賽中書法類得獎作品的概略發展軌跡,同時,也是臺灣書法獎賽與展演的成長實況。而水墨類也從描寫現實之景慢慢發展,出現了以筆墨傳達「心象」而非「實景」的新貌。凡此種種,皆可見此一獎賽,在時間的推移下,除了見證了不同藝術創作者的成長,也記錄了臺灣近半世紀的書法、水墨獎賽風格的傳衍與遞變。
放眼當前公辦美展,除了已停辦的「全國美展」、「全省美展」、「教育部文藝創作獎」與尚持續徵件的「南瀛美展」,後起之「大墩美展」外,論及辦理屆數與書畫二類的送件數及得獎作品水平,幾無可與當年「全國青年學生書畫比賽」相駢比者。若以「聚焦獎挹青年創作者」之角度視之,那此一獎賽在此一段時期的臺灣美術發展史頁中,更是具有獨特意義的存在。而這也正是默默屹立於晴雨之中的「國立國父紀念館」與館內諸多典藏作品在持續不斷發展的臺灣美術史中最具意義之處。
策展人:古耀華
Curatorial Statement
In addition to its annual tradition of hosting exhibitions and performances by artists and cultural groups, National Dr. Sun Yat-sen Memorial Hall has actively expanded its outreach efforts. Beyond presenting the annual first-prize winner of the “Chung-Shan Youth Art Awards” at major art fairs, thereby creating an additional platform for young artists to connect with competitions, the art market, and collectors, the Memorial Hall has also organized multiple touring exhibitions in recent years. These include the "Collection Touring Exhibition" and traveling displays of works by recipients of the “Chung-Shan Youth Art Awards.” Through these initiatives, the Memorial Hall has established cross-regional collaborations with local art museums, cultural centers, and lifestyle aesthetics centers across different counties and cities. By bringing rarely displayed collections from its holdings to diverse cities, the Memorial Hall has realized its vision of “Art for All—Bringing Aesthetics to Diverse Cities.”
In 2025, with the support of the Ministry of Culture’s “Public Museum Assistance Program for the Redevelopment of Taiwanese Cultural Content”, the Memorial Hall will host the “Art for All-Bringing Aesthetics to Your City:2025 National Dr. Sun Yat-sen Memorial Hall Collection Exchange Exhibition” in Changhua and Kaohsiung. From July 3 to August 3, the exhibition will take place at the Changhua County Art Museum in the “First Floor Exhibition Room” and “Art Gallery,” featuring curated sworks from the Memorial Hall’s collection by artists from central Taiwan. Subsequently, from September 13 to October 8, the exhibition will move to the Kaohsiung City Cultural Center’s “Zhigao Hall,” showcasing works by artists from southern Taiwan from the Memorial Hall’s collection.
In addition to selecting artworks based on the geographic connection between the artists and the exhibition cities, another key curatorial principle draws on the 38 editions of the “National Youth Calligraphy and Painting Competition” held by the National Dr. Sun Yat-sen Memorial Hall. All exhibited artists are former top-three winners in their respective categories of this prestigious competition. The exhibition features both their original award-winning works and newer pieces later acquired by the Memorial Hall through invitational shows, open calls, or other competitions. The creation dates of these works span varying intervals, with the longest gap reaching up to 40 years. By presenting works from different periods of the same artist side by side, the exhibition invites viewers to observe the evolution and growth of their artistic styles through a dialogue between past and present creations.
The establishment of the “Chung-Shan Literary and Art Creation Award” and the addition of a Calligraphy section to the “Taiwan Provincial Art Exhibition” were both proactive measures by the government to safeguard traditional culture amid the Cultural Revolution taking place on the other side of the strait. The “Chung-Shan Literary and Art Creation Award,” launched in 1966, consistently recognized winners in the Traditional Chinese Painting category, though it was not until 1974 that the first award in the Calligraphy category was given. In 1967, the 22nd Taiwan Provincial Art Exhibition also introduced a Calligraphy section. These two competitions served as important benchmarks in the calligraphy and painting scene of the time. However, as there were no age restrictions, winners were seldom young artists; most were seasoned mid-career or senior creators with well-established reputations. The “Chung-Shan Literary and Art Creation Award,” in particular, was highly competitive, limited to just one or two recipients per category each year, and most often honoring artists already prominent or accomplished veterans in the art world. Against this backdrop, the “National Youth Calligraphy and Painting Competition” organized by the National Dr. Sun Yat-sen Memorial Hall played a pivotal role in encouraging and fostering young talent.
The competition’s early years unfolded during the rise of the “Nativist Literature Movement” in the 1970s. Scholars of modern Taiwanese art history have examined how Western-style and ink painters of the time chose their subjects under the influence of the Nativist literary trend, analyzing its interplay with social thought and artistic consciousness. Although the themes were not strictly bound by competition rules, they were nevertheless shaped to some extent by the artistic and literary currents of the time. As a result, many ink paintings depicted Taiwan’s landscapes, local culture, and everyday life, often conveying a sense of identity and attachment to the homeland.
In the calligraphy category, early works focused on copying classical texts, transcribing Sun Yat-sen’s writings, or reproducing traditional literary works, reflecting the prevailing ethos of “emulating the ancients.” Over time, however, a new trend emerged, as calligraphers began drawing on pure literary texts and expressing individual sensibilities or the stylistic influences of their mentors. This shift from “emulating the ancients” to “individual expression” broadly outlines the developmental trajectory of award-winning calligraphy works, while also reflecting the broader evolution of Taiwan’s calligraphy competitions and exhibitions.
Similarly, ink painting evolved from realistic landscapes to expressions of inner vision rather than literal representation. Taken together, these developments show how the competition has, over time, not only nurtured the growth of individual artists but also chronicled the stylistic evolution of Taiwanese calligraphy and ink painting over nearly half a century.
When examining current publicly organized art exhibitions, few can compare to the “National Youth Calligraphy and Painting Competition” in terms of its longevity, the volume of submissions in both calligraphy and painting categories, and the quality of award-winning works. Notable exhibitions such as the now-discontinued “National Art Exhibition,” “Provincial Art Exhibition,” and “Ministry of Education Literary and Art Creation Award,” as well as the ongoing “Nanying Art Exhibition” and the later-established “Dadun Art Exhibition,” stand out. However, from the perspective of “fostering young artists through awards,” the “National Youth (Student) Calligraphy and Painting Competition” holds a uniquely significant place in the history of Taiwanese art development during this period. This enduring legacy underscores the profound importance of the National Dr. Sun Yat-sen Memorial Hall, standing steadfast through sun and rain, and its extensive collection of artworks in the ongoing narrative of Taiwan’s art history.
Curator: Ku Yao-hua
HTMLText_0518848E_2321_F3B7_4175_07BB9BBE1DA2_mobile.html = 策展論述
國立國父紀念館過往除了每年例行受理藝文領域團體或個人申請的館內展演之外,亦積極向外發展。除了帶著當年度「中山青年藝術獎」首獎得主前往「藝博會」,為青年創作者開展出另一個獎賽與收藏市場接軌的平台外,近年也辦理了多場「典藏品巡迴展」與「中山青年藝術獎」得獎作品之巡迴展,建立了與地方縣市美術館、文化中心、生活美學館的跨縣市館際合作,也將館內過去鮮少出館展出的典藏品帶至不同城市,實現了「全民藝享—讓美學走進不同城市」的理想。
2025年國立國父紀念館獲「文化部委託公立博物館協助辦理支持臺灣文化內容再開發計畫」支持,於彰化與高雄兩個城市舉辦「『全民藝享—讓美學走進你的城市』2025國立國父紀念館典藏品交流展」。其中114年7月3日至114年8月3日預定假彰化縣立美術館「1樓展示室」及「藝廊」舉辨典藏作品展,展品以館內典藏臺灣中部地區書畫創作者作品為主;而114年 9月 13日至114年10月8日則於高雄市文化中心「至高館」展出館藏臺灣南部地區書畫創作者作品。
除了以創作者與展出城市的地緣關係為選件考量外,另一選件原則則聚焦在過往國父紀念館辦理了38屆的「全國青年學生書畫比賽」,所有參展作者均為昔日此一獎賽曾獲各組前三名佳績之書畫藝術家。展出內容除了有此數位藝術家當年參與該獎項競逐獲獎的昔日作品,亦有數位參展者於獲獎後,透過其它邀請展、申請展或獎賽而有新作獲選入藏國立國父紀念館者。這些展出作品之創作間隔,或近或遠,相距最甚者,當有40年之譜。透過同一作者不同時期的作品「對映」與「對話」,可以觀察該作者的風格遞變與成長。
「中山文藝創作獎」的創設與「全省美展」增設「書法部」,都是在對岸推行「文化大革命」的時代背景之下,政府部門為了維護傳統文化而起的積極對應作為。1967年第22屆「全省美展」增設「書法部」,1966年創設的「中山文藝創作獎」,年年都有「國畫類」得主,但直至1974年才有首位「書法類」獲獎者產生。此二展賽在當年的「書畫競賽」中具有相當指標意義,但基本上因無年齡限制,獲獎者絕少是年歲尚為青年者,多數是頗具火候的中壯輩創作者。尤其「中山文藝獎」因每年各類名額僅只有一、二,能獲獎者多半已是蜚聲藝壇之中壯輩或具相當成就的資深前輩創作者。在此狀態下,國父紀念館所舉辦之「全國青年學生書畫比賽」對於青年創作者所起的鼓勵作用自是不言可喻。
此一競賽初期正逢1970年代「鄉土文學運動」勃興之際。在近現代臺灣藝術史研究中,曾有不少針對當時之西畫、水墨創作者所選畫題與鄉土文學風潮進行時代背景、社會思潮、創作意識等等之交錯影響進行研究。而此一書畫比賽,其參賽者與得獎者在作品選題上是否也在「競賽規章」中之限定外,受到當時的文藝思潮影響,或許未必全然如此,但仍有某種程度的影響,因而以臺灣風土人文景象為題的水墨作品佔比不少。透過寫景之筆來紀錄眼下美景,也可能有藉此抒發個人對家鄉、土地的認同之意。至於書法類作品,則在早期節臨原帖文字、選擇書寫中山學說思想文章、傳錄古典經典文學作品的幾項主題中發展,同時也以「襲古之風」為尚,再逐年漸次開展出以純文學作品為題,並以個人或師門書風為主要表現手法的新風氣。由以「襲古」為尚,往「發揮自我情性」的方向挪移,可說是國父紀念館主辦獎賽中書法類得獎作品的概略發展軌跡,同時,也是臺灣書法獎賽與展演的成長實況。而水墨類也從描寫現實之景慢慢發展,出現了以筆墨傳達「心象」而非「實景」的新貌。凡此種種,皆可見此一獎賽,在時間的推移下,除了見證了不同藝術創作者的成長,也記錄了臺灣近半世紀的書法、水墨獎賽風格的傳衍與遞變。
放眼當前公辦美展,除了已停辦的「全國美展」、「全省美展」、「教育部文藝創作獎」與尚持續徵件的「南瀛美展」,後起之「大墩美展」外,論及辦理屆數與書畫二類的送件數及得獎作品水平,幾無可與當年「全國青年學生書畫比賽」相駢比者。若以「聚焦獎挹青年創作者」之角度視之,那此一獎賽在此一段時期的臺灣美術發展史頁中,更是具有獨特意義的存在。而這也正是默默屹立於晴雨之中的「國立國父紀念館」與館內諸多典藏作品在持續不斷發展的臺灣美術史中最具意義之處。
策展人:古耀華
Curatorial Statement
In addition to its annual tradition of hosting exhibitions and performances by artists and cultural groups, National Dr. Sun Yat-sen Memorial Hall has actively expanded its outreach efforts. Beyond presenting the annual first-prize winner of the “Chung-Shan Youth Art Awards” at major art fairs, thereby creating an additional platform for young artists to connect with competitions, the art market, and collectors, the Memorial Hall has also organized multiple touring exhibitions in recent years. These include the "Collection Touring Exhibition" and traveling displays of works by recipients of the “Chung-Shan Youth Art Awards.” Through these initiatives, the Memorial Hall has established cross-regional collaborations with local art museums, cultural centers, and lifestyle aesthetics centers across different counties and cities. By bringing rarely displayed collections from its holdings to diverse cities, the Memorial Hall has realized its vision of “Art for All—Bringing Aesthetics to Diverse Cities.”
In 2025, with the support of the Ministry of Culture’s “Public Museum Assistance Program for the Redevelopment of Taiwanese Cultural Content”, the Memorial Hall will host the “Art for All-Bringing Aesthetics to Your City:2025 National Dr. Sun Yat-sen Memorial Hall Collection Exchange Exhibition” in Changhua and Kaohsiung. From July 3 to August 3, the exhibition will take place at the Changhua County Art Museum in the “First Floor Exhibition Room” and “Art Gallery,” featuring curated sworks from the Memorial Hall’s collection by artists from central Taiwan. Subsequently, from September 13 to October 8, the exhibition will move to the Kaohsiung City Cultural Center’s “Zhigao Hall,” showcasing works by artists from southern Taiwan from the Memorial Hall’s collection.
In addition to selecting artworks based on the geographic connection between the artists and the exhibition cities, another key curatorial principle draws on the 38 editions of the “National Youth Calligraphy and Painting Competition” held by the National Dr. Sun Yat-sen Memorial Hall. All exhibited artists are former top-three winners in their respective categories of this prestigious competition. The exhibition features both their original award-winning works and newer pieces later acquired by the Memorial Hall through invitational shows, open calls, or other competitions. The creation dates of these works span varying intervals, with the longest gap reaching up to 40 years. By presenting works from different periods of the same artist side by side, the exhibition invites viewers to observe the evolution and growth of their artistic styles through a dialogue between past and present creations.
The establishment of the “Chung-Shan Literary and Art Creation Award” and the addition of a Calligraphy section to the “Taiwan Provincial Art Exhibition” were both proactive measures by the government to safeguard traditional culture amid the Cultural Revolution taking place on the other side of the strait. The “Chung-Shan Literary and Art Creation Award,” launched in 1966, consistently recognized winners in the Traditional Chinese Painting category, though it was not until 1974 that the first award in the Calligraphy category was given. In 1967, the 22nd Taiwan Provincial Art Exhibition also introduced a Calligraphy section. These two competitions served as important benchmarks in the calligraphy and painting scene of the time. However, as there were no age restrictions, winners were seldom young artists; most were seasoned mid-career or senior creators with well-established reputations. The “Chung-Shan Literary and Art Creation Award,” in particular, was highly competitive, limited to just one or two recipients per category each year, and most often honoring artists already prominent or accomplished veterans in the art world. Against this backdrop, the “National Youth Calligraphy and Painting Competition” organized by the National Dr. Sun Yat-sen Memorial Hall played a pivotal role in encouraging and fostering young talent.
The competition’s early years unfolded during the rise of the “Nativist Literature Movement” in the 1970s. Scholars of modern Taiwanese art history have examined how Western-style and ink painters of the time chose their subjects under the influence of the Nativist literary trend, analyzing its interplay with social thought and artistic consciousness. Although the themes were not strictly bound by competition rules, they were nevertheless shaped to some extent by the artistic and literary currents of the time. As a result, many ink paintings depicted Taiwan’s landscapes, local culture, and everyday life, often conveying a sense of identity and attachment to the homeland.
In the calligraphy category, early works focused on copying classical texts, transcribing Sun Yat-sen’s writings, or reproducing traditional literary works, reflecting the prevailing ethos of “emulating the ancients.” Over time, however, a new trend emerged, as calligraphers began drawing on pure literary texts and expressing individual sensibilities or the stylistic influences of their mentors. This shift from “emulating the ancients” to “individual expression” broadly outlines the developmental trajectory of award-winning calligraphy works, while also reflecting the broader evolution of Taiwan’s calligraphy competitions and exhibitions.
Similarly, ink painting evolved from realistic landscapes to expressions of inner vision rather than literal representation. Taken together, these developments show how the competition has, over time, not only nurtured the growth of individual artists but also chronicled the stylistic evolution of Taiwanese calligraphy and ink painting over nearly half a century.
When examining current publicly organized art exhibitions, few can compare to the “National Youth Calligraphy and Painting Competition” in terms of its longevity, the volume of submissions in both calligraphy and painting categories, and the quality of award-winning works. Notable exhibitions such as the now-discontinued “National Art Exhibition,” “Provincial Art Exhibition,” and “Ministry of Education Literary and Art Creation Award,” as well as the ongoing “Nanying Art Exhibition” and the later-established “Dadun Art Exhibition,” stand out. However, from the perspective of “fostering young artists through awards,” the “National Youth (Student) Calligraphy and Painting Competition” holds a uniquely significant place in the history of Taiwanese art development during this period. This enduring legacy underscores the profound importance of the National Dr. Sun Yat-sen Memorial Hall, standing steadfast through sun and rain, and its extensive collection of artworks in the ongoing narrative of Taiwan’s art history.
Curator: Ku Yao-hua
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國立國父紀念館過往除了每年例行受理藝文領域團體或個人申請的館內展演之外,亦積極向外發展。除了帶著當年度「中山青年藝術獎」首獎得主前往「藝博會」,為青年創作者開展出另一個獎賽與收藏市場接軌的平台外,近年也辦理了多場「典藏品巡迴展」與「中山青年藝術獎」得獎作品之巡迴展,建立了與地方縣市美術館、文化中心、生活美學館的跨縣市館際合作,也將館內過去鮮少出館展出的典藏品帶至不同城市,實現了「全民藝享—讓美學走進不同城市」的理想。
2025年國立國父紀念館獲「文化部委託公立博物館協助辦理支持臺灣文化內容再開發計畫」支持,於彰化與高雄兩個城市舉辦「『全民藝享—讓美學走進你的城市』2025國立國父紀念館典藏品交流展」。其中114年7月3日至114年8月3日預定假彰化縣立美術館「1樓展示室」及「藝廊」舉辨典藏作品展,展品以館內典藏臺灣中部地區書畫創作者作品為主;而114年 9月 13日至114年10月8日則於高雄市文化中心「至高館」展出館藏臺灣南部地區書畫創作者作品。
除了以創作者與展出城市的地緣關係為選件考量外,另一選件原則則聚焦在過往國父紀念館辦理了38屆的「全國青年學生書畫比賽」,所有參展作者均為昔日此一獎賽曾獲各組前三名佳績之書畫藝術家。展出內容除了有此數位藝術家當年參與該獎項競逐獲獎的昔日作品,亦有數位參展者於獲獎後,透過其它邀請展、申請展或獎賽而有新作獲選入藏國立國父紀念館者。這些展出作品之創作間隔,或近或遠,相距最甚者,當有40年之譜。透過同一作者不同時期的作品「對映」與「對話」,可以觀察該作者的風格遞變與成長。
「中山文藝創作獎」的創設與「全省美展」增設「書法部」,都是在對岸推行「文化大革命」的時代背景之下,政府部門為了維護傳統文化而起的積極對應作為。1967年第22屆「全省美展」增設「書法部」,1966年創設的「中山文藝創作獎」,年年都有「國畫類」得主,但直至1974年才有首位「書法類」獲獎者產生。此二展賽在當年的「書畫競賽」中具有相當指標意義,但基本上因無年齡限制,獲獎者絕少是年歲尚為青年者,多數是頗具火候的中壯輩創作者。尤其「中山文藝獎」因每年各類名額僅只有一、二,能獲獎者多半已是蜚聲藝壇之中壯輩或具相當成就的資深前輩創作者。在此狀態下,國父紀念館所舉辦之「全國青年學生書畫比賽」對於青年創作者所起的鼓勵作用自是不言可喻。
此一競賽初期正逢1970年代「鄉土文學運動」勃興之際。在近現代臺灣藝術史研究中,曾有不少針對當時之西畫、水墨創作者所選畫題與鄉土文學風潮進行時代背景、社會思潮、創作意識等等之交錯影響進行研究。而此一書畫比賽,其參賽者與得獎者在作品選題上是否也在「競賽規章」中之限定外,受到當時的文藝思潮影響,或許未必全然如此,但仍有某種程度的影響,因而以臺灣風土人文景象為題的水墨作品佔比不少。透過寫景之筆來紀錄眼下美景,也可能有藉此抒發個人對家鄉、土地的認同之意。至於書法類作品,則在早期節臨原帖文字、選擇書寫中山學說思想文章、傳錄古典經典文學作品的幾項主題中發展,同時也以「襲古之風」為尚,再逐年漸次開展出以純文學作品為題,並以個人或師門書風為主要表現手法的新風氣。由以「襲古」為尚,往「發揮自我情性」的方向挪移,可說是國父紀念館主辦獎賽中書法類得獎作品的概略發展軌跡,同時,也是臺灣書法獎賽與展演的成長實況。而水墨類也從描寫現實之景慢慢發展,出現了以筆墨傳達「心象」而非「實景」的新貌。凡此種種,皆可見此一獎賽,在時間的推移下,除了見證了不同藝術創作者的成長,也記錄了臺灣近半世紀的書法、水墨獎賽風格的傳衍與遞變。
放眼當前公辦美展,除了已停辦的「全國美展」、「全省美展」、「教育部文藝創作獎」與尚持續徵件的「南瀛美展」,後起之「大墩美展」外,論及辦理屆數與書畫二類的送件數及得獎作品水平,幾無可與當年「全國青年學生書畫比賽」相駢比者。若以「聚焦獎挹青年創作者」之角度視之,那此一獎賽在此一段時期的臺灣美術發展史頁中,更是具有獨特意義的存在。而這也正是默默屹立於晴雨之中的「國立國父紀念館」與館內諸多典藏作品在持續不斷發展的臺灣美術史中最具意義之處。
策展人:古耀華
Curatorial Statement
In addition to its annual tradition of hosting exhibitions and performances by artists and cultural groups, National Dr. Sun Yat-sen Memorial Hall has actively expanded its outreach efforts. Beyond presenting the annual first-prize winner of the “Chung-Shan Youth Art Awards” at major art fairs, thereby creating an additional platform for young artists to connect with competitions, the art market, and collectors, the Memorial Hall has also organized multiple touring exhibitions in recent years. These include the "Collection Touring Exhibition" and traveling displays of works by recipients of the “Chung-Shan Youth Art Awards.” Through these initiatives, the Memorial Hall has established cross-regional collaborations with local art museums, cultural centers, and lifestyle aesthetics centers across different counties and cities. By bringing rarely displayed collections from its holdings to diverse cities, the Memorial Hall has realized its vision of “Art for All—Bringing Aesthetics to Diverse Cities.”
In 2025, with the support of the Ministry of Culture’s “Public Museum Assistance Program for the Redevelopment of Taiwanese Cultural Content”, the Memorial Hall will host the “Art for All-Bringing Aesthetics to Your City:2025 National Dr. Sun Yat-sen Memorial Hall Collection Exchange Exhibition” in Changhua and Kaohsiung. From July 3 to August 3, the exhibition will take place at the Changhua County Art Museum in the “First Floor Exhibition Room” and “Art Gallery,” featuring curated sworks from the Memorial Hall’s collection by artists from central Taiwan. Subsequently, from September 13 to October 8, the exhibition will move to the Kaohsiung City Cultural Center’s “Zhigao Hall,” showcasing works by artists from southern Taiwan from the Memorial Hall’s collection.
In addition to selecting artworks based on the geographic connection between the artists and the exhibition cities, another key curatorial principle draws on the 38 editions of the “National Youth Calligraphy and Painting Competition” held by the National Dr. Sun Yat-sen Memorial Hall. All exhibited artists are former top-three winners in their respective categories of this prestigious competition. The exhibition features both their original award-winning works and newer pieces later acquired by the Memorial Hall through invitational shows, open calls, or other competitions. The creation dates of these works span varying intervals, with the longest gap reaching up to 40 years. By presenting works from different periods of the same artist side by side, the exhibition invites viewers to observe the evolution and growth of their artistic styles through a dialogue between past and present creations.
The establishment of the “Chung-Shan Literary and Art Creation Award” and the addition of a Calligraphy section to the “Taiwan Provincial Art Exhibition” were both proactive measures by the government to safeguard traditional culture amid the Cultural Revolution taking place on the other side of the strait. The “Chung-Shan Literary and Art Creation Award,” launched in 1966, consistently recognized winners in the Traditional Chinese Painting category, though it was not until 1974 that the first award in the Calligraphy category was given. In 1967, the 22nd Taiwan Provincial Art Exhibition also introduced a Calligraphy section. These two competitions served as important benchmarks in the calligraphy and painting scene of the time. However, as there were no age restrictions, winners were seldom young artists; most were seasoned mid-career or senior creators with well-established reputations. The “Chung-Shan Literary and Art Creation Award,” in particular, was highly competitive, limited to just one or two recipients per category each year, and most often honoring artists already prominent or accomplished veterans in the art world. Against this backdrop, the “National Youth Calligraphy and Painting Competition” organized by the National Dr. Sun Yat-sen Memorial Hall played a pivotal role in encouraging and fostering young talent.
The competition’s early years unfolded during the rise of the “Nativist Literature Movement” in the 1970s. Scholars of modern Taiwanese art history have examined how Western-style and ink painters of the time chose their subjects under the influence of the Nativist literary trend, analyzing its interplay with social thought and artistic consciousness. Although the themes were not strictly bound by competition rules, they were nevertheless shaped to some extent by the artistic and literary currents of the time. As a result, many ink paintings depicted Taiwan’s landscapes, local culture, and everyday life, often conveying a sense of identity and attachment to the homeland.
In the calligraphy category, early works focused on copying classical texts, transcribing Sun Yat-sen’s writings, or reproducing traditional literary works, reflecting the prevailing ethos of “emulating the ancients.” Over time, however, a new trend emerged, as calligraphers began drawing on pure literary texts and expressing individual sensibilities or the stylistic influences of their mentors. This shift from “emulating the ancients” to “individual expression” broadly outlines the developmental trajectory of award-winning calligraphy works, while also reflecting the broader evolution of Taiwan’s calligraphy competitions and exhibitions.
Similarly, ink painting evolved from realistic landscapes to expressions of inner vision rather than literal representation. Taken together, these developments show how the competition has, over time, not only nurtured the growth of individual artists but also chronicled the stylistic evolution of Taiwanese calligraphy and ink painting over nearly half a century.
When examining current publicly organized art exhibitions, few can compare to the “National Youth Calligraphy and Painting Competition” in terms of its longevity, the volume of submissions in both calligraphy and painting categories, and the quality of award-winning works. Notable exhibitions such as the now-discontinued “National Art Exhibition,” “Provincial Art Exhibition,” and “Ministry of Education Literary and Art Creation Award,” as well as the ongoing “Nanying Art Exhibition” and the later-established “Dadun Art Exhibition,” stand out. However, from the perspective of “fostering young artists through awards,” the “National Youth (Student) Calligraphy and Painting Competition” holds a uniquely significant place in the history of Taiwanese art development during this period. This enduring legacy underscores the profound importance of the National Dr. Sun Yat-sen Memorial Hall, standing steadfast through sun and rain, and its extensive collection of artworks in the ongoing narrative of Taiwan’s art history.
Curator: Ku Yao-hua
HTMLText_82F93DF6_90F4_9539_41D5_1827A9AD6EC3_mobile.html = 策展論述
國立國父紀念館過往除了每年例行受理藝文領域團體或個人申請的館內展演之外,亦積極向外發展。除了帶著當年度「中山青年藝術獎」首獎得主前往「藝博會」,為青年創作者開展出另一個獎賽與收藏市場接軌的平台外,近年也辦理了多場「典藏品巡迴展」與「中山青年藝術獎」得獎作品之巡迴展,建立了與地方縣市美術館、文化中心、生活美學館的跨縣市館際合作,也將館內過去鮮少出館展出的典藏品帶至不同城市,實現了「全民藝享—讓美學走進不同城市」的理想。
2025年國立國父紀念館獲「文化部委託公立博物館協助辦理支持臺灣文化內容再開發計畫」支持,於彰化與高雄兩個城市舉辦「『全民藝享—讓美學走進你的城市』2025國立國父紀念館典藏品交流展」。其中114年7月3日至114年8月3日預定假彰化縣立美術館「1樓展示室」及「藝廊」舉辨典藏作品展,展品以館內典藏臺灣中部地區書畫創作者作品為主;而114年 9月 13日至114年10月8日則於高雄市文化中心「至高館」展出館藏臺灣南部地區書畫創作者作品。
除了以創作者與展出城市的地緣關係為選件考量外,另一選件原則則聚焦在過往國父紀念館辦理了38屆的「全國青年學生書畫比賽」,所有參展作者均為昔日此一獎賽曾獲各組前三名佳績之書畫藝術家。展出內容除了有此數位藝術家當年參與該獎項競逐獲獎的昔日作品,亦有數位參展者於獲獎後,透過其它邀請展、申請展或獎賽而有新作獲選入藏國立國父紀念館者。這些展出作品之創作間隔,或近或遠,相距最甚者,當有40年之譜。透過同一作者不同時期的作品「對映」與「對話」,可以觀察該作者的風格遞變與成長。
「中山文藝創作獎」的創設與「全省美展」增設「書法部」,都是在對岸推行「文化大革命」的時代背景之下,政府部門為了維護傳統文化而起的積極對應作為。1967年第22屆「全省美展」增設「書法部」,1966年創設的「中山文藝創作獎」,年年都有「國畫類」得主,但直至1974年才有首位「書法類」獲獎者產生。此二展賽在當年的「書畫競賽」中具有相當指標意義,但基本上因無年齡限制,獲獎者絕少是年歲尚為青年者,多數是頗具火候的中壯輩創作者。尤其「中山文藝獎」因每年各類名額僅只有一、二,能獲獎者多半已是蜚聲藝壇之中壯輩或具相當成就的資深前輩創作者。在此狀態下,國父紀念館所舉辦之「全國青年學生書畫比賽」對於青年創作者所起的鼓勵作用自是不言可喻。
此一競賽初期正逢1970年代「鄉土文學運動」勃興之際。在近現代臺灣藝術史研究中,曾有不少針對當時之西畫、水墨創作者所選畫題與鄉土文學風潮進行時代背景、社會思潮、創作意識等等之交錯影響進行研究。而此一書畫比賽,其參賽者與得獎者在作品選題上是否也在「競賽規章」中之限定外,受到當時的文藝思潮影響,或許未必全然如此,但仍有某種程度的影響,因而以臺灣風土人文景象為題的水墨作品佔比不少。透過寫景之筆來紀錄眼下美景,也可能有藉此抒發個人對家鄉、土地的認同之意。至於書法類作品,則在早期節臨原帖文字、選擇書寫中山學說思想文章、傳錄古典經典文學作品的幾項主題中發展,同時也以「襲古之風」為尚,再逐年漸次開展出以純文學作品為題,並以個人或師門書風為主要表現手法的新風氣。由以「襲古」為尚,往「發揮自我情性」的方向挪移,可說是國父紀念館主辦獎賽中書法類得獎作品的概略發展軌跡,同時,也是臺灣書法獎賽與展演的成長實況。而水墨類也從描寫現實之景慢慢發展,出現了以筆墨傳達「心象」而非「實景」的新貌。凡此種種,皆可見此一獎賽,在時間的推移下,除了見證了不同藝術創作者的成長,也記錄了臺灣近半世紀的書法、水墨獎賽風格的傳衍與遞變。
放眼當前公辦美展,除了已停辦的「全國美展」、「全省美展」、「教育部文藝創作獎」與尚持續徵件的「南瀛美展」,後起之「大墩美展」外,論及辦理屆數與書畫二類的送件數及得獎作品水平,幾無可與當年「全國青年學生書畫比賽」相駢比者。若以「聚焦獎挹青年創作者」之角度視之,那此一獎賽在此一段時期的臺灣美術發展史頁中,更是具有獨特意義的存在。而這也正是默默屹立於晴雨之中的「國立國父紀念館」與館內諸多典藏作品在持續不斷發展的臺灣美術史中最具意義之處。
策展人:古耀華
Curatorial Statement
In addition to its annual tradition of hosting exhibitions and performances by artists and cultural groups, National Dr. Sun Yat-sen Memorial Hall has actively expanded its outreach efforts. Beyond presenting the annual first-prize winner of the “Chung-Shan Youth Art Awards” at major art fairs, thereby creating an additional platform for young artists to connect with competitions, the art market, and collectors, the Memorial Hall has also organized multiple touring exhibitions in recent years. These include the "Collection Touring Exhibition" and traveling displays of works by recipients of the “Chung-Shan Youth Art Awards.” Through these initiatives, the Memorial Hall has established cross-regional collaborations with local art museums, cultural centers, and lifestyle aesthetics centers across different counties and cities. By bringing rarely displayed collections from its holdings to diverse cities, the Memorial Hall has realized its vision of “Art for All—Bringing Aesthetics to Diverse Cities.”
In 2025, with the support of the Ministry of Culture’s “Public Museum Assistance Program for the Redevelopment of Taiwanese Cultural Content”, the Memorial Hall will host the “Art for All-Bringing Aesthetics to Your City:2025 National Dr. Sun Yat-sen Memorial Hall Collection Exchange Exhibition” in Changhua and Kaohsiung. From July 3 to August 3, the exhibition will take place at the Changhua County Art Museum in the “First Floor Exhibition Room” and “Art Gallery,” featuring curated sworks from the Memorial Hall’s collection by artists from central Taiwan. Subsequently, from September 13 to October 8, the exhibition will move to the Kaohsiung City Cultural Center’s “Zhigao Hall,” showcasing works by artists from southern Taiwan from the Memorial Hall’s collection.
In addition to selecting artworks based on the geographic connection between the artists and the exhibition cities, another key curatorial principle draws on the 38 editions of the “National Youth Calligraphy and Painting Competition” held by the National Dr. Sun Yat-sen Memorial Hall. All exhibited artists are former top-three winners in their respective categories of this prestigious competition. The exhibition features both their original award-winning works and newer pieces later acquired by the Memorial Hall through invitational shows, open calls, or other competitions. The creation dates of these works span varying intervals, with the longest gap reaching up to 40 years. By presenting works from different periods of the same artist side by side, the exhibition invites viewers to observe the evolution and growth of their artistic styles through a dialogue between past and present creations.
The establishment of the “Chung-Shan Literary and Art Creation Award” and the addition of a Calligraphy section to the “Taiwan Provincial Art Exhibition” were both proactive measures by the government to safeguard traditional culture amid the Cultural Revolution taking place on the other side of the strait. The “Chung-Shan Literary and Art Creation Award,” launched in 1966, consistently recognized winners in the Traditional Chinese Painting category, though it was not until 1974 that the first award in the Calligraphy category was given. In 1967, the 22nd Taiwan Provincial Art Exhibition also introduced a Calligraphy section. These two competitions served as important benchmarks in the calligraphy and painting scene of the time. However, as there were no age restrictions, winners were seldom young artists; most were seasoned mid-career or senior creators with well-established reputations. The “Chung-Shan Literary and Art Creation Award,” in particular, was highly competitive, limited to just one or two recipients per category each year, and most often honoring artists already prominent or accomplished veterans in the art world. Against this backdrop, the “National Youth Calligraphy and Painting Competition” organized by the National Dr. Sun Yat-sen Memorial Hall played a pivotal role in encouraging and fostering young talent.
The competition’s early years unfolded during the rise of the “Nativist Literature Movement” in the 1970s. Scholars of modern Taiwanese art history have examined how Western-style and ink painters of the time chose their subjects under the influence of the Nativist literary trend, analyzing its interplay with social thought and artistic consciousness. Although the themes were not strictly bound by competition rules, they were nevertheless shaped to some extent by the artistic and literary currents of the time. As a result, many ink paintings depicted Taiwan’s landscapes, local culture, and everyday life, often conveying a sense of identity and attachment to the homeland.
In the calligraphy category, early works focused on copying classical texts, transcribing Sun Yat-sen’s writings, or reproducing traditional literary works, reflecting the prevailing ethos of “emulating the ancients.” Over time, however, a new trend emerged, as calligraphers began drawing on pure literary texts and expressing individual sensibilities or the stylistic influences of their mentors. This shift from “emulating the ancients” to “individual expression” broadly outlines the developmental trajectory of award-winning calligraphy works, while also reflecting the broader evolution of Taiwan’s calligraphy competitions and exhibitions.
Similarly, ink painting evolved from realistic landscapes to expressions of inner vision rather than literal representation. Taken together, these developments show how the competition has, over time, not only nurtured the growth of individual artists but also chronicled the stylistic evolution of Taiwanese calligraphy and ink painting over nearly half a century.
When examining current publicly organized art exhibitions, few can compare to the “National Youth Calligraphy and Painting Competition” in terms of its longevity, the volume of submissions in both calligraphy and painting categories, and the quality of award-winning works. Notable exhibitions such as the now-discontinued “National Art Exhibition,” “Provincial Art Exhibition,” and “Ministry of Education Literary and Art Creation Award,” as well as the ongoing “Nanying Art Exhibition” and the later-established “Dadun Art Exhibition,” stand out. However, from the perspective of “fostering young artists through awards,” the “National Youth (Student) Calligraphy and Painting Competition” holds a uniquely significant place in the history of Taiwanese art development during this period. This enduring legacy underscores the profound importance of the National Dr. Sun Yat-sen Memorial Hall, standing steadfast through sun and rain, and its extensive collection of artworks in the ongoing narrative of Taiwan’s art history.
Curator: Ku Yao-hua
HTMLText_04F5B433_2327_12EE_41A4_A04E82431703_mobile.html = 策展論述
國立國父紀念館過往除了每年例行受理藝文領域團體或個人申請的館內展演之外,亦積極向外發展。除了帶著當年度「中山青年藝術獎」首獎得主前往「藝博會」,為青年創作者開展出另一個獎賽與收藏市場接軌的平台外,近年也辦理了多場「典藏品巡迴展」與「中山青年藝術獎」得獎作品之巡迴展,建立了與地方縣市美術館、文化中心、生活美學館的跨縣市館際合作,也將館內過去鮮少出館展出的典藏品帶至不同城市,實現了「全民藝享—讓美學走進不同城市」的理想。
2025年國立國父紀念館獲「文化部委託公立博物館協助辦理支持臺灣文化內容再開發計畫」支持,於彰化與高雄兩個城市舉辦「『全民藝享—讓美學走進你的城市』2025國立國父紀念館典藏品交流展」。其中114年7月3日至114年8月3日預定假彰化縣立美術館「1樓展示室」及「藝廊」舉辨典藏作品展,展品以館內典藏臺灣中部地區書畫創作者作品為主;而114年 9月 13日至114年10月8日則於高雄市文化中心「至高館」展出館藏臺灣南部地區書畫創作者作品。
除了以創作者與展出城市的地緣關係為選件考量外,另一選件原則則聚焦在過往國父紀念館辦理了38屆的「全國青年學生書畫比賽」,所有參展作者均為昔日此一獎賽曾獲各組前三名佳績之書畫藝術家。展出內容除了有此數位藝術家當年參與該獎項競逐獲獎的昔日作品,亦有數位參展者於獲獎後,透過其它邀請展、申請展或獎賽而有新作獲選入藏國立國父紀念館者。這些展出作品之創作間隔,或近或遠,相距最甚者,當有40年之譜。透過同一作者不同時期的作品「對映」與「對話」,可以觀察該作者的風格遞變與成長。
「中山文藝創作獎」的創設與「全省美展」增設「書法部」,都是在對岸推行「文化大革命」的時代背景之下,政府部門為了維護傳統文化而起的積極對應作為。1967年第22屆「全省美展」增設「書法部」,1966年創設的「中山文藝創作獎」,年年都有「國畫類」得主,但直至1974年才有首位「書法類」獲獎者產生。此二展賽在當年的「書畫競賽」中具有相當指標意義,但基本上因無年齡限制,獲獎者絕少是年歲尚為青年者,多數是頗具火候的中壯輩創作者。尤其「中山文藝獎」因每年各類名額僅只有一、二,能獲獎者多半已是蜚聲藝壇之中壯輩或具相當成就的資深前輩創作者。在此狀態下,國父紀念館所舉辦之「全國青年學生書畫比賽」對於青年創作者所起的鼓勵作用自是不言可喻。
此一競賽初期正逢1970年代「鄉土文學運動」勃興之際。在近現代臺灣藝術史研究中,曾有不少針對當時之西畫、水墨創作者所選畫題與鄉土文學風潮進行時代背景、社會思潮、創作意識等等之交錯影響進行研究。而此一書畫比賽,其參賽者與得獎者在作品選題上是否也在「競賽規章」中之限定外,受到當時的文藝思潮影響,或許未必全然如此,但仍有某種程度的影響,因而以臺灣風土人文景象為題的水墨作品佔比不少。透過寫景之筆來紀錄眼下美景,也可能有藉此抒發個人對家鄉、土地的認同之意。至於書法類作品,則在早期節臨原帖文字、選擇書寫中山學說思想文章、傳錄古典經典文學作品的幾項主題中發展,同時也以「襲古之風」為尚,再逐年漸次開展出以純文學作品為題,並以個人或師門書風為主要表現手法的新風氣。由以「襲古」為尚,往「發揮自我情性」的方向挪移,可說是國父紀念館主辦獎賽中書法類得獎作品的概略發展軌跡,同時,也是臺灣書法獎賽與展演的成長實況。而水墨類也從描寫現實之景慢慢發展,出現了以筆墨傳達「心象」而非「實景」的新貌。凡此種種,皆可見此一獎賽,在時間的推移下,除了見證了不同藝術創作者的成長,也記錄了臺灣近半世紀的書法、水墨獎賽風格的傳衍與遞變。
放眼當前公辦美展,除了已停辦的「全國美展」、「全省美展」、「教育部文藝創作獎」與尚持續徵件的「南瀛美展」,後起之「大墩美展」外,論及辦理屆數與書畫二類的送件數及得獎作品水平,幾無可與當年「全國青年學生書畫比賽」相駢比者。若以「聚焦獎挹青年創作者」之角度視之,那此一獎賽在此一段時期的臺灣美術發展史頁中,更是具有獨特意義的存在。而這也正是默默屹立於晴雨之中的「國立國父紀念館」與館內諸多典藏作品在持續不斷發展的臺灣美術史中最具意義之處。
策展人:古耀華
Curatorial Statement
In addition to its annual tradition of hosting exhibitions and performances by artists and cultural groups, National Dr. Sun Yat-sen Memorial Hall has actively expanded its outreach efforts. Beyond presenting the annual first-prize winner of the “Chung-Shan Youth Art Awards” at major art fairs, thereby creating an additional platform for young artists to connect with competitions, the art market, and collectors, the Memorial Hall has also organized multiple touring exhibitions in recent years. These include the "Collection Touring Exhibition" and traveling displays of works by recipients of the “Chung-Shan Youth Art Awards.” Through these initiatives, the Memorial Hall has established cross-regional collaborations with local art museums, cultural centers, and lifestyle aesthetics centers across different counties and cities. By bringing rarely displayed collections from its holdings to diverse cities, the Memorial Hall has realized its vision of “Art for All—Bringing Aesthetics to Diverse Cities.”
In 2025, with the support of the Ministry of Culture’s “Public Museum Assistance Program for the Redevelopment of Taiwanese Cultural Content”, the Memorial Hall will host the “Art for All-Bringing Aesthetics to Your City:2025 National Dr. Sun Yat-sen Memorial Hall Collection Exchange Exhibition” in Changhua and Kaohsiung. From July 3 to August 3, the exhibition will take place at the Changhua County Art Museum in the “First Floor Exhibition Room” and “Art Gallery,” featuring curated sworks from the Memorial Hall’s collection by artists from central Taiwan. Subsequently, from September 13 to October 8, the exhibition will move to the Kaohsiung City Cultural Center’s “Zhigao Hall,” showcasing works by artists from southern Taiwan from the Memorial Hall’s collection.
In addition to selecting artworks based on the geographic connection between the artists and the exhibition cities, another key curatorial principle draws on the 38 editions of the “National Youth Calligraphy and Painting Competition” held by the National Dr. Sun Yat-sen Memorial Hall. All exhibited artists are former top-three winners in their respective categories of this prestigious competition. The exhibition features both their original award-winning works and newer pieces later acquired by the Memorial Hall through invitational shows, open calls, or other competitions. The creation dates of these works span varying intervals, with the longest gap reaching up to 40 years. By presenting works from different periods of the same artist side by side, the exhibition invites viewers to observe the evolution and growth of their artistic styles through a dialogue between past and present creations.
The establishment of the “Chung-Shan Literary and Art Creation Award” and the addition of a Calligraphy section to the “Taiwan Provincial Art Exhibition” were both proactive measures by the government to safeguard traditional culture amid the Cultural Revolution taking place on the other side of the strait. The “Chung-Shan Literary and Art Creation Award,” launched in 1966, consistently recognized winners in the Traditional Chinese Painting category, though it was not until 1974 that the first award in the Calligraphy category was given. In 1967, the 22nd Taiwan Provincial Art Exhibition also introduced a Calligraphy section. These two competitions served as important benchmarks in the calligraphy and painting scene of the time. However, as there were no age restrictions, winners were seldom young artists; most were seasoned mid-career or senior creators with well-established reputations. The “Chung-Shan Literary and Art Creation Award,” in particular, was highly competitive, limited to just one or two recipients per category each year, and most often honoring artists already prominent or accomplished veterans in the art world. Against this backdrop, the “National Youth Calligraphy and Painting Competition” organized by the National Dr. Sun Yat-sen Memorial Hall played a pivotal role in encouraging and fostering young talent.
The competition’s early years unfolded during the rise of the “Nativist Literature Movement” in the 1970s. Scholars of modern Taiwanese art history have examined how Western-style and ink painters of the time chose their subjects under the influence of the Nativist literary trend, analyzing its interplay with social thought and artistic consciousness. Although the themes were not strictly bound by competition rules, they were nevertheless shaped to some extent by the artistic and literary currents of the time. As a result, many ink paintings depicted Taiwan’s landscapes, local culture, and everyday life, often conveying a sense of identity and attachment to the homeland.
In the calligraphy category, early works focused on copying classical texts, transcribing Sun Yat-sen’s writings, or reproducing traditional literary works, reflecting the prevailing ethos of “emulating the ancients.” Over time, however, a new trend emerged, as calligraphers began drawing on pure literary texts and expressing individual sensibilities or the stylistic influences of their mentors. This shift from “emulating the ancients” to “individual expression” broadly outlines the developmental trajectory of award-winning calligraphy works, while also reflecting the broader evolution of Taiwan’s calligraphy competitions and exhibitions.
Similarly, ink painting evolved from realistic landscapes to expressions of inner vision rather than literal representation. Taken together, these developments show how the competition has, over time, not only nurtured the growth of individual artists but also chronicled the stylistic evolution of Taiwanese calligraphy and ink painting over nearly half a century.
When examining current publicly organized art exhibitions, few can compare to the “National Youth Calligraphy and Painting Competition” in terms of its longevity, the volume of submissions in both calligraphy and painting categories, and the quality of award-winning works. Notable exhibitions such as the now-discontinued “National Art Exhibition,” “Provincial Art Exhibition,” and “Ministry of Education Literary and Art Creation Award,” as well as the ongoing “Nanying Art Exhibition” and the later-established “Dadun Art Exhibition,” stand out. However, from the perspective of “fostering young artists through awards,” the “National Youth (Student) Calligraphy and Painting Competition” holds a uniquely significant place in the history of Taiwanese art development during this period. This enduring legacy underscores the profound importance of the National Dr. Sun Yat-sen Memorial Hall, standing steadfast through sun and rain, and its extensive collection of artworks in the ongoing narrative of Taiwan’s art history.
Curator: Ku Yao-hua
HTMLText_0441B5E2_2323_FD6E_417D_7107AB64841F_mobile.html = 載道.抒懷(書法)
此一子題以過往舉辦了38屆的「全國青年學生書畫比賽」書法類前三名得獎者當年的得獎作品為主,相同作者透過其它邀請展、申請展或獎賽而獲選入藏國立國父紀念館之作品為對照,展出不同得獎者之昔、近之作。過往此一獎賽的得獎作品除了明確節錄臨摹古典碑帖者外,另有一部分是在吸收、消化古典碑帖後,取「中山學說」或「前賢文章」自運書成,可謂「以書載道」之作。此一子題即以此類作品為基,加上相同作者群晚近「以書抒懷」之作,相互參照,以構築此子題作者群由「載道」漸進「抒懷」的書藝表現。
藝術家:林進忠、林隆達、林榮森、吳啟禎、施永華、葉宗河。
Carrying the Way, Expressing the Self (Calligraphy)
This section focuses on award-winning calligraphy works from the National Youth Calligraphy and Painting Competition, which has been held for 38 editions. It features the first, second, and third prize winners in calligraphy from past years. These works are presented alongside other pieces by the same artists that were later selected for the National Dr. Sun Yat-sen Memorial Hall collection through invitational or juried exhibitions, offering a comparison of their earlier and more recent creations.
While some of the competition pieces clearly imitate classical calligraphy rubbings and inscriptions, others showcase a deeper level of understanding, blending traditional techniques with personal interpretation. Many such works take inspiration from Sun Yat-sen’s teachings or the writings of esteemed historical figures, reflecting the idea of “conveying moral principles through calligraphy.”
This exhibition theme highlights these concept-driven works and pairs them with the same artists’ more recent creations that express personal emotions and reflections through calligraphy. Together, they illustrate an artistic journey from “expressing principles” to “expressing feelings.”
Artists: Lin Chin-Chung, Lin Long-da, Shih Yung-hua, Lin Rong-sen, Lin Rong-sen, Wu Chi-jen, Yeh Tsung-ho.
HTMLText_3AB96C72_2321_136E_419E_722D038716B3_mobile.html = 載道.抒懷(書法)
此一子題以過往舉辦了38屆的「全國青年學生書畫比賽」書法類前三名得獎者當年的得獎作品為主,相同作者透過其它邀請展、申請展或獎賽而獲選入藏國立國父紀念館之作品為對照,展出不同得獎者之昔、近之作。過往此一獎賽的得獎作品除了明確節錄臨摹古典碑帖者外,另有一部分是在吸收、消化古典碑帖後,取「中山學說」或「前賢文章」自運書成,可謂「以書載道」之作。此一子題即以此類作品為基,加上相同作者群晚近「以書抒懷」之作,相互參照,以構築此子題作者群由「載道」漸進「抒懷」的書藝表現。
藝術家:林進忠、林隆達、林榮森、吳啟禎、施永華、葉宗河。
Carrying the Way, Expressing the Self (Calligraphy)
This section focuses on award-winning calligraphy works from the National Youth Calligraphy and Painting Competition, which has been held for 38 editions. It features the first, second, and third prize winners in calligraphy from past years. These works are presented alongside other pieces by the same artists that were later selected for the National Dr. Sun Yat-sen Memorial Hall collection through invitational or juried exhibitions, offering a comparison of their earlier and more recent creations.
While some of the competition pieces clearly imitate classical calligraphy rubbings and inscriptions, others showcase a deeper level of understanding, blending traditional techniques with personal interpretation. Many such works take inspiration from Sun Yat-sen’s teachings or the writings of esteemed historical figures, reflecting the idea of “conveying moral principles through calligraphy.”
This exhibition theme highlights these concept-driven works and pairs them with the same artists’ more recent creations that express personal emotions and reflections through calligraphy. Together, they illustrate an artistic journey from “expressing principles” to “expressing feelings.”
Artists: Lin Chin-Chung, Lin Long-da, Shih Yung-hua, Lin Rong-sen, Lin Rong-sen, Wu Chi-jen, Yeh Tsung-ho.
HTMLText_EA60ACC7_D0A4_D6B3_41DE_DA6A317A301B_mobile.html = 載道.抒懷(書法)
此一子題以過往舉辦了38屆的「全國青年學生書畫比賽」書法類前三名得獎者當年的得獎作品為主,相同作者透過其它邀請展、申請展或獎賽而獲選入藏國立國父紀念館之作品為對照,展出不同得獎者之昔、近之作。過往此一獎賽的得獎作品除了明確節錄臨摹古典碑帖者外,另有一部分是在吸收、消化古典碑帖後,取「中山學說」或「前賢文章」自運書成,可謂「以書載道」之作。此一子題即以此類作品為基,加上相同作者群晚近「以書抒懷」之作,相互參照,以構築此子題作者群由「載道」漸進「抒懷」的書藝表現。
藝術家:林進忠、林隆達、林榮森、吳啟禎、施永華、葉宗河。
Carrying the Way, Expressing the Self (Calligraphy)
This section focuses on award-winning calligraphy works from the National Youth Calligraphy and Painting Competition, which has been held for 38 editions. It features the first, second, and third prize winners in calligraphy from past years. These works are presented alongside other pieces by the same artists that were later selected for the National Dr. Sun Yat-sen Memorial Hall collection through invitational or juried exhibitions, offering a comparison of their earlier and more recent creations.
While some of the competition pieces clearly imitate classical calligraphy rubbings and inscriptions, others showcase a deeper level of understanding, blending traditional techniques with personal interpretation. Many such works take inspiration from Sun Yat-sen’s teachings or the writings of esteemed historical figures, reflecting the idea of “conveying moral principles through calligraphy.”
This exhibition theme highlights these concept-driven works and pairs them with the same artists’ more recent creations that express personal emotions and reflections through calligraphy. Together, they illustrate an artistic journey from “expressing principles” to “expressing feelings.”
Artists: Lin Chin-Chung, Lin Long-da, Shih Yung-hua, Lin Rong-sen, Lin Rong-sen, Wu Chi-jen, Yeh Tsung-ho.
HTMLText_3AE821FD_2321_3555_418D_EAB5A0E23434_mobile.html = 載道.抒懷(書法)
此一子題以過往舉辦了38屆的「全國青年學生書畫比賽」書法類前三名得獎者當年的得獎作品為主,相同作者透過其它邀請展、申請展或獎賽而獲選入藏國立國父紀念館之作品為對照,展出不同得獎者之昔、近之作。過往此一獎賽的得獎作品除了明確節錄臨摹古典碑帖者外,另有一部分是在吸收、消化古典碑帖後,取「中山學說」或「前賢文章」自運書成,可謂「以書載道」之作。此一子題即以此類作品為基,加上相同作者群晚近「以書抒懷」之作,相互參照,以構築此子題作者群由「載道」漸進「抒懷」的書藝表現。
藝術家:林進忠、林隆達、林榮森、吳啟禎、施永華、葉宗河。
Carrying the Way, Expressing the Self (Calligraphy)
This section focuses on award-winning calligraphy works from the National Youth Calligraphy and Painting Competition, which has been held for 38 editions. It features the first, second, and third prize winners in calligraphy from past years. These works are presented alongside other pieces by the same artists that were later selected for the National Dr. Sun Yat-sen Memorial Hall collection through invitational or juried exhibitions, offering a comparison of their earlier and more recent creations.
While some of the competition pieces clearly imitate classical calligraphy rubbings and inscriptions, others showcase a deeper level of understanding, blending traditional techniques with personal interpretation. Many such works take inspiration from Sun Yat-sen’s teachings or the writings of esteemed historical figures, reflecting the idea of “conveying moral principles through calligraphy.”
This exhibition theme highlights these concept-driven works and pairs them with the same artists’ more recent creations that express personal emotions and reflections through calligraphy. Together, they illustrate an artistic journey from “expressing principles” to “expressing feelings.”
Artists: Lin Chin-Chung, Lin Long-da, Shih Yung-hua, Lin Rong-sen, Lin Rong-sen, Wu Chi-jen, Yeh Tsung-ho.
HTMLText_0431882D_2323_F2F5_41B8_A05BD6617180_mobile.html = 載道.抒懷(書法)
此一子題以過往舉辦了38屆的「全國青年學生書畫比賽」書法類前三名得獎者當年的得獎作品為主,相同作者透過其它邀請展、申請展或獎賽而獲選入藏國立國父紀念館之作品為對照,展出不同得獎者之昔、近之作。過往此一獎賽的得獎作品除了明確節錄臨摹古典碑帖者外,另有一部分是在吸收、消化古典碑帖後,取「中山學說」或「前賢文章」自運書成,可謂「以書載道」之作。此一子題即以此類作品為基,加上相同作者群晚近「以書抒懷」之作,相互參照,以構築此子題作者群由「載道」漸進「抒懷」的書藝表現。
藝術家:林進忠、林隆達、林榮森、吳啟禎、施永華、葉宗河。
Carrying the Way, Expressing the Self (Calligraphy)
This section focuses on award-winning calligraphy works from the National Youth Calligraphy and Painting Competition, which has been held for 38 editions. It features the first, second, and third prize winners in calligraphy from past years. These works are presented alongside other pieces by the same artists that were later selected for the National Dr. Sun Yat-sen Memorial Hall collection through invitational or juried exhibitions, offering a comparison of their earlier and more recent creations.
While some of the competition pieces clearly imitate classical calligraphy rubbings and inscriptions, others showcase a deeper level of understanding, blending traditional techniques with personal interpretation. Many such works take inspiration from Sun Yat-sen’s teachings or the writings of esteemed historical figures, reflecting the idea of “conveying moral principles through calligraphy.”
This exhibition theme highlights these concept-driven works and pairs them with the same artists’ more recent creations that express personal emotions and reflections through calligraphy. Together, they illustrate an artistic journey from “expressing principles” to “expressing feelings.”
Artists: Lin Chin-Chung, Lin Long-da, Shih Yung-hua, Lin Rong-sen, Lin Rong-sen, Wu Chi-jen, Yeh Tsung-ho.
HTMLText_3A9C203B_2321_32DD_41B4_7988891ED1A2_mobile.html = 載道.抒懷(書法)
此一子題以過往舉辦了38屆的「全國青年學生書畫比賽」書法類前三名得獎者當年的得獎作品為主,相同作者透過其它邀請展、申請展或獎賽而獲選入藏國立國父紀念館之作品為對照,展出不同得獎者之昔、近之作。過往此一獎賽的得獎作品除了明確節錄臨摹古典碑帖者外,另有一部分是在吸收、消化古典碑帖後,取「中山學說」或「前賢文章」自運書成,可謂「以書載道」之作。此一子題即以此類作品為基,加上相同作者群晚近「以書抒懷」之作,相互參照,以構築此子題作者群由「載道」漸進「抒懷」的書藝表現。
藝術家:林進忠、林隆達、林榮森、吳啟禎、施永華、葉宗河。
Carrying the Way, Expressing the Self (Calligraphy)
This section focuses on award-winning calligraphy works from the National Youth Calligraphy and Painting Competition, which has been held for 38 editions. It features the first, second, and third prize winners in calligraphy from past years. These works are presented alongside other pieces by the same artists that were later selected for the National Dr. Sun Yat-sen Memorial Hall collection through invitational or juried exhibitions, offering a comparison of their earlier and more recent creations.
While some of the competition pieces clearly imitate classical calligraphy rubbings and inscriptions, others showcase a deeper level of understanding, blending traditional techniques with personal interpretation. Many such works take inspiration from Sun Yat-sen’s teachings or the writings of esteemed historical figures, reflecting the idea of “conveying moral principles through calligraphy.”
This exhibition theme highlights these concept-driven works and pairs them with the same artists’ more recent creations that express personal emotions and reflections through calligraphy. Together, they illustrate an artistic journey from “expressing principles” to “expressing feelings.”
Artists: Lin Chin-Chung, Lin Long-da, Shih Yung-hua, Lin Rong-sen, Lin Rong-sen, Wu Chi-jen, Yeh Tsung-ho.
HTMLText_058E0EE5_2323_0F6A_41AF_83084C740852_mobile.html = 載道.抒懷(書法)
此一子題以過往舉辦了38屆的「全國青年學生書畫比賽」書法類前三名得獎者當年的得獎作品為主,相同作者透過其它邀請展、申請展或獎賽而獲選入藏國立國父紀念館之作品為對照,展出不同得獎者之昔、近之作。過往此一獎賽的得獎作品除了明確節錄臨摹古典碑帖者外,另有一部分是在吸收、消化古典碑帖後,取「中山學說」或「前賢文章」自運書成,可謂「以書載道」之作。此一子題即以此類作品為基,加上相同作者群晚近「以書抒懷」之作,相互參照,以構築此子題作者群由「載道」漸進「抒懷」的書藝表現。
藝術家:林進忠、林隆達、林榮森、吳啟禎、施永華、葉宗河。
Carrying the Way, Expressing the Self (Calligraphy)
This section focuses on award-winning calligraphy works from the National Youth Calligraphy and Painting Competition, which has been held for 38 editions. It features the first, second, and third prize winners in calligraphy from past years. These works are presented alongside other pieces by the same artists that were later selected for the National Dr. Sun Yat-sen Memorial Hall collection through invitational or juried exhibitions, offering a comparison of their earlier and more recent creations.
While some of the competition pieces clearly imitate classical calligraphy rubbings and inscriptions, others showcase a deeper level of understanding, blending traditional techniques with personal interpretation. Many such works take inspiration from Sun Yat-sen’s teachings or the writings of esteemed historical figures, reflecting the idea of “conveying moral principles through calligraphy.”
This exhibition theme highlights these concept-driven works and pairs them with the same artists’ more recent creations that express personal emotions and reflections through calligraphy. Together, they illustrate an artistic journey from “expressing principles” to “expressing feelings.”
Artists: Lin Chin-Chung, Lin Long-da, Shih Yung-hua, Lin Rong-sen, Lin Rong-sen, Wu Chi-jen, Yeh Tsung-ho.
HTMLText_04614140_2323_F2AA_41B8_05D2775003CC_mobile.html = 載道.抒懷(書法)
此一子題以過往舉辦了38屆的「全國青年學生書畫比賽」書法類前三名得獎者當年的得獎作品為主,相同作者透過其它邀請展、申請展或獎賽而獲選入藏國立國父紀念館之作品為對照,展出不同得獎者之昔、近之作。過往此一獎賽的得獎作品除了明確節錄臨摹古典碑帖者外,另有一部分是在吸收、消化古典碑帖後,取「中山學說」或「前賢文章」自運書成,可謂「以書載道」之作。此一子題即以此類作品為基,加上相同作者群晚近「以書抒懷」之作,相互參照,以構築此子題作者群由「載道」漸進「抒懷」的書藝表現。
藝術家:林進忠、林隆達、林榮森、吳啟禎、施永華、葉宗河。
Carrying the Way, Expressing the Self (Calligraphy)
This section focuses on award-winning calligraphy works from the National Youth Calligraphy and Painting Competition, which has been held for 38 editions. It features the first, second, and third prize winners in calligraphy from past years. These works are presented alongside other pieces by the same artists that were later selected for the National Dr. Sun Yat-sen Memorial Hall collection through invitational or juried exhibitions, offering a comparison of their earlier and more recent creations.
While some of the competition pieces clearly imitate classical calligraphy rubbings and inscriptions, others showcase a deeper level of understanding, blending traditional techniques with personal interpretation. Many such works take inspiration from Sun Yat-sen’s teachings or the writings of esteemed historical figures, reflecting the idea of “conveying moral principles through calligraphy.”
This exhibition theme highlights these concept-driven works and pairs them with the same artists’ more recent creations that express personal emotions and reflections through calligraphy. Together, they illustrate an artistic journey from “expressing principles” to “expressing feelings.”
Artists: Lin Chin-Chung, Lin Long-da, Shih Yung-hua, Lin Rong-sen, Lin Rong-sen, Wu Chi-jen, Yeh Tsung-ho.
HTMLText_0451A3CF_2323_F5B6_41AF_184F64D37E13_mobile.html = 載道.抒懷(書法)
此一子題以過往舉辦了38屆的「全國青年學生書畫比賽」書法類前三名得獎者當年的得獎作品為主,相同作者透過其它邀請展、申請展或獎賽而獲選入藏國立國父紀念館之作品為對照,展出不同得獎者之昔、近之作。過往此一獎賽的得獎作品除了明確節錄臨摹古典碑帖者外,另有一部分是在吸收、消化古典碑帖後,取「中山學說」或「前賢文章」自運書成,可謂「以書載道」之作。此一子題即以此類作品為基,加上相同作者群晚近「以書抒懷」之作,相互參照,以構築此子題作者群由「載道」漸進「抒懷」的書藝表現。
藝術家:林進忠、林隆達、林榮森、吳啟禎、施永華、葉宗河。
Carrying the Way, Expressing the Self (Calligraphy)
This section focuses on award-winning calligraphy works from the National Youth Calligraphy and Painting Competition, which has been held for 38 editions. It features the first, second, and third prize winners in calligraphy from past years. These works are presented alongside other pieces by the same artists that were later selected for the National Dr. Sun Yat-sen Memorial Hall collection through invitational or juried exhibitions, offering a comparison of their earlier and more recent creations.
While some of the competition pieces clearly imitate classical calligraphy rubbings and inscriptions, others showcase a deeper level of understanding, blending traditional techniques with personal interpretation. Many such works take inspiration from Sun Yat-sen’s teachings or the writings of esteemed historical figures, reflecting the idea of “conveying moral principles through calligraphy.”
This exhibition theme highlights these concept-driven works and pairs them with the same artists’ more recent creations that express personal emotions and reflections through calligraphy. Together, they illustrate an artistic journey from “expressing principles” to “expressing feelings.”
Artists: Lin Chin-Chung, Lin Long-da, Shih Yung-hua, Lin Rong-sen, Lin Rong-sen, Wu Chi-jen, Yeh Tsung-ho.
HTMLText_3A803E4C_2321_0EBB_41B9_2AABC680BC59_mobile.html = 載道.抒懷(書法)
此一子題以過往舉辦了38屆的「全國青年學生書畫比賽」書法類前三名得獎者當年的得獎作品為主,相同作者透過其它邀請展、申請展或獎賽而獲選入藏國立國父紀念館之作品為對照,展出不同得獎者之昔、近之作。過往此一獎賽的得獎作品除了明確節錄臨摹古典碑帖者外,另有一部分是在吸收、消化古典碑帖後,取「中山學說」或「前賢文章」自運書成,可謂「以書載道」之作。此一子題即以此類作品為基,加上相同作者群晚近「以書抒懷」之作,相互參照,以構築此子題作者群由「載道」漸進「抒懷」的書藝表現。
藝術家:林進忠、林隆達、林榮森、吳啟禎、施永華、葉宗河。
Carrying the Way, Expressing the Self (Calligraphy)
This section focuses on award-winning calligraphy works from the National Youth Calligraphy and Painting Competition, which has been held for 38 editions. It features the first, second, and third prize winners in calligraphy from past years. These works are presented alongside other pieces by the same artists that were later selected for the National Dr. Sun Yat-sen Memorial Hall collection through invitational or juried exhibitions, offering a comparison of their earlier and more recent creations.
While some of the competition pieces clearly imitate classical calligraphy rubbings and inscriptions, others showcase a deeper level of understanding, blending traditional techniques with personal interpretation. Many such works take inspiration from Sun Yat-sen’s teachings or the writings of esteemed historical figures, reflecting the idea of “conveying moral principles through calligraphy.”
This exhibition theme highlights these concept-driven works and pairs them with the same artists’ more recent creations that express personal emotions and reflections through calligraphy. Together, they illustrate an artistic journey from “expressing principles” to “expressing feelings.”
Artists: Lin Chin-Chung, Lin Long-da, Shih Yung-hua, Lin Rong-sen, Lin Rong-sen, Wu Chi-jen, Yeh Tsung-ho.
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HTMLText_D868D999_A30E_2CF0_41DA_87D623023D6B.html = 3.將手機轉成橫式,向上滑動畫面進入全螢幕,將手機放入Cardboard即可開始體驗。
以下為VR頭盔說明
1. 啟動VR頭盔,開啟firefox瀏覽器或內建瀏覽器,輸入本檔展覽網址。
2. 點擊選單中「VR模式」開啟本說明。
3. 此時下方會出現「啟用VR」按鈕,按下即可開始體驗。
*只有在使用頭盔時才會顯示「啟用VR」按鈕
操作教學
• 轉動身體探索環境,注視圖標2秒進行移動和互動(Cardboard v2可按紙盒上按鈕)。
• 向上看出現漂浮「選擇樓層」選單,選擇樓層進行跳轉。
HTMLText_FBED054E_D3A4_D7B5_41E9_8255EF0B64DB.html = 台中港
Taichung Harbor
109x60cm
彩墨、紙本 Color Ink , Paper
陳 士侯 Chen Shi-hou
款識|
臺中港,戊午年紀念總統蔣公逝世三週年寫家鄉之建設。陳士侯。
鈐印|
士侯。國父紀念館珍藏。思鄉。
HTMLText_F4497B0C_D3A5_53B4_41C9_B8A88985682F.html = 國父嘉言
Dr.Sun Yat-sen's Words
135.7x33.9cm
書法、紙本 Calligraphy, Paper
林 榮森 Lin Rong-sen
釋文|
拯斯民於水火之中,扶華夏於分崩止際。
款識|
二〇〇一年秋,林鈺旂。
HTMLText_FB4C352D_D3AB_D7F7_41B9_66842DB1C943.html = 太武雄風
Majestic Mountain (Tai Wu Mountain)
125x61cm
彩墨、紙本 Color Ink , Paper
林 進忠 Lin Chin-Chung
款識|
領袖精神長相左右,策勉惕勵誓志復國。紀念總統 蔣公逝世三週年,恭繪於金門。林進忠。
鈐印|
進忠。書畫。國父紀念館珍藏。
HTMLText_FDF1E87B_D3A5_5E53_41D4_44B7E931B35A.html = 安土敦仁 道濟天下
Being Content with Where We Live, Cultivating Good Nature of Philanthropy, and Relieving the Whole Country with Doctrines
60.2x59.5cm
書法、彩墨、紙本 Calligraphy, Color Ink , Paper
劉 阿榮(撰文) Liou A-rong(Author)
林 榮森(書法) Lin Rong-sen(Calligarphy)
高 義瑝(繪畫) Kao Yi-huang(Painting)
釋文|
國家施政,應本敦厚仁愛的精神,讓百姓安居樂業;使安邦治國之道,普濟天下,周乎萬物。孫中山先生繼承儒家仁愛思想、及西方博愛精神,為天地立心、為生民立命,深受世人推崇。
The administration of governments shall be based on honesty, sincerity, and benevolence, allowing people to live happily. The doctrines to bring peace and stability to the country shall also be applied to the whole world as well as on all creatures. The whole world holds Dr. Sun Yat Sen in high esteem for his dedication and commitment arising from the thought of benevolence of the Confucian school and the Western thought of philanthropy toward the revolution in China aiming for the long term peace and stability of the nation as well as the well-being of the people.
HTMLText_FBF7594A_D3A7_FFBD_41CF_1DB7E043451E.html = 山居客來
Visitor to the Mountain Residence
152x69cm
彩墨、紙本 Color Ink , Paper
陳 士侯 Chen Shi-hou
款識|
丁巳年秋月。陳士侯。
HTMLText_FB61E36F_D3BB_5273_41E0_ED018BB1402A.html = 岑參逢入京使
Cen Shen's Poem: On Meeting a Messenger to the Capital
198x89.2cm
書法、紙本 Calligraphy, Paper
吳 啟林 Wu Chi-lin
釋文|
故園東望路漫漫,雙袖龍鍾淚不乾。馬上相逢無紙筆,憑君傳語報平安。
款識|
岑參,唐邊塞詩代表人物,與高適並稱「高岑」,其逢入京使七絕,描寫詩人思鄉情懷,亦表達欲建功立業而開闊放達之胸襟。己亥夏,吳啟林書。
HTMLText_E3211684_D3AF_32B5_41D4_189AB817100E.html = 平等互惠 交流合作
Interaction and Cooperation being Based on Equality and Reciprocity
69.4x59.8cm
書法、彩墨、紙本 Calligraphy, Color Ink , Paper
劉 阿榮(撰文) Liou A-rong(Author)
蔡 明讚(書法) Tsai Ming-tzann(Calligarphy)
林 進忠(繪畫) Lin Chin-Chung(Painting)
釋文|
臺灣與中國在歷史文化、血緣地緣各方面有密切的關係,但因戰爭及歷史因素,現階段兩岸處於分治狀態,當前經濟文化民間交流相當密切,雙方應揚棄「零和競局」,秉持中山先生主張平等互惠原則,增進交流合作。
Taiwan is closely related to Mainland China in various aspects of history, culture, ties of blood, and geographic ties. However, owing to wars and historical factors, the two sides across the Taiwan Strait are currently ruled separately. In view of the close exchange in economics and culture at non-governmental circles, both sides should abandon the “zero-sum game” and uphold the principle of equality and reciprocity advocated by Dr. Sun, and enhance exchange and mutual cooperation.
HTMLText_F4AD010B_D3AF_CFB3_41DF_540C59A81B04.html = 張猛龍碑
The Zhang Menglong Stele
134x60cm
書法、紙本 Calligraphy, Paper
杜 忠誥 Tu Chung-kao
釋文|
氏煥天文,體承帝胤。神秀春方,靈源在震。積石千尋,長松萬仞。軒冕周漢,冠蓋魏晉。河靈岳秀,月起景飛。窮神開照,式誕英徽。高山仰止,從善如歸。
款識|
歲在丙辰初秋,本農杜忠誥背臨北魏張猛龍碑。
HTMLText_F52EBC5A_D3BB_565D_41E4_8A07888E0876.html = 承先啟後 繼往開來
Inheriting the Past, Ushering in the Future
90x35cm
書法、紙本 Calligraphy, Paper
杜 忠誥 Tu Chung-kao
釋文|
承先啟後。繼往開來。
款識|
杜忠誥書。
HTMLText_D7666B55_A31E_2C70_41D1_7DB92797CB08.html = 支援設備
*VR功能僅適用於手機版
Cardboard(手機紙盒)
• iOS: 使用Safari瀏覽器
• Android: 使用Chrome瀏覽器
VR頭盔
• 建議使用Meta Quest 2,其餘支援設備商包含 HTC, PicoVR, SamsungVR等。
啟用VR
以下為Cardboard(手機紙盒)說明
1. 按下「啟用VR」按鈕,進入VR模式。iOS手機若提示是否允許裝置權限,請選擇「允許」。
2. 若您不確定Cardboard版本,請選擇第一個按鈕,若您是使用Cardboard v2,請選擇第二個按鈕。
HTMLText_FDC6CB55_D3A5_5254_41E0_FBE55FE5C252.html = 服務人民 廉能政府
Administration of Capabilities and Probity to Serve the People
69.8x60.1cm
書法、彩墨、紙本 Calligraphy, Color Ink , Paper
劉 阿榮(撰文) Liou A-rong(Author)
蕭 世瓊(書法) Siao Shih-cyong(Calligarphy)
廖 美蘭(繪畫) Liao Mei-lan(Painting)
釋文|
民主時代,官吏為人民的公僕,應以服務人民為天職,中山先生云:「主權在民,官吏不過公僕之效能者。」他更主張:「造成萬能政府,為人民謀幸福」。今日世界各國主政者都應有此體認。
During the era of democracy, government officials are people's public servants and shall take serving people as their unshirkable responsibilities. Dr. Sun Yat Sen pointed out that “People are masters of the state while governmental officials are, in effect, just performing functions of public servants.” He further advocated that “An almighty government shall be established to serve the people for their well-being.” Those who assume political powers today in countries all over the world shall have such realization.
HTMLText_FAFAB97C_D3A5_3E55_41E4_707276D9BFEC.html = 杜甫詠懷古跡五首
Du Fu's Five Poems: Reflections on Ancient Sites
200x90cm
書法、紙本 Calligraphy, Paper
吳 啟林 Wu Chi-lin
釋文|
支離東北風塵際,漂泊西南天地間。三峽樓臺淹日月,五溪衣服共雲山。羯胡事主終無賴,詞客哀時且未還。庾信平生最蕭瑟,暮年詩賦動江關。
搖落深知宋玉悲,風流儒雅亦吾師。悵望千秋一灑淚,蕭條異代不同時。江山故宅空文藻,雲雨荒臺豈夢思。最是楚宮俱泯滅,舟人指點到今疑。
羣山萬壑赴荊門,生長明妃尚有村。一去紫臺連朔漠,獨留青塚向黃昏。畫圖省識春風面,環珮空歸月夜魂。千載琵琶作胡語,分明怨恨曲中論。
蜀主窺吳幸三峽,崩年亦在永安宮。翠華想象空山裏,玉殿虛無野寺中。古廟杉松巢水鶴,歲時伏臘走村翁。武侯祠屋常鄰近,一體君臣祭祀同。
諸葛大名垂宇宙,宗臣遺像肅清高。三分割據紆籌策,萬古雲霄一羽毛。伯仲之間見伊呂,指揮若定失蕭曹。運移漢祚終難復,志決身殲軍務勞。
款識|
杜少陵詠懷古跡五首。己亥夏六月十五日,三友草堂吳啟林書。
HTMLText_F5AC6B5B_D365_D253_41D9_F6F93387702F.html = 東漢史晨碑
Shih-chen Stele from the Eastern Han Dynasty
135x70cm
書法、紙本 Calligraphy, Paper
施 永華 Shih Yung-hua
釋文|
史君饗後,部史仇誧,縣吏劉耽等,補完里中道之周左牆垣壞決,作屋塗色,修通大溝,西流里水(外),南注城池。恐修縣吏斂民,侵擾百姓,自以城池道濡麥給令,還所斂民錢材。註:元杯無修字。
款識|
東漢史晨碑。施永華。
鈐印|
施印。永華。
HTMLText_FBA5CD5C_D3A7_5655_41CB_7613106E745E.html = 橫貫公路一角
A Scence from the Cross-lsland Highway
135x69cm
彩墨、紙本 Color Ink , Paper
林 進忠 Lin Chin-Chung
款識|
橫貫公路一角。丙辰之秌。林進忠。
HTMLText_FDEA3886_D3AD_3EB4_41DC_FAC6728F0DF8.html = 水牛精神 歷久彌新
Learning Perseverance from Buffalos No Slackening of Effort with the Passage of Time
62x63cm
書法、彩墨、紙本 Calligraphy, Color Ink , Paper
林 國章(撰文) Lin Kuo-chang(Author)
林 隆達(書法) Lin Long-da(Calligarphy)
孫 家勤(繪畫) Sun Jia-cin(Painting)
釋文|
一九一九年臺灣雕塑第一人黃土水以「山童吹笛」,又名「蕃童」作品入選第一屆日本帝展,並以「水牛群像」細緻傳達樸實靜謐的藝術情感,充分展現臺灣人民堅毅卓絕,綿延不斷的精神傳承。
In 1919, Huang Tu-shui, the No. 1 sculptor of Taiwan in his time was selected to participate in the imperial exhibition in Japan with his masterpiece "A country child playing a bamboo flute," or also known as "An aborigine child." Another masterpiece "A herd of buffalos" delicately conveyed the artistic feelings of simplicity and tranquility and manifested in full the long lasting spirits of persistence and perseverance of Taiwanese people.
HTMLText_FBF0300B_D39D_CDBC_41E3_AA329FD96786.html = 溪戲
River Play
116x60cm
彩墨、紙本 Color Ink , Paper
羅 仁志 Lo Jen-chih
款識|
歲在辛未年桂月下浣。羅仁志寫於臺北。
鈐印|
羅。仁志。
HTMLText_875DBFBA_912C_B529_41E1_D08F750F4E50.html = 漢隸禮運大同篇
The World of Great Unity in Han Clerical Script
133x66cm
書法、紙本 Calligraphy, Paper
林 進忠 Lin Chin-Chung
釋文|
大道之行也,天下為公,選賢與能,講信修睦,故人不獨親其親,不獨子其子,使老有所終,壯有所用,幼有所長,(鰥)矜寡孤獨廢疾者皆有所養;男有分,女有歸,貨惡其棄於地也不必藏於己,力惡其不出於身也不必為己,是故謀閉而不興,盜竊亂賊而不作,故外戶而不閉,是謂大同。
款識|
晴嵐。林進忠。
HTMLText_F5FDFC90_D0FC_F6AC_41E4_13BF022BB459.html = 節臨朱雨田碑
Excerptd Copy of the Zhu Yu-tian Stele
136x67cm
書法、紙本 Calligraphy, Paper
林 隆達 Lin Long-da
釋文|
封,家承儒業,生而和靜,屢試,提學以文高見疑。道光之季,農傷穀賤,千錢三石,富室困弊(敝),君假館城中,獨債千斛。明年大水,常澧流離,穀賈十倍又五,遂擅其利。乃益招流民,收集材木,營度隙地,百堵並興。城鄉居宅至今弘麗,本其略也。明年寇起,辟地江湖。俄東南瓦解,遂歸潛隱。文武龍驤,獨無所與,禕隋十年,以醫自晦。
款識|
歲在庚申仲秋之月下澣,節臨朱雨田碑,林隆達。
HTMLText_F50F34E9_D3BD_767F_41CA_89B0721BA1E7.html = 篆書中堂
Seal Script Central Scroll
135x69cm
書法、紙本 Calligraphy, Paper
吳 啟林 Wu Chi-lin
釋文|
好雨知時節,當春乃發生。隨風潛入夜,潤物細無聲。野徑雲俱黑,江船火獨明。曉看紅溼處,花重錦官城。
款識|
唐杜子美春夜喜雨詩。歲在庚辰新春之月中澣,吳啟林瑑於彰化。
HTMLText_F51DDC51_D3BD_75AF_41DA_36F94F97FB13.html = 篆書先賢勵志詩
Ancient Sage's Inspirational Poem in Seal Script
131x70cm
書法、紙本 Calligraphy, Paper
蕭 世瓊 Siao Shih-cyonh
釋文|
安心恬蕩。棲志浮雲。體之以質。彪之以文。如彼南畮。力耒既勤。藨蓘致功。必有豐殷。水積成淵。載漣載清。土積成山。歊蒸郁冥。山不讓塵。川不辭盈。勉志含宏,以隆德聲。
款識|
張茂先勵志詩。歲在丙寅仲夏之初。蕭世瓊學篆。
鈐印|
蕭世瓊。岑海。
HTMLText_F444C6EA_D3AB_327D_41D3_CF1A45B74B8A.html = 篆書詠茶聯
Ode to Tea in Seal Script
180x45cm
書法、紙本 Calligraphy, Paper
葉 宗河 Yeh Tsung-ho
釋文|
雀舌未經三月雨。龍芽已點上時春。
款識|
戰國楚文字結構因勢生形、'變化多端、筆法流暢,浸淫其中頗有所得。癸卯夏葉宗河書詠茶聯。
HTMLText_FB8BE759_D3E5_325F_41E2_76FA39DC9847.html = 米點筆意煙雨情
Ink Dots Misty Rain
131x69cm
彩墨、紙本 Color Ink , Paper
羅 仁志 Lo Jen-chih
款識|
米點筆意煙雨情。二O一O年夏日,羅仁志寫。
鈐印|
羅印。仁志。意與古會。
HTMLText_F9D6A98B_D3E5_DEB3_41DF_7717E296EF59.html = 荒城之月
Moon over a Forsaken Town
136x70cm
彩墨、紙本 Color Ink , Paper
葉 宗河 Yeh Tsung-ho
款識|
今年元旦到南投時,在路上看見了被地震震毀掉的房屋,因而感受到大自然力量的可怕。庚辰年二月,葉宗河畫並誌。
HTMLText_F42791C1_D39D_CEAC_41E3_5F6CA1A1D50F.html = 蘇軾飲湖上初晴後雨
Su Shi's Poem: Drinking by the West Lake after Rain
131x32cm
書法、紙本 Calligraphy, Paper
林 榮森 Lin Rong-sen
釋文|
水光瀲灧晴方好,山色空濛雨亦奇。 欲把西湖比西子,淡妝濃抹總相宜。
款識|
蘇軾飲湖上初晴後雨。一九九七年八月,林榮森。
HTMLText_F412E09B_D3A4_CED3_4194_099C2C8A8C84.html = 行書
Running Script
136x68cm
書法、紙本 Calligraphy, Paper
吳 啟禎 Wu Chi-jen
釋文|
閒中雲(吟)鬢改,多事與心違。客路逢人少,家書入闕稀。秋聲落晚木,夜魄透寒衣。幾想林間社,他年許共歸。澹然塵慮絶,禪外苦風騷。性覺眠雲僻,名因背俗髙。水煙蒸紙帳,寒髪溼(澀)銅刀。幾宿秋江寺,閒吟聽夜濤。
款識|
禪詩二首。丁卯仲秋,吳啟禎。
鈐印|
吳啟禎。兆祥。仁者壽。如意。
HTMLText_F443C0F3_D3A5_4E53_41C3_A0C4F71202E3.html = 謝靈運詩齋中讀書
Xie Ling-yun's Poem: Reading in the Study
133x66cm
書法、紙本 Calligraphy, Paper
吳 啟禎 Wu Chi-jen
釋文|
昔余遊京華,未嘗廢丘壑。矧乃歸山川,心跡雙寂寞。虛館絶諍訟,空庭來鳥雀。臥疾豐暇豫,翰墨時閒作。懐抱觀古今,寢食展戲謔。既笑沮溺苦,又哂子雲閣。執㦸亦以疲,耕稼豈云樂。萬事難並歡,達生幸可託。
款識|
謝靈運詩齋中讀書。庚寅夏月。吳啟禎書。
HTMLText_F9D48053_D3E7_4E53_4193_DFD6FBB8EE1C.html = 迎春賀年國運昌隆
Wishing for National Prosperity in the Spring Festival
110x116cm
彩墨、紙本 Color Ink , Paper
董 學武 Dong Shueh-wu
款識|
迎春賀年國運昌隆,一九九八年歲次戊寅春節寫好萊塢電影院前人潮洶湧,象徵著新的一年,社會一片祥和暨欣欣向榮景象。董學武。
鈐印|
董。學武。閒酉在。耤此消磨歲月。
HTMLText_FB93CD62_D39D_566C_41A3_8AE32B3FEE73.html = 達見水庫
Deji Reservoir
120x60cm
彩墨、紙本 Color Ink , Paper
謝 榮源 Hsieh Rong-yuan
款識|
達見水庫。己未之秋。謝榮源。
鈐印|
謝榮源印。國父紀念館珍藏。
HTMLText_F4C5088A_D3A5_7EBD_41E4_A991B6CAF82E.html = 陳少白謁鄭國姓廟詩
Chen Shao-bai's Poem: A Visit to Koxinga Shrine
137x70cm
書法、紙本 Calligraphy, Paper
杜 忠誥 Tu Chung-kao
釋文|
鑄金型得像賢王,雄鬼應羞周粟香。 繼絕有心難擇地,招魂無處獨登堂。 偏安事業齎愁沒,不肖兒孫繫練降。 若使英奇今尚在,大功何足數臺疆。
款識|
陳少白謁鄭國姓廟詩。杜忠誥書。
HTMLText_F44857DB_D3AD_525C_41D5_6D8C9B71C3B9.html = 陸龜蒙詩
Lu Gui-meng's Poem
180x45cm
書法、紙本 Calligraphy, Paper
葉 宗河 Yeh Tsung-ho
釋文|
無突抱輕嵐,有煙映初旭。盈鍋玉泉沸,滿甑雲芽熟。奇香襲春桂,嫩色凌秋菊。煬者若吾徒,年年看不足。
款識|
癸卯之夏葉宗河。
HTMLText_F5A54609_D3A5_75BF_41D2_24B3CD0B21C3.html = 隸書魯迅題三義塔詩句
Lu Xun's Poem on Sanyi Pagoda in Clerical Script
96x174.5cm
書法、紙本 Calligraphy, Paper
杜 忠誥 Tu Chung-kao
釋文|
度盡劫波兄弟在,相逢一笑泯恩仇。
款識|
魯迅題三義塔詩句。研農杜忠誥書。
HTMLText_F982CE15_D3EB_35D7_41E2_3126124B1BF1.html = 革命起源 思想傳承
Being Forerunner of the Revolution, Dr. Sun passed down his ideology
64x59.7cm
書法、彩墨、紙本 Calligraphy, Color Ink , Paper
陳 立文(撰文) Chen Li-wen(Author)
連 勝彥(書法) Lian Shenq-yann(Calligarphy)
董 學武(繪畫) Tung Hsueh-wu(Painting)
釋文|
中山先生傳承洪門革命思想,這種革命思想透過羅福星、林獻堂、蔣渭水等人,以及臺灣文化協會、臺灣革命同盟會等團體,鼓勵臺灣民眾爭自由、爭平等、爭人權,發揮莫大影響。
The revolutionary ideology of Dr. Sun Yat Sen was inherited from Hong Men Union. Through the advocacy by Luo Fu-xing, Lin Xian-tang, and Jiang Wei-shui as well as Taiwan Cultural Association and Taiwan Revolution Alliance, such ideology caused great influence on Taiwan and inspired Taiwanese people to strive for liberty, equality, and human rights.
HTMLText_F42A4766_D39D_3275_41E1_9ED7251047E2.html = 黎遂球琉璃盤雙江魚記
Li Sui-qiu's Reflection on Goldfish in a Glazed Bowl
136x68cm
書法、紙本 Calligraphy, Paper
林 榮森 Lin Rong-sen
釋文|
琉璃為盎如珠,形可徑寸,注水焉,畜小紅魚一雙,懸於庭際。水與琉璃一色,其於空虛亦復一色。魚視之,不知其幾何水。魚因琉璃得影,近或小,遠或大;以其形圓,故影或見而交出。魚觸而相戲,又不知其幾何魚。人視魚如交遊於空虛,又不知其為魚為影。人所也,魚安得樂。魚之水僅可以寸,並以身入焉,而以為人玩,魚則何樂,是烏知其不然。魚不知其幾何水,觸而宛轉,動而不已,與影相戲,近而復遠,又不知其幾何魚,魚故甚樂如江湖矣。故夫人之生,僅可百年,而讀書挾策,以圖未然之富貴;為詩賦,弄筆墨,以求傳其名;又進焉而建立功德,以與乎古者聖賢之列。能者為之,不能者強而不息。窮焉而自以為可通。幻焉而自以為真,困頓焉而自以為猶多餘地,渺小焉而自以為甚尊。且夫人之遊於世中,何必其不然,而亦何必不然。崇禎歲壬午,粵燈事甚勝,有鬻是而綴綵花。使魚視之,又將以為林池草樹,而以為遊觀之戲者。予偶得百錢易之,記焉,將以問夫得道者。
款識|
歲在癸酉之秋,鈺旂林榮森。
鈐印|
林榮森。吉祥。古趣。
HTMLText_FB905A5A_D39F_D25C_41E0_BDEC8E9FA5F8.html = 龍洞奇岩
Strange Rocks of Dragon Cave
95x217cm
彩墨、紙本 Color Ink , Paper
謝 榮源 Hsieh Rong-yuan
款識|
寶島東北部海岸,怪石嶙峋,誠為自然之地理教室,龍洞海崖岩層紋理多變化,有馬牙、折帶、斧劈皴法特色,在朝陽之下更顯陽剛壯麗之美。謝榮源。
鈐印|
謝。榮源。
HTMLText_D868D999_A30E_2CF0_41DA_87D623023D6B_mobile.html = 3.將手機轉成橫式,向上滑動畫面進入全螢幕,將手機放入Cardboard即可開始體驗。
以下為VR頭盔說明
1. 啟動VR頭盔,開啟firefox瀏覽器或內建瀏覽器,輸入本檔展覽網址。
2. 點擊選單中「VR模式」開啟本說明。
3. 此時下方會出現「啟用VR」按鈕,按下即可開始體驗。
註: 只有在使用頭盔時才會顯示「啟用VR」按鈕
操作教學
• 轉動身體探索環境,注視圖標2秒進行移動和互動(Cardboard v2可按紙盒上按鈕)。
• 向上看出現漂浮「選擇樓層」選單,選擇樓層進行跳轉。
HTMLText_D7666B55_A31E_2C70_41D1_7DB92797CB08_mobile.html = 支援設備
*VR功能僅適用於手機版
Cardboard(手機紙盒)
• iOS: 使用Safari瀏覽器
• Android: 使用Chrome瀏覽器
VR頭盔
• 建議使用Meta Quest 2,其餘支援設備商包含 HTC, PicoVR, SamsungVR等。
啟用VR
以下為Cardboard(手機紙盒)說明
1. 按下「啟用VR」按鈕,進入VR模式。iOS手機若提示是否允許裝置權限,請選擇「允許」。
2. 若您不確定Cardboard版本,請選擇第一個按鈕,若您是使用Cardboard v2,請選擇第二個按鈕。
HTMLText_93887EA2_D0AF_32ED_41DB_D1F5BE65733D_mobile.html = 台中港
Taichung Harbor
109x60cm
彩墨、紙本 Color Ink , Paper
陳 士侯 Chen Shi-hou
款識|
臺中港,戊午年紀念總統蔣公逝世三週年寫家鄉之建設。陳士侯。
鈐印|
士侯。國父紀念館珍藏。思鄉。
HTMLText_EDBE3907_D0E7_7FB3_41B9_042F716408AE_mobile.html = 國父嘉言
Dr.Sun Yat-sen's Words
135.7x33.9cm
書法、紙本 Calligraphy, Paper
林 榮森 Lin Rong-sen
釋文|
拯斯民於水火之中,扶華夏於分崩止際。
款識|
二〇〇一年秋,林鈺旂。
HTMLText_912CD251_D0A4_CDAF_41E0_208C08A041F0_mobile.html = 太武雄風
Majestic Mountain (Tai Wu Mountain)
125x61cm
彩墨、紙本 Color Ink , Paper
林 進忠 Lin Chin-Chung
款識|
領袖精神長相左右,策勉惕勵誓志復國。紀念總統 蔣公逝世三週年,恭繪於金門。林進忠。
鈐印|
進忠。書畫。國父紀念館珍藏。
HTMLText_15DCC183_2363_35AE_41A3_AD6CD72EC989_mobile.html = 安土敦仁 道濟天下
Being Content with Where We Live, Cultivating Good Nature of Philanthropy, and Relieving the Whole Country with Doctrines
60.2x59.5cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
林 榮森(書法)
Lin Rong-sen(Calligarphy)
高 義瑝(繪畫)
Kao Yi-huang(Painting)
款識|
國家施政,應本敦厚仁愛的精神,讓百姓安居樂業;使安邦治國之道,普濟天下,周乎萬物。孫中山先生繼承儒家仁愛思想、及西方博愛精神,為天地立心、為生民立命,深受世人推崇。
The administration of governments shall be based on honesty, sincerity, and benevolence, allowing people to live happily. The doctrines to bring peace and stability to the country shall also be applied to the whole world as well as on all creatures. The whole world holds Dr. Sun Yat Sen in high esteem for his dedication and commitment arising from the thought of benevolence of the Confucian school and the Western thought of philanthropy toward the revolution in China aiming for the long term peace and stability of the nation as well as the well-being of the people.
HTMLText_16302F93_2363_0DAE_41B5_DC0417A8277A_mobile.html = 安土敦仁 道濟天下
Being Content with Where We Live, Cultivating Good Nature of Philanthropy, and Relieving the Whole Country with Doctrines
60.2x59.5cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
林 榮森(書法)
Lin Rong-sen(Calligarphy)
高 義瑝(繪畫)
Kao Yi-huang(Painting)
款識|
國家施政,應本敦厚仁愛的精神,讓百姓安居樂業;使安邦治國之道,普濟天下,周乎萬物。孫中山先生繼承儒家仁愛思想、及西方博愛精神,為天地立心、為生民立命,深受世人推崇。
The administration of governments shall be based on honesty, sincerity, and benevolence, allowing people to live happily. The doctrines to bring peace and stability to the country shall also be applied to the whole world as well as on all creatures. The whole world holds Dr. Sun Yat Sen in high esteem for his dedication and commitment arising from the thought of benevolence of the Confucian school and the Western thought of philanthropy toward the revolution in China aiming for the long term peace and stability of the nation as well as the well-being of the people.
HTMLText_15E87349_2363_36BA_4196_C66B00C782F6_mobile.html = 安土敦仁 道濟天下
Being Content with Where We Live, Cultivating Good Nature of Philanthropy, and Relieving the Whole Country with Doctrines
60.2x59.5cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
林 榮森(書法)
Lin Rong-sen(Calligarphy)
高 義瑝(繪畫)
Kao Yi-huang(Painting)
款識|
國家施政,應本敦厚仁愛的精神,讓百姓安居樂業;使安邦治國之道,普濟天下,周乎萬物。孫中山先生繼承儒家仁愛思想、及西方博愛精神,為天地立心、為生民立命,深受世人推崇。
The administration of governments shall be based on honesty, sincerity, and benevolence, allowing people to live happily. The doctrines to bring peace and stability to the country shall also be applied to the whole world as well as on all creatures. The whole world holds Dr. Sun Yat Sen in high esteem for his dedication and commitment arising from the thought of benevolence of the Confucian school and the Western thought of philanthropy toward the revolution in China aiming for the long term peace and stability of the nation as well as the well-being of the people.
HTMLText_15E7C4FF_2363_3356_41B6_D82E620F65A1_mobile.html = 安土敦仁 道濟天下
Being Content with Where We Live, Cultivating Good Nature of Philanthropy, and Relieving the Whole Country with Doctrines
60.2x59.5cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
林 榮森(書法)
Lin Rong-sen(Calligarphy)
高 義瑝(繪畫)
Kao Yi-huang(Painting)
款識|
國家施政,應本敦厚仁愛的精神,讓百姓安居樂業;使安邦治國之道,普濟天下,周乎萬物。孫中山先生繼承儒家仁愛思想、及西方博愛精神,為天地立心、為生民立命,深受世人推崇。
The administration of governments shall be based on honesty, sincerity, and benevolence, allowing people to live happily. The doctrines to bring peace and stability to the country shall also be applied to the whole world as well as on all creatures. The whole world holds Dr. Sun Yat Sen in high esteem for his dedication and commitment arising from the thought of benevolence of the Confucian school and the Western thought of philanthropy toward the revolution in China aiming for the long term peace and stability of the nation as well as the well-being of the people.
HTMLText_90D886F4_D164_D254_41E4_6332088B1CAD_mobile.html = 安土敦仁 道濟天下
Being Content with Where We Live, Cultivating Good Nature of Philanthropy, and Relieving the Whole Country with Doctrines
60.2x59.5cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
林 榮森(書法)
Lin Rong-sen(Calligarphy)
高 義瑝(繪畫)
Kao Yi-huang(Painting)
款識|
國家施政,應本敦厚仁愛的精神,讓百姓安居樂業;使安邦治國之道,普濟天下,周乎萬物。孫中山先生繼承儒家仁愛思想、及西方博愛精神,為天地立心、為生民立命,深受世人推崇。
The administration of governments shall be based on honesty, sincerity, and benevolence, allowing people to live happily. The doctrines to bring peace and stability to the country shall also be applied to the whole world as well as on all creatures. The whole world holds Dr. Sun Yat Sen in high esteem for his dedication and commitment arising from the thought of benevolence of the Confucian school and the Western thought of philanthropy toward the revolution in China aiming for the long term peace and stability of the nation as well as the well-being of the people.
HTMLText_93594701_D0AD_33AF_41E5_71F44A19ACF3_mobile.html = 山居客來
Visitor to the Mountain Residence
152x69cm
彩墨、紙本 Color Ink , Paper
陳 士侯 Chen Shi-hou
款識|
丁巳年秋月。陳士侯。
HTMLText_93C6E00F_D0BC_CDB4_41B5_1115D6BBFED9_mobile.html = 岑參逢入京使
Cen Shen's Poem: On Meeting a Messenger to the Capital
198x89.2cm
書法、紙本 Calligraphy, Paper
吳 啟林 Wu Chi-lin
釋文|
故園東望路漫漫,雙袖龍鍾淚不乾。馬上相逢無紙筆,憑君傳語報平安。
款識|
岑參,唐邊塞詩代表人物,與高適並稱「高岑」,其逢入京使七絕,描寫詩人思鄉情懷,亦表達欲建功立業而開闊放達之胸襟。己亥夏,吳啟林書。
HTMLText_90DEBBDC_D16C_D254_41E2_26B16CE116D5_mobile.html = 平等互惠 交流合作
Interaction and Cooperation being Based on Equality and Reciprocity
69.4x59.8cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
蔡 明讚(書法)
Tsai Ming-tzann(Calligarphy)
林 進忠(繪畫)
Lin Chin-Chung(Painting)
款識|
臺灣與中國在歷史文化、血緣地緣各方面有密切的關係,但因戰爭及歷史因素,現階段兩岸處於分治狀態,當前經濟文化民間交流相當密切,雙方應揚棄「零和競局」,秉持中山先生主張平等互惠原則,增進交流合作。
Taiwan is closely related to Mainland China in various aspects of history, culture, ties of blood, and geographic ties. However, owing to wars and historical factors, the two sides across the Taiwan Strait are currently ruled separately. In view of the close exchange in economics and culture at non-governmental circles, both sides should abandon the “zero-sum game” and uphold the principle of equality and reciprocity advocated by Dr. Sun, and enhance exchange and mutual cooperation.
HTMLText_14F0FD8B_2361_0DBD_41AB_2CE014B48E11_mobile.html = 平等互惠 交流合作
Interaction and Cooperation being Based on Equality and Reciprocity
69.4x59.8cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
蔡 明讚(書法)
Tsai Ming-tzann(Calligarphy)
林 進忠(繪畫)
Lin Chin-Chung(Painting)
款識|
臺灣與中國在歷史文化、血緣地緣各方面有密切的關係,但因戰爭及歷史因素,現階段兩岸處於分治狀態,當前經濟文化民間交流相當密切,雙方應揚棄「零和競局」,秉持中山先生主張平等互惠原則,增進交流合作。
Taiwan is closely related to Mainland China in various aspects of history, culture, ties of blood, and geographic ties. However, owing to wars and historical factors, the two sides across the Taiwan Strait are currently ruled separately. In view of the close exchange in economics and culture at non-governmental circles, both sides should abandon the “zero-sum game” and uphold the principle of equality and reciprocity advocated by Dr. Sun, and enhance exchange and mutual cooperation.
HTMLText_14E09B33_2361_16ED_41A4_FA0787115149_mobile.html = 平等互惠 交流合作
Interaction and Cooperation being Based on Equality and Reciprocity
69.4x59.8cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
蔡 明讚(書法)
Tsai Ming-tzann(Calligarphy)
林 進忠(繪畫)
Lin Chin-Chung(Painting)
款識|
臺灣與中國在歷史文化、血緣地緣各方面有密切的關係,但因戰爭及歷史因素,現階段兩岸處於分治狀態,當前經濟文化民間交流相當密切,雙方應揚棄「零和競局」,秉持中山先生主張平等互惠原則,增進交流合作。
Taiwan is closely related to Mainland China in various aspects of history, culture, ties of blood, and geographic ties. However, owing to wars and historical factors, the two sides across the Taiwan Strait are currently ruled separately. In view of the close exchange in economics and culture at non-governmental circles, both sides should abandon the “zero-sum game” and uphold the principle of equality and reciprocity advocated by Dr. Sun, and enhance exchange and mutual cooperation.
HTMLText_15289D40_2361_32AA_41BC_0113B86AA0C6_mobile.html = 平等互惠 交流合作
Interaction and Cooperation being Based on Equality and Reciprocity
69.4x59.8cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
蔡 明讚(書法)
Tsai Ming-tzann(Calligarphy)
林 進忠(繪畫)
Lin Chin-Chung(Painting)
款識|
臺灣與中國在歷史文化、血緣地緣各方面有密切的關係,但因戰爭及歷史因素,現階段兩岸處於分治狀態,當前經濟文化民間交流相當密切,雙方應揚棄「零和競局」,秉持中山先生主張平等互惠原則,增進交流合作。
Taiwan is closely related to Mainland China in various aspects of history, culture, ties of blood, and geographic ties. However, owing to wars and historical factors, the two sides across the Taiwan Strait are currently ruled separately. In view of the close exchange in economics and culture at non-governmental circles, both sides should abandon the “zero-sum game” and uphold the principle of equality and reciprocity advocated by Dr. Sun, and enhance exchange and mutual cooperation.
HTMLText_14D0D880_2361_13AA_41A0_C0ECCFFE3E4A_mobile.html = 平等互惠 交流合作
Interaction and Cooperation being Based on Equality and Reciprocity
69.4x59.8cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
蔡 明讚(書法)
Tsai Ming-tzann(Calligarphy)
林 進忠(繪畫)
Lin Chin-Chung(Painting)
款識|
臺灣與中國在歷史文化、血緣地緣各方面有密切的關係,但因戰爭及歷史因素,現階段兩岸處於分治狀態,當前經濟文化民間交流相當密切,雙方應揚棄「零和競局」,秉持中山先生主張平等互惠原則,增進交流合作。
Taiwan is closely related to Mainland China in various aspects of history, culture, ties of blood, and geographic ties. However, owing to wars and historical factors, the two sides across the Taiwan Strait are currently ruled separately. In view of the close exchange in economics and culture at non-governmental circles, both sides should abandon the “zero-sum game” and uphold the principle of equality and reciprocity advocated by Dr. Sun, and enhance exchange and mutual cooperation.
HTMLText_90967AAE_D0AC_F2F5_41E9_411DE6486698_mobile.html = 張猛龍碑
The Zhang Menglong Stele
134x60cm
書法、紙本 Calligraphy, Paper
杜 忠誥 Tu Chung-kao
釋文|
氏煥天文,體承帝胤。神秀春方,靈源在震。積石千尋,長松萬仞。軒冕周漢,冠蓋魏晉。河靈岳秀,月起景飛。窮神開照,式誕英徽。高山仰止,從善如歸。
款識|
歲在丙辰初秋,本農杜忠誥背臨北魏張猛龍碑。
HTMLText_93C834A6_D0A5_76F4_41E6_7501A53ED76C_mobile.html = 承先啟後 繼往開來
Inheriting the Past, Ushering in the Future
90x35cm
書法、紙本 Calligraphy, Paper
杜 忠誥 Tu Chung-kao
釋文|
承先啟後。繼往開來。
款識|
杜忠誥書。
HTMLText_1617D91D_2361_12DA_41A0_75A7381DFC09_mobile.html = 服務人民 廉能政府
Administration of Capabilities and Probity to Serve the People
69.8x60.1cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
蕭 世瓊(書法)
Siao Shih-cyong(Calligarphy)
廖 美蘭(繪畫)
Liao Mei-lan(Painting)
款識|
民主時代,官吏為人民的公僕,應以服務人民為天職,中山先生云:「主權在民,官吏不過公僕之效能者。」他更主張:「造成萬能政府,為人民謀幸福」。今日世界各國主政者都應有此體認。
During the era of democracy, government officials are people's public servants and shall take serving people as their unshirkable responsibilities. Dr. Sun Yat Sen pointed out that “People are masters of the state while governmental officials are, in effect, just performing functions of public servants.” He further advocated that “An almighty government shall be established to serve the people for their well-being.” Those who assume political powers today in countries all over the world shall have such realization.
HTMLText_1672E602_2361_1EAF_419E_FA25AEDC6036_mobile.html = 服務人民 廉能政府
Administration of Capabilities and Probity to Serve the People
69.8x60.1cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
蕭 世瓊(書法)
Siao Shih-cyong(Calligarphy)
廖 美蘭(繪畫)
Liao Mei-lan(Painting)
款識|
民主時代,官吏為人民的公僕,應以服務人民為天職,中山先生云:「主權在民,官吏不過公僕之效能者。」他更主張:「造成萬能政府,為人民謀幸福」。今日世界各國主政者都應有此體認。
During the era of democracy, government officials are people's public servants and shall take serving people as their unshirkable responsibilities. Dr. Sun Yat Sen pointed out that “People are masters of the state while governmental officials are, in effect, just performing functions of public servants.” He further advocated that “An almighty government shall be established to serve the people for their well-being.” Those who assume political powers today in countries all over the world shall have such realization.
HTMLText_90C02E0E_D16D_75B5_41E1_A664B076FB9D_mobile.html = 服務人民 廉能政府
Administration of Capabilities and Probity to Serve the People
69.8x60.1cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
蕭 世瓊(書法)
Siao Shih-cyong(Calligarphy)
廖 美蘭(繪畫)
Liao Mei-lan(Painting)
款識|
民主時代,官吏為人民的公僕,應以服務人民為天職,中山先生云:「主權在民,官吏不過公僕之效能者。」他更主張:「造成萬能政府,為人民謀幸福」。今日世界各國主政者都應有此體認。
During the era of democracy, government officials are people's public servants and shall take serving people as their unshirkable responsibilities. Dr. Sun Yat Sen pointed out that “People are masters of the state while governmental officials are, in effect, just performing functions of public servants.” He further advocated that “An almighty government shall be established to serve the people for their well-being.” Those who assume political powers today in countries all over the world shall have such realization.
HTMLText_162A3D9F_2361_0DD6_41B3_E269C86657F4_mobile.html = 服務人民 廉能政府
Administration of Capabilities and Probity to Serve the People
69.8x60.1cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
蕭 世瓊(書法)
Siao Shih-cyong(Calligarphy)
廖 美蘭(繪畫)
Liao Mei-lan(Painting)
款識|
民主時代,官吏為人民的公僕,應以服務人民為天職,中山先生云:「主權在民,官吏不過公僕之效能者。」他更主張:「造成萬能政府,為人民謀幸福」。今日世界各國主政者都應有此體認。
During the era of democracy, government officials are people's public servants and shall take serving people as their unshirkable responsibilities. Dr. Sun Yat Sen pointed out that “People are masters of the state while governmental officials are, in effect, just performing functions of public servants.” He further advocated that “An almighty government shall be established to serve the people for their well-being.” Those who assume political powers today in countries all over the world shall have such realization.
HTMLText_1624AB6D_2361_1575_419B_608E59E9ADD6_mobile.html = 服務人民 廉能政府
Administration of Capabilities and Probity to Serve the People
69.8x60.1cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
劉 阿榮(撰文)
Liou A-rong(Author)
蕭 世瓊(書法)
Siao Shih-cyong(Calligarphy)
廖 美蘭(繪畫)
Liao Mei-lan(Painting)
款識|
民主時代,官吏為人民的公僕,應以服務人民為天職,中山先生云:「主權在民,官吏不過公僕之效能者。」他更主張:「造成萬能政府,為人民謀幸福」。今日世界各國主政者都應有此體認。
During the era of democracy, government officials are people's public servants and shall take serving people as their unshirkable responsibilities. Dr. Sun Yat Sen pointed out that “People are masters of the state while governmental officials are, in effect, just performing functions of public servants.” He further advocated that “An almighty government shall be established to serve the people for their well-being.” Those who assume political powers today in countries all over the world shall have such realization.
HTMLText_93D3213D_D0A4_CFD4_41D5_D163F1238683_mobile.html = 杜甫詠懷古跡五首
Du Fu's Five Poems: Reflections on Ancient Sites
200x90cm
書法、紙本 Calligraphy, Paper
吳 啟林 Wu Chi-lin
釋文|
支離東北風塵際,漂泊西南天地間。三峽樓臺淹日月,五溪衣服共雲山。羯胡事主終無賴,詞客哀時且未還。庾信平生最蕭瑟,暮年詩賦動江關。
搖落深知宋玉悲,風流儒雅亦吾師。悵望千秋一灑淚,蕭條異代不同時。江山故宅空文藻,雲雨荒臺豈夢思。最是楚宮俱泯滅,舟人指點到今疑。
羣山萬壑赴荊門,生長明妃尚有村。一去紫臺連朔漠,獨留青塚向黃昏。畫圖省識春風面,環珮空歸月夜魂。千載琵琶作胡語,分明怨恨曲中論。
蜀主窺吳幸三峽,崩年亦在永安宮。翠華想象空山裏,玉殿虛無野寺中。古廟杉松巢水鶴,歲時伏臘走村翁。武侯祠屋常鄰近,一體君臣祭祀同。
諸葛大名垂宇宙,宗臣遺像肅清高。三分割據紆籌策,萬古雲霄一羽毛。伯仲之間見伊呂,指揮若定失蕭曹。運移漢祚終難復,志決身殲軍務勞。
款識|
杜少陵詠懷古跡五首。己亥夏六月十五日,三友草堂吳啟林書。
HTMLText_EC3AF17F_D0E5_4E54_41C8_060CCBBA873E_mobile.html = 東漢史晨碑
Shih-chen Stele from the Eastern Han Dynasty
135x70cm
書法、紙本 Calligraphy, Paper
施 永華 Shih Yung-hua
釋文|
史君饗後,部史仇誧,縣吏劉耽等,補完里中道之周左牆垣壞決,作屋塗色,修通大溝,西流里水(外),南注城池。恐修縣吏斂民,侵擾百姓,自以城池道濡麥給令,還所斂民錢材。註:元杯無修字。
款識|
東漢史晨碑。施永華。
鈐印|
施印。永華。
HTMLText_93A8AFD0_D0A5_52AC_41D5_E2122F2A534F_mobile.html = 橫貫公路一角
A Scence from the Cross-lsland Highway
135x69cm
彩墨、紙本 Color Ink , Paper
林 進忠 Lin Chin-Chung
款識|
橫貫公路一角。丙辰之秌。林進忠。
HTMLText_90B0E9F2_D165_DE6D_4176_C54FC225D165_mobile.html = 水牛精神 歷久彌新
Learning Perseverance from Buffalos No Slackening of Effort with the Passage of Time
62x63cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
林 國章(撰文)
Lin Kuo-chang(Author)
林 隆達(書法)
Lin Long-da(Calligarphy)
孫 家勤(繪畫)
Sun Jia-cin(Painting)
款識|
一九一九年臺灣雕塑第一人黃土水以「山童吹笛」,又名「蕃童」作品入選第一屆日本帝展,並以「水牛群像」細緻傳達樸實靜謐的藝術情感,充分展現臺灣人民堅毅卓絕,綿延不斷的精神傳承。
In 1919, Huang Tu-shui, the No. 1 sculptor of Taiwan in his time was selected to participate in the imperial exhibition in Japan with his masterpiece "A country child playing a bamboo flute," or also known as "An aborigine child." Another masterpiece "A herd of buffalos" delicately conveyed the artistic feelings of simplicity and tranquility and manifested in full the long lasting spirits of persistence and perseverance of Taiwanese people.
HTMLText_1692970C_2321_1EBB_41C0_774B79DCA8BD_mobile.html = 水牛精神 歷久彌新
Learning Perseverance from Buffalos No Slackening of Effort with the Passage of Time
62x63cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
林 國章(撰文)
Lin Kuo-chang(Author)
林 隆達(書法)
Lin Long-da(Calligarphy)
孫 家勤(繪畫)
Sun Jia-cin(Painting)
款識|
一九一九年臺灣雕塑第一人黃土水以「山童吹笛」,又名「蕃童」作品入選第一屆日本帝展,並以「水牛群像」細緻傳達樸實靜謐的藝術情感,充分展現臺灣人民堅毅卓絕,綿延不斷的精神傳承。
In 1919, Huang Tu-shui, the No. 1 sculptor of Taiwan in his time was selected to participate in the imperial exhibition in Japan with his masterpiece "A country child playing a bamboo flute," or also known as "An aborigine child." Another masterpiece "A herd of buffalos" delicately conveyed the artistic feelings of simplicity and tranquility and manifested in full the long lasting spirits of persistence and perseverance of Taiwanese people.
HTMLText_16A1A4EC_2321_137B_41B3_AC1C1C7D37BE_mobile.html = 水牛精神 歷久彌新
Learning Perseverance from Buffalos No Slackening of Effort with the Passage of Time
62x63cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
林 國章(撰文)
Lin Kuo-chang(Author)
林 隆達(書法)
Lin Long-da(Calligarphy)
孫 家勤(繪畫)
Sun Jia-cin(Painting)
款識|
一九一九年臺灣雕塑第一人黃土水以「山童吹笛」,又名「蕃童」作品入選第一屆日本帝展,並以「水牛群像」細緻傳達樸實靜謐的藝術情感,充分展現臺灣人民堅毅卓絕,綿延不斷的精神傳承。
In 1919, Huang Tu-shui, the No. 1 sculptor of Taiwan in his time was selected to participate in the imperial exhibition in Japan with his masterpiece "A country child playing a bamboo flute," or also known as "An aborigine child." Another masterpiece "A herd of buffalos" delicately conveyed the artistic feelings of simplicity and tranquility and manifested in full the long lasting spirits of persistence and perseverance of Taiwanese people.
HTMLText_16B78306_2321_16B6_41B3_628A3359B910_mobile.html = 水牛精神 歷久彌新
Learning Perseverance from Buffalos No Slackening of Effort with the Passage of Time
62x63cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
林 國章(撰文)
Lin Kuo-chang(Author)
林 隆達(書法)
Lin Long-da(Calligarphy)
孫 家勤(繪畫)
Sun Jia-cin(Painting)
款識|
一九一九年臺灣雕塑第一人黃土水以「山童吹笛」,又名「蕃童」作品入選第一屆日本帝展,並以「水牛群像」細緻傳達樸實靜謐的藝術情感,充分展現臺灣人民堅毅卓絕,綿延不斷的精神傳承。
In 1919, Huang Tu-shui, the No. 1 sculptor of Taiwan in his time was selected to participate in the imperial exhibition in Japan with his masterpiece "A country child playing a bamboo flute," or also known as "An aborigine child." Another masterpiece "A herd of buffalos" delicately conveyed the artistic feelings of simplicity and tranquility and manifested in full the long lasting spirits of persistence and perseverance of Taiwanese people.
HTMLText_175040B8_2321_13DB_41C0_5EEA80CC5241_mobile.html = 水牛精神 歷久彌新
Learning Perseverance from Buffalos No Slackening of Effort with the Passage of Time
62x63cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
林 國章(撰文)
Lin Kuo-chang(Author)
林 隆達(書法)
Lin Long-da(Calligarphy)
孫 家勤(繪畫)
Sun Jia-cin(Painting)
款識|
一九一九年臺灣雕塑第一人黃土水以「山童吹笛」,又名「蕃童」作品入選第一屆日本帝展,並以「水牛群像」細緻傳達樸實靜謐的藝術情感,充分展現臺灣人民堅毅卓絕,綿延不斷的精神傳承。
In 1919, Huang Tu-shui, the No. 1 sculptor of Taiwan in his time was selected to participate in the imperial exhibition in Japan with his masterpiece "A country child playing a bamboo flute," or also known as "An aborigine child." Another masterpiece "A herd of buffalos" delicately conveyed the artistic feelings of simplicity and tranquility and manifested in full the long lasting spirits of persistence and perseverance of Taiwanese people.
HTMLText_16DEB879_2321_135D_41BA_17F9D37175BE_mobile.html = 水牛精神 歷久彌新
Learning Perseverance from Buffalos No Slackening of Effort with the Passage of Time
62x63cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
林 國章(撰文)
Lin Kuo-chang(Author)
林 隆達(書法)
Lin Long-da(Calligarphy)
孫 家勤(繪畫)
Sun Jia-cin(Painting)
款識|
一九一九年臺灣雕塑第一人黃土水以「山童吹笛」,又名「蕃童」作品入選第一屆日本帝展,並以「水牛群像」細緻傳達樸實靜謐的藝術情感,充分展現臺灣人民堅毅卓絕,綿延不斷的精神傳承。
In 1919, Huang Tu-shui, the No. 1 sculptor of Taiwan in his time was selected to participate in the imperial exhibition in Japan with his masterpiece "A country child playing a bamboo flute," or also known as "An aborigine child." Another masterpiece "A herd of buffalos" delicately conveyed the artistic feelings of simplicity and tranquility and manifested in full the long lasting spirits of persistence and perseverance of Taiwanese people.
HTMLText_1B7F06C7_2321_1FB6_41B5_BBC61A6C5848_mobile.html = 水牛精神 歷久彌新
Learning Perseverance from Buffalos No Slackening of Effort with the Passage of Time
62x63cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
林 國章(撰文)
Lin Kuo-chang(Author)
林 隆達(書法)
Lin Long-da(Calligarphy)
孫 家勤(繪畫)
Sun Jia-cin(Painting)
款識|
一九一九年臺灣雕塑第一人黃土水以「山童吹笛」,又名「蕃童」作品入選第一屆日本帝展,並以「水牛群像」細緻傳達樸實靜謐的藝術情感,充分展現臺灣人民堅毅卓絕,綿延不斷的精神傳承。
In 1919, Huang Tu-shui, the No. 1 sculptor of Taiwan in his time was selected to participate in the imperial exhibition in Japan with his masterpiece "A country child playing a bamboo flute," or also known as "An aborigine child." Another masterpiece "A herd of buffalos" delicately conveyed the artistic feelings of simplicity and tranquility and manifested in full the long lasting spirits of persistence and perseverance of Taiwanese people.
HTMLText_1B199493_2321_13AE_41BA_1FC223F9BB60_mobile.html = 水牛精神 歷久彌新
Learning Perseverance from Buffalos No Slackening of Effort with the Passage of Time
62x63cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
林 國章(撰文)
Lin Kuo-chang(Author)
林 隆達(書法)
Lin Long-da(Calligarphy)
孫 家勤(繪畫)
Sun Jia-cin(Painting)
款識|
一九一九年臺灣雕塑第一人黃土水以「山童吹笛」,又名「蕃童」作品入選第一屆日本帝展,並以「水牛群像」細緻傳達樸實靜謐的藝術情感,充分展現臺灣人民堅毅卓絕,綿延不斷的精神傳承。
In 1919, Huang Tu-shui, the No. 1 sculptor of Taiwan in his time was selected to participate in the imperial exhibition in Japan with his masterpiece "A country child playing a bamboo flute," or also known as "An aborigine child." Another masterpiece "A herd of buffalos" delicately conveyed the artistic feelings of simplicity and tranquility and manifested in full the long lasting spirits of persistence and perseverance of Taiwanese people.
HTMLText_1B349263_2321_176D_41A2_7DFF5AB6B8B8_mobile.html = 水牛精神 歷久彌新
Learning Perseverance from Buffalos No Slackening of Effort with the Passage of Time
62x63cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
林 國章(撰文)
Lin Kuo-chang(Author)
林 隆達(書法)
Lin Long-da(Calligarphy)
孫 家勤(繪畫)
Sun Jia-cin(Painting)
款識|
一九一九年臺灣雕塑第一人黃土水以「山童吹笛」,又名「蕃童」作品入選第一屆日本帝展,並以「水牛群像」細緻傳達樸實靜謐的藝術情感,充分展現臺灣人民堅毅卓絕,綿延不斷的精神傳承。
In 1919, Huang Tu-shui, the No. 1 sculptor of Taiwan in his time was selected to participate in the imperial exhibition in Japan with his masterpiece "A country child playing a bamboo flute," or also known as "An aborigine child." Another masterpiece "A herd of buffalos" delicately conveyed the artistic feelings of simplicity and tranquility and manifested in full the long lasting spirits of persistence and perseverance of Taiwanese people.
HTMLText_1BD5505B_2321_135E_41A0_E60A17D2844D_mobile.html = 水牛精神 歷久彌新
Learning Perseverance from Buffalos No Slackening of Effort with the Passage of Time
62x63cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
林 國章(撰文)
Lin Kuo-chang(Author)
林 隆達(書法)
Lin Long-da(Calligarphy)
孫 家勤(繪畫)
Sun Jia-cin(Painting)
款識|
一九一九年臺灣雕塑第一人黃土水以「山童吹笛」,又名「蕃童」作品入選第一屆日本帝展,並以「水牛群像」細緻傳達樸實靜謐的藝術情感,充分展現臺灣人民堅毅卓絕,綿延不斷的精神傳承。
In 1919, Huang Tu-shui, the No. 1 sculptor of Taiwan in his time was selected to participate in the imperial exhibition in Japan with his masterpiece "A country child playing a bamboo flute," or also known as "An aborigine child." Another masterpiece "A herd of buffalos" delicately conveyed the artistic feelings of simplicity and tranquility and manifested in full the long lasting spirits of persistence and perseverance of Taiwanese people.
HTMLText_967D364A_D16B_75BD_41D4_AD408C77C353_mobile.html = 溪戲
River Play
116x60cm
彩墨、紙本 Color Ink , Paper
羅 仁志 Lo Jen-chih
款識|
歲在辛未年桂月下浣。羅仁志寫於臺北。
鈐印|
羅。仁志。
HTMLText_BCEDF779_A106_6430_41B0_D91D663FD56D_mobile.html = 漢隸禮運大同篇
The World of Great Unity in Han Clerical Script
133x66cm
書法、紙本 Calligraphy, Paper
林 進忠 Lin Chin-Chung
釋文|
大道之行也,天下為公,選賢與能,講信修睦,故人不獨親其親,不獨子其子,使老有所終,壯有所用,幼有所長,(鰥)矜寡孤獨廢疾者皆有所養;男有分,女有歸,貨惡其棄於地也不必藏於己,力惡其不出於身也不必為己,是故謀閉而不興,盜竊亂賊而不作,故外戶而不閉,是謂大同。
款識|
晴嵐。林進忠。
HTMLText_969F677C_D0E5_5255_41E0_0F390938F028_mobile.html = 節臨朱雨田碑
Excerptd Copy of the Zhu Yu-tian Stele
136x67cm
書法、紙本 Calligraphy, Paper
林 隆達 Lin Long-da
釋文|
封,家承儒業,生而和靜,屢試,提學以文高見疑。道光之季,農傷穀賤,千錢三石,富室困弊(敝),君假館城中,獨債千斛。明年大水,常澧流離,穀賈十倍又五,遂擅其利。乃益招流民,收集材木,營度隙地,百堵並興。城鄉居宅至今弘麗,本其略也。明年寇起,辟地江湖。俄東南瓦解,遂歸潛隱。文武龍驤,獨無所與,禕隋十年,以醫自晦。
款識|
歲在庚申仲秋之月下澣,節臨朱雨田碑,林隆達。
HTMLText_93D4C57E_D0BF_5655_41C7_ADDF41537FC5_mobile.html = 篆書中堂
Seal Script Central Scroll
135x69cm
書法、紙本 Calligraphy, Paper
吳 啟林 Wu Chi-lin
釋文|
好雨知時節,當春乃發生。隨風潛入夜,潤物細無聲。野徑雲俱黑,江船火獨明。曉看紅溼處,花重錦官城。
款識|
唐杜子美春夜喜雨詩。歲在庚辰新春之月中澣,吳啟林瑑於彰化。
HTMLText_93C5CAB4_D0BC_D2D5_41A6_CC6CD1093DC6_mobile.html = 篆書先賢勵志詩
Ancient Sage's Inspirational Poem in Seal Script
131x70cm
書法、紙本 Calligraphy, Paper
蕭 世瓊 Siao Shih-cyonh
釋文|
安心恬蕩。棲志浮雲。體之以質。彪之以文。如彼南畮。力耒既勤。藨蓘致功。必有豐殷。水積成淵。載漣載清。土積成山。歊蒸郁冥。山不讓塵。川不辭盈。勉志含宏,以隆德聲。
款識|
張茂先勵志詩。歲在丙寅仲夏之初。蕭世瓊學篆。
鈐印|
蕭世瓊。岑海。
HTMLText_EDA05267_D0A5_D274_41E2_0F1EE05277CE_mobile.html = 篆書詠茶聯
Ode to Tea in Seal Script
180x45cm
書法、紙本 Calligraphy, Paper
葉 宗河 Yeh Tsung-ho
釋文|
雀舌未經三月雨。龍芽已點上時春。
款識|
戰國楚文字結構因勢生形、'變化多端、筆法流暢,浸淫其中頗有所得。癸卯夏葉宗河書詠茶聯。
HTMLText_914C737E_D16C_F254_41D7_A1D21FE20DCE_mobile.html = 米點筆意煙雨情
Ink Dots Misty Rain
131x69cm
彩墨、紙本 Color Ink , Paper
羅 仁志 Lo Jen-chih
款識|
米點筆意煙雨情。二O一O年夏日,羅仁志寫。
鈐印|
羅印。仁志。意與古會。
HTMLText_96DFC461_D16B_D66C_41D6_4113E33545A6_mobile.html = 荒城之月
Moon over a Forsaken Town
136x70cm
彩墨、紙本 Color Ink , Paper
葉 宗河 Yeh Tsung-ho
款識|
今年元旦到南投時,在路上看見了被地震震毀掉的房屋,因而感受到大自然力量的可怕。庚辰年二月,葉宗河畫並誌。
HTMLText_EDA70A82_D0E4_F2AD_41E6_960C7D278B4D_mobile.html = 蘇軾飲湖上初晴後雨
Su Shi's Poem: Drinking by the West Lake after Rain
131x32cm
書法、紙本 Calligraphy, Paper
林 榮森 Lin Rong-sen
釋文|
水光瀲灧晴方好,山色空濛雨亦奇。 欲把西湖比西子,淡妝濃抹總相宜。
款識|
蘇軾飲湖上初晴後雨。一九九七年八月,林榮森。
HTMLText_EC390A7C_D09B_5255_41B1_EA058C524134_mobile.html = 行書
Running Script
136x68cm
書法、紙本 Calligraphy, Paper
吳 啟禎 Wu Chi-jen
釋文|
閒中雲(吟)鬢改,多事與心違。客路逢人少,家書入闕稀。秋聲落晚木,夜魄透寒衣。幾想林間社,他年許共歸。澹然塵慮絶,禪外苦風騷。性覺眠雲僻,名因背俗髙。水煙蒸紙帳,寒髪溼(澀)銅刀。幾宿秋江寺,閒吟聽夜濤。
款識|
禪詩二首。丁卯仲秋,吳啟禎。
鈐印|
吳啟禎。兆祥。仁者壽。如意。
HTMLText_ED52DB8A_D09F_52BC_41D3_5292D768EE5B_mobile.html = 謝靈運詩齋中讀書
Xie Ling-yun's Poem: Reading in the Study
133x66cm
書法、紙本 Calligraphy, Paper
吳 啟禎 Wu Chi-jen
釋文|
昔余遊京華,未嘗廢丘壑。矧乃歸山川,心跡雙寂寞。虛館絶諍訟,空庭來鳥雀。臥疾豐暇豫,翰墨時閒作。懐抱觀古今,寢食展戲謔。既笑沮溺苦,又哂子雲閣。執㦸亦以疲,耕稼豈云樂。萬事難並歡,達生幸可託。
款識|
謝靈運詩齋中讀書。庚寅夏月。吳啟禎書。
HTMLText_9197D4A2_D16F_36ED_41E3_1A8D80105BFB_mobile.html = 迎春賀年國運昌隆
Wishing for National Prosperity in the Spring Festival
110x116cm
彩墨、紙本 Color Ink , Paper
董 學武 Dong Shueh-wu
款識|
迎春賀年國運昌隆,一九九八年歲次戊寅春節寫好萊塢電影院前人潮洶湧,象徵著新的一年,社會一片祥和暨欣欣向榮景象。董學武。
鈐印|
董。學武。閒酉在。耤此消磨歲月。
HTMLText_937D7592_D0AC_F6AD_41E3_0AF18ED264F5_mobile.html = 達見水庫
Deji Reservoir
120x60cm
彩墨、紙本 Color Ink , Paper
謝 榮源 Hsieh Rong-yuan
款識|
達見水庫。己未之秋。謝榮源。
鈐印|
謝榮源印。國父紀念館珍藏。
HTMLText_93FFA10F_D0AD_4FB3_41A9_77CDA01D5243_mobile.html = 陳少白謁鄭國姓廟詩
Chen Shao-bai's Poem: A Visit to Koxinga Shrine
137x70cm
書法、紙本 Calligraphy, Paper
杜 忠誥 Tu Chung-kao
釋文|
鑄金型得像賢王,雄鬼應羞周粟香。 繼絕有心難擇地,招魂無處獨登堂。 偏安事業齎愁沒,不肖兒孫繫練降。 若使英奇今尚在,大功何足數臺疆。
款識|
陳少白謁鄭國姓廟詩。杜忠誥書。
HTMLText_EDA4AD67_D0AC_F674_41D8_72855F07D1ED_mobile.html = 陸龜蒙詩
Lu Gui-meng's Poem
180x45cm
書法、紙本 Calligraphy, Paper
葉 宗河 Yeh Tsung-ho
釋文|
無突抱輕嵐,有煙映初旭。盈鍋玉泉沸,滿甑雲芽熟。奇香襲春桂,嫩色凌秋菊。煬者若吾徒,年年看不足。
款識|
癸卯之夏葉宗河。
HTMLText_93FFDE4F_D0AB_55B4_41E5_FF7115BEA17B_mobile.html = 隸書魯迅題三義塔詩句
Lu Xun's Poem on Sanyi Pagoda in Clerical Script
96x174.5cm
書法、紙本 Calligraphy, Paper
杜 忠誥 Tu Chung-kao
釋文|
度盡劫波兄弟在,相逢一笑泯恩仇。
款識|
魯迅題三義塔詩句。研農杜忠誥書。
HTMLText_15EC2347_236F_16B5_4173_85831B92B52F_mobile.html = 革命起源 思想傳承
Being Forerunner of the Revolution, Dr. Sun passed down his ideology
64x59.7cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
陳 立文(撰文)
Chen Li-wen(Author)
連 勝彥(書法)
Lian Shenq-yann(Calligarphy)
董 學武(繪畫)
Tung Hsueh-wu(Painting)
款識|
中山先生傳承洪門革命思想,這種革命思想透過羅福星、林獻堂、蔣渭水等人,以及臺灣文化協會、臺灣革命同盟會等團體,鼓勵臺灣民眾爭自由、爭平等、爭人權,發揮莫大影響。
The revolutionary ideology of Dr. Sun Yat Sen was inherited from Hong Men Union. Through the advocacy by Luo Fu-xing, Lin Xian-tang, and Jiang Wei-shui as well as Taiwan Cultural Association and Taiwan Revolution Alliance, such ideology caused great influence on Taiwan and inspired Taiwanese people to strive for liberty, equality, and human rights.
HTMLText_15CE1F05_236F_0EB5_41B8_2EFAEC33B03F_mobile.html = 革命起源 思想傳承
Being Forerunner of the Revolution, Dr. Sun passed down his ideology
64x59.7cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
陳 立文(撰文)
Chen Li-wen(Author)
連 勝彥(書法)
Lian Shenq-yann(Calligarphy)
董 學武(繪畫)
Tung Hsueh-wu(Painting)
款識|
中山先生傳承洪門革命思想,這種革命思想透過羅福星、林獻堂、蔣渭水等人,以及臺灣文化協會、臺灣革命同盟會等團體,鼓勵臺灣民眾爭自由、爭平等、爭人權,發揮莫大影響。
The revolutionary ideology of Dr. Sun Yat Sen was inherited from Hong Men Union. Through the advocacy by Luo Fu-xing, Lin Xian-tang, and Jiang Wei-shui as well as Taiwan Cultural Association and Taiwan Revolution Alliance, such ideology caused great influence on Taiwan and inspired Taiwanese people to strive for liberty, equality, and human rights.
HTMLText_15D8F12D_236F_12FA_41A9_90DBF79C1419_mobile.html = 革命起源 思想傳承
Being Forerunner of the Revolution, Dr. Sun passed down his ideology
64x59.7cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
陳 立文(撰文)
Chen Li-wen(Author)
連 勝彥(書法)
Lian Shenq-yann(Calligarphy)
董 學武(繪畫)
Tung Hsueh-wu(Painting)
款識|
中山先生傳承洪門革命思想,這種革命思想透過羅福星、林獻堂、蔣渭水等人,以及臺灣文化協會、臺灣革命同盟會等團體,鼓勵臺灣民眾爭自由、爭平等、爭人權,發揮莫大影響。
The revolutionary ideology of Dr. Sun Yat Sen was inherited from Hong Men Union. Through the advocacy by Luo Fu-xing, Lin Xian-tang, and Jiang Wei-shui as well as Taiwan Cultural Association and Taiwan Revolution Alliance, such ideology caused great influence on Taiwan and inspired Taiwanese people to strive for liberty, equality, and human rights.
HTMLText_15F0153D_236F_12DA_419E_39FC21C3E633_mobile.html = 革命起源 思想傳承
Being Forerunner of the Revolution, Dr. Sun passed down his ideology
64x59.7cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
陳 立文(撰文)
Chen Li-wen(Author)
連 勝彥(書法)
Lian Shenq-yann(Calligarphy)
董 學武(繪畫)
Tung Hsueh-wu(Painting)
款識|
中山先生傳承洪門革命思想,這種革命思想透過羅福星、林獻堂、蔣渭水等人,以及臺灣文化協會、臺灣革命同盟會等團體,鼓勵臺灣民眾爭自由、爭平等、爭人權,發揮莫大影響。
The revolutionary ideology of Dr. Sun Yat Sen was inherited from Hong Men Union. Through the advocacy by Luo Fu-xing, Lin Xian-tang, and Jiang Wei-shui as well as Taiwan Cultural Association and Taiwan Revolution Alliance, such ideology caused great influence on Taiwan and inspired Taiwanese people to strive for liberty, equality, and human rights.
HTMLText_90B3CF3E_D165_53D5_41DB_DB66888454CB_mobile.html = 革命起源 思想傳承
Being Forerunner of the Revolution, Dr. Sun passed down his ideology
64x59.7cm
書法、彩墨、紙本
Calligraphy, Color Ink , Paper
陳 立文(撰文)
Chen Li-wen(Author)
連 勝彥(書法)
Lian Shenq-yann(Calligarphy)
董 學武(繪畫)
Tung Hsueh-wu(Painting)
款識|
中山先生傳承洪門革命思想,這種革命思想透過羅福星、林獻堂、蔣渭水等人,以及臺灣文化協會、臺灣革命同盟會等團體,鼓勵臺灣民眾爭自由、爭平等、爭人權,發揮莫大影響。
The revolutionary ideology of Dr. Sun Yat Sen was inherited from Hong Men Union. Through the advocacy by Luo Fu-xing, Lin Xian-tang, and Jiang Wei-shui as well as Taiwan Cultural Association and Taiwan Revolution Alliance, such ideology caused great influence on Taiwan and inspired Taiwanese people to strive for liberty, equality, and human rights.
HTMLText_EDC0B6B0_D0ED_32ED_41E7_36D88C284A49_mobile.html = 黎遂球琉璃盤雙江魚記
Li Sui-qiu's Reflection on Goldfish in a Glazed Bowl
136x68cm
書法、紙本 Calligraphy, Paper
林 榮森 Lin Rong-sen
釋文|
琉璃為盎如珠,形可徑寸,注水焉,畜小紅魚一雙,懸於庭際。水與琉璃一色,其於空虛亦復一色。魚視之,不知其幾何水。魚因琉璃得影,近或小,遠或大;以其形圓,故影或見而交出。魚觸而相戲,又不知其幾何魚。人視魚如交遊於空虛,又不知其為魚為影。人所也,魚安得樂。魚之水僅可以寸,並以身入焉,而以為人玩,魚則何樂,是烏知其不然。魚不知其幾何水,觸而宛轉,動而不已,與影相戲,近而復遠,又不知其幾何魚,魚故甚樂如江湖矣。故夫人之生,僅可百年,而讀書挾策,以圖未然之富貴;為詩賦,弄筆墨,以求傳其名;又進焉而建立功德,以與乎古者聖賢之列。能者為之,不能者強而不息。窮焉而自以為可通。幻焉而自以為真,困頓焉而自以為猶多餘地,渺小焉而自以為甚尊。且夫人之遊於世中,何必其不然,而亦何必不然。崇禎歲壬午,粵燈事甚勝,有鬻是而綴綵花。使魚視之,又將以為林池草樹,而以為遊觀之戲者。予偶得百錢易之,記焉,將以問夫得道者。
款識|
歲在癸酉之秋,鈺旂林榮森。
鈐印|
林榮森。吉祥。古趣。
HTMLText_9697ABDB_D165_5253_41D5_E36CCBB007F4_mobile.html = 龍洞奇岩
Strange Rocks of Dragon Cave
95x217cm
彩墨、紙本 Color Ink , Paper
謝 榮源 Hsieh Rong-yuan
款識|
寶島東北部海岸,怪石嶙峋,誠為自然之地理教室,龍洞海崖岩層紋理多變化,有馬牙、折帶、斧劈皴法特色,在朝陽之下更顯陽剛壯麗之美。謝榮源。
鈐印|
謝。榮源。
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## Tour
### Description
tour.description = 2025國立國父紀念館典藏品交流展
### Title
tour.name = 全民藝享—讓美學走進你的城市
## VR Menu
### Text
MenuItem_FE694FFD_D61E_1DA1_41EA_1C64D84E8FA8.label = 吾土.吾民(書畫)
MenuItem_FE168FFD_D61E_1DA1_41AB_ED02EA2B6A19.label = 承先.繼往(書法)
MenuItem_FE695FFD_D61E_1DA1_41E9_ABD77E63A51F.label = 筆墨.寫心(水墨)
MenuItem_FE16AFFD_D61E_1DA1_41C2_A06AF201EBD7.label = 策展論述
MenuItem_FE697FFD_D61E_1DA1_41E3_756A52728C63.label = 載道.抒懷(書法)
Menu_861F4623_90F5_5F28_41DB_EB8566565658.label = 選擇分區