【展览名称】来自北方的凝视—郭雪湖与他的南国世界
【展讯连结】http://www.lianggallery.com/?p=18125
【展览地点】尊彩艺术中心2楼（台北市内湖区瑞光路366号）
【开放时间】周二至周日11：00-18：00
【策展人/主办单位】吴超然/郭雪湖基金会
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【展讯/新闻正文】
尊彩艺术中心将荣幸推出台湾前辈代表艺术家郭雪湖回顾展“来自北方的凝视－郭雪湖与
他的南国世界”，并于2020.09.05（六）下午三点举行展览开幕，诚挚邀请您的参与！
“来自北方的凝视─郭雪湖与他的南国世界”
The Gaze from the North: Kuo Hsueh-Hu and His Southern World
展期：2020.09.05（六）—2020.10.25（日）
媒体记者会：2020.09.03（四）15:00
开幕：2020.09.05（六）15:00
地点：尊彩艺术中心1、2楼
艺术家：郭雪湖、郭林阿琴
策展人：吴超然
座谈会：2020.09.12（六）15:00
座谈会与谈人：策展人 东海大学美术系助理教授 吴超然、潘信华
讲座：2020.09.20（日）15:00
讲者：东海大学美术系教授暨主任 李贞慧
《来自北方的凝视─郭雪湖与他的南国世界》展览，获得郭雪湖基金会鼎力协助，由东海
大学助理教授吴超然策展，将于9月5日于台北内湖尊彩艺术中心展出。本次展出郭雪湖（
1908-2012）的作品，横跨他在台湾时期，以及海外时期的精彩钜作，包括了1927年首次
获得台展入选的〈松壑飞泉〉、〈圆山附近〉（色稿）、1932年的〈薰苑〉，以及诸多鲜
少曝光的花卉与旅游写生之作。除此之外，郭雪湖夫人林阿琴女士也有七件作品参展，期
能使观众见证这对结褵超过70年的夫妻，如何在艰困的艺术道路上，彼此的知遇之恩。
南方与北方的对立，早在中国的历史就已经出现。从华夏中土的观点而言，南蛮（此外，
还有北狄、西戎与东夷），就是如此的产物。从15世纪大航海时代的来临，地理的知识伴
随着文艺复兴以来的天文与测量技术，世界观或是地理中心论，也就从此改观。日本在安
土桃山时代（1568-1603），把来自葡萄牙、西班牙的贸易船员，统称为南蛮（Nan-ban）
；这是因为来自欧洲的船队行经台湾海峡或是菲律宾海北上的船队是由南而北进入日本的
海域。
1894年日清甲午战争之后，台湾与澎湖被割让给日本成为殖民地。从此，台湾接受日本的
统治长达50年。郭雪湖的艺术启蒙以及创作最为勤奋的阶段就是在日本殖民统治台湾的时
期。1945年太平洋战争结束，国民政府来台接收。但是1947年的“二二八”事件爆发之后
，台籍留日画家陈澄波竟然在嘉义遭到枪决；随后的“清乡运动”与1949年颁布的政治戒
严令，立即使受到日治时期美术教育的台籍艺术家陷入恐慌。1950年代，由于“台湾省全
省美术展览会”开始出现对于台籍画家东洋画作品的归属问题的质疑，进而发展成为日后
的“正统国画之争”。加上全省美展的评审结构陆续出现由外省籍人士取代台湾籍画家的
诸多问题，郭雪湖毅然的在1964年10月离台湾，远赴日本，从此开始他长达23年的海外漂
泊，一直到1987年台湾宣布解严前返回故乡。
东洋画、胶彩画、日本画与“正统”国画之间，到底是什么关系？1950年代台湾省全省美
术展览的评审机制，又何以令郭雪湖远走他乡？“来自北方的凝视”，或是来自当年的日
本美术教育与帝国主义，又如何一方面形塑了郭雪湖的细密画风，同时又如何制约了他的
视觉美感？《来自北方的凝视─郭雪湖与他的南国世界》展览，希望能够透过这些作品的
呈现，以及策展文章的梳理，提供给台湾美术史一个不同的研究观点。
With the best support from Kuo Hsueh-Hu Foundation, The Gaze from the North: K
uo Hsueh-Hu and His Southern World will open on September 5 at Liang Gallery i
n Neihu, Taipei. The exhibition curated by WU Chao-Jen, the Assistant Professo
r of Department of Fine Arts at Tunghai University, features the masterpieces
by KUO Hsueh-Hu (1908-201) of his years in Taiwan and overseas, including Stre
am through Pine Ravine and Scenery Near Yuan Shan (preliminary drawing) in 192
7, with which he was selected by the first Taiwan Art Exhibition, and Chinese
Garden in 1932, along with a great number of the rarely-seen flower paintings
and travel paintings. The exhibition also includes 7 artworks by Madame LIN A-
Chin, the wife of KUO Hsueh-Hu, presented as a testimony to the viewers of how
the seven decades of a marriage of mutual understanding had supported the hus
band and wife through the challenges in life as well as in arts. Through its e
xhibits and curatorial narrative, The Gaze from the North: Kuo Hsueh-Hu and Hi
s Southern World hopes to offer a different academic perspective for the art h
istory of Taiwan.
During the 1950s, the “Provincial Art Exhibition” began to question the cate
gorization of “Dongyang painting” (东洋画, often used to refer to the painti
ng featuring a Japanese style) by Taiwanese painters, consequently leading to
the argument over the “legitimate national painting.” The controversy was he
ated up when the Provincial Art Exhibition jury committee experienced a struct
ure shift as the Taiwanese painters in the committee were gradually replaced b
y the mainlanders. Therefore, the determined KUO Hsueh-Hu left Taiwan for Japa
n in the October of 1964, where he had lived away from home for 23 years until
his return in 1987 on the eve of the announced lifting of Martial Law.
How can we define the relation among Dongyang painting, gouache painting, Japa
nese painting, and the “legitimate” national painting? Why did the Instituti
on of the Provincial Art Exhibition committee drive KUO Hsueh-Hu away from his
hometown? How did “the gaze from the north,” or should we understand it as
the art education and imperialism imposed during the Japanese occupation, shap
e the exquisiteness of KUO’s arts as it also confined his visual aesthetics?
Through its exhibits and curatorial narrative, The Gaze from the North: Kuo Hs
ueh-Hu and His Southern World hopes to offer a different academic perspective
for the art history of Taiwan.