石川欽一郎、倪蔣懷、陳澄波、余承堯、呂鐵州、吳李玉哥、郭柏川、廖繼春、李梅樹、藍蔭鼎、顏水龍、楊啟東、林玉山、陳慧坤、李澤藩、陳進、沈耀初、楊三郎、郭雪湖、李石樵、葉火城、張萬傳、蔡蔭堂、劉啟祥、葉醉白、張啟華、陳德旺、許玉燕、吳棟材、陳敬輝、蘇秋東、袁樞真、劉其偉、洪瑞麟、陳永森、陳清汾、陳庭詩、張義雄、呂基正、鄭世璠、江寶珠、林之助、鐘泗濱、許深州、蔡草如、羅美棧、許武勇、洪通、廖德政

Ishikawa Kinichiro, Ni Chiang-Huai, Chen Cheng-Po, Yu Cheng-Yao, Lu Tieh-Chou, Wu Li Yu-Ge, Kuo Po-Chuan, Liao Chi-Chun, Li Mei-Shu, Lan Yin-Ding, Yan Shuei-Long, Yang Chi-Tong, Lin Yu-Shan, Chen Hui-Kun, Lee Tze-Fan, Chen Chin, Shen Yau-Chu, Yang San-Lang, Kuo Hsueh-Hu, Li Shih-Chiao, Yeh Huo-Cheng, Chang Wan-Chuan, Tsai In-Tang, Liu Chi-Hsiang, Yeh Tsui-Pai, Chang Chi-Hua, Chen Te-Wang, Syu Yu-Yan, Wu Dung-Tsai, Chen Jing-Hui, Su Chiou-Dung, Yuan Shu-Jen, Liu Max C.W., Hung Rui-Lin, Chen Yung-Sen, Chen Ching-Fen, Chen Ting-Shih, Chang Yi-Hsiung, Lu Ghi-Cheng, Cheng Shih-Fan, Chiang Pao-Chu, Lin Chih-Chu, Cheong Soo-Pieng, Hsu Chen-Chou, Tsai Cao-Ju, Lo Mei-Chan, Hsu Wu-Yung, Hung Tong, Liao Te-Cheng.

蓊鬱─百歲前輩典範 Luxuriance―Paragons of Centenarians

陳其寬、吳承硯、蔣瑞坑、林顯模、王藍、金潤作、蕭如松、陳慶熇、席德進、徐藍松、張炳南、沈國仁、李洸洋、江兆申、楊乾鐘、賴傳鑑、沈哲哉、林天瑞、郭東榮、江漢東、曾培堯、張炳堂、何肇衢、吳昊、何文杞、陳銀輝、鄭善禧、秦松、馮騰慶、林壽宇、林顯宗、高山嵐、陳景容、羅清雲、曾茂煌、王守英、梁丹丰、董日福、歐豪年、陳誠、陳瑞福、陳正雄、潘景友

Chen Chi-Kuan, Wu Cheng-Yen, Chiang Jui-Keng, Lin Shian-Mo, Wang Lan, Chin Jun-Tso, Hsiao Ju-Sung, Chen Ching-Kau, Shiy Der-Jinn, Shiu Lan-Sung, Chang Ping-Nan, Shen Kuo-Jen, Li Kuang-Yang, Chiang Chao-Shen, Yang Chien-Chung, Lai Chuan-Chien, Shen Che-Tsai, Lin Tian-Ruei, Guo Dung-Rung, Chiang Han-Tung, Tseng Pei-Yao, Chang Ping-Tang, Ho Chao-Chu, Wu Hao, Boonky Ho, Chen Yin-Huei, Cheng Shan-Hsi, Chin Sung, Feng Teng-Ching, Richard Lin, Lin Hsien-Tsung, Gao Shan-Lan, Chen Ching-Jung, Lo Ching-Yun, Tzeng Mau-Huang, Wang Shou-Ying, Liang Dan-Feng, Dong Ri-Fu, Ou Hau-Nian, Chen Cheng, Chen Ruei-Fu, Chen Cheng-Hsiung, Pan Ching-Yu.

豐采─豐實、沈澱、光采 Diversity―Abundance, Contemplation and Radiance

張義、陳錦芳、廖修平、林智信、蘇嘉男、陳國展、杜若洲、戚維義、藍清輝、林榮德、王再添、張秋台、謝里法、朱銘、劉耿一、潘朝森、陳輝東、侯壽峰、黃照芳、楊興生、石嵩、林惺嶽、謝孝德、陳英德、李茂宗、李義弘、姚慶章、黃志超、陳昭宏、陳重文、江明賢、冉茂芹、王雙寬、賴武雄、吳炫三、江韶瑩、陳文石、林文強、顧重光、席慕蓉、陳政宏、藍榮賢、王美幸

Cheung Yee, T.F. Chen, Liao Shiou-Ping, Lin Chih-Hsin, Su Chia-Nan, Chen Kuo-Chan, Du Ruo-Jhou, Chi Wei-Yi, Lan Ching-Hui, Lin Rong-De, Wang Tsai-Tien, Chang Chiu-Tai, Shaih Li-Fa, Ju Ming, Liu Keng-I, Pan Chaur-Sen, Chen Huei-Tung, Hou Shou-Feng, Huang Chao-Fang, Yang Hsing-Sheng, Shih Sung, Lin Hsin-Yueh, Hsieh Hsiao-De, Chen Ying-De, Li Mao-Tzung, Li Yi-Hung, Yao Ching-Jang, Dennis Huang, Hilo Chen, Chen Chung-Wen, Chiang Ming-Shyan, Yim Mau-Kun, Wang Shuang-Kuan, Lai Wu-Hsiung, Wu A-Sun, Chiang Shao-Ying, Chen Stone, Lin Wen-Chiang, Koo Chung-Kuang, Xi Mu-Rong, Chen Cheng-Hung, Lan Jung-Hsien, Wang Mei-Shing.

斐然─跨越時代的一代 Brilliance―The Epoch-Crossing Generation

李欽賢、李淑櫻、陳陽春、戴壁吟、許坤成、蔡蕙香、施並錫、林人信、黃銘哲、陳主明、林順雄、吳永欽、袁金塔、曹志漪、江隆芳、許郭璜、蔡永明、陳幸婉、李隆吉、劉白、曾孝德、李健儀、吳祚昌、詹金水、陳東元、翁清土、鄭在東、賴純純、黃楫、馮盛光、梅丁衍、粘素真、陳飛龍、謝明錩、楊永福、于彭、顏貽成、許自貴、薛保瑕、楊恩生、詹楊彬、葉子奇、程代勒、張振宇、白丰中、簡正雄、王微微、陳香吟、李仁豪、鄭榮得、李柏毅、蔣中山、韓道希、載琴琴、柯翠娟、任竹章、孫萍花、瞿立齊、趙修

Li Chin-Hsien, Nami Yang, Chen Yang-Chun, Dai Bi-Yin, Shiu Kuen-Cheng, Tsai Huai-Shion, Shih Bing-Shyi, Lin Jen-Hsin, Michell Huang, Chen Tsu-Ming, Lin Shun-Shiung, Wu Yung-Chin, Yuan Jin-Ta, Vivian Tsao, Chiang Long-Fang, Syu Guo-Huang, Tsai Yung-Ming, Chen Hsing-Wan, Lee Lung-Chi, Liu Pai, Tseng Hsiao-Te, Li Jian-Yi, Wu Tso-Chang, Chan Chin-Shui, Chen Dung-Yuan, Weng Ching-Tu, Jeng Tsai-Tung, Jun T. Lai, Huang Jyi, Fong Shen-Guang, Mei Dean-E, Nien Su-Chen, Chen Fay Long, Hsieh Ming-Chang, Yang Yung-Fu, Yu Peng, Yen Ye-Cheng, Hsu Tz-Guei, Ava Hsueh, Yang En-Sheng, Jan Yang-Bing, Yeh Tzu-Chi, Cheng Dai-Le, Chang Chen-Yu, Bai Feng-Zhong, Chien Cheng-Hsiung, Wang Wei-Wei, Chen Hsiang-Yin, Lee Jen-Hao, John Cheng, Leland Lee, Chiang Chung-Shan, Dorothy Hamilton, Dai Chin-Chin, Ko Tsuei-Chyan, Jen Chu-Chang, Sun Ping-Hua, Chu Li-Chi, Zhao Xiu.

初炳─當代新風貌 Emergence―New Ethos of the Contemporaneity

國立臺灣美術館於民國77年（1988年）開館。以視覺藝術為主導，典藏並研究臺灣現代與當代美術發展特色，致力於多樣性的主題規劃特展與藝術教育推廣活動，提供民眾多元化欣賞藝術的環境。

以臺灣美術為研究核心，本館以建構臺灣美術史的詮釋內容與詮釋體系，開拓對美術發展現象及議題的多面向探討，創造數位及跨領域藝術發展之平臺，以擴大與國際相關藝術機構對話的空間，結合典藏、展覽、推廣等功能，打造兼具專業性、教育性與未來發展性的公共美術館。

依據三大核心主軸：「臺灣美術發展脈絡」、「媒材類別發展脈絡」、「藝術家風格與系譜」，本館研究調查國內外藝術生態與發展，近年並兼顧亞洲藝術家作品典藏，期能深化臺灣與亞洲當代藝術發展研究，拓展臺灣藝術與國際接軌的面寬和能量。累積的藏品，是建構臺灣美術史發展脈絡與研究藝術家風格表現之重要資產，亦可視為臺灣各時期社會脈動、經濟與文化發展樣貌的縮影。

本館並肩負守護臺灣美術資產的重任，建置圖像與文字豐富的多元資料庫，強化以資訊科技輔助藏品之自動化管理與服務機制，守護且活用本館所典藏的藝術資產，成為國家文化競爭力的資本與全民共享的資源。

身為國家級美術館，本館除了以展現臺灣藝術創作的特色與發展自許，更積極強化藝術研究、延展臺灣藝術的系譜研究、開展國際對話與視野，提升國家文化藝術的內在精神與涵養。在文化交流上，則強化館際合作，並與國際接軌，加強與國內、外美術館和專家學者的共同合作，規劃啟發視覺文化、分享藝術價值的展覽活動；同時以多元化的推廣藝術教育活動，引介臺灣藝術的特色，讓民眾了解藝術的精華，而達到以藝術向下紮根並向上延展文化認知的目標。

The National Taiwan Museum of Fine Arts (NTMoFA) was founded in 1988. The NTMoFA is dedicated to the education and promotion of visual arts. It places great emphasis on collecting works by Taiwanese artists and exploring unique characteristics of modern and contemporary Taiwanese arts. Its aims are: to organize the most diverse range of themed visual art exhibitions, to foster long-term art exchanges with overseas institutions, to actively participate in major international events, to promote art education, and to provide the public with a pleasing and multi-faceted environment for viewing art.

The NTMoFA has primarily focused its research work on the fine arts of Taiwan. The Museum's research team sets the agenda and direction for the permanent exhibitions. From 2007 onward, the NTMoFA has organized permanent exhibitions on significant works from the NTMoFA's permanent collection. An all-encompassing artistic and educational institution, the NTMoFA serves multiple functions as an art collector, exhibition organizer and learning resource provider.

The NTMoFA charts the trajectory of Taiwanese arts with its unique collection of artworks by Taiwanese artists from the 18th century to the present day. Its permanent collection includes artworks and historical documentation from Ming-Qing Dynasties, through the era of Japanese Colonial Era and the Modernist period, to the post-war period. To convincingly articulate the diversity of Taiwanese fine arts and its developments and transitions over time, the NTMoFA presents its collection of Taiwanese artworks based on two dimensions of development. Whereas the vertical axis charts the historical contexts of Taiwanese fine arts, the horizontal axis shows a genealogy of artists and their works. The presentation gives a clear picture of how artists and their works may relate to the social-historical contexts from which they have emerged and prospered. Digitalization of the museum collection and documentation has not only enabled the NTMoFA to manage and maintain its art collection with more efficiency, but also effectively enhanced understanding and dialogues among the art community worldwide, as it provides international art lovers with fast and easy access to the wealth of Taiwanese art and its diverse and unique characteristics.

The NTMoFA is a national art museum dedicated to the research, education and promotion of Taiwanese art. In terms of research, the museum continues to concentrate on tracing the genealogy of Taiwanese arts. In terms of education, its aim is to enhance the artistic capacity of the nation. It should also be highlighted that the NTMoFA has always been a true ambassador of Taiwanese art, as it seeks to promote international cultural exchange by actively participating in international art exhibitions, and by collaborating with international arts-and-cultural organizations and individual experts in organizing arts events. By providing a diverse range of arts and educational activities, the NTMoFA introduces to the public the characteristics of Taiwanese arts and help the visitors appreciate the beauty of art. The ultimate aim of the Museum is to extend and deepen the public's interest in arts.

國立臺灣美術館 National Taiwan Museum of Fine Arts

中文語音導覽

英文語音導覽

台語語音導覽

木曾之山村（日本） Kiso Mountain Village (Japan)

蘇州公園 (蘇州城) Town of Suzhou

山水之一 Landscape I

清晨漁市 Daybreak at the Fish Market

公園一隅 A Scene in the Park

船 Boats

大峽谷 Grand Canyon

礦工頌 Ode of the Miners

太陽與月亮（＃78） Day and Night (#78)

月 Moon

渡船 Ferry Boats

山水─黄葉村 Landscape: Huang-Yeh Village

閑 Leisure

靜物 Still Life

湖邊月色 Moonlight at the Lake

太陽節系列─太陽節 Sun Festival Series: Sun Festival

山上的一棵樹 A Tree on the Mountain

水果 Grapes& Persimmons,

討海人 Young Fisherman

四季之A6 The Four Seasons A6

醉秋圖 Autumn Atmosphere

靜物（洋酒的滋味） Still Life (The Taste of Western Wine)

為什小提琴殺了琴師 Why Did the Violin Kill the Musician ?

黎明時刻 Dawn

物象（2） Impressionistic Painting (2)

紅茶花 Red Camellia

Pek--tio̍h 無路可退 Cornered

這是一個收藏家族美好的故事。藥學博士許鴻源先生，以一生的歲月，秉持「藥物醫人身，文化冶人心」的信念，在那個臺灣還沒有官辦近代美術館的艱難時刻，以企業家一己之力，支持藝術家的創作，為臺灣留下大批藝術作品。在他去世後，夫人賡續其志，成立「順天美術館」，展出、推廣這些藝術家的作品。最後，家族遵其遺願，在臺灣可能變得更好的時刻，將這批原本就屬於這塊土地的作品，全部六百餘件，如數捐回臺灣，讓她成為建構臺灣美術史不可或缺的一個區塊。

許氏家族的用心，正逢臺灣文化部鄭麗君前部長提出「重建臺灣藝術史」政策宣示的時刻，在官民同心的努力下，克服困難，李永得部長踵繼支持，成就了這段前後長達半個世紀的文化傳承使命。

本展正是站在收藏家、也是捐贈者的立場，呈顯這位心胸寬大、志氣清遠的藝術愛好者，一生關照的視野，及付出的熱忱。全展195位藝術家，出生的年代從最早的1871年到最年輕的1989年，前後橫跨一世紀，這也正是收藏家畢生接觸、收藏、支持的藝術家名單。

本展依藝術家生年順序排序，劃分四個時代，也是四個子題，分別為：

甲、蓊鬱──百歲前輩典範：
從石川欽一郎（1871-1945）到1920年以前出生者，合計49位藝術家。這是一批年歲都在百年以上的前輩藝術家，他們分屬兩大系統；一是活耀於臺灣的日治時期，一是出身於中國大陸、卻在1949年的政治變局中，來到臺灣。成為共同建構臺灣歷史文化的兩股重要力量，也都是收藏家一體關照、同樣支持的對象。

乙、豐采──豐實、沈澱、光采：
從1921年出生到1935年以前出生者，合計43位藝術家。這是屬於時代激烈變動的一個階段，這個階段出生者，都面臨了1920年代世界性民族自決的思想劇變，卻也是文化、藝術相當活絡多元的時代挑戰；而1945年至1949年的政治變局，也是這個世代的藝術家，正逢青春年少的生命階段。

丙、斐然──跨越時代的一代：
從1936年出生到1944年之前出生者，合計43位藝術家，都是屬於戰前出生的藝術家。他們出生於戰火連天的時代，在世局交替的矛盾中成長。他們當中的許多人，甚至是屬於「失學」的一代；但是憑著各自的努力，他們在困頓的時代中，走出了屬於自己的生命成果。

丁、初炳──當代新風貌：
從1945年以後出生到1989年出生者，包含幾位生平未詳者，合計60位藝術家。基本上，這已經全屬戰後出生成長的世代，從危機挑戰到安定茁壯，從困頓艱難到經濟起飛，這個世代的藝術家見證了戰後臺灣社會，政經發展的軌跡，卻也在自由、民主的追求主張中，建構了屬於當代文明的驕傲。他們之中，有人堅守本土、有人出國留學，但臺灣和他們的生命劃上了等號；族群、性別，乃至媒材、形式，都不再是制約他們創作的桎梏，反而成為理解、交流的重要管道。

除了以順天美術館捐藏的作品所構成的四大主題外，國立臺灣美術館更將文化部自2017年以來推動的「重建臺灣藝術史」成果，一併統整呈現，見證臺灣文化主體建構的階段性努力。


This is a wonderful story about a family dedicated to art collection. Holding fast to the conviction that “medicine heals the body; culture nurtures the soul,” entrepreneur Dr. Hsu Hong-Yen independently devoted a lifetime to supporting artists’ creative practice and preserved a large quantity of artworks at a time when state-run modern art museums were still wanting in Taiwan. After his demise, his wife continued his legacy by founding the Sun Ten Museum where these artists’ works were exhibited and promoted. To honor Dr. Hsu’s final wish, his family eventually donated his entire collection to Taiwan at the time when Taiwan’s prospects are improving. Originally belonging to this island, these pieces of work (more than 600 in total) will be integral to the reconstruction of Taiwanese art history.

The Hsu family’s devotion coincided with former Minister Cheng Li-Chiun’s manifesto pledge on “reconstructing Taiwanese art history.” Followed by Minister Lee Yung-Te’s support, the public and private sectors cooperated closely for a common purpose, surmounted all difficulties, and finally accomplished the great achievement of half-century cultural perpetuation with concerted efforts.

From the standpoint of Dr. Hsu as a collector-donor, the homecoming exhibition of the Sun Ten collection manifests the horizons and zeal of this liberal, ambitious art aficionado. The exhibition covers a total of 195 artists born in the century between 1871 and 1989. Dr. Hsu not only knew and supported these artists, but also collected their works all his life.

Organized chronologically and divided into four main sections, this exhibition features at least one piece of work by each artist.

I. Luxuriance—Paragons of Centenarians
On view in this section includes a total of 49 centenarian artists from Ishikawa Kinichiro (1871-1945) to those born before 1920. They respectively belonged to two subgroups: those who lived in Taiwan under Japanese colonial rule, and those who came of age in Mainland China and migrated to Taiwan after 1949. Sharing Dr. Hsu’s patronage and support, they constituted two powerful driving forces behind the construction of Taiwanese history and culture.

II. Diversity—Abundance, Contemplation and Radiance
This section highlights a total of 43 artists born between 1921 and 1935. They lived in a period of radical change after the rise of national self-determination movements in the 1920s, in which cultures and arts were exuberant and diverse. These artists also experienced the political imbroglio from 1945 to 1949 during their prime time.

III. Brilliance—The Epoch-Crossing Generation
The 43 artists presented in this section were born in time of war between 1936 and 1944. They were born in a war-torn era, and came of age in a fast-changing world rife with conflicts. Many of them were even deprived of their right to education. All these hardships notwithstanding, they managed to lead a brilliant life by virtue of their own efforts.

IV. Emergence—New Ethos of the Contemporaneity
On view in this section features a total of 60 artists born between 1945 and 1989, among whom some artists’ life stories remain unknown. On the whole, these artists belong to the post-war generation who experienced the times of crises, challenges and hardships as well as the Taiwan Economic Miracle. They not only witnessed Taiwan’s social, economic and political development, but also created a source of pride for contemporary civilization via their pursuit of freedom and democracy. Some of them clung to Taiwan, while others pursued advanced study abroad. Whichever way they chose, their life experiences are closely bound up with Taiwan. Ethnic group, gender, medium, and form no longer shackle their creative practice, but become essential interfaces for them to grasp the world and exchange ideas.

Apart from the four main sections comprised of the Sun Ten collection, the NTMoFA also presents the fruitful results of the Ministry of Culture’s policy on “reconstructing Taiwanese art history” since 2017, which bears testimony to the continued progress of the formation of Taiwanese cultural subjectivity.

國美官網

臺灣美術拼圖 順天收藏網站

順天美術館 劇與展 網站

海外存珍－順天美術館藏品歸鄉展

油彩、卵彩、畫布 oil and tempera on canvas
38 × 38 cm

作品介紹：
葉子奇 曾是文化大學校友組成的「101畫會」的成員，抵達紐約之後，逐漸從社會的關懷走向自我身份及內心的省視，他以一種古典寫實的技法，在看似簡單的構圖中，營造深沈的內涵。〈紅茶花〉是對故鄉、特別是家庭親人的思念，單獨一朵的紅茶花，就如此金般地整朵塞滿在那個不成比例的小小方形白瓷花瓶上，有一種沈重的感覺、更像是一場悼念的宗教儀式。

藝術家介紹：
葉子奇 （1957－）
祖籍廣東梅縣，生於臺灣花蓮縣玉里鎮。1975年畢業於花蓮高中，同年底於花蓮市民眾服務中心，舉行「告別十七 ─ 十八歲個展」。1977年國立藝專肄業，1981年中國文化大學美術系西畫組畢業。 1989年獲美國紐約市立大學布魯克林藝術研究所藝術創作碩士。
旅居紐約十九年，2006年返回花蓮定居，曾擔任國立東華大學駐校藝術家並兼任講師教授素描與油畫課程。
其作品從靜物主題的「獨白」系列至「風景‧臺灣」，都是創作者的心情記錄，寫實而帶有隱喻的象徵，充滿了一種豐富的個人情懷，風格強烈而獨特。
(本文引自 葉子奇個人網站)