公辦美展機制下的臺灣篆刻發展研究―以全國美展與省展獲獎作品為例(1971-2006)

建構臺灣藝術史觀，為目前官方文化政策的重要目標，歷史脈絡的梳理自是首要課題，針對臺灣篆刻發展研究的築基工程，已有大體架構與規模，綜觀目前的相關論著，大致可以分成幾個類形，以人、以史、以譜或者綜合性質的印學研究，前兩者多著重於前輩印人的生涯史與藝術成就，或討論特定時期的篆刻發展與印社活動；後兩者如印譜研究與印學資料庫的建置（如真微印網）。臺灣篆刻從明清時期之淵源作為開端，歷經日治時期的首次萌興，直至戰後渡海印人的傳承方為興盛，在戰後的研究部分，隨著以人、以社團為主的研究陸續發表，脈絡也愈是明朗而清晰，但至今尚未有針對於公辦篆刻獎賽之研究。公辦美展是為臺灣篆刻發展中重要一環，其制度源自於日治時期，一直是臺灣美術最具權威性的官方肯定途徑，但當時並無篆刻獎項設置，戰後始有定期舉辦（自1971年後之「全國美展」與1985後之「省展」），歷屆以來，透過中央的直接支持與競展機制的不斷完善，儼然成為臺灣篆刻發展的核心舞臺，可由連年展賽的推演，觀察出對於印風、作品形式的影響，以及臺灣印壇的時代現象。因此，著手「公辦美展機制下的臺灣篆刻發展研究」，意義重大。本論文檢視歷來學術研究，回顧學者從日治時期到戰後的論述，梳理公辦美展篆刻類之沿革，作為基礎，接著深入分析歷來制度之嬗變，著手獲獎作品的形式析探與風格評比。以臺灣篆刻的發展與傳承為經，公辦美展機制與篆刻類獲獎作品為緯，討論機制運行的影響，以及作品印風流變脈絡與時代意義，了解公辦美展對於臺灣印壇的影響力，置諸於臺灣篆刻發展史之中，為官方設置美展之價值定位，以期補充過去較少人關注與整理的部分。

關鍵字

臺灣篆刻發展史；公辦美展機制；全國美展；省展；篆刻

並列摘要

Constructing the idea of Taiwan's art history is an important goal of the current official cultural policy. The historical context is the primary issue. There already have basic research on the development of seal carving in Taiwan. The related research can be roughly divided into several types, such as a study of people, history, sigillary prints or comprehensive research. The former two are more focused on the career history and artistic achievements of the predecessors, or discussing the development of engraving and printing activities in specific periods. The latter two, such as the study of sigillary prints and the establishment of the seal database (the sealbank website). The development of seal carving in Taiwan began from the Ming and Qing Dynasty, prospered for the first time during the Japanese colonial period. Entering the prosperous period until the predecessors crossed the sea to Taiwan after the World War II. The research context is more clearer when related research published successively, but not any is about the official art exhibitions. Official art exhibitions are important to the development of seal carving in Taiwan. The system is derived from the Japanese colonial period and it was the most authoritative official affirmative way in the history of Taiwan art. However, there was no awards of seal carving at that time, and it was held regularly after the WWII. (Taiwan Provincial Fine Arts Exhibition and National Art Exhibition, ROC). Continuous improvement through the support and competition mechanism of the central government and became the core stage of seal carving in Taiwan. It can be observed that the influences of official art exhibitions to seal carving style, form of work and era phenomenon in Taiwan. Therefore, it’s significant to start the study “mechanism of official art exhibitions on the development of seal carving in Taiwan”. Review academic research over the years and research the history of seal carving in official art exhibitions as the basis of this article. Then analysis the development of the system and the form and style of award-winning works. Discuss the impact of the operation of the mechanism and epochal meaning of award-winning works. Positioning hstorical value for the art exhibitions setting by the official, and in order to supplement the part that was less concerned and organized in the past.