在意喻解構與藝域重構之間：以國立故宮博物院「藝域漫遊－郎世寧新媒體藝術展」為例

Abstract

國立故宮博物院為記念清代西洋傳教士畫家郎世寧（Giuseppe Castiglione, 1688-1766）來華三百年，特於二〇一五年同步推出「神筆丹青－郎世寧來華三百年特展」與「藝域漫遊－郎世寧新媒體藝術展」。此次郎世寧實體文物展與新媒體藝術展皆以院藏郎世寧相關文物為命題，呈現藝術在古典與現代、實相與虛相、時間與空間、科技與人文之間的跨域交融，同時讓觀眾藉由多元感官重新認識郎世寧筆下的藝術新視界。郎世寧是義大利米蘭人，十九歲加入熱那亞耶穌會修習。西元一七一四年派遣至中國傳教，康熙五十四年（1715）抵達北京。因擅於繪事，留任宮廷歷侍康熙（1662-1722）、雍正（1723-1735）、乾隆（1736-1795）三朝，藝貫中西，締造中西合璧的畫業成就。就現代觀點而論，約三百年前的郎世寧為順應身處的時空環境與帝王品味，即開始探索東、西方藝術美學跨界融合之無限可能，並透過多方創作實踐累積經驗，終得領略東方氣韻畫境與西方寫實肖形間的平衡。To celebrate the 300th anniversary of Giuseppe Castiglione’s arrival in China, the National Palace Museum simultaneously hosted the Portrayals from a Brush Divine: A Special Exhibition on the Tricentennial of Giuseppe Castiglione’s Arrival in China and the Giuseppe Castiglione: Lang Shining New Media Art Exhibition in 2015. Giuseppe Castiglione (1688-1766), also known by his Chinese name Lang Shining, was a Western missionary–painter during the Qing dynasty. Themed on Lang Shining, the first exhibition introduced Lang Shining-related artifacts in physical form, whereas the second exhibition presented Lang Shining-related artifacts in digital form. The display of art in contrasting “environments” (i.e., ancient and modern, real and virtual, time-centered and space-oriented, and humanities-centered and technology-oriented) created a whole new experience for visitors, enabling them to develop new understanding of Lang Shining’s art through various senses.