Taiwan fine art research starts from the 1990s after the lifting the martial law; quite a number of researchers was thus produced. From the viewpoint of the sociology of knowledge and the knowledge archaeology, this reflects a certain change on knowledge: some people, consciousness, events, purports and policy change or adjust the existed paradigm in its form and content. The meaning of "studying Taiwan fine art abroad" and its influence is a meaningful question, because it involves the possible mobility and consequence of internal knowledge of Taiwan fine art, including narrative and rhetoric. In a broad sense, "studying Taiwan fine art abroad" can be divided into degree study, special issue, international cooperation of curatorship and project of translation. They play different roles, have various functions and goals, trying to distinguish itself from doing research in Taiwan or even from Chinese art study. Leaving from Taiwan to do Taiwan fine art research, no matter citizens or aliens, no matter in English or Chinese, will face challenges between cultural similarity difference, or homogeneity and heterogeneity. The compromise of confrontation becomes the value of the creation of text. Correctly grasping the content is not a major concern anymore, but the dialectics of historiography, culture and aesthetics. Taiwan fine art study, owning to its heterodox characteristics, therefore possess an impetus and a drive toward the orthodox. This constantly moving character and the relational consideration makes the representation of Taiwan fine art an interesting variation.
|Journal||Journal of National Taiwan Museum of Fine Arts|
|Publication status||Published - 2011|