單元簡介｜隱身到現身・國立歷史博物館

歷史回溯・新時代女性藝術的先行者

本單元首先回溯女性藝術家發展軌跡，以多重視野觀看其在史博館、臺灣美術，乃至世界藝術史中所處位置。精選館藏12位女性藝術家作為先行者代表，她們率先跨入現代藝術教育及展覽體制，開闢女性參與藝術的新道路；透過她們的創作歷程，呈現20世紀因不同文化土壤所孕育的多元藝術風格，如何於二戰後匯聚臺灣，並影響跨世代的創作發展，使她們持續以藝術書寫自身價值，回應時代議題。

Historical Retrospect: Pioneers of a New Era in Women’s Art

This section traces the development of women artists, considering their place within the National Museum of History, Taiwanese art, and global art history from multiple perspectives. The museum’s collection includes twelve women artists selected as pioneering figures. Among the first women to enter modern art education and exhibition systems, they opened new paths for women’s participation in art. Their creative journeys reveal how diverse artistic styles, nurtured in different cultural settings during the 20^th century, converged in Taiwan after World War II and influenced artistic development across generations. Through their art, these women continued to articulate their own value and respond to the concerns of their times.

This section traces the development of women artists, considering their place within the National Museum of History, Taiwanese art, and global art history from multiple perspectives. The museum’s collection includes twelve women artists selected as pio- neering figures. Among the first women to enter modern art education and exhibition systems, they opened new paths for wom- en’s participation in art. Their creative journeys reveal how diverse artistic styles, nurtured in different cultural settings during the 20^th century, converged in Taiwan after World War II and influenced artistic development across generations. Through their art, these women continued to articulate their own value and respond to the concerns of their times.

典雅・遞嬗—傳統延續與風格轉向

1950至1980年代，臺灣正值社會重建與文化重構，美術環境經歷現代藝術與鄉土運動，藝術團體、展覽機制、藝術評論也逐漸興盛；女性藝術家在拜師學藝外，也開始自組畫會並參加展覽切磋畫藝，從個體創作到藝術共同體，逐漸展現延續水墨傳統與風格轉向的自主性。她們以各具風格的藝術表現，成為此際成立的史博館，在國內外推展現代美術與文化交流時的重要角色和創新力量。

Elegance and Transition: Tradition and Stylistic Evolution

From the 1950s through the 1980s, Taiwan underwent social reconstruction and cultural reconfiguration. Modern art and nativist movements reshaped the art world, while art groups, exhibition systems, and art criticism gradually flourished. Alongside studying with established masters, women artists began to form their own painting societies and participate in exhibitions to exchange ideas and refine their practice. As they moved from individual practice to artistic communities, they increasingly exercised their own agency in sustaining ink painting traditions and pursuing stylistic change. Through their distinctive artistic expressions, they became important participants in the promotion of modern art and cultural exchange by the National Museum of History, which was established during this period. They exhibited at home and abroad, making innovative contributions.

From the 1950s through the 1980s, Taiwan underwent social reconstruction and cultural reconfiguration. Modern art and nativist movements reshaped the art world, while art groups, exhibition systems, and art criticism gradually flourished. Alongside study- ing with established masters, women artists began to form their own painting societies and participate in exhibitions to exchange ideas and refine their practice. As they moved from individual practice to artistic communities, they increasingly exercised their own agency in sustaining ink painting traditions and pursuing stylistic change. Through their distinctive artistic expressions, they became important participants in the promotion of modern art and cultural exchange by the National Museum of History, which was established during this period. They exhibited at home and abroad, making innovative contributions.

現代・涵融—自我突破與藝術書寫

1980年代以後，隨著臺灣社會快速現代化，在國際女性思潮的引領下，女性藝術家有更多機會拓展視野、參與國際展覽，藝術創作得以擺脫限制，從傳統媒材與題材的規範中脫離，進入以身體、記憶、身分與文化認同為核心的當代藝術語境，也開始轉向文化內視與省思，追求自主與個人主體創作風格，並透過作品回應自身生命處境，反映社會現實與時代脈動，逐步建構屬於女性的藝術語言與觀看方式。

Modernity and Integration:
Personal Breakthroughs and Artistic Expression

From the 1980s onward, Taiwan’s rapid modernization brought women artists more opportunities to participate in international exhibitions. They broke free from the conventions of traditional media and subject matter, engaging with a contemporary art discourse centered on the body, memory, identity, and cultural belonging. They also began to turn inward to examine and reflect on their own culture, pursuing artistic autonomy and individual styles. Through their works, they responded to their own life circumstances while reflecting social realities and the concerns of their times, gradually developing artistic languages and ways of seeing grounded in women’s experiences.

From the 1980s onward, Taiwan’s rapid modernization brought women artists more opportunities to participate in international exhibitions. They broke free from the conventions of traditional media and subject matter, engaging with a contemporary art dis- course centered on the body, memory, identity, and cultural belonging. They also began to turn inward to examine and reflect on their own culture, pursuing artistic autonomy and individual styles. Through their works, they responded to their own life circum- stances while reflecting social realities and the concerns of their times, gradually developing artistic languages and ways of seeing grounded in women’s experiences.