關於 the national museum of western art ，我們在網路上蒐集到這些相關的討論、資訊與評價

張大千是一位相當喜歡替自己寫像的畫家，畢生所創作的自畫像不下百幅，在這次大千展中，策展人就特別規劃了「張大千自畫像 Chang Dai-chien's Self-Portraits 張大千の自画像」的單元，展出10件大師自己的自畫像，其中有一張 #我同我的小猴兒 (My Little Monkey and I) 最吸引小編的目光，感覺就像大師和猴朋友並排拍照一樣，真的很有意思～ 🤩
#張大千120歲紀念大展只到6月25日
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巨匠的剪影—張大千120歲紀念大展（2019/04/01~2019/06/25）
網站：https://theme.npm.edu.tw/exh108/ChangDaichien/ch
Silhouette of a Great Master: A Retrospective of Chang Dai-chien's Art on the 120th Anniversary of His Birth ( 01 April 2019 ~ 25 June 2019)
Website: https://theme.npm.edu.tw/exh108/ChangDaichien/en
巨匠の面影─張大千生誕120年記念特別展（2019-04-01~2019-06-25）
日本語：https://theme.npm.edu.tw/exh108/ChangDaichien/jp
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【張大千 我與我的小猴兒 My Little Monkey and I】1956
重要古物，國立歷史博物館寄存
形式 冊頁；尺寸 23.8 x 35.8 cm
　　本幅收在張大千《大千狂塗》冊(一)第十二開，右下方題：「我同我的小猴兒」。張大千名爰，生性愛猿，藝壇亦盛傳他是黑猿轉世之說，此畫即能充分展現他與猿猴之間的親密情感。畫成於1956年，時五十八歲。是年，大千首度遊歐，並與畢卡索（1881-1973）會晤。受到西方現代藝術的啟發，筆墨遂益趨豪邁簡潔，率意淋漓。本幅為國立歷史博物館藏。
【My Little Monkey and I】1956
Chang Dai-chien (1899-1983)
Album leaf, ink on paper, 23.8 x 35.8 cm
　　The title of this painting, the twelfth leaf from "Cursory Sketches by Dai-chien" (I), comes from the inscription of the same contents written by Chang Dai-chien in the lower right. Chang's original name, Yuan, is a homophone for "monkey" in Chinese. Since Chang was often accompanied by a pet gibbon, art circles widely rumored that he was the reincarnation of a gibbon. This painting fully reflects the affection that he had for gibbons. Painted in 1956, at the age of 58 by Chinese reckoning, it was the first time that Chang traveled to Europe and also the time he met with Pablo Picasso (1881-1973). Inspired by the trends in modern Western art, Chang's brushwork became increasingly bold and succinct, as he often applied the ink more liberally and directly.
This leaf is from an album, a Significant Historic Artifact, in the collection of the National Museum of History.
【張大千　私と私の小猿】
重要古物，国立歴史博物館寄託
形式 冊頁；サイズ 23.8 x 35.8 cm
　　張大千『大千狂塗』冊（一）の第十二開。右下に題「我同我的小猴児」がある。張大千は生来の猿好きで、美術界では黒猿の生まれ変わりだと噂されていた。この絵は張大千と猿の親しげな雰囲気がよく表現されている。1956年、58歳の頃の作品である。その年、張大千は初めて欧州を旅し、ピカソ（1881-1973）に会うことができた。西洋現代美術の啓発を受け、豪邁にして簡潔、自由で伸びやかな筆致へと、画風も次第に変化していった。

【黃色鳶尾花】

據說，黃色鳶尾花的花語是〝勝利〞，象徵〝熱情開朗，友誼永固〞。

莫內一家在1883年搬到巴黎近郊吉維尼小鎮後，他的創作題材便逐漸以這個他長居至終老的家園為主。畫家請人在花園裡種植了不少鳶尾花，透過畫筆與顏料勾勒出她們因不同光影所展現的美麗身形。

這幅鳶尾花是他吉維尼時期靜物畫典型代表，長形畫面設計來自日式屏風影響，而那些有若迎風展曳，如波浪般彎延的莖葉線條也增添了些許裝飾性。

東京上野公園一角的國立西洋美術館中，就可以見到這片大師眼中的風景，大尺寸畫幅更讓你輕易便走入滿庭妍色。因此參觀完特展之後，別急著離開，憑著票根即可繼續拜訪美術館非常有實力的典藏藝術品。

《黃色鳶尾花》（Yellow Irises）
Claude Monet，1914-1917
oil on canvas，200 x 101 cm
東京國立西洋美術館 The National Museum of Western Art，Tokyo

圖片來源 : 網路

《Copyright © 2019東西縱橫記藝JunieWang版權所有，禁止擅自節錄，若需分享請完整轉貼並註明來源出處》

【黃色鳶尾花】

據說，黃色鳶尾花的花語是〝勝利〞，象徵〝熱情開朗，友誼永固〞。

莫內一家在1883年搬到巴黎近郊吉維尼小鎮後，他的創作題材便逐漸以這個他長居至終老的家園為主。畫家請人在花園裡種植了不少鳶尾花，透過畫筆與顏料勾勒出她們因不同光影所展現的美麗身形。

這幅鳶尾花是他吉維尼時期靜物畫典型代表，長形畫面設計來自日式屏風影響，而那些有若迎風展曳，如波浪般彎延的莖葉線條也增添了些許裝飾性。

東京上野公園一角的國立西洋美術館中，就可以見到這片大師眼中的風景，大尺寸畫幅更讓你輕易便走入滿庭妍色。因此參觀完特展之後，別急著離開，憑著票根即可繼續拜訪美術館非常有實力的典藏藝術品。

《黃色鳶尾花》（Yellow Irises）
Claude Monet，1914-1917
oil on canvas，200 x 101 cm
東京國立西洋美術館 The National Museum of Western Art，Tokyo

圖片來源 : 網路

《Copyright © 2019東西縱橫記藝JunieWang版權所有，禁止擅自節錄，若需分享請完整轉貼並註明來源出處》

「一場虛實之間的藝術漫遊」
“An artistic journey that transcends the tangible.”

「揭開東西藝術史VR敘事」
“Witness the history of eastern and western art in VR.”

「國際博物館尖峰交會，探索VR未來之境」
“Internationally prestigious museums join forces to create a VR odyssey.”

「故宮南院奇幻嘉年華：21 世紀博物館特展」為故宮邀集法國羅浮宮、英國泰特現代藝術館、法國橘園美術館、德國舊國家美術館、捷克慕夏基金會共同策劃，即將帶給大家一場虛實整合的文明奇幻之旅！
A CARNIVAL OF FANTASIES: A Special Exhibition of 21st Century Museums at the Southern Branch of the NPM is co-organized by the National Palace Museum (NPM), Musée du Louvre, Tate Modern, Musée de l'Orangerie, Alte Nationalgalerie, and the Mucha Foundation. It will soon send you on a fantastic journey through civilization across the physical and virtual realms.

嘉年華 (Carnival) 廣泛代稱慶典，源自中世紀 「狂歡節 」。屬於東方的歡樂節慶，可在歷代風俗畫中窺見，而 20 世紀蘇聯思想家巴赫金認為 「狂歡節 」亦是一場精神感官的釋放，呼應本次策展以 「新媒體藝術 」獻給觀眾一 場穿梭文明珍奇的 「幻境狂歡 」。本展除了呈現故宮近年屢獲國際大獎的虛擬實境、擴增實境及混合實境，更結合 來自多座世界頂尖博物館的精彩虛擬實境製作。展覽以故宮近年豐碩的新媒體藝術為主軸，規劃 「璀璨光河 」 、 「故宮啟航 」 、 「羅浮宮驛站 」「美學世界 」四大展區，展覽更以 「奇」字象徵博物館的珍奇藏品，「幻」字則開展科 技世界下的虛擬幻境，交織一場虛實共舞的流動盛宴。

The word "carnival" originated from the medieval period and is widely used to mean "celebration," while festivals in the East can also be found in genre paintings throughout history. Mikhail Bakhtin, the 20th Century Soviet philosopher, believed that "carnivals" were a release of the spirit and senses. Bakhtin's ideas cohere nicely with the exhibition theme as new media art brings visitors a perception of illusion and polysensory experiences. In addition to presenting the National Palace Museum's award-winning virtual reality (VR), augmented reality (AR), mixed reality (MR) programs and other new media artworks, the exhibition will also feature incredible virtual reality experiences from leading museums around the world. This exhibition is divided into four sections: "River of Time," "NPM Voyage," "The Louvre Station" and "Aesthetic World". The other worldly features of the exhibited works are also embedded in the exhibition's Chinese title, with the word " 奇 " symbolizing the museum's rare and invaluable collections, and the word " 幻 " referring to the virtual fantasies created with modern technology.

工作人員名單
國立故宮博物院 National Palace Museum
發行人 Issuer
院長 Director/吳密察Wu, Mi-Cha

專案指導Advisor
副院長 Deputy Director/黃永泰 Huang, Yung-Tai

策展團隊 Curatorial team
教育展資處 Department of Education, Exhibition and Information Services
處長 Chief Curator/ 徐孝德 Hsu, Hisao-Te
副處長 Deputy Chief Curator/ 謝俊科 Hsieh, Chun-Ko
科長 Section Chief/ 吳紹群 Wu, Shao-Chun
策展執行 Exhibition Executive/賴志婷Lai, Chih-Ting
網站事務 Website Administrator/黃瀞萩、黃郁涵 Huang Ching-Chiu, Huang Yu-Han

南院處 Southern Branch of National Palace Museum
處長Chief Curator/彭子程 Peng Tzu-Cheng
科長Section Chief/于秉儀Yu,Biing-Yi
助理研究員 Assistant Curator 鄭莉蓉 Cheng, Li-Jung
助理研究員 Assistant Curator 羅勝文 Lo Sheng-Wen

設計與施作 Design & Construction
安益國際展覽股份有限公司Interplan International Design

鳴謝 Acknowledgements
HTC VIVE Arts
Cécile Debray
Marcus Mucha
Dominique de Font-Réaulx
Yann Le Touher
Adrien Franceschi
Katie Durand
Sophie Parkin
Emissive Studio
GebruederBeetz
Lucid Reality

This year, 2015, to commemorate both the 90th anniversary of the National Palace Museum’s founding and the three hundredth year since the Italian painter Giuseppe Castiglione (1688-1766) came to the Qing court and left his enduring influence, the NPM has produced Victory in Etching, a documentary in 4K high-resolution film. The centerpiece of this documentary is Victory in the Pacification of Dzungars and Muslims, which was drafted by Castiglione and various other court painters and completed by French engravers. Our research team reconstructed the stories behind the work by piecing together evidence culled from historical documents and overseas research. The narrator of this documentary is a special guest, the top news anchor Shen Chunhua, winner of the Golden Bell Awards. The documentary recounts Qianlong’s northwestern military campaigns, the commission and production of the sixteen Victory plates, and insights into the copperplate engraving method. The film crew visited Europe to do the shooting, filming at the Bibliothèque nationale de France, the Ethnologisches Museum in Germany, and various printing workshops. Out of the sixteen prints requested by Qianlong, Storming of the Camp at Gädän-Ola and Lifting of the Siege at Black Water River were entirely drafted by Castiglione using a naturalist style and featuring the western technique of perspective. Today, this documentary will allow us once again to witness the achievements of 18th century cooperation in Eastern and Western art.