공생(共生)의 재구(再構) : 대만과 중국의 미술교류

Abstract

With the Handover of Hong Kong in 1997, China announced the principle of “one country, two systems” and demanded the democratic government of Taiwan to follow their “one China” campaign. As Taiwan’s political attitude toward China swayed between “anti-China” and “unification,” the cultural exchange between the two countries was repetitively paused and resumed as well. After the re-election of the Kuomintang in 2008, various plans regarding art exchanges between government offices were made in line with the concept of “Cross-Strait relations (Mainland– Taiwan relations).” By 2009, the National Taiwan Museum of Fine Arts (Taizhong) and the National Art Museum of China (Bejing) were considered as equivalents of each other, and thus, they sought to promote active exchanges of Contemporary art within themselves. As for the Taipei Palace Museum, they consistently promoted the exchange with the Mainland in the academic sphere, and later broaden it into exhibitions. In particular, the Special Exhibition Landscape Reunited: Huang Gongwang and “Dwelling in the Fuchun Mountains ” at the Taipei Palace Museum held in 2011 was an event planned as a way to unify the Cross and the Strait through this encounter of artworks while being free from any conflict of political ideology. The exhibited collections of the National Palace Museum not only represented the national identity but also were the model of “Symbiosis” as “Taiwan of China,” and thereby, the exhibition could be regarded as an attempt to reconstruct the identity of Taiwan and China as a united country. Therefore, this paper aims to examine the pattern of the antagonistic conflict between unification and independence revealed in art exchanges between China and Taiwan in the context of Sinocentrism.