Abstract
Among advanced countries, such as in the US, West Europe, and Japan, attending artistic activities have long been the daily life of ordinary people. It is also prevalent of businesses in these countries to sponsor artistic activities or art institutes, through which businesses can feed back society and enhance their company images.
In Taiwan, it has been a history for decades of enterprises sponsoring artistic activities and collecting arts. The traditional sponsorship of art originated from the friendships between business owners and artists or business owners¡¦ collection of artistic works.
The corporate sponsorship of art in Taiwan can date back to Japanese Occupation (A.D. 1895~1945). In Japanese colonial days, Tai-chung entrepreneur, Zao-Jia Yang, was a renowned art supporter to island-wide artistic activities. During Yang¡¦s younger days, possessed with strong Taiwanese Awareness and literary penchant, he co-funded, with Pei-huo Tsai, the construction of Tai-Yang Fine Art Association. This famous fine art association had encouraged well-known painters of older generation like Shih-Chiao Lee¡BMei-shu Lee¡BCheng-Po Chen¡BChi-Chun Liao¡BSan-Lang Yang¡BShui-Long Yen to fully develop their talents, and pioneered the modern arts in Taiwan at then.
Mr. Zao-Jia Yang could be deemed as the guardian god of early Taiwanese artists. Yang¡¦s followers like Mr. Pao-Thou Lin, former Chairman of Taiwan Cement Corporation¡BMr. Chen-fu Koo, former Chairman of Straits Exchange Foundation and Mr. Wen-Lung Hsu, the founder of Chi-Mei Corporation, and etc., have all contributed greatly to local artistic activity fund raising and arts collection in the past decades.
To gain a better understanding on various types and paradigms of corporate sponsorship of artistic activities and arts collection, this study focus on the study of Chi-Mei Corporation, in hope that we could advocate the interaction between arts and businesses through deep interview and comprehensive analysis on the creation of Chi-Mei Museum.
Through analysis,it is obvious that:
Arts are no more the privilege or captive of the rich, enterprises through the operation of their funds or museums can assist academics, artists, and more ordinary people exposure to arts, thereby expanding art population as well as fulfilling the social obligation and citizenship of enterprises. Meanwhile, the resulting ideal economic environment will benefit enterprises themselves. Enterprises should treat arts investment in the same way with regular profitable business operations. The invisible arts value will have economic benefits from all sides.
Aside from acknowledging that enterprises are an efficient private factor to promote government policy, government should recognize the essence of nation competitiveness¡Xthe substance of its people including culture development as well as academic credential and economic strength. The present pan-politics environment is against culture development. Government should expedite of legislation of Museum Law and related stipulations improvement to help private museum operation.
If art collections are concealed from the public as treasures, the collections are preserved for its own value. The construction of private museum is necessary. It can play complementary role to public museum. According to David Throsby, art collector can be traced by their aesthetic value, spiritual value, social value, historical value, real value, i.e., a series of cultural characteristics, to study the arts collection behavior. Through the beauty, harmony, race uniqueness of artistic works, it helps human understanding of social substance, identity. It also helps reflect the status quo of a society. Artistic works convey meaning of itself and the culture valuation and symbolism of arts collectors. From the above perspectives, the author thinks that arts collection is an extreme passion for human spirit and culture. The difficulties of running private museum should not prevent us from encouraging its setup.
According to Bruno S. Frey, investments on arts are tax avoidance in many countries. Although it is a truth known to the public, the tax incurred from owning art works is seldom treated in related study. It is impossible to neglect tax when calculating the profits. In different countries and time, taxation is various. Perfect arts collection, in author¡¦s opinion, aside from fond of arts, and need intellectual tactics more of financial strengths, market information, knowledge, aesthetic taste, and ideal seeking. Therefore, arts investment and its taxation leave ample room for successor to study further.
| Identifer | oai:union.ndltd.org:NSYSU/oai:NSYSU:etd-0207107-175357 |
| Date | 07 February 2007 |
| Creators | Chen, Pi-shuang |
| Contributors | Bi-ling kuan, I-Heng Chen, Hung-Hui Lu, Chin-Kang Jen |
| Publisher | NSYSU |
| Source Sets | NSYSU Electronic Thesis and Dissertation Archive |
| Language | Cholon |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://etd.lib.nsysu.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0207107-175357 |
| Rights | not_available, Copyright information available at source archive |
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