The Chimei Museum (Chinese: 奇美博物館; pinyin: Qíměi Bówùguǎn) is a private museum established in 1992 by the Chi Mei Corporation in Rende District, Tainan, Taiwan. The museum’s collection is divided into five categories: Western Art (including painting, sculpture, decorative arts and period furniture); Musical instruments; Natural history; Arms and armor; Antiquities and artifacts. The museum is known for having one of the largest collections of violins in the world, and also for its significant collections of ancient weapons and Western paintings and sculptures. Forbes magazine, in its February 1996 article on private collectors in Asia, called Chimei Museum “one of the world’s most surprising art collections.” The museum moved to its current venue on Wenhua Road in 2014.

奇美博物館（中文：奇美博物館;拼音：QíměiBówùguǎn）是一家私人博物館，於1992年由台灣台南仁德區的奇美公司成立。 博物館的藏品分為五類：西方藝術（包括繪畫，雕塑，裝飾藝術和古典家具）; 樂器; 自然歷史; 武器和盔甲; 古物和文物。 該博物館以擁有世界上最大的小提琴系列之一而聞名，同時也因其大量的古代武器和西方繪畫和雕塑而聞名。 “福布斯”雜誌在其1996年2月關於亞洲私人收藏家的文章中稱奇美博物館是“世界上最令人驚訝的藝術收藏品之一”。 博物館於2014年遷至文化路現址。

Location:No. 66, Sec. 2, Wenhua Rd., Rende District, Tainan 71755, Taiwan
Type:Comprehensive Museum
Visitors :1.5 million (2015)
Director: Ching-Siang Liao

地點：No。 66，Sec。 台灣市台南市仁德區文化路2號71755
類型：綜合博物館
參觀人數：150萬（2015年）

主任：廖清祥

Background
The museum was established in 1992 by Shi Wen-long.He is known for his collection of antique violins — Stradivarius, Guarneri del Gesù and Nicolo Amati. Besides being an entrepreneur, Shi is also an amateur violinist who has performed in public many times. To improve the level of classical music in Taiwan, he founded the Chi Mei Cultural Foundation and also provided a scholarship for developing artists.

背景
該博物館由施文龍於1992年創立。他以古董小提琴收藏而聞名 – 斯特拉迪瓦里，瓜爾內里斯和尼古拉阿瑪蒂。 除了作為一名企業家，施也是一位業餘小提琴家，多次在公開演出。 為提高台灣古典音樂水平，他創立了奇美文化基金會，並為發展中的藝術家提供獎學金。

Interior style
The combination of Western classical art exhibits and Western classical architectural elements sets the interior towards the direction of “classical art style”. The design team has never performed Western classical style design in the past, and fears it. The primary task of the design is to study the relationship between art history, Western architectural history, and interior decoration history, and to travel to France and the United Kingdom to inspect the elements of interior decoration art from the 15th to the 19th centuries, rigorously from space control and The artistic connotation of each period is designed to avoid the over-decoration or patchwork of the flavor of the mansion.

室內風格
西洋古典藝術展品與西洋古典建築元素的融合，將室內朝「古典藝術風格」的方向定調。設計團隊過去從未執行過西洋古典風格的設計，戒慎恐懼。設計的首要工作是著手藝術史、西洋建築史、室內裝修史之彼此間關聯的研究，並專程至法國、英國實地考察15~19世紀室內裝修藝術的組成元素，嚴謹地從空間量體控制及各時期藝術內涵出發設計，避免落為過度裝飾或拼湊的豪宅風味。

The design team believes that through the Chi Mei Museum, visitors will know the development of collection art and art history. The collection is combined with the social environment background at that time to let the public contact and understand the development of world art, cultivate the people’s appreciation of art, establish an art base for an international museum in Taiwan, and open a door to appreciate Western art.

設計團隊認為透過奇美博物館，參觀民眾將認識館藏藝術品與藝術史發展。館藏與當時社會環境背景結合，讓社會大眾接觸及瞭解世界藝術發展，培養民眾對藝術的鑑賞力，為台灣建立一個國際博物館的藝術基地，開啟一道欣賞西洋藝術的大門。

Sculpture Avenue: Open the door to art
The Sculpture Avenue is an important axis connecting the exhibition halls. The group of Olympus gods echoing the entrance of the park, expressing the internal and external echoes in the form of niches, and the entrance door of each exhibition hall constitutes the gate of art; therefore, at the beginning The design is different in the design of the age with the age, including the entrance floor pavement has different performance, because the exhibits of the halls do not completely match the style of the door in the period, it is transformed into a single form, so that the form of the decoration is weakened, so as to highlight Engraved exhibits in the niches.

雕塑大道：打開藝術之門
雕塑大道是連接各展廳的重要軸線，意念上呼應園區入口的奧林帕斯神像群，以壁龕的形式表達內外呼應外，並由進入各個展廳的入口門組成藝術之門；因此，在初始設計是隨著年代設計該年代不同的形式，包含入口地板鋪面均有不同的表現，由於各廳的展品並非完全吻合該時期門的風格，乃轉變為單一形式，讓裝飾的形式弱化，藉以突顯壁龕內的雕刻展品。

Hall: the hall of art
Classical elements such as arched beams, curved ceilings, and domes are the images of the initial architectural hall. Since the construction techniques of modern buildings are no longer necessary for ARCH arch beams, they are transformed into parallel straight beams and ceilings.
The scale of the dome is slightly reduced with the construction. Many investigation cases are brought back to the country. Finally, the spiral form of self-design is still adopted. With the help of French consultants, the new decorative pattern is proposed, which is the final result of combining mathematics and art.

Rodin Hall: Grouping together
Everyone knows Rodin, but may not know that Rodin’s teachers, colleagues, and students are working hard at the same time to dance with the sculptures. In the small studios of European neighborhoods, this group of teachers, students, and peers compete and compete with each other. Creation.
Therefore, the original idea was a magnificent and distinguished stage palace. The reverse thinking became a populist studio with no steps, reflecting the atmosphere of that era, the environment, and the gathering of emotions.

大廳：藝術的殿堂
拱形樑、曲面天花板、穹頂等古典元素，是初始建築大廳的意象，由於近代建築的施工技術已無ARCH拱形樑之必要，乃轉變為平行直樑與天花板的形式。
穹頂的尺度配合建築略為縮減，出國考察帶回來很多參考案例，最後仍採用自行設計的螺旋形式，經法國顧問的協助創作，提出新的裝飾圖案，是結合數學與藝術的最終成果。

羅丹廳：群聚一堂
大家都知道羅丹，但可能不知道羅丹的老師、同儕、學生在同一個時間，努力的與雕塑共舞，在歐洲街坊的小小工作室，群聚這一群師生、同儕相互競爭，相互砥礪的創作。
因此，原來初始構想是華麗、尊貴的階台殿堂，反向思考就成了平民化無台階的街坊工作室，反應著那個時代、那個環境，群聚情感的氛圍。

Musical Instrument Hall: Travel around the world with music
Music is a worldwide language with a free and flowing artistic identity. This hall is an open flat architecture to echo the freedom of music, and to define the field with platforms, panels, and colors, and to present world-class national instruments of different cultures.
The unique design of the “Entering the Orchestra” for the instrument is based on the actual orchestra’s composition and configuration as a display of the instrument. The audience can be on the podium and the conductor’s overview of the audience, or enter the orchestra to perform. From the perspective of understanding the operation and characteristics of various instruments.

樂器廳：用音樂環遊世界
音樂是世界性的語言，並具有自由、流動的藝術特質。本廳是以開放式的平面架構來呼應樂曲的自由流暢，並以平台、展板、色彩來界定場域，呈現不同文化的世界民族樂器。
「走入管弦樂團」為樂器展示的獨特設計，是以實際管弦樂團的編制配置來作為樂器的陳列展示，觀眾可於指揮台上化身指揮家總覽全場，亦可走入樂團，以演奏者的角度了解觀察各種樂器的運作及特性。

Continuing the open and flowing spatial tonality of the “World National Musical Instrument” and “Going into the Orchestra”, this area is changed from the original fixed platform platform seat to the stage space and the active seat combination. There is no height difference design, which brings the distance between the instrument display and the visitors, and shapes the free-flowing space extension.

Art Hall: Unlimited dialogue with creators
The interior styles of different eras reflect the cultural and aesthetic perspectives of the period. The early design, with different decorative styles to set off paintings and exhibits, such as the Baroque style, set off the creation at the time, but this style, the decoration of ceilings and lines is strong, and the future of the exhibits may be more dynamic, in order to meet the future change, It should be based on highlighting the exhibits, supplemented by the interior style, which is composed of neoclassical forms and exhibits that constitute a calm classical artistic expression and interpretation.

延續「世界民族樂器」及「走入管弦樂團」開放、流動的空間調性，此區由原始固定式階梯平台座位，改為以舞台及活動座椅組合的展演空間。無高低差式的設計，拉近了樂器展示與參觀者的距離，並形塑出自由流動的空間延伸。

藝術廳：與創作者無限的對話
不同年代的室內風格，反映出該時期的文化及審美觀點。早期的設計，以不同裝飾風格襯托繪畫與展品，例如巴洛克風格襯托當時的創作，但這樣的風格，天花及線條的裝飾強烈，且展品未來有可能更動的考量下，為符合未來換展容易，且應以突顯展品為主，室內風格為輔，乃以新古典形式與展品構成沉穩古典的藝術表現與詮釋。

Chi Mei Hall: the curve of music
Taking into account the acoustics and form is the design element of the Chi Mei (Performance) Hall. The initial design is based on the irregular and rational composition of the elements of the sound performance. Later, Chairman Liao Jinxiang and Chi Mei Tongren considered it “ambiguous” in the review meeting. It does not conform to the Chi Mei culture, but it is a form that changes the form substantially, with the rhythm of the music melody, and the reflective plate with diffuse sound effects, forming the form of the entire exhibition hall.

奇美廳：音樂的曲線
兼顧聲學及形式是奇美（演奏）廳設計要素，初始設計乃以不規則的面狀理性的構成符合音學演奏的要素，後因廖錦祥董事長及奇美同仁在檢討會議認為「有稜有角」並不符合奇美文化，乃大幅改變形式，以音樂melody律動的曲線，同時兼具漫射音效的反射板造形，構成整個展廳的形式。

Animal Hall: The Stage of Life
Life has evolved over the earth for billions of years, and human beings are co-evolving with all life on earth to move toward the future; human beings are a part of life on earth, and there should be no distance between us and animals. People are animals, animals and people. Based on this concept, the goal of the exhibition is to let people stand on this stage with their lives. We rarely see them so close, or watch them without distance, while expecting surprises and expectations. Give the Taiwanese people a sense of life and bring a little thought.

動物廳：生命的舞台
生命在地球演化了數十億年，人類也正與地球上所有生命共同演化邁向未來；人類是地球生命的一份子，我們與動物之間也應該沒有距離，人即動物，動物與人都能相互珍惜共處，基於這樣的理念，展示的目標是要讓人與生命共同站在這塊舞台，我們很少能如此近距離，或是無距離的觀賞它們，在驚奇歡愉的同時，期望給台灣民眾體認生命意義而帶有些許省思。

FROM:http://taiwaninterior.blogspot.com/

FROM:【奇美博物館 空拍影片】看見奇美（建議以高畫質觀賞）

FROM:【奇美博物館 關於藏品系列】雕與塑 探索大理石雕像製作過程 「阿波羅噴泉」製作

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