蔡草如（原名蔡錦添，1919-2007）一生的創作秉持實地寫生與創新精神，對於自身的文化、藝術與信仰有獨特見解與嶄新詮釋，即使身處新舊衝突不斷、矛盾共生的時代中，依然能內斂地以獨特的觀察視角與深厚的文化素養，描繪市井間樸素優雅的生活景緻，表達對家鄉人文風景的欣賞與認同。

身兼廟宇民俗畫師及畫家身份的蔡草如，不僅於全臺近60間廟宇存有其以戲齣人物般的舞臺排場繪製的神話彩繪，亦曾受聘至泰國徐氏宗祠繪製樑柱壁畫。傳統概念中對於民俗畫師與畫家往往有雅俗之分，然而畫師在嚴謹的學徒制度中對於色彩與材料學的應用即已練就紮實的功夫，除了延續文人畫家自古迄今的優良傳統，亦與大眾生活、民間信仰緊密相連。1943年，蔡草如在母親的全力支持下前往東京川端畫學校學習西洋繪畫，身為臺灣人而受制於皇民化政策的實行，須半工半讀的蔡草如不得已改名換姓，以家鄉的代表建築「赤崁樓」更名為「赤城堅一」以方便就業維持生計，在課程學習之外也以其繪畫專長服務於日本情報局及美軍進駐軍俱樂部，然適逢二戰爆發導致國際情勢急轉直下，迫使蔡草如必須得收拾行李返鄉與家人團聚。1946年回到臺南後，將習得的人體解剖學與透視概念應用於廟宇彩繪之外，同年參與首屆全省美術展覽而獲入選，並接連於十餘年間榮獲佳績，接踵而至的榮耀，並未改變其一貫的謙遜，隨後也獲「免審查」並受邀擔任展覽評審委員。1964年，在因緣際會下創立「臺南市國畫研究會」（又名「國風畫會」），定期舉辦團體出遊活動以實行寫生與題材創新，藉此提升地方創作風氣與審美品味。

人稱「草如仙」的蔡草如，特別擅長將東西方媒材交融並用，並著重時空背景考究與人物骨骼動勢的拿捏，再配以俐落線條與清亮色彩，透過畫面傳達寓意深遠的生活敘事，即使題材與寓意相同，在其筆下的人物景緻總是別出心裁，引人入勝。然而，在臺灣相對潮濕與高溫的熱帶型氣候下，使得建築彩繪容易因受潮而剝落，加上當時文物保存意識低迷，時有定期整修、覆蓋，甚或是拆除行為，使蔡草如自覺心血白費，於1980年代後逐步淡出廟畫領域，轉而精進於較易長久保存的紙本彩繪創作，並定期籌辦畫會展覽，推行藝文相關活動，以追求更具藝術價值的表現。或許是性格使然，亦或是決心專注於繪畫表現與文化傳承的使命之中，一生淡泊名利，雖其藝術造詣與品格素養之高，卻不易廣為人知。本展試圖呈現其藝術創作與其為人所蘊藏的知性、理性與感性，集學識與才華於一身的創新視野與傳承精神。

Tshuà Tsháu-jû’s (formerly Cai Jing-Tian, 1919-2007) lifelong creation upheld the spirit of on-site sketching and innovation with his unique insights and novel interpretations of his culture, art, and beliefs. Even in an era of constant conflicts and contradictions between the traditional and modern, he was still able to depict the simple, elegant scenes of life in the city and express his appreciation of the humanistic landscape of his hometown with his unique observation and profound cultural knowledge.

As a folkloric temple painter and an artist, Tshuà painted mythological stories in nearly 60 temples throughout Taiwan and was commissioned to paint the pillars of Xu’s clan temple in Thailand. There are distinctions between folk painters and high-art painters in the traditional concept. However, under the strict apprenticeship system, folk painters develop solid skills in the employment of colors and materials, which continue the fine tradition of literati painters and closely connect with ordinary life and folk beliefs. In 1943, with the full support of his mother, Tshuà went to Tokyo to study Western painting at Kawabata Painting School. Due to the Japanization policy, Tshuà Tsháu-jû as a person who born in Taiwan, who had to work and study simultaneously, had no choice but to change his name to facilitate his employment. He changed his name to “Agaki Kenichi” after his hometown’s significant building, the Chihkan Tower (Port Provintia). In addition to his studies, he also served the Japanese Defense Intelligence Agency and the U.S. Army Club with his painting expertise. However, the outbreak of World War II caused the international situation to take a sudden turn for the worse, forcing Tshuà Tsháu-jû to hurry back to his hometown to reunite with his family. After returning to Tainan in 1946, he applied his knowledge of anatomy and perspective to temple painting and participated for the first time in Taiwan’s Provincial Art Exhibition and the work was selected for the exhibition. He then won many awards over the next ten years. However, the following honor did not change his humble and modest attitude. Subsequently, he was invited to be a jury member of the exhibition for his jury exemption prize. In 1964, he founded the Tainan Chinese Painting Research Association. In addition to organizing regular group trips to practice sketching and discussing the subject matter breakthrough, he also took the opportunity to enhance the local painting trend and aesthetic taste.

Tshuà Tsháu-jû, known as “Tsháu-jû sian (celestial being),” was particularly adept at blending Eastern and Western materials and paid particular attention to the historical background and the movement and dynamics of depicted figures. Even though the subject matter and the moral are similar, the figures he depicted are always unique and fascinating. However, under Taiwan’s humid and warm tropical climate, mural paintings in the temple were prone to peeling due to moisture. Moreover, due to the low awareness of heritage conservation at the time, regular façade renovation and even demolition were often carried out, which made Tshuà Tsháu-jû think that his efforts were wasted and decided to resign from the field of temple mural painting. Instead, he started to paint on paper, which is easier to preserve for a longer time, and organized painting exhibitions and cultural activities to pursue a more valuable artistic presentation. Perhaps it was because of his personality or determination to focus on the mission of painting and the succession of cultural heritage that he has been indifferent to fame and fortune throughout his life, making his high level of artistic achievement and noble character less widely known. The exhibition attempts to present the intellectual, rational, and sensual nature of Tshuà Tsháu-jû’s artworks, which combine knowledge and talent with the spirit of innovation and heritage.

 導覽手冊_蔡草如神話戲臺與逆光赤城.pdf

蔡草如  (Tshuà Tsháu-jû, 1919-2007）

蔡草如 |  自畫像 |1937 | 水彩、紙本 |  36x24

 Tshuà Tsháu-jû |  Self-Portrait | 1937 |  Watercolor on paper | 36x24

蔡草如 | 自畫像| 1938 | 炭筆、紙本  | 36.5x24.8

Tshuà Tsháu-jû | Self-Portrait | Charcoal on paper | 36.5x24.8

1982年於臺南大地谷風景區寫生

Sketching in Tainan Dadi Valley Scenic Area in 1982

1988年畫室創作中留影

Tsai was painting in the studio in 1988

展覽顧問：蔡國偉

策展團隊：蕭楷競、柯春如

Exhibition Consultant: TSAI Kao. Wei

Curatorial Team: HSIAO Kai-Ching, KO Chun-Ju

蔡草如 | 春遊富士山 | 1945 | 水彩紙本 | 27.2x29.2

Tshuà Tsháu-jû | Spring Tour to Mount Fuji | 1945 |  Watercolor on paper | 27.2x29.2

蔡草如 | 伯樂相馬 | 1946 | 墨、紙本 | 124x105

 Tshuà Tsháu-jû | Bo Le Judging A Horse | 1946 | Bo Le Judging A Horse | 124x105

蔡草如 |  赤崁朝旭 |  1958 | 膠彩、紙本 |  86 x 70

Tshuà Tsháu-jû |  Chikan Morning Sunshine | 1958 | Gouache on paper | 86 x 70

蔡草如 | 綠庭 | 1962 | 膠彩 | 110x79

Tshuà Tsháu-jû |The Green Garden | 1962 | Gouache on paper | 110x79

蔡草如 |  檳榔姑娘 | 1986 | 膠彩、紙本 |  56x74cm

Tshuà Tsháu-jû | The Betel Nut Lady | 1986 | Gouache on paper | 56x74cm

蔡草如：神話、戲臺與逆光赤城  Tshuà Tsháu-jû: Myth, Stage and the Backlit Fort Provintia

前導展：2022 年 4 月 2 日（六）至 2022 年 4 月 17 日（日）
展間：1館2樓展覽室H

正式開展：2022 年 5 月 5 日（四）至 2022 年 9 月 11 日（日）
展間：1館2樓展覽室H、I、J

指導單位：文化部、臺南市政府

主辦單位：臺南市美術館

借展單位：國立臺灣美術館、國立傳統藝術中心、國立歷史博物館、臺南市政府文化局、臺南市文化資產管理處、蔡國偉、沈銘賢、沈薰齡、林錫田、陳香川、許富全、馮春福、楊智雄、翠薰堂有限公司

Advisor: Ministry of Culture, Tainan City Government

Organizer: Tainan Art Museum

Lender: National Taiwan Museum of Fine Arts, National Center for Traditional Arts, National Museum of History, Cultural Affairs Bureau Tainan City Government, Tainan Municipal Administration of Cultural Heritage, TSAI Kao. Wei, SHEN Ming-Hsien, SHEN Hsun-Ling, LIN Xī-Tian, CHEN Hsiane-Chuan, HSU Fu-Chuan, FENG Chun-Fu, YANG Chih-Hsiung, AURAE CO., LTD