本館持續推動臺南在地藝術家研究與展覽，本次「典藏具焦：洪通、張炳堂、許淵富、蔡草如」，挑選本館典藏在地藝術家張炳堂、許淵富與蔡草如作品，並調借臺南市政府典藏之洪通作品，以「民間信仰」與「在地風土」為大方向，分別展呈與分析個別藝術家之創作特色，策辦為期一年之典藏展。

Our museum continues to promote the research and exhibition of local artists in Tainan. We now present the ‘Themed Collection Exhibition: Hung Tung, Chang Ping-tang, Hsu Yuan-fu, and Tshuà Tsháu-jû.’ This exhibition features selected works from the museum’s collection by local artists Chang Ping-tang, Hsu Yuan-fu, and Tsai Tsao-ju,  as well as various borrowed pieces from the Tainan City Government’s collection of Hung Tung’s works. The exhibition is focused on local customs and folk beliefs, and aims to present and analyze the creative characteristics of each individual artist. This exhibition will last for one year.

洪通年表_Chronology_of_Hung_Tung.pdf

張炳堂年表_Chronology_of_Chang_Ping-tang.pdf

許淵富年表_Chronology_of_Hsu_Yuan-fu.pdf

蔡草如年表_Chronology_of_Tsai Tsao-Ju.pdf

洪通、張炳堂、許淵富、蔡草如

Hung Tung, Jang Bing-tang, Hsu Yuan-fu, Tsai Tsao-ju

洪通為臺南出生的臺灣重要藝術家，他的作品具有強烈的感染力，他的藝術可說是屬於世界的。本館於2020年策劃「再現傳奇—洪通百歲紀念展」，展出約126件作品，包含第一次展出其不同風格的手稿、８本素描本。展覽中也展出藝術家的畫筆工具、當時的新聞訪問影片、簡報與新拍攝的專家學者訪談，展覽深受洪通家屬肯定。

Hung Tung is an important Taiwanese artist, born in Tainan, whose works possess strong emotional appeal and can be appreciated by people from all kinds of backgrounds. In 2020, this museum curated a centennial exhibition entitled ‘Representation of a Legend: Centennial Celebration of Hung Tung,’ showcasing around 126 of his works, including various manuscripts of different styles and 8 sketchbooks, which were exhibited for the first time at this event. Also on display were the artist's painting tools, contemporary news interview footage and reports, as well as newly filmed interviews with experts and scholars. The exhibition received high praise from Hung Tung's family members.

本次展覽以臺南市政府典藏極其珍貴的30件洪通作品為選件基礎，以風格類型方式，分類為「廟宇與民俗藝術的影響」、「歡快的土地之夢」、「文字畫、畫文字」三個區塊，透過「在地風土」與「廟宇藝術」推測洪通繪畫裡的空間感與造形轉化來源。展覽亦會再次呈現當年轟動台灣的新聞剪報，以及藝術家重要年表，期盼更多人能認識這位特殊又傑出的藝術家。

The current exhibition centers on 30 extremely precious works by Hung Tung belonging to the Tainan City Government’s collection. The exhibition is divided into three sections according to each work’s style and genre: ‘The Influence of Temples and Folk Art,’ ‘Joyful Dreams of the Land,’ and ‘Word-Paintings and Painted Words.’ The exhibition aims to examine the source of the sense of space and the transformation of form shown in his paintings, through the lens of local culture and temple art. In addition, the exhibition will once more present the news clippings that caused such a sensation in Taiwan at the time, and will provide a timeline of important events in the artist’s life. We hope that this exhibition will serve to introduce more people to this unique and outstanding artist.

在張炳堂眾多作品中，自其獨具特色的主題「廟宇」，挑選「開元寺之晨」、「廟宇秋景」、「孔廟禮門」、「大成門」等９件作品，分析其獨特的空間表現方式。以「開元寺之晨」、「臺南孔廟」來看，藝術家的視點自廟宇室內，隨著門神、屋簷下的廊道、廟埕、廟的正門，再到廟外的景色，由內往外走出。空間的性質，也由靈性的信仰空間，走向廟埕那人與神準備相遇的過度空間，再走出廟門，回到世俗空間；而穿插在其中的元素，是陽光、綠樹、陰蔭、泥土、藍天等自然空間。然而，像是「大成門」等作品，則是由外往內，視點穿過牌樓、廟門，看向廟宇室內空間。藝術家的創作方式捨棄透視法，呈現畫面扁平的特性，也不強調物體的立體感，更使用非物體固有色，以及捨棄古典繪畫表現光影明暗的顏色方式，固此，畫面的空間感受彷彿是顏色與顏色的並置。然而透過畫面的元素，如開啟的廟門、「牌樓」與「禮門」具有半穿透性與強烈象徵意義的區隔空間之物體，創造了掩蔽與穿透交疊的空間感。在此空間感底下，廟門的門神與紋樣、牌樓或廟門所框住的風景，因此有了別具特色的裝飾風情。從平坦的繪畫中創造的特殊空間感，除了視覺節奏上的趣味外，也因為靈性與世俗空間等屬性的轉換、在地廟宇建築特色等文化底蘊，以及藝術家自身對於地方的情感，豐富了作品的人文關懷與思考。

Of Chang Ping-tang's numerous works, nine pieces featuring the theme of ‘temples’ were selected for this analysis. These include ‘Morning at Kaiyuan Temple,’ ‘Autumn Scenery at a Temple,’ ‘Ritual Gate of a Confucian Temple,’ and ‘Dacheng Gate.’ These pieces were chosen in order to examine the artist's unique exploration of space. In ‘Morning at Kaiyuan Temple’ and ‘A Confucian Temple in Tainan,’ the artist's viewpoint starts from the interior of the temple, following the door gods, the walkway under the eaves, the temple courtyard, and the main entrance of the temple, before moving on to the scenery outside the temple, progressing from the interior to the exterior. The nature of these spaces likewise shifts from the spiritual space of religious belief to the transitional space of the temple courtyard, where people prepare to meet with the gods, before heading back to the secular space outside the temple gates. Interspersed within all this are natural spaces, containing such elements as sunlight, green trees, shade, mud, and blue sky.In other works like ‘Dacheng Gate,’ the viewpoint instead moves from the outside to the inside, peering through both the archway and the temple gate and into the interior space of the temple. The artist's creative approach abandons the use of perspective, giving these images a flat quality that de-emphasizes the three-dimensional aspect of the objects shown within them. Additionally, rather than depicting these objects according to their natural colors, Chang Ping-tung instead uses a symbolic color scheme, abandoning the classical painting method of rendering light and shadow and juxtaposing the colors within the space in the painting. Certain highly symbolic, segmented spaces shown in the image – such as the open temple gate, the archway, and the ritual gate – create a sense of overlap between the hidden and the transparent. Within these spaces, the door gods, patterns, and the scenery framed by the archways or temple gates are thus given a unique decorative bearing. The special sense of space created by the flatness of the painting adds visual interest to the artist’s works. But also, because of the movement between the spiritual and secular spaces, the cultural background of the local temple architecture, and the artist's own emotional connection to these spaces, it also emphasizes the contemplation of and concern for humanity shown by the artist.

以業餘攝影愛好者為起點，持續耕耘對攝影技術的熱愛與執念成為專業攝影家的許淵富，橫跨各種題材、研究攝影新技法、獲獎無數，在他擅長的光影形塑造形的作品中，挑選了「信徒的手」四連作，以及與信仰有關的主題「信徒」、「一陣風」、「吹嗩吶者」，回應張炳堂、蔡草如的廟宇主題。在人物、肖像的創作主題中，不論是繪畫或是攝影，都可以透過人的三個部份表現人物的情感，亦即是人的臉、手，還有身體的姿態。從許淵富「信徒的手」作品延伸，自本館典藏品中，選出「手」、「白手套的女人」、「放學後」等與手部有關作品，探詢藝術家如何表現手的情感與造形之美。綜觀許淵富的創作生涯，其憑藉著優秀的暗房技術以及彷彿在街頭獵捕被攝物的成熟街頭快拍風格，既可以在作品中看得見街拍元素，也能看到許淵富極具巧思的構圖，讓我們對於街拍攝影既定的快速、捉不定的透視點，都在許淵富的作品場景內被一一推翻。許淵富的街拍扣聯著攝影棚拍般寧靜沉穩，在影像的構圖上有著靜物素描般的穩定節奏，至今仍是相當值得探究且雋永的攝影作品。

Starting out as an amateur photographer, Hsu Yuan-fu continuously cultivated his passion for photography before eventually turning professional. He delved into various themes, studied new photographic techniques, and won numerous awards. He excelled at manipulating light and shadow to create forms. Works selected for this exhibit include the four-part series ‘Hands of Believers,’ as well as several pieces exploring themes relating to faith, such as ‘Believers,’ ‘A Gust of Wind,’ and ‘Suona Player,’ in response to the temple-themed works of Chang Ping-tang and Tshuà Tsháu-jû. In the creation of portraits and human subjects, whether in painting or photography, the emotions of the subject can be expressed through three aspects of the body: the face, the hands, and the body posture. From Hsu Yuan-Fu's ‘Hands of Believers’ series, this exhibition has included works relating to the hands, such as ‘Hands,’ ‘Woman Wearing White Gloves,’ and ‘After School,’ to look at how the artist expresses the emotion and the beauty of people’s hands. Hsu Yuan-fu was proficient in darkroom techniques, and possessed a mature guerrilla photography style – his photos seem to capture subjects on the street as though they are the camera’ prey. Though we see elements of street photography in his works, Hsu Yuan-fu's ingenious composition techniques overturn established notions of fast and elusive perspectives in street photography. His street snapshots are as tranquil and steady as most studio photography, with a stable rhythm similar to that of still-life sketches. To this day, his works remain meaningful and well worth exploring.

本館於2022年策劃「蔡草如：神話、戲臺與逆光赤城」展覽深受家屬肯定，進而受贈86件作品厚實本館典藏。人稱「草如仙」的蔡草如，特別擅長將東西方媒材交融並用，配以俐落線條與清亮色彩，傳達寓意深遠的生活敘事，其各時期所繪之廟宇建築彩繪與風景人物寫生作品，包括以形同導演視角，搭配深厚的漢學素養與考古精神所繪製出的神話故事與戲齣人物、日本留學時期創作、家鄉市井人物的生活敘事、城門與老廟速寫，以及於拂曉與薄暮之時所見之逆光風景繪畫。本次欲以其「信仰生活」與「生活信仰」的雙行創作脈絡之下，呈現蔡草如人生各個階段以職人之姿行藝術之道的精神，提供觀眾一道漫步於臺南生活與信仰之間的時光途徑。

In 2022, our museum curated the exhibition ‘Tshuà Tsháu-jû: Myth, Stage and the Backlit Fort Provintia,’ featuring the works of Tshuà Tsháu-jû. The exhibition was well-received by the artist’s family, who generously donated 86 pieces of his artwork to our collection. Tshuà Tsháu-jû, also known as ‘the Immortal Tsháu-jû ,’ excelled with both Eastern and Western art materials, and made use clean lines and bright colors to convey narratives with deep meaning. The subjects of his paintings include temple architecture, landscapes, and people from various time periods, as well as mythological stories and characters from theatrical performances, drawn from a director's perspective and with a deep understanding of Chinese culture and archaeology. His works also depict slice-of-life narratives of people from his hometown, quick sketches of city gates and old temples, and backlit landscapes set during dawn and dusk, as well as other works of his from his time studying abroad in Japan. This exhibition, based around the dual ideas of ‘faith in life’ and ‘a life of faith,’ showcases the essence of Tshuà Tsháu-jû’s artistic journey from a craftsman’s perspective, at various stages of his life, offering visitors a chance to explore the intersection of life and faith in Tainan.

展期：2023.03.21-2024.04.07

地點：臺南市美術館 2館 展覽室F、G、H

指導單位：臺南市政府

主辦單位：臺南市美術館

企劃與執行：臺南市美術館展覽企劃部

Date: March 21st 2023 - April 7^th, 2024

Gallery F, G, H, Building 2

Advisor | Tainan City Government

Organizer | Tainan Art Museum

Curatorial Team: Curatorial Department, Tainan Art Museum