展覽介紹

臺南代表藝術家曾培堯（1927-1991）是繼顏水龍（1903-1997）、郭柏川（1901-1974）之後，在臺灣藝術史的發展脈絡上，獨特且關鍵的存在。他追隨郭柏川為南部美術發展留下了建言與做法，在「臺南美術研究會」（簡稱「南美會」）促成畫會的連結與脈動，乃至國際交流；從其豐富的人生可望見該時代以臺南為中心，折射至臺灣及世界的人事物系譜。

「相」有掌管、選擇、幫助、形貌等意涵，從彙整檔案至奉獻於藝術公共事務，以及望見「數位」及「檔案」的前衛性與前瞻性，反映了曾培堯自身是一個「相」，以真誠的心，赤忱的身，內外參透地經驗這個世界；而他留下的檔案、文件及物件，亦穿插自身與他人，交錯藝術責任及友誼之「相」。畫作更如同他，是一個「相」，在精神世界及物理世界之間，成為一個觀照內外的中介，透過一線一形一色的介質，交會生命的意義，誠如他所題「藝術創造永恆生命」。

曾培堯將自己的創作分為攻素描及寫實時期（1945~1952）、主觀表現具象時期（1953~1954）、抽象表現時期（1955~1961）及生命連作時期（1962~1991）。縱然遭逢親人變故，而後患上重病，在短暫的人生裡，曾培堯一路探究藝術生命的真諦，把握藝術及生活的每一刻。本展覽以「時空之相：曾培堯生命長廊」、「交織為相」及「雋永之窗」三大區域，在空間與時間的層次裡，多向度呈現曾培堯交疊藝術創作及檔案的生命故事。透過其代表性「凸型記號」（凸型人），造形依稀時間的鑰匙孔，帶領觀者領取自我生命的鑰匙，開啟短暫中的永恆，在展覽中尋找不同的「內外之相」。

Introduction

Following Yen Shui-long (1903-1997) and Kuo Po-chuan (1901-1974), Tseng Pei-yao (1927-1991), a representative artist from Tainan, is a unique and crucial figure throughout Taiwanese art history. He made contributions to the art development in southern Taiwan following the footsteps of Kuo Po-chuan, facilitated coordination within the Tainan Fine Art Research Association, and engaged in countless international events. The artist’s rich life experience exemplifies a contemporary Tainan-centered perspective, weaving a tapestry that extends its influence to Taiwan and global arts community.

The character “相” (xiang) has meanings such as to manage, select, assist, and appearance for many aspect. Tseng’s extensive experiences from archives management to the commitment to public art affairs, as well as his ability to discover the avant-garde nature of digital files and archives, depict the artist himself as an “interface (xiang)” experiencing the world with a sincere heart and passionate spirit, and genuinely understanding the world both internally and externally. The archives, documents, and objects he left also constitute an “interface (xiang)” intertwining himself and others between artistic responsibility and friendship. Like Tseng, his paintings acts as another “interface (xiang)” between the spiritual world and physical world and transforms into a medium reflecting the inner and outer worlds. Like the artist per se, his works serve as another aspect that intertwines the meanings of life through media comprising different lines, shapes, and colors, exemplifying his motto “Art creates eternal life”.

Tseng categorizes his artist career into four periods, namely the Periods of Sketching and Realism (1945-1952), Subjective and Figurative Expressionism (1953-1954), Abstract Expressionism (1955-1961), and Life-themed Series (1962-1991). Despite his short life tormented by the loss of loved ones and serious illness, Tseng relentlessly explored the true essence of artistic life and seized every moment of art and living. The exhibition features three major zones, themed as “The Dimensions of Time and Space: Tseng Pei-yao’s corridor of life”, “Intertwining”, and “Timeless Window”. Within the spatiotemporal dimensions, the exhibition presents the artist’s life stories interweaved with artistic creations and archives in various aspects. By showcasing his iconic “convex mark (convex person)”, of which the shape is similar to a keyhole, the exhibition attempts to guide viewers to obtain their key to life and to unlock the eternal within the fleeting moments, exploring different aspects of the “inner and outer self”.

導覽摺頁Exhibition Guide.pdf

曾培堯Tseng Pei-yao

曾培堯於1927年12月12日生於臺南，為家中長子，父親曾耀昆任教於安平最早推行現代化教育的安平公學校（現臺南市安平石門國小），母親為家庭主婦。1936年，臺灣美術展覽會（簡稱「臺展」）已辦理第10年，藝術家黃土水及陳澄波先後在日本帝國美術展覽會（簡稱「帝展」）入選，這股浪潮帶動了臺灣人投身美術的理想；曾培堯的叔叔曾耀岳赴日學習繪畫的決定，以及在臺南大天后宮與老畫家的相遇，皆讓當時10歲的曾培堯心中泛起了藝術創作的的漣漪。

1945年，曾培堯開啟藝術家創作的扉頁。在臺南專修商業學校高等科畢業後，因避戰疏散到玉井山區，曾培堯開始寫生紀錄臺南家鄉的風景。1947年至1953年，曾培堯在臺灣糖業公司（簡稱「臺糖」）工作之餘，持續至臺灣省立工學院建築工程學系（現國立成功大學）旁聽顏水龍與、郭柏川的美術課，於1954年加入「南美會」，並擔任常務理事兼總幹事，張羅內外大小事。三十餘年間，在國內除了1962年臺灣藝術館的首次個展，更參加「自由中國美展」、「新綠水彩畫展」、「中國現代水墨畫會」、「中國現代版畫會」等國內重要畫會展覽；國際上，曾參與「香港國際繪畫沙龍」、第7屆與第11屆巴西「聖保羅國際雙年展」、東京「中日美術交流展」、羅馬「現代藝展」、美國耶魯大學「中國當代藝術邀請展」等，一生累計共有63次個展，參與的聯展不計其數。

1991年，曾培堯因癌症離開了人世，其一生嘗試油畫、水墨、水彩、粉彩、版畫、攝影、素描等媒材，留下千幅作品，創作能量豐沛。除了畫會的公共事務，也曾應邀赴紐約聖若望大學、瑞士蘇黎世大學演講，並於國立教育電台主講「現代美術欣賞」，編著《構圖研究》一書，翻譯及撰寫藝術文章超過百篇。他更成立畫室及「世代畫會」，從事美術教育工作，無論跨域、跨年齡的受眾，曾培堯推廣藝術及創作風氣不遺餘力，對臺南、臺灣藝壇影響深遠。

Tseng Pei-yao

Tseng Pei-yao was born in December 12, 1927 in Tainan as the eldest son. His father, Tseng Yao-kun, taught at Anping Public School (now as Tainan Municipal Shihmen Elementary School), the first school adopting modern education throughout the district, while his mother was a housewife. The year 1936 marked the tenth anniversary of the Taiwan Fine Arts Exhibition (“Taiten” for short), where Huang Tu-shui and Chen Cheng-po were shortlisted for the Imperial Art Exhibition of Japan (“Teiten” for short). The success of the two artists then encouraged Taiwanese to devote themselves to art. After seeing his uncle (Tseng Yao-yueh) decide to study painting in Japan and encountering a veteran artist by chance at the Grand Matsu Temple in Tainan, Tseng, who was only 10 years old then, began to nurture the idea of pursuing art creation.

In 1945, Tseng launched his career as artist. After graduating from Tainan Commercial High School, he was evacuated to the mountainous Yujing area to avoid confrontation, during which he began sketching the landscapes of his hometown. Between 1947 and 1953, while working at Taiwan Sugar Corporation, the artist continued auditing art classes taught by Yen Shui-long and Kuo Po-chuan at Taiwan Provincial College of Engineering (now “National Cheng Kung University”). In 1954, Tseng joined the Tainan Fine Art Research Association, where he served as the executive director and secretary-general, managing various affairs. In the following three decades, Tseng had attended numerous art exhibitions in Taiwan and abroad. For example, in addition to the first solo exhibition held domestically at the National Center of Arts in 1962, his works were exhibited at Free China Arts Exhibition, New Green Watercolor Exhibition, events held by the Chinese Modern Ink Painting Association and the Chinese Modern Print Association. Regarding overseas events, the artist had attended Hong Kong International Salon of Paintings, the 7th and 11th São Paulo Art Biennial in Brazil, Sino-Japanese Art Exchange Exhibition in Tokyo, Contemporary Art Exhibition in Rome, and Chinese Contemporary Art Invitation Exhibition organized by Yale University in the United States. In summary, Tseng had held a total of 63 solo exhibitions and took part in countless joint exhibitions throughout his life.

In 1991, Tseng passed away after a battle with cancer. The artist left more than 1,000 works encompassing a wide range of media, including oil paintings, ink wash paintings, watercolors, pastel paintings, prints, photographic pieces, and sketches, exemplifying his abundant creative energy. In addition to serving at the Tainan Fine Art Research Association, Tseng had been invited to give speeches at St. John’s University in New York, the United States and University of Zurich in Switzerland. He also hosted a radio program called “Appreciation of Contemporary Art” at National Education Radio, was the editor of A Study of Composition in Art, and had translated and authored over 100 articles on art. By establishing art studios and Generations Art Association, the artist dedicated himself to art education regardless of the background and age of audience. Throughout his life, Tseng was dedicated to promoting and creating art, leaving a profound impact on the art scenes of Tainan and Taiwan.

指導單位：文化部、臺南市政府

Supervisor: Ministry of Culture, Tainan City Government

主辦單位：臺南市美術館

Organizer: Tainan Art Museum

展覽顧問：曾鈺涓

Consultant: Tseng Yu-chuan

策展人：黃靖容

Curator: Huang Jing-jung

展覽團隊：林怡柔、賴維鈞

Coordinator: Lin Yi-rou、Lai Wei-chun

特別感謝：國立歷史博物館、高雄市立美術館、曾培堯家屬、阿波羅畫廊、加力畫廊、尊彩藝術中心、王道銀行、國家電影及視聽文化中心、國立成功大學藝術研究所、國立臺南藝術大學

Special Thanks: National Museum of History, Kaohsiung Museum of Fine Arts, Tseng Pei-yao’s Family, Apollo Art Gallery, Inart Space, Liang Gallery, O-Bank, Taiwan Film and Audiovisual Institute, Institute of Art Studies of National Cheng Kung University, Tainan National University of the Arts

曾培堯，〈生命6817〉，1968，油彩、畫布，27.3 × 22.1公分。私人收藏。

Tseng Pei-yao, Life 6817, 1972, oil on canvas, 27.3 × 22.1 cm. Private Collection.

曾培堯的靈魂及軀體：「凸型人」（或稱「生命原形記號」、「凸型記號」、「變形人」）

曾培堯將「從煙雲縹緲虛靈如夢的世界和生物形態所昇華的凸形記號表象」作為自畫像，這是由一個長橢圓和半圓結合的人形，在他大量的畫作都能見到。此「相」就如同曾培堯的靈魂及軀體，伴隨創作及生命經驗人生。

Tseng Pei-yao’s Spirit and Body: The “convex person” (also known as the “life archetype symbol”, “convex mark”, or “transformed person”)

Regarding the “convex marks sublimated from the misty, ethereal world and biological forms” as a self-portrait, Tseng incorporated a humanoid shape combining a long oval and a semicircle into many of his works. The revealed “aspect (xiang)” is like the artist’s spirit and body, accompanying his creative work and life journey.

檔案、文獻/重現、展示-曾培堯與臺南藝術史檔案研討會

10/15(二) 10:00-16:30  臺南市美術館 1館導覽室

研討會活動資訊｜ https://www.tnam.museum/event/detail/548