曾培堯的藝術生命線上展覽
曾培堯的藝術生命線上展覽
2024/10/11
2025/01/20
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展覽頁面呈現形式
橫式
時間軸
曾美術館
故事地圖
曾培堯生平及藝術關鍵年表
策展者
譚詠心
李昊恆
連愷
展覽封面
a3353582fd2b42f68e4f245740dfb4c1
展覽資料
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"desc": "<li>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。</li><li>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 ofA 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 lifeTseng was dedicated to promoting and creating art leaving a profound impact on the art scenes of Tainan and Taiwan.<br></li>",
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"desc": "<b>本展覽以「時空之相：曾培堯生命長廊」、「交織為相」及「雋永之窗」三大區域展出<br><br></b>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。他追随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「熱術創造永恆生命」。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」。<br><br>IntroductionFollowing 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 \"*B\" (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 i cates himself as an \"interface (xiang)\" experiencing the worldwith 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 \"Ar 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), Abstrac 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 maior 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\".<br>",
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"desc": "<b>「時空之相：曾培堯生命長廊」<br></b><span><b>The Dimensions of Time and Space:Tseng Pei-yao's Corridor of Life</b><br></span><br><b></b>「相」在此作名詞時，指的是曾培堯生命中的樣態，作為動詞時，有察看之意。本區域將帶領觀眾走進時空長廊，以跨維度的年表，認識藝術家曾培堯豐富的生命歷程。在長廊穿梭之間，可以看到光影與時空的交疊，走進1940~1990年代的夾層中，體會曾培堯從創作到生活中之精彩故事。<br><br>When used as a noun, the character \"FE\" refers to Tseng Pei-yao's forms of life, and refers to \"observe\" when used as a verb.In this area, visitors will enter a corridor of time and space, where the cross-dimensional timeline allows them to understand the rich life of the artist. By wandering through the corridor, they will see the interplay of light and shadows with time, and space, appreciating Tseng's amazing stories spanning artistic creation and everyday life within the layers of the 1940s and 1990s.<br><br><b></b><br><b><br></b>"
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"desc": "<b>「交織為相」<br></b><b>Intertwining<br><br></b><span>「攻素描及寫實時期（1945~1952）」及「主觀表現具象時期（1953~1954）」，曾培堯運用水彩的特性，造就輕快的筆韻和流動的色域；當不同顏色暈染，無論是樹生長的節奏，不同色域的扶疏葉叢，抑或山巒、田野的脈動，自然的廣袤、靈動一覽無遺。有時他以油畫的質地創造量感，以堅挺、俐落的線條 厚塗的色塊呈現建築體和物體。其一生創作中常見的「框景」構圖也在此時萌芽。他從建築物的門框、柱式窺探廟宇及古厝，暗示建築物內外的空間感，帶入攝影鏡頭語言，在「框」裡延伸更細膩的多元之「相」。這個「框」是曾培堯靈魂之窗，觀看及感受鄉土與城市，而後也發展出不同的分割方式，將野獸派、後印象派及立體派融會貫通，在具象與抽象間，結合物理性的技法和精神，更成為他獨有的「相」。<br><br>During the Periods ofSketchingand Realism (1945-1952) and Subjective and Figurative Expressionism(1953-1954), the painter, by utilizing the characteristics of watercolor, applied lively brushstrokes and flowing colors to his creations. Under Tseng's brush, whether it's the rhythm of a tree's growth or the blending of different colors, the movements of lush leaves, mountain ranges, and fields in varying shades fully convey the vastness and vitality of nature. Sometimes, the painter adopted oil paint to create a sense of mass, portraying buildings andobjects with firm, clean lines and thick color blocks The \"framed composition\" a recurring theme in his works, also began to take shape during this time. By peering through the door frames and columns of buildings and temples, he abstractly depict spatial relationships between the interiors and exteriors of buildings, incorporating photographic framing techniques to explore more nuanced and diverse \"images (xiang)\" within the frame.This frame serves as a window to the artist's soul, through which he observed and experienced both rural and urban environments. Over time, Tseng developed various ways of segmentation, integrating Fauvism, Post-Impressionism, and Cubism, blending physical techniques with spiritual elements to create his unique\"image (xiang)\" between figuration and abstraction.<br></span><b></b>",
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"desc": "<b>「雋永之窗」<br></b><b>Timeless Window</b><br><br><b></b>1955年，曾培堯在具象及抽象之間，由外前內，本階段以向「內」探索為主，在多層次顏色的引領下，從〈安平運河〉聽到朝陽及餘暉船隻的鳴笛聲，體現臺南在地風景。作品在線條交錯下，呈現不規則的形狀，像是不同形狀的框，框裡延伸更細碎的空間，母題也被拆解成不同的塊面，愈漸抽象，走向精神性。這個時期全球的藝術正受到美國抽象表現主義（Abstract Expressionism）的影響，如波洛克（JacksonPollock）及克萊恩 （Franz Kline）等。抽象表現主義曾經受到存在主義（Existentialism）以及東方水墨中的寫意啟發，曾培堯在臺灣除了透過西方雜誌了解藝術發展的趨勢，更試圖回歸東方的水墨線條，建立自己的表現風格。他在交錯的線條中建立不同的空間層次，而線條錯落交疊成「蜂巢」形狀，或猶如交纏的枝葉，生長在這片黑白肅靜的土地。1951年，年僅22歲的曾培堯弟弟曾錦堂因鄭海樹案遭槍決，白色恐怖蒙上了黑色的記憶。透過曾培堯作品中穿梭的線條、多變的形狀，和滴流、潑灑的顏料，以及櫃子上靜置的檔案和相片，生命有著黯然，但依然璀璨及綿延。<br><br>Starting in 1955, Tseng Pei-yao Began Exploring the Space between Figuration and Abstraction<br>.Entering this period, Tseng turned to focus on exploring inward. Guided by multi-layered colors, the sounds of morning and evening ship whistles from The Anping Canal evoke the local cityscape of Tainan. The intersecting lines create irregular shapes, resembling different frames, within which more fragmented spaces extend. The motif is deconstructed into various segments, becoming increasingly abstract and moving towards spiritual expression.During the period, the global art world was being affected by artists associated with American Abstract Expressionism, such as Jackson Pollock and Franz Kline, which inspired by Existentialism and Easter ink art. In addition to reading magazines published in the Western world to understand the current art trends, Tseng also attempted to return to Eastern ink lines and develop his own expressive style The artist created various spaces among the interplay of lines, which then form a hive-like shape or \"grow on the land of black-and-white serenity\". In 1951, the artist's youngerbrother, Tseng Chin-tang, was executed at the young age of 22 for involvement in the Cheng Hai-shu case, casting a shadow over Tseng Pei-yao's memory of the White Terror era. In Tseng's works, the intersecting lines, varied shapes, dripped and splashed paints, as well as files and photographs quietly resting on cabinets signified that life is marked by shadows, yet remains brilliant and enduring.<br><br>",
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"title": "曾培堯的靈魂及軀體:「凸型人」Tseng Pei-yao's Spirit and Body: The \"Convex Person\"",
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