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作法，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 exchanges. The artist’s rich life experience exemplifies a contemporary Tainan-centered perspective, weaving a tapestry that extends its influence to Taiwan and global stages.

The character “相” (xiang) has meanings such as to manage, select, assist, and appearance or an 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”.