嘉義市立美術館嘉義市立美術館

靜物    Still Life 張義雄    Chang Yi-hsiung 1993     130.5 x 130.3cm 油畫  Oil on canvas  展出時間：115.09.15-115.10.11   這件作品描繪一張有白色桌布的圓桌，上面擺放酒瓶、水果、杯子與鮮花等日常器物的靜物畫。風格為立體主義，不重視傳統透視手法的二維點線，而是關注三維的塊面。使用大量白色，以紅、藍二色打底，再藉由白色大塊面的快速疊塗，產生出粉紅、粉橘、粉藍，形塑明度較高的效果。畫上的桌巾，藉由各角度的幾何擷取，鋪平了各面向的紋飾，桌上的杯子、花果以陰影方式處理，反映靜物畫強調形式、色彩與情感表現的藝術精神。 張義雄（1914-2016），生於嘉義市，曾於陳澄波（1895-1947）門下習畫，1929年赴日就讀中學後，又回臺就讀臺南州立嘉義中學校（今「國立嘉義高級中學」），1932年二度赴日就讀帝國美術學校（今「武藏野美術大學」）與川端畫學校。曾獲全省美展首獎及臺陽美展首獎，1988年成為臺灣第一位法國秋季沙龍的正式會員。   This still life painting depicts a round table covered with a white tablecloth, adorned with everyday objects such as a wine bottle, fruits, cups, and fresh flowers. Rendered in a Cubist style, the artwork eschews the two-dimensional points and lines of traditional perspective, focusing instead on three-dimensional facets and planes. Utilizing an abundance of white, the artist first primed the canvas with red and blue, then rapidly layered large blocks of white on top. This technique produced shades of pastel pink, pastel orange, and pastel blue, creating a highly luminous effect. The tablecloth on the canvas flattens various patterns across multiple dimensions through geometric extraction from different angles. Meanwhile, the cups, flowers, and fruits on the table are treated with shifting shadows, reflecting the artistic spirit of still life painting that emphasizes form, color, and emotional expression.   Chang Yi-hsiung (1914–2016), born in Chiayi City, studied painting under Chen Cheng-Po (1895–1947). After traveling to Japan in 1929 for middle school, he returned to Taiwan and attended the Tainan Prefectural Chiayi Middle School (now National Chiayi Senior High School). In 1932, he went to Japan for a second time to study at the Teikoku Art School (now Musashino Art University) and the Kawabata Painting School. He won top prizes at both the Taiwan Provincial Fine Arts Exhibition and the Taiyang Art Exhibition. In 1988, he became the first Taiwanese artist to be inducted as an official member of the Salon d'Automne in France.

諸羅風情    Scenery of Zhuluo 林玉山    Lin Yu-Shan 1993     62 x69.5cm  彩墨      Color Ink 展出時間：   115.08.18-115.09.13      《諸羅風情》以俯瞰角度描繪嘉義地區水田與山脈綿延的廣闊地景，畫面中反覆出現的弧形田埂，不僅具有引導視線的功能，也形成律動的美感。兩頭水牛緩步行走於田埂之間，使畫面充滿農村生活氣息，也象徵農業社會勤勞樸實的精神。輪廓線條多用枯筆，筆墨樸實，設色淡雅，結合了中國傳統水墨、青綠山水、與西方寫生風格，充滿追憶故鄉的懷舊之情。     林玉山於1933年人選第七回台展東洋畫部的作品《夕照》，描繪嘉義紅毛埤，也就是現在蘭潭水庫一帶的田園景色。因原畫已經佚失，林玉山於1993年根據留存的寫生稿重新畫成《諸羅風情》。因蘭潭水庫落成後，已經看不到當年的田園樣貌，所以林玉山這件作品在落款時，寫著「蘭潭不見當年景，化作滄溟感萬千」，表達他滄海桑田的感受。    "Scenery of Zhuluo" depicts the vast paddy fields and rolling mountain ranges of the Chiayi region from a bird's-eye view. The recurring, curved ridges flanking the fields not only guide the viewer's gaze but also impart a rhythmic aesthetic. Two water buffaloes ambling along the ridges infuse the scene with the essence of rural life, symbolizing the diligent and resilient spirit of an agrarian society. The contours are primarily rendered with dry brushstrokes, complemented by rustic ink work and an elegant color palette. By blending traditional Chinese ink painting, blue-green landscapes, and Western sketching techniques, the artwork evokes a nostalgic longing for the artist's hometown. In 1933, Lin Yu-shan’s masterpiece "Sunset" was selected for the Eastern Painting (Toyoga) Division of the 7th Taiwan Fine Arts Exhibition, capturing the pastoral scenery of Hongmaobei in Chiayi—the present-day Lantan Reservoir area. As the original painting was lost, Lin recreated it in 1993 as "Scenery of Zhuluo," drawing upon surviving sketches. Because the original countryside had vanished following the reservoir's construction, Lin inscribed on the piece: "The old scenery of Lantan is gone, replaced by a vast lake that evokes a thousand emotions." This line poignantly reflects his profound sense of nostalgia and the inexorable passage of time.

    展望諸羅城    Looking Towards Zhuluo (Chiayi) 陳澄波    Chen Cheng-Po 1934     72.8 x91cm  油彩、畫布      Oil on Canvas 展出時間：   115.07.21-115.08.16       《展望諸羅城》是臺灣前輩畫家陳澄波於1934年自上海返臺後所創作的油畫。他佇立於地勢較高的嘉義公園，以俯瞰的視角，將故鄉諸羅（嘉義）市區的遼闊景致盡收眼底。畫布上巧妙地運用了Ｖ字型構圖，兩側繁茂且筆觸奔放的綠樹化作前景，不僅營造出深邃迷人的景深，更牽引著觀者的視線，一路綿延至遠方的市街。畫家以溫潤而飽滿的筆觸，將諸羅城那片濃綠的生機永恆地定格於畫布之上，訴說著對故土最深沉的眷戀。     這幅作品深刻記錄了日治時期，嘉義正邁向現代化與工業化的步伐。畫面中，挺立的電線桿成為現代化的隱喻，觀者的視線順著街道向右前方悠然延展，與遠處輕吐著黑煙的新式工廠煙囪遙相呼應。這份細膩，巧妙捕捉了舊時代裡，傳統農耕生活與初萌芽的工業文明交織時的悸動。      在技法表現上，陳澄波揮灑多層次的紅綠互補色塊與厚實油彩，生動地喚醒了自然與城市交融的蓬勃活力。這幅畫，不僅是藝術家為家鄉時代流轉所留下的珍貴紀實，更是一封用色彩寫給故鄉的情書，那宛如浪濤般翻湧的綠意與明快澄澈的色彩，寄託了他對這片土地充滿樂觀與奮進的深深祝福。       Looking Towards Zhuluo was created by Taiwanese artist Chen Cheng-Po in 1934, after his return to Taiwan from Shanghai. Painting from the elevated grounds of Chiayi Park, Chen adopted a bird’s-eye perspective to capture the expansive cityscape of his hometown, Zhuluo (present-day Chiayi). He skillfully employed a V-shaped structure for his composition, with lush trees rendered in bold, expressive brushstrokes framing both sides of the foreground. This not only creates a remarkable sense of depth but also guides the viewer’s gaze toward the distant streets unfolding across the city. Through warm, richly textured brushwork, Chen immortalized the vibrant greenery of Zhuluo on the canvas, expressing his profound affection for his homeland.       This painting also serves as a vivid record of Chiayi during the Japanese colonial period, when the city was undergoing rapid modernization and industrialization. The utility poles rising along the streets become subtle symbols of modern progress. As the viewer's eye follows the road toward the right, it eventually meets the silhouettes of modern factory chimneys emitting dark smoke in the distance. Such a thoughtful arrangement brilliantly captures a pivotal moment when traditional agricultural life and the emerging industrial age coexist and intertwine.       In terms of artistic technique, Chen employed layered complementary contrasts of reds and greens, together with thick, expressive oil paint, to evoke the dynamic vitality of both nature and the urban landscape. More than a faithful depiction of his hometown during a time of transformation, this painting is a heartfelt love letter to the place he cherished. Its rolling waves of verdant foliage and luminous, radiant colors convey Chen’s enduring optimism and hopes for the future of his homeland.