書籍介紹
本書為國立臺灣美術館「履痕深烙：席德進早期的生命和藝術軌跡, 1943-1966」之展覽專輯，本次展出共百餘件席德進的平面與珍貴收藏與文獻，透過策展人的研究，呈現藝術家不同時期的心路歷程、情感流動，我們能在每件作品、每段創作歷程，見證席德進在關愛故土的同時放眼世界。
目次
目錄 CONTENTS
館長序 Director’s Foreword
策展專文 Curatoral Essay
策展人 | 楊永源
Curator | Yang Yung-Yuan
作品圖版 Artwork Plates
藝術家年表 Artist Chronology
感謝誌 Acknowledgements
編／著／譯者簡介
楊永源
國立台灣師範大學美術學系教授
最高學歷 英國倫敦⼤學藝術史博⼠博士
研究專長 近現代藝術史、英國藝術、中⻄藝術比較研究
序言／導讀
席德進不僅是一位畫家，更是一位以生命刻畫藝術、以藝術照見生命的旅人。本次國立臺灣美術館主辦、財團法人席德進基金會協辦之「履痕深烙：席德進早期的生命和藝術軌跡，1943–1966」展覽，回望席德進從杭州藝專時期、初抵臺灣，直至遊歷歐美復返臺的二十餘年間，如何在探索中勾勒出屬於自己的藝術語言與生命脈絡。
1948年，剛自杭州國立藝專(National Hangzhou Academy of Art )畢業的席德進，帶著對未來的渴望與對現實的徬徨來到臺灣。從嘉義中學的教職到投身專職創作，他一面精進藝專時期習得的人物畫技法，一面吸收臺灣風景的光色語彙。他在日記中坦言，自己「重新向大自然學習」，也參考二十世紀初期西洋畫家畢卡索、馬諦斯的繪畫風格，結合臺灣風土的視覺印象，逐步建構出屬於他個人的鮮明線條與色彩。
除了藝術風格的角度之外，席德進心境上的孤獨與情感，也是本次展覽呈現的另一個面向。他曾自喻為「寂寞的旅行者」，在一篇篇日記中流露出強烈的內在孤獨感；在他早期的創作旅途上，他如浮萍般漂泊在東方與西方之間，也在現實與夢想之間不斷掙扎與反思。儘管如此，席德進從未停止前行。他曾說：「我決心冒險向不知的境界探求，即使沒有成就也不管，我寧願丟掉過去的一切。」這樣的勇氣與決斷，讓他得以從傳統中國畫的技法束縛中掙脫；也在面對現代主義浪潮時，依舊保有屬於東方文化的詩性視野，既不迷信潮流，也不拒斥新知，而是從現代藝術中擷取其骨幹，好與自身的文化底蘊交融。
本次展覽呈現席德進從1943年至1966年職業生涯的前半段，不僅是他藝術語言的孕育期，更是他自我追尋的輪廓逐漸清晰的時光。從杭州藝專的林風眠課堂，到嘉義中學的教學歲月，從南臺灣郊野的寫生風景、公館鐵道旁鄉村題材的作品〈賣鵝者〉與〈閒坐〉，再到抽象畫與普普風的轉折與激盪。每一個階段都印證了他對藝術創作的持續探問。此外，本展更特別透過藝術家的日記、詩作、藏書及早期油畫與水彩作品，完整而豐富的呈現一位藝術家如何在大時代中尋找自身創作的根源。我們盼望觀者在穿梭展場之際，能感受到他筆下臺灣風景的光影、人物肖像的神韻、抽象構圖間蘊藏的傳統民間文化元素，並能進一步感受到他孤獨的靈魂深處發出的溫柔吶喊。
「人生像船一樣，有時要孤獨地漂浮前進……但它是在尋找一個岸邊。」今天，回應席德進這句在日記裡寫下的心聲，我們或許可以說，這場展覽也像是一個岸邊。願這位不斷探尋、不願妥協的藝術家在身後仍能透過展覽停靠，在彼岸被更多人看見。
SHIY De-Jinn was not only a painter, but also a traveler who etched life into art and illuminated life with art. Housed at the National Taiwan Museum of Fine Arts and co-presented by the Shiy De-Jiin Foundation, “Deeply Imprinted: SHIY De-Jinn’s Early Life and Artistic Journey, 1943 - 1966” looks back at the formative two decades of SHIY De-Jinn’s artistic career, from his education at the National Hangzhou Academy of Art and his early arrival in Taiwan, and to his travels across Europe and the United States before returning to Taiwan. This exhibition explores how the artist, through continuous exploration, charted his unique artistic language and life trajectory.
In 1948, shortly after graduating from the National Hangzhou Academy of Art, Shiy De-Jiin arrived in Taiwan with hopes for a future tempered by uncertainty. Serving as a teacher at Chiayi High School at first and transitioning to be a full-time artist later, he refined his portraiture painting techniques acquired in Hangzhou, while immersing himself in the language of light, shadow and colors of Taiwan’s natural scenery. In his diary, the artist confessed that he “had to learn from nature all over again.” Shiy De-Jiin drew from the styles of early 20-century Western painters such as Pablo Picasso and Henri Matisse, combined with his impressions of local culture. Gradually, he developed a distinctive vocabulary of contour and color.
Beyond his artistic style, SHIY De-Jinn’s deep solitude and emotional state forms another key focus of this exhibition. He once described himself as a “lonely traveler,” and his diaries reveal a deeply felt isolation. In the early stages of his creative journey, he drifted between East and West like a rootless plant, caught in a continuous struggle between reality and dreams. Despite these tensions, Shiy never ceased moving forward. He wrote, “I am determined to explore an unknown realm. Even if it brings no achievements, it does not matter. I would rather let go of everything from the past.” It was this courage and resolve that enabled him to break free from the constraints of traditional Chinese painting. At the same time, he remained grounded in an East Asian poetic sensibility, even as he faced the rising tide of modernism. He neither blindly followed prevailing trends nor rejected new ideas, but instead drew from the structural foundations of modern art and integrated them with the cultural depth of his heritage.
This exhibition traces the first half of Shiy De-Jinn’s artistic journey from 1943 to 1966, a formative time for both his creative language and self-identity to steadily emerge. From Lin Feng-Mien’s classes in Hangzhou to his teaching years at Chiayi High School; from sketches of the countryside in southern Taiwan and rural-themed works such as Goose Seller and Idle Sitting created near a railway in Gongguan to his pivotal shifts and inspirations into abstraction and Pop Art; each phase testifies to his sustained exploration of artistic expression. Alongside these works, the exhibition features Shiy’s diaries, poems, personal library, and early oil and watercolor paintings, offering a richly layered portrait of an artist in search of his creative roots in turbulent times. As visitors move through the galleries, we invite them to feel the shifting light in his landscapes, the vivid spirit of his portraits, and the echoes of folk tradition in his abstract compositions, as well as the tender cry of his deep, solitary soul.
“Life is like a boat, sometimes sailing forth in solitude… yet always seeking a shore.” Responding today to this heartfelt reflection from Shiy De-Jinn’s diary, we might venture today this exhibition, too, serves as a shore. May the artist, who ceaselessly pursued and never compromised, find a lasting harbor through this exhibition, allowing his legacy to be seen by many on the other side.
分類
其他詳細資訊
- 英文題名：Enduring Imprints: Traces of Life and Art – Shiy De-Jinn's Early Years, 1943–1966
- 適用對象：成人(學術性)，成人(休閒娛樂)
- 關鍵詞：席德進、林風眠、履痕深烙、賣鵝者、閑坐、杭州藝專、國立藝專、楊永源、Shiy De-Jinn, Yang Yung-Yuan
- 附件：無附件
- 頁/張/片數：216
授權資訊
- 著作財產權管理機關或擁有者：國立臺灣美術館
- 取得授權資訊：聯絡處室：展覽組
姓名：潘迎佳
電話：04-23723552-707
地址：臺中市西區五權西路1段2號