「春源畫室：畫師 — 詩人 — 劇作家 — 承繼者」策展後記 “Crescendo: Three Generations of Tshun-Guân Art Studio” Curatorial Afterword
臺南府城有著「眾神之都」的美稱，當大眾穿梭於蜿蜒的大街小巷，總會不經意的駐足於廟寺裡那古色古香的橫梁、壁柱前，透過傳統與現代技巧交織而成的經典民俗壁畫，回探千年以來歷久不衰的漢學文化與先祖的智慧結晶。「春源畫室」自1909年前後迄今，打破唐山與本土的疆界，並試圖融合西方美學與在地風土氣息，使其廟畫獨樹一格，持續扮演著信仰藝術的承繼者與創新者，一代接著一代，手持畫筆，持續勾勒、安金、填彩，以藝術之姿漫步於宮廟與民宅的廳堂之中，打造出繁盛而不朽的彩繪藝術。
Tainan, known as the “City of Gods,” is adorned with the charm of ancient temples. As people meander through the winding streets and alleys, they often find themselves unintentionally pausing before the antique beams and pillars in temples. Through the intertwining of traditional and modern techniques, classic folk murals adorn these temples, allowing a glimpse into the enduring cultural heritage and ancestral wisdom spanning a millennium. Since around 1909, “Chunyuan Art Studio” has transcended the boundaries between Tangshan and the local culture, attempting to blend Western aesthetics with the local atmosphere. This distinctive approach has allowed their temple murals to stand out, continuously playing the roles of both inheritors and innovators in the realm of religious art. Generation after generation, wielding brushes and applying gold leaf and colors, they continue to stroll through the halls of temples and homes, crafting a vibrant and timeless masterpiece of painted art.
臺南市美術館於2023年6月22日至11月12日期間，以「春源畫室：畫師 — 詩人 — 劇作家 — 承繼者」為題，從品牌經營的角度出發，帶領觀眾探尋潘春源（1891–1972）、潘麗水（1914–1995）、潘瀛洲（1916–2004）及潘岳雄（1943-）等三代畫師之間，長達百餘年的信仰藝術之旅。在這場藝術盛宴中，不僅包括氣勢輝煌的門神壁畫，其中多元形式的筆墨創作亦形同一道時光古徑，牽引出傳統藝術中的瑰寶。潘氏家族以華麗、繁複的花草紋飾而聞名，各時代的承繼者均藉由不同的審美品味與繪技展現建築彩繪的精隨，觀眾得以在家族的藝術造詣與審美交流趣味間，打開一場文化與歷史的對話，齊心為漢文化中的文學、哲學與工藝美學的傳承進上一份心力。
From June 22 to November 12, 2023, the Tainan Art Museum presents an exhibition titled “Crescendo: Three Generations of Tshun-Guân Art Studio.” From the perspective of brand management, the exhibition guides the audience on a journey through over a century of religious art by three generations of artists, including Pan Chunyuan (1891–1972), Pan Lishui (1914–1995), Pan Yingzhou (1916–2004), and Pan Yuexiong (1943-). This art extravaganza not only features magnificent door god murals but also showcases a variety of brush and ink creations, each representing a unique aspect of traditional art treasures.
The Pan family is renowned for their elaborate and intricate floral patterns, and the inheritors from different eras demonstrate the essence of architectural painting through diverse aesthetic tastes and painting techniques. Through this exhibition, the audience can engage in a cultural and historical dialogue, opening a window into the family’s artistic achievements and aesthetic exchanges. Together, they contribute to the preservation and continuation of literature, philosophy, and craftsmanship aesthetics within Han culture.
其實我祖父（潘春源）創立春源畫室時，並非為了國家、民族、社會，而是為了養家活口，這是一個職業⋯⋯以前我（潘岳雄）決定承接「春源畫室」的時候，也不是立志為神明工作，只是我擅長繪畫，便把畫廟變成我的職業罷了。
— 潘岳雄
In truth, when my grandfather, Pan Chunyuan, founded Chunyuan Art Studio, it wasn’t for the sake of the country, the nation, or society. It was simply a means to provide for the family. It was a profession… When I, Pan Yuexiong, decided to take over Chunyuan Art Studio, it wasn’t a dedication to working for the deities. I just happened to be skilled in painting, so I turned temple mural painting into my profession, nothing more.
Pan Yuexiong
「春源畫室」第三代傳人潘岳雄，以謙遜的語氣訴說著祖父白手起家的創業故事，他與父親潘麗水更以善盡孝道的心，決定承接家族品牌的使命，為之拓展事業版圖，並廣納有志之士，將家族的創作精神無私的進行推廣與傳承，此不追求名利，反之誠心傳遞筆、墨、紙、硯所衍生的文化精隨之舉，儼然遵循了潘春源畢生的志願：
未有功名志，偏多翰墨緣，寫真餘面目，敢望子孫賢
— 潘春源
Pan Yuexiong, the third-generation successor of Chunyuan Art Studio, humbly recounts the story of his grandfather’s self-made entrepreneurial journey. With a heart devoted to filial piety, he and his father, Pan Lishui, have taken on the mission of continuing the family brand. They aim to expand the business, attract like-minded individuals, and selflessly promote and pass on the family’s creative spirit. Their endeavor is not driven by fame and fortune; instead, it sincerely conveys the cultural essence derived from brushes, ink, paper, and inkstones. In doing so, they earnestly follow the lifelong aspiration of Pan Chunyuan.
Without aspirations for officialdom, Yet deeply entwined with the brush and ink. Capturing the true essence in every stroke, I dare to hope for virtuous descendants.
Pan Chunyuan
潘春源，原名潘科，人稱科司，字邨原、進盈，號春源，在臺南歐氏古厝大篇幅的壁畫中，時以其字號，又或以「赤城居士」、「嵌城外史」、「雲山畫室主人」、「赤崁居士」為落款，體現其自身所蘊含的詩文造詣與學識長才。相比於木板壁畫，潘春源更喜於紙本創作的落款中使用自刻鈐印，如賢章〈墨華消晝永〉，潘春源以篆體為主，並依循拇指與掌心易於把握的角度，將文字布局於不規則的石材當中，形成造型獨特的隨形章。姓名章則有〈潘科〉、〈進盈畫印〉、〈潘科弌號春源〉等，其中〈潘科弌號春源〉中的文字布局有別於制式中分、雙邊齊首的形式，反而以上下錯落的編排，使整體文字具有律動感卻不失協調，此印中更同時含括原名與字號，實屬難得。潘麗水，字雲山，其則多以〈潘麗水〉、〈雲山〉、〈麗水〉用印等傳世。由此可見，鈐印除了作為作者身分的認證之外，對於平衡畫面構圖、提升作品的完整性亦是一大助益，同時對於家族來說，更具備一份對於先祖的思念以及傳家的正當性。
Pan Chunyuan, originally named Pan Ke, known as Ke Si, with courtesy names Cunyuan and Jinying, and the art name Chunyuan. In the extensive murals of the Oei Residence in Tainan, he often signed his works using his art name, or under pseudonyms like “Chicheng Jushi” (赤城居士), “Qiancheng Waishi” (嵌城外史), “Yunshan Huashi Zhu Ren” (雲山畫室主人), and “Chikan Jushi” (赤崁居士), reflecting his profound literary and scholarly accomplishments.
In contrast to wood panel murals, Pan Chunyuan preferred using personally carved seals for signatures in his paper-based creations. For instance, in collaboration with Xian Zhang’s “Ink Blooms Disperse Daylight Forever,” Pan Chunyuan predominantly used seal script. Following an angle easily grasped by the thumb and palm, he arranged the text irregularly on stones, creating uniquely shaped seals. Name seals included “Pan Ke,” “Jinying Hua Yin” (進盈畫印), and “Pan Ke Yi Hao Chunyuan” (潘科弌號春源). Notably, the layout of “Pan Ke Yi Hao Chunyuan” differs from the standard bilateral format, instead opting for a staggered arrangement, providing a rhythmic yet coordinated appearance.
Pan Lishui, with the courtesy name Yunshan, commonly used seals such as “Pan Lishui,” “Yunshan,” and “Lishui.” From this, it is evident that seals, aside from serving as authorship verification, also play a significant role in balancing composition and enhancing the completeness of the artwork. Additionally, for the family, seals carry a sense of longing for ancestors and contribute to the legitimacy of family heritage.
為使潘氏家族的三代鈐印得以良好保存，並提供後人研究使用，臺南市美術館特別借助專業人士協助拓印，值得一提的是，在其進行擦拭、清洗的過程中，潘岳雄老師特別囑咐「勿擦的太乾淨」，以保留父祖長年使用所產生的古樸韻味；亦如廟宇門神、壁畫表面在經年累月下所沉積的氤氳香火，雖使其看似薰染上一層晦暗，然這更代表著神威顯赫、眾神庇佑的信仰意識與認同感。
To ensure the well-preserved state of the three generations of Pan family seals and to make them available for future research, the Tainan City Art Museum enlisted the assistance of professionals for the purpose of creating rubbings. It is noteworthy that during the process of wiping and cleaning, Mr. Pan Yuexiong specifically instructed, “Do not wipe too clean,” aiming to preserve the quaint charm accumulated through years of use by his ancestors. Similar to the patina of temple door gods and mural surfaces, the accumulated haze and fragrance over the years may give them the appearance of a layer of obscurity. However, this signifies the awareness and sense of identity rooted in the belief and reverence for the awe-inspiring power of the deities, as well as the divine protection they symbolize.
在20世紀初誕生的臺南知名畫師品牌 — 「春源畫室」，如今已跨足百年，依然堅守誠信、品質、效率與孝心，使家族事業矗立不搖，他們不僅在題材、媒材、繪畫場域上有所突破，更以多重身分遊走於民間藝文活動之中，成為德高望重的地方畫師家族。即便在日治時代，社會充斥著漢和文化衝突以及新舊交融的激盪，「春源畫室」的歷代畫師始終探尋新機，並致力於更高效、穩定的事業發展，以多元的收入來源為家族打造良好基石。他們不僅限於廟畫創作，更藉由創新思想、新式材料與技法，不斷探尋著新的可能性。「春源畫室」在其經營過程中，歷經多次轉型與再造，拓展出多樣化的事業項目。新一代的學徒中亦出現以「春源畫室」精神為指引的藝術創作者，他們致力於延續傳統，同時將信仰藝術現代化。透過各種創作形式，包括筆墨、油彩、紙雕、木雕、裝置等，接續講述著傳統與當代的民間故事，將古今文化巧妙連結，使「春源畫室」持續開枝散葉，為未來的藝術發展留下一道的伏筆。
The renowned Tainan artist brand born in the early 20th century, “Chunyuan Art Studio,” has now surpassed a century, steadfastly upholding values of integrity, quality, efficiency, and filial piety. The family business remains unshaken, not only breaking new ground in subjects, media, and painting domains but also navigating the realms of local arts and culture in various capacities. They have become a highly esteemed local artist family, embodying virtues and respect.
Even during the Japanese colonial era, a time marked by clashes between Han and Japanese cultures and a fusion of old and new, the successive artists of Chunyuan Art Studio consistently sought new opportunities. They dedicated themselves to achieving more efficient and stable business development, laying a solid foundation for the family through diverse sources of income. Beyond temple mural creations, they continuously explored new possibilities through innovative thinking, new materials, and techniques.
Throughout its operational history, Chunyuan Art Studio underwent multiple transformations and reconstructions, expanding into various business projects. The new generation of apprentices includes artistic creators guided by the spirit of Chunyuan Art Studio. They strive to continue traditions while modernizing the art of religious belief. Through various creative forms, including brush and ink, oil painting, paper carving, wood carving, and installations, they continue to narrate traditional and contemporary folk stories. This skillful connection of ancient and modern cultures allows Chunyuan Art Studio to continue branching out, leaving a foundation for future developments in the art world.
- 本文刊登於《鈐印 QianYin》雜誌，№37（2024 年 1 月）
- This article is published in “QianYin Magazine,” Issue №37 (January 2024).
展覽官網：https://www.tnam.museum/exhibition/detail/411
臺南市美術館1館二樓展覽室展覽室B-G
Tainan Art Museum Building 1, Gallery B-G
指導單位：臺南市政府
Supervisor: Tainan City Government
主辦單位：臺南市美術館
Organizer: Tainan Art Museum
特別感謝：文化部文化資產局、國立臺灣美術館、國立傳統藝術中心、臺北市立美術館、高雄市政府文化局、財團法人天主教會臺中教區、財團法人臺灣首廟天壇、大龍峒保安宮、友達光電、和煦堂、高雄永安黃家古厝、紫竹軒、誠福繡莊、翠薰堂、臺南安平歐宅（臺窩灣民居）；潘岳雄、潘尚文、潘尚安、洪富士、黃德勝、黃雉原、陳堂淵、曾秋雄；展覽聲音製作-藝術家吳燦政
Special thanks to: Bureau of Cultural Heritage, Ministry of Culture (BOCH), National Taiwan Museum of Fine Arts, National Center for Traditional Arts, Taipei Fine Arts Museum, Bureau of Cultural Affairs, Kaohsiung City Government, Catholic Taichung Diocese, Taiwan’s Very first temple Tiantan Tian gong temple, Dalongdong Baoan Temple, AUO Corporation, Tainan He-xu Hall, Kaohsiung Yong-an Huang Family Ancient House, Zi-zhu Museum, Cheng Fu Embroidery store, AURAE CO., LTD. , Tayouan; Pan Yueh-hsiung, Pan Shang-wen, Pan Shang-an, Hong Fu-shi, Huang De-sheng, Huang Zhi-Yuan, Chen Tang-yuan, Zeng Qiu-xiong; Exhibition Ambient Sound Production — Artist Wu Tsan-cheng
