走在時光裡｜廊道風景
在漫步之間，藝術悄然展開
沿著廊道，我們回望楊英風筆下融匯臺灣美術與常民生活元素的創作，也凝視蒲添生雕塑中蘊含光影與身姿的永恆瞬間。從紙本封面到立體雕塑，從影像紀錄到人物神情，時間在此交織成一道流動的風景。
邀請您在行走之際，走進藝術家的創作心境，感受歲月與希望在此相遇
藝嚮・豐年
楊英風為《豐年》雜誌所作的封面設計，將西方現代主義的構圖邏輯與版畫般的遒勁線條，刻畫於臺灣農村的日常風景與節慶儀式中，為設計領域開創先聲，亦展現藝術家對本土造型之反思。創刊於1951年的《豐年》雜誌，於本土認同與現代造型實驗交匯的1950年代，雖身任農業資訊傳遞之職，卻也在主編藍蔭鼎與美術編輯楊英風的執筆下，構築了一座非典型的藝術實驗場。
透過這些視覺文本，我們得以回望臺灣美術如何將常民生活元素融入創作，並邀請觀眾一同走入藝術家筆下的豐收景象與春節期盼中，感悟深埋其中的人文底蘊。
本次展出更結合《呦呦自在‧楊英風》系列紀錄片播映，呈現楊英風完整創作心路歷程，引領我們領略藝術家的創作熱情與生命活力。
協辦單位/圖像授權：豐年社、財團法人楊英風藝術教育基金會
作品介紹:
〈三美神〉
Three Graces
1981
青銅
Bronze
220 × 60 × 60 cm / 220 × 60 × 60 cm / 240 × 60 × 60 cm
私人收藏
Private collection
蒲添生（1912-1996）為臺灣近現代藝術中頗具代表性的雕塑家，留學日本後將銅鑄技術引入臺灣，影響臺灣現代雕塑的發展。其尤為擅長人物的刻畫，在形體、神韻及姿態的表現細膩生動，充滿情感與溫度。
《三美神》曾備受肯定，入選1980年代法國獨立沙龍百周年展，是蒲添生的經典系列作，人物柔韌的體態和神態，透過藝術家之手，表現的溫潤真切。〈三美神—懷念〉捕捉模特兒休憩的頃刻，將人物扶腰及托顎的姿態刻畫地細膩傳神。〈三美神—亭亭玉立〉人物雙手握拳，雙臂垂直向後，身姿挺拔，肌理自然，表現出柔和而穩健的美感。〈三美神—陽光〉人物一手高舉，一手置於頭頂，眼神朝向陽光，帶動身軀的旋轉，整體呈現S型的昂然動勢。三座雕塑呈現經典的「對立式平衡」（contrapposto），線條帶有真摯的時間性，傳遞了雕塑剎那即永恆的韻味。
Pu Tian-sheng (1912–1996) was a highly representative sculptor in Taiwan’s modern and contemporary art. After studying in Japan, he introduced bronze-casting techniques to Taiwan, influencing the development of modern Taiwanese sculpture. He was especially skilled at portraying the human figure; his renderings of form, spirit, and posture are delicate and vivid, filled with emotion and warmth.
Widely acclaimed, Three Graces was selected for the centennial exhibition of the Salon des Indépendants in France in the 1980s. It is a classic signature series by Pu Tian-sheng, in which the figures’ supple physiques and expressions are rendered with gentle, authentic warmth. Three Graces—Reminiscence captures a fleeting moment of repose, meticulously and vividly portraying the pose of one hand supporting the waist and the other cradling the chin. In Three Graces—Graceful Poise, the figure clenches both fists, with the arms held straight and drawn back; the upright stance and natural surface texture convey a beauty that is soft yet steady. In Three Graces—Sunlight, one hand is raised high while the other rests atop the head; the upward gaze toward the sun draws the torso into a turning motion, creating an overall S-shaped, spirited dynamism. Together, the three sculptures embody the classical balance of contrapposto, their lines carrying a sincere sense of time and conveying sculpture’s enduring poetic resonance—where an instant becomes eternity.
〈春之光〉
Light of Spring
1958
青銅
Bronze
175 × 51 × 48 cm
私人收藏
Private Collection
蒲添生（1912-1996）為臺灣近現代藝術中頗具代表性的雕塑家，留學日本後將銅鑄技術引入臺灣，影響臺灣現代雕塑的發展。其尤為擅長人物的刻畫，在形體、神韻及姿態的表現細膩生動，充滿情感與溫度。
藝術家曾自述：「此作品創作地點是在日本東京朝倉私人專用工作室。1957 年，朝倉老師趁擔任東京亞運任美育委員之便，聘我赴任兩年，再度傾囊相授。……」 本件作品人物一手至於側臉，一手置於大腿，眼神看往上方，造就了神態與姿態的變化。在蒲添生細膩地刻畫下，人物引頸期盼引導出主題之中，「光」的方向與希望。
Pu Tian-sheng (1912–1996) was a highly representative sculptor in Taiwan’s modern and contemporary art. After studying in Japan, he introduced bronze-casting techniques to Taiwan, influencing the development of modern Taiwanese sculpture. He was especially skilled at portraying the human figure; his renderings of form, spirit, and posture are delicate and vivid, filled with emotion and warmth.
The artist once stated: “This work was created in Tokyo, in Asakura Fumio’s private, personal-use studio. In 1957, while serving as an arts education committee member for the Tokyo Asian Games, Professor Asakura took the opportunity to hire me for a two-year appointment and once again taught me everything he could. ……” In this work, the figure raises one hand to the side of the face while the other rests on the thigh, with the gaze directed upward—subtly shifting both expression and pose. Through Pu Tian-sheng’s meticulous modeling, the figure stretches the neck in hopeful anticipation, bringing forth the theme: the direction of “light,” and of hope.