本展覽以活動於府城臺南之早期書畫家為主，展品分為;『「明鄭遺墨」：鄭成功、朱術桂』、『「閩習三家」：林朝英、莊敬夫和林覺 』、『「林家三先生」：呂世宜、謝琯樵、葉化成』、『「指指點點」：指頭畫」』、『「左腕書家」：蕭聯魁、陸鼎、倪湜』、「渡臺官宦與佐幕遊台書畫家」、「南社詩人與書畫」等，七個區塊。書畫家包括遊寓來台和本土人士，展品中「臺灣書畫第一人」林朝英，和曾至海東書院講學的福建書畫家謝琯樵最具指標。此外活躍於清代乾隆至嘉慶間的書畫家遺墨亦極可貴，本展覽廣蒐官、民典藏之先賢墨跡，期大眾能藉此一窺明鄭至日治中期，府城書畫的蓬勃及在臺美術發展之重要性。

This exhibition is centered on the painters and calligraphy specialists who had been active in Fuchen Tainan in early periods. The exhibition works can be divided into seven areas as follows “ink heritage of Mingzheng periods: Zheng Chenggong, Zhu Shugui,” “three masters of Minxi area: Lin Chao-ying, Zhuang Jingfu and Lin Jue,” “three gentlemen of the Lin family: Lv Shi-yi, Xie Guangquiao, Ye Hua-cheng,” “gesticulating: finger painting,” “left wrist calligraphy specialist: Xiao Lian-Kui, Lu Ding, Ni Ti,” “painters and calligraphy specialists out of visiting officials and officers,” and “poets of southern society, and painting, and calligraphy.” And in this exhibition, Lin Chao-ying, “the top man in Taiwanese painting and calligraphy,” and Xie Guanqiao, a visiting scholar of Hidong College indeed had made a landmark contribution. In addition, extremely precious is the heritage ink of painters and calligraphy specialists who had been active in the Qianlong period to the Jiaqing period of Qing dynasty. An abundant collection of official and local’s ink heritage can enable the public to have a good understanding of the prosperity and importance of the arts of paintings and calligraphy in Fucheng area during the Mingzheng periods and the middle period of Japanese colonial rule.


「明鄭遺墨」：鄭成功、朱術桂」
書畫藝術在台灣之生根茁壯，與漢人在台經略息息相關。鄭成功（1624－1662年），入主台灣以臺南為中心，是漢人政經文化在臺經營之發端。寧靖王朱術桂(1617─1683年)為明太祖九世孫，鄭成功去世後，鄭經迎接來台。其二人之書法皆具晚明時代性；「明鄭遺墨」是其在臺書畫的歷史定位，也是書畫在臺灣如今所能追溯的源頭之一。

“Mingzheng ink heritage”: Zheng Chenggong, Zhu Shu-gui
That the arts of painting and calligraphy were rooted and prospered in Taiwan is deeply associated with the Han people’s management and administration in Taiwan. Zheng Chenggong (1624-1662) had taken Taiwan and built Tainan as a capital, initiating Han people’s administration of economy, politics, and culture in Taiwan. Ningjing King Zhu Shu-gui (1617-1683) was the ninth generation grandchild of Mingtaizu. After Zheng Chenggong passed away, Zheng Jing brought him to Taiwan. The calligraphy of these two persons was characteristic of the era of late Ming dynasty. From the angle of history of art, they can be called “ink heritage of Mingzheng periods. And Taiwanese painting and calligraphy could to a certain degree be derived from this source.


「閩習三家」：林朝英、莊敬夫、林覺」
臺灣書畫藝術的發展，呈現文人化與世俗化的面貌。林朝英為臺灣書畫第一人，畫風承襲明代徐渭大寫意筆墨；林覺為最傑出的職業畫家，可謂「揚州八怪」福建畫家黃慎的臺灣代言人；至於武舉人莊敬夫，強化筆墨的狂狷之氣，其松鹿題材，已被藝術史學者謝忠恆證實藝術淵源來自福建畫家楊舟，三人於不同的背景，各自詮釋了閩習的風格。

Three masters of Minxi area: Lin Chao-ying, Zhuang Jingfu and Lin Jue
In terms of the stage of the cultivation and development of the art of Taiwanese calligraphy and paintings, their arts had shown forth the facets of literary men and secularization. More important, Lin Chao-ying emerged as the top man of Taiwanese calligraphy and paintings. His painting style was derived from Ming dynasty’s Xu Wei’s style of freehand brushwork. In addition, Lin Jue was the most outstanding professional painter, and could be called the best Taiwanese spokesman of Huang Zhen, one of the eight strange artists of Yangzhou, Fu Jiang province. Furthermore, Zhuang Jing-fu, a military officer had a strong vigor in his style of painting. His paintings focused on pines and deer. As Xie Zhong-heng, a scholar of art history confirmed, his artistic origin came from Yang Zhou, a painter of Fu Jiang province. Owing to different scenarios and professional backgrounds, these three artists have shown different interpretations of the Minxi style.


「林家三先生」：呂世宜、謝琯樵、葉化成」
咸豐初，林本源家族之大嵙崁（大溪）時期，呂世宜(1784─1859)與謝琯樵(1811─1864)、葉化成(1812─？) 三人前後為林家座上賓，世稱「林家三先生」，文人畫與金石學在林家支持下，對北臺灣書畫藝術貢獻顯著。其中呂世宜為臺灣金石學導師，而謝琯樵抵台即落腳於臺南，與府城關係最為密切。

“Three gentlemen of the Lin family”: Lv Shi-yi, Xie Guan-qiao, Ye Hua-cheng
In the early years of the Xianfeng period, on the Da Kekan (Da Xi) stage of the Ling Benyuan family, Lv Shi-yi (1784-1859), Xie Guanqiao (1811-1864), and Ye Huacheng had been sequentially prestigious guests of the Lin family. So they used to be called “three gentlemen of the Lin family.” Due to the support of the Lin family, their paintings of literary men and epigraphy had made a great contribution to the arts of paintings and calligraphy of northern Taiwan. And it should be noted that Lv Shi-yi was a mentor of Taiwanese epigraphy. And as soon as he had arrived in Taiwan, Xie Guan-qiao settled in Taiwan, so he was most closely connected with Fucheng.


「左腕書家」：蕭聯魁、陸鼎、倪湜」
蕭聯魁，字占梅，臺灣安平人，光緒十五年恩貢生，博學多才，清末臺南文士多受業其門下；酒酣之際一揮百幅，更入神妙，其書以行最最，書風勁健，得顏、柳體勢。陸鼎字調梅，吳縣人光緒時來台南。倪湜字筱梅，福建人光緒初游幕來台，三人俱工左腕合稱「東州三梅」。

“Left wrist calligraphy specialist: Xiao Lian-Kui, Lu Ding, Ni Ti”
Xiao Liankui, also called Zhanmei, was in Anping, Tainan. He was awarded a prestigious official position in the fifteenth year of Guangxu Emperor. Since he was knowledgeable and talented, many of literary men in Tainan were his desciples. It was said that when he was drunk, he could marvelously paint numerous drawings. And as to his calligraphy, the Xing style was most noted for its strength and imitation of Yan, Liu, two outstanding ancient calligraphy stylists. Lu Ding, also called Diaomei, was born in Wu County, and settled in Tainan during the period of Guangxu. Ni Ti, also called Xiaomen, was born in Fu Jiang, settling in Taiwan during of the period of Guangxu. All of these three artists were good at artist works with their left wrist. So they were called “three plum blossoms of Dongzhou.”


「指指點點」：指頭畫
指墨繪畫得力於清代高其佩之發揚，以指代筆的創作含有表演性質，或云筆墨外之餘技，即文人藝術以外之書畫應用，但雅俗共賞更加貼近基層生活。本區介紹三位以指畫聞名的書畫家，甘國寶、葉文舟以及陳邦選，臺南指畫三家之背景，羅網武將、文人與畫家，亦藝壇佳話。

“Gesticulating: finger painting”
Finger painting had been successfully promoted by Gao Qipei of Qing dynasty. The artistic creation of replacing pens with fingers is more or less a performance. Or it can be called a show with pen and ink, a kind of application of painting and calligraphy. However, this art can be enjoyed by all walks of society, and thus it is grass-rooted. This section introduces three painters famous for finger painting—Gan Guobao, Ye Wenzhou, and Cheng Banxian. As to their backgrounds, they had been a military officer, literary man, and painter, respectively. This turned out to be a wonderful episode in the history of art.


渡臺官宦與佐幕書畫家
明清二代，臺南為臺灣政經文化中心，為任職、公參、遊歷、鬻畫必經之地。早期臺灣書畫之發展，臺陸籍官員、佐幕與遊臺人士為主要成員，宦遊之士大多能詩能書，更不乏擅畫四君子之水墨畫家，至於鬻藝畫家，題材幾乎無所不包。

乾隆至嘉慶之間，旅臺的書畫家主要有：蔣允焄、楊開鼎、朱景英、謝曦、蔣元樞、柯輅、武隆阿、郭尚先、楊廷理、姚瑩等人。道光至光緒則以：周凱、曹瑾、王得祿、謝琯樵、呂世宜、葉化成、許筠、林占梅、沈葆禎、吳魯等人。

“Painters and calligraphy specialists out of visiting officials and officers”
Tainan had been the center of Taiwanese politics, economy, and culture During Ming, Qing dynasties. People could not work, pay a visit, sell paintings, or engage in a business trip without passing Tainan. Concerning the development of paintings and calligraphy in early periods of Taiwan, the major players were Taiwanese and mainland officials, officers, and visitors to Taiwan. Most of them were able to paint drawings and good at calligraphy. And some of them were water ink painters who could paint “four gentlemen.” As to the professional painters, their topics covered everything.

From the period of Qianlong to the period of Jaiqing, the painters and calligraphy specialists traveling to Taiwan were mainly as follows: Jiang Yunjun, Yang Kaiding, Zhu Jingying, Xie Xi, Jiang Yuanshu, Ke Luo, Wu Longa, Guo Shangxian, Yang Tingli, and Yao Ying. Furthermore, from the period of Daoguong to the period of Guangxu, the artists were mainly as follows: Zhou Kai, Cao Jing, Wang Delu, Xie Guanqiao, Lv Shiyi, Ye Huacheng, Xu Yun, Lin Zhanmei, Shen Baozhen, and Wu Lu.


南社詩人與書畫
清中期以後臺灣本土人才輩出，始於清末，活躍於日治，並延續至今之詩社，即為代表性之藝文活動。日治時期台北“瀛社”，臺中“櫟社” 臺南 “南社” 號稱臺灣三大詩社。台南歷史悠久，文風鼎盛，“南社”號為三大詩社之最，社員涵蓋清末至日治時期府城菁英。明治39年（1906），蔡國琳、連橫與趙雲石等人籌組南社，首任社長為蔡國琳；詩社活動頻繁，社員作品多刊於《台南新報》，也發展許多詩社系統與交流，1951年與“延平詩社”合併，長達45 年的活動才告段落。

“Poets of southern society, and painting, and calligraphy”
After the middle period of Qing dynasty, Taiwanese locals consisted of numerous talents. The poetry societies, which started in late Qing dynasty, became active during the period of Japanese colonial rule, and kept functioning until now, can be called the institution representing all artistic and literary activities. During the period of Japanese colonial rule, “Ying society” of Taipei, “Li society” of Taichung, and “southern society” of Tainan could be called the three major poetry societies in Taiwan. Owing to its long history and flourishing literary movements of Tainan, southern society turned out to be the most prominent among these poetry societies. And its members included many talents from the late Qing period to the period of Japanese rule. In the 39th year of Mingzhi (1906), Chai Kuo-lin, Lian Heng, and Zhao Yunshi organized the southern society. The first society head was Chai Kuolin. There were many activities in this society, and its members works were mostly published in “Taiwan New Newspaper.” It also developed many systems of poetry societies and engaged in many social interactions. In 1951, it was merged with Yanping poetry society, and then the activities lasting as long as 45 years were put to an end.