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《時間的雅歌》
The Song of Time
台灣當代寫實畫家葉子奇於亞洲大學現代美術館個展《時間的雅歌》，展出86件作品，本檔大型展覽是他人生創作路途中一次深刻的回望。葉子奇，1957年生於花蓮玉里，自東部小鎮一路遷徙至台北、紐約，最終在49歲那年回到故鄉花蓮，將流轉的人生凝鍊為創作的沃土。
Tzu-Chi YEH, a leading Taiwanese realist painter, presents The Song of Time, a solo exhibition at the Asia University Museum of Modern Art, featuring 86 works. This major exhibition offers a thoughtful reflection on the artistic journey Yeh has taken so far. Born in 1957 in Yuli, Hualien, Yeh’s path has taken him from the quiet landscapes of eastern Taiwan to the bustle of Taipei and the cultural vibrancy of New York, before ultimately returning to his hometown at the age of 49. These shifts in geography and life experience have provided rich material for his creative practice.
➤ 葉子奇於「時間的雅歌」個展現場
展覽主題「雅歌」承載雙重意涵：一如《聖經》中的雅歌，藝術成為靈魂的修行與召喚。本展分為「山海之歌」、「大地之歌」、「昨日之歌」、「獨白與對話之歌」、「成長之歌」、「原生之歌」六大子題，邀請觀眾想像作品如同一首首記錄著家人、生活、自然、生命等充滿情感之頌歌。
The exhibition title, The Song of Time, carries a dual meaning. Referencing the biblical Song of Songs, it suggests that art can be a spiritual calling and a path of inner cultivation. The exhibition is organized around six thematic sections: The Song of Mountain and Ocean, The Song of Land, The Song of Yesterday, The Song of Monologue and Dialogue, The Song of Growing, and The Song of Origin. Each invites the viewer to experience Yeh’s paintings as lyrical meditations on family, memory, nature, and the passage of time.
另外，亞洲大學現代美術館特別以「典藏．對話」為策展概念，邀請葉子奇的作品與西洋現代雕塑經典之作形成對話與共鳴——阿曼〈大提琴與維納斯的結合〉在大廳中彰顯空間張力，而光線透過安藤忠雄建築的經典三角形天窗流瀉而下、灑落在竇加〈著衣舞者的裸體研習〉一作，而羅丹的兩組雕塑則展示於三樓長廊，共同回應葉子奇畫筆下的親密與深度思索。
Alongside The Song of Time, the Asia University Museum of Modern Art also presents Collection・Conversation, a curatorial project that brings Yeh’s work into dialogue with selected modern Western sculptures. Arman’s Venus au Violoncelle bois, displayed at the museum’s entrance, highlights the architectural energy of the space. Edgar Degas’ Étude de nu pour la danseuse, illuminated by natural light under the renowned architect Tadao Ando’s iconic triangular skylight, creates a poetic interplay between light, form, and time. On the second floor, two sculptures by Auguste Rodin resonate with Yeh’s themes of intimacy, reflection, and human connection. Together, these sculptural masterpieces—by Arman, Degas, and Rodin—each respond in their own way to Yeh’s visual language, creating a layered dialogue across time, form, and emotion.
