生於苗栗，五歲時成為新竹地主之養子，東京美術學校西畫科畢業，跟隨和田英作（1874 - 1959）學習。畢業後曾回新竹短暫定居，並成立新竹美術研究會、舉辦展覽會，致力推動在地美術創作與欣賞風氣，後居於日本。一生淡泊名利、不參與官辦競賽，創作形式涵蓋西畫、東洋畫、書道和詩歌寫作領域，繪畫主題則涵蓋故鄉與異鄉的風景、宇宙自然、生死輪迴等議題，能捕捉到獨特的風土意象，亦顯現對生命的哲思與詩意。

何德來

生於新竹武昌街，臺北師範學校畢業，師承石川欽一郎（1871 - 1945）。曾任教新竹第一公學校（現新竹國小）、省立新竹師範學校（現國立清華大學南大校區）等校，在美術領域作育無數英才。水彩創作題材廣泛，包含自然風景、建築街景、花卉靜物、人物等，時常以隨筆式的紀錄描繪各地風景，創作講究整體構圖和空間表現，並勇於嘗試新媒材和方法，也獨創「水洗」及「重疊色層」等繪畫技法。

李澤藩

生於新竹香山庄牛埔，東京女子美術學校日本畫師範科畢業，繪畫啟蒙於鄉原古統（1887 - 1965），在日就學期間接受學院日本畫訓練，後進入美人畫家鏑木清方（1878 - 1972）門下、接受山川秀峰 （1898 - 1944）與伊東深水（1898 - 1972）指導，專攻美人畫。為第一位入選日本帝展的臺灣女畫家，創作靈感主要來自於家族環境與生活，戰後則呈現較自由的面貌，以花卉、風景與佛畫為主要表現主題。

陳進

生於新竹東門街，臺北第二師範學校畢業，美術啟蒙於李澤藩（1907 - 1989），後受石川欽一郎（1871 - 1945）與小原整（1891 - 1974）指導。曾任小學教師、新聞媒體記者、雜誌主編、銀行研究員等職，從寫生展開在生活中對藝術的多方面探索，悠遊於繪畫創作、古典詩歌、藝術評論當中。畢生秉持為自己而畫的純粹態度，喜愛實驗不同畫派風格，創作多變而具直率、穩健又溫暖的抒情精神。

鄭世璠

生於新竹北門大街，臺北第二師範學校畢業。公學校時期受李澤藩（1907 - 1989）的啟蒙，後受小原整（1891 - 1974）指導，養成寫生作畫的習慣，奠定堅實的素描基礎。曾任教新竹第一公學校（現新竹國小），後因家計轉投入商場從商，在經濟有餘裕後重拾畫筆、創作長期不輟。作品多以水彩、油畫等媒材敏銳捕捉生活周遭的景致風光，並藉此傾訴歷史、留下紀錄，理性的色彩中流露出感性的人文精神。

陳在南

1971年生於臺南，國立臺灣師範大學美術系博士。大學畢業後即任教於新竹市立建華國中，2003年赴笈日本國立筑波大學專攻油畫創作。擅長藉由油彩與蛋彩的混合堆疊，呈現雙重的溫潤透光色彩及深邃質感，其創作內容多描繪沉穩、靜謐又帶有詩意的風景畫面。

陳孟澤

1987年生於臺南，國立清華大學藝術與設計學系碩士，主修平面繪畫，現創作、居住於新店。創作始終以「地方」為題，試圖從生活領域尋找可行性，以寫實繪畫紀錄記憶裡家鄉逐漸消逝的風景、建築，並在創作中不斷思考影像與繪畫間的關係。

楊奕軒

1988年生於新竹，國立臺北藝術大學美術研究所碩士，現創作、居住於臺北。其作品涵蓋繪畫、攝影、裝置等多樣媒材，擅長在作品中以隱喻呈現強烈的視覺張力，創作內容多由生命經歷出發，展現私密與開放的藝術語彙，並圍繞著生死、情慾與生活的軌跡。

徐夢涵

1958年生於新竹香山，美國舊金山藝術大學攝影美術碩士，現為獨立策展人、藝站One Station執行長，致力於藝術教育推廣及藝術社區營造計畫。曾任臺灣女性藝術協會理事長等多項職務，長期致力發展女性藝術，作品與藝術觀皆深具性別意識，創作形式多以攝影影像為主，擅運用日常物件豐富創作語彙，並反映時事與社會價值觀。

萬一一

1981年生於臺北，畢業於玄奘大學，現為阮義忠攝影工作坊台北經營人。自小受其父親臺灣攝影家阮義忠耳濡目染，廣泛接觸攝影、音樂、設計等創作形式。2012年起以手機進行攝影創作，擅長以幽默風趣的視角捕捉日常生活即景，創作風格透露出對生活的銳利觀察。曾出版《院喜》、《院囍》、《京都電梯‧Kyoto Elevator》等攝影集。

阮璽

《恆禾藝創》關注跨地域、跨時域、跨思域的藝術傳遞、鏈結與創新，融合藝術、科技、傳統、哲學與人際互動，運用藝術、策劃、社群、公關與行銷專業能力，專注建構當代藝術的展演平台，讓藝術走入生活、生活融入藝術。

恆禾藝創股份有限公司 Good Creative

新竹市自2017年開始整飭典藏品資源與梳理新竹在地美術史，同時提升典藏品保存環境，並運用典藏資源開發主題學習教材包、推行典藏品入校展出，期能活用藝術資源於教育現場。因著當代教育思維轉變，藝術教育不僅發生於校園，更延伸至藝文場域，而新竹市美術館亦肩負著深耕新竹市藝術教育，並與學校連結、合作至推展之關鍵功能與定位。本次展覽從時間縱深角度思考，以典藏品為引導觀眾深入認識在地美術及回視歷史的媒介，並透過當代與新世代的創作與前輩藝術家進行跨時空美育對話，看見不同年齡層對於前輩藝術家的理解與延伸開展。

本展自新竹市378件典藏品中選擇五位新竹重要前輩藝術家作品展出，包含何德來、李澤藩、陳進、鄭世璠、陳在南。出身新竹的何德來（1904-1986）從東京美術學校（現東京藝術大學）畢業後隨即返鄉貢獻所學，與畫友成立新竹美術研究會，積極在新竹推動現代美術的創作與欣賞風氣，而他的創作也總能捕捉到獨特的風土意象。李澤藩（1907-1989）生於新竹市武昌街，為新竹重要藝術家與美術教育者，曾任教於新竹第一公學校（現為新竹國小）及新竹師專（現國立清華大學），時常透過隨筆式的紀錄描繪各地風景，畫作流露出對於土地與人文的關懷。臺灣第一位女性畫家陳進（1907-1998）生長於新竹香山，創作靈感多來自家族環境與日常生活，常以女性人物畫、花卉、風景為主要表現主題，風格精緻細膩且典雅。鄭世璠（1915-2006）受李澤藩啟蒙而對繪畫產生興趣，自家鄉景物寫生開展對藝術的探索，長年積極投入美術活動，畫風創新多變、深具自由隨性風格。陳在南（1918-2012）生於新竹市東門街，創作亦受李澤藩啟蒙，在學時期奠定堅實的素描基礎，擅以水彩和油畫等媒材敏銳捕捉生活周遭的景致風光，長期不輟的創作也充分展現他對美術的熱情與執著。

呼應新竹市美術館作為當代藝術場域的定位，此次更邀集五位擅以不同媒材創作表現的當代藝術家進入校園，與五所學校老師合作，自前輩藝術家的生平、創作歷程與風格共備教學課程，帶著學子環顧新竹美術發展歷程，並以多元創作視角回應前輩藝術家的創作與脈絡。

陳孟澤本身為藝術家及建華國中美術教師，以前輩藝術家何德來的〈自畫像〉為題帶領建華國中美術班學生以畫紀錄自我樣貌。楊奕軒畢業於國立清華大學藝術與設計學系研究所，本次進入前輩藝術家李澤藩曾任教的新竹國小，與學生用畫筆書寫日記，呈現不同時代與世代看待風景的視角。同樣生於香山的徐夢涵以前輩藝術家陳進的生平故事為引，讓香山國小三年級學生以常見於陳進作品的人物與花卉主題創作。定居於香山的萬一一則以前輩藝術家鄭世璠〈風城斯吧〉作品概念出發，與香山高中美工科二年級學生以複合媒材立體裝置呈現香山風情。擅長影像創作的阮璽為攝影家阮義忠之子，為玄奘大學校友，本次以「水」為引，帶領曙光女中攝影社至新竹市內各處水域拍攝，對照前輩藝術家陳在南〈青草湖碼頭〉、〈碼頭〉兩件關於湖畔與港口風景的繪畫創作。

本展自課程設計發想、學校老師前期鋪陳引導、藝術家入校教學、學生現場實踐創作與回饋，呈現新竹典藏教育現場的樣貌，延伸教學現場至展覽現場，期能發揮拋磚引玉之效，為教育工作者開啟更多對於典藏教育與教學方法的想像，使學生在豐富多樣的學習經驗中認識在地美術歷史與知識，並透過藝術建立今昔連結，進而在過程中養成美學素養。

In 2017, Hsinchu City began to consolidate its archive resources and compile local art history. The city also enhanced the archive preservation environment and utilized archive resources to develop thematic teaching kits and promote on-campus exhibitions, hoping to flexibly use the resources for art education. With changing educational thinking in the contemporary society, art education does not just happen on campus, but has also expanded to art venues. Hsinchu City Art Gallery is responsible for laying the groundwork for art education in Hsinchu, and is positioned to serve the key functions of connecting and cooperating with schools for promotion of art education. This exhibition dives into the depths of time, and uses the archived works as the media to guide audience to gain in-depth understanding of art in Hsinchu and revisit its history, and displays the understanding and interpretation of different people in different age groups on earlier artists through the dialogue on art education across time and space between contemporary and new-generation creative works and early artists.

This exhibition selects the works of five important early artists from Hsinchu, including HO Te Lai, LEE Tze Fan, CHEN Chin, CHENG Shih Fan, and CHEN Tsai Nan, from the city’s 378 archived works. Born in Hsinchu, HO Te Lai (1904 – 1986) returned home right after graduating from Tokyo Fine Arts School (now Tokyo University of the Arts), and founded Hsinchu Art Research Association with fellow artists, proactively promoting the creation and appreciation of modern art in Hsinchu. His works always captured unique local imageries.  LEE Tze Fan (1907 – 1989) was born on Wuchang Street, Hsinchu City, and was an important artist and art educator in Hsinchu. He taught at Shinchiku (Hsinchu) First Public School (now Hsinchu Elementary School) and Hsinchu Teachers College (now National Tsing Hua University). He often captured sceneries of different places through sketches, and his paintings exuded his love for the land and culture. CHEN Chin (1907 – 1998) was Taiwan’s first female artist, and was born and raised in Xiangshan, Hsinchu. She found creative inspirations in family surroundings and daily life, and used women, flowers, and landscapes as main expressive themes, displaying a sophisticated, delicate, and elegant style. CHENG Shih Fan (1915 – 2006) was first introduced to painting by LEE Tze Fan, and began his artistic exploration by drawing the local sceneries of his hometown. For a long time, he actively participated in art events, and his innovative and ever-changing creative style illustrated his free and unbounded spirit. CHEN Tsai Nan (1918 – 2012) was born on Dongmen Street, Hsinchu, and was also introduced to art by LEE Tze Fan, establishing a solid foundation of sketching when he was in school. CHENG sharply captured sceneries in everyday life through watercolor and oil paintings, and his tireless creative career over a long period of time also exhibited his passion for and dedication to art.

Echoing Hsinchu City Art Gallery’s positioning as a site of contemporary art, this exhibition has also invited five contemporary artists, who specialize in using different media for creative expressions, to enter school campuses, where they cooperated with school teachers to prepare teaching materials on these early artists’ lives, creative journeys and styles, guiding students to examine the history of the development of fine arts in Hsinchu, while also responding to the early artists’ creative works and contexts through diverse creative perspectives.

As both an artist and art teacher at Chien Hua Junior High School, CHEN Meng Tze used early artist HO Te Lai’s “Self-Portrait” as the theme and guided students of the art class to create portraits capturing own images. YANG Yi Syuan graduated from  Graduate Institute of Art and Design, National Tsing Hua University. For this exhibition, YANG went to Hsinchu Elementary School where LEE Tze Fan once taught at and wrote diaries with students using paintbrush to present the different perspectives on landscape of different eras and generations. Also born in Xiangshan, HSU Meng Han introduced students to the life story of early artist CHEN Chin, and asked grade 3 students to create works using the characters and flowers often depicted in CHEN Chin’s paintings. Now living in Xiangshan, WAN Yi Yi based the concept on early artist CHENG Shih Fan’s “Windy City Spotlight” and created mixed media installations with grade 11 students in the Arts and Crafts Division, Hsiang Shan Senior High School, to present Xiangshan’s sceneries. JUAN Sea, who specializes in image creation, is the son of photographer JUAN I-jong and an alumnus of Hsuan Chuang University. For this exhibition, he used “water” as the concept and took Shu Guang Girls’ Senior High School Photography Club to take pictures at various waterbodies in Hsinchu. The pictures were then compared with the two paintings depicting lake and harbor, “Green Grace Lake Wharf” and “Wharf,” created by early artist CHEN Tsai Nan.

Form conceptualization and design of curricula, early introduction and guidance by school teachers, on-campus instruction by artists, to onsite creative practices and feedbacks of students, this exhibition showcases the live scenes of Hsinchu’s art education with its archive resources, which stretches the site of teaching to the site of exhibition. This exhibition looks to set an example and aims to inspire education professionals to have more imaginations on archive education and teaching methods, allowing students to learn more about local art history and knowledge through rich and diverse learning experience, and to bridge the past and present through art, ultimately achieving aesthetic cultivation in the process.