1963年吳承硯舉家北遷任教於中國文化學院初始設立的美術系，教授油畫水彩素描與人體解剖學課程，第一屆畢業生包含日後旅居比利時的藝術家黃朝謨。1970年，已升任教授的吳承硯為慶祝與單淑子25年銀婚，全家環島旅遊，「台南武廟｣或作於此時。

本幅運用交點透視法表現廟宇建築與周邊日常生活景觀。視野先是受阻於中央矗立的正殿立面，隨後再由小販推車引向右轉街道，接續深入的遠景，畫面因而分隔為兩重對比空間結構與明度彩度變化。武廟因座北朝南，正殿與左側街屋組成一個倒L型結構，午後陽光由左上方照入，在廟前沿街形成斜角式陰影區域，建築體色調重彩度高，在幾處安排反射光效果，以區分開物體輪廓與空間的關係；右側路面、樓房、樓前小攤及較遠處的建築物與電線桿，則形成左右相反的L型空間，光線直射造成極高明度，彩度卻相對降低。

In 1963, Wu moved his family to Northern Taiwan to teach in the Department of Fine Arts at the Chinese Culture Institute, where he taught oil painting, watercolor drawing and human anatomy, and his first graduating class included the artist Hwang Chao-Mo, who later lived in Belgium.

In 1970, Wu Cheng Yen, who had been promoted as a professor, celebrated his 25-year silver wedding to Shan Shuzi by taking a family trip around the island, and the "Tainan State Temple of the Martial God" may have been built at this time.

This painting uses the intersectional perspective to represent the temple building and the surrounding daily life scenery. The view is first obstructed by the central façade of the main hall, and then led by a hawker's cart to the street on the right, followed by a deeper distant view, thus separating the scene into two contrasting spatial structures and changes in brightness and color. The afternoon sunlight shines in from the upper left, forming an oblique shaded area along the street in front of the temple. The building body is heavily colored, and the reflected light effect is arranged in several places to distinguish the relationship between the outline of the object and the space. On the right side, the road, the buildings, the stalls in front of the buildings, and the buildings and poles farther away form an L-shaped space that is opposite to the left and right, with direct light causing high brightness but relatively low colorfulness.

台南武廟 State Temple of the Martial God, Tainan

吳承硯 Wu Chen-Yen

1970 / 水彩、畫紙 Watercolor on Paper / 39 × 59 cm