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梅花的畫
1995年2月13日,趙同和病逝於澎湖二呆藝館。今逢逝世20年,將以他的小名「二呆」所形成的意象──「槑」做為主題,延伸到他心目中的桃花源。
「來是偶然,走是必然」這段話刻在二呆藝館後門牆面上,謂為趙同和的人生觀,而另一側的「偶到人間一遊」詩文,與之呼應著。趙同和的「偶到」一詞,內含了「我」、偶然、偶爾與輪迴,引以為題,說明了他及二呆藝館的過去、現在及未來。 趙同和,為名流望族之後,來臺前後皆曾任政府公職。看似平步青雲的政壇生涯,卻反思公務體系的運作,遂於55歲時提前退休。起伏的一生造就超然的處世態度,他的詩文時而對人生豁達、時而展現孤高風範。  
                        
On February 13, 1995, Zhao Tong-he died at Erdai Art Hall in Penghu. On the 20th anniversary of his death this year, the theme of the special exhibition will be "plum blossoms" – the Chinese character from which his nickname "Erdai" derives. The theme will then be extended to the ideal paradise he had in mind.
The sentence "Coming is occasional, leaving is inevitable" inscribed on the wall at the back door of Erdai Art Hall can be regarded as Zhao Tong-he’s philosophy of life. It corresponds to the poem "Traveling into the World on Occasion" on the other side. The word "occasional" implies the meanings of "I," "once in a while," "sometimes," and "cycle of rebirth." The theme explains the past, present, and future of the artist and Erdai Art Hall.Zhao Tong-he, born into a noble family, had served in the government before and after coming to Taiwan. Although seemingly having a promising political career, he reflected upon the operation of the public service system before retiring early at the age of 55. His aloofness to the world is presented in his poems and other works, sometimes being open-minded, and sometimes being proud and independent.
 
 
二呆_書法

趙同和於1917年出生於江蘇,姚夢谷在〈詩人畫家趙二呆〉一文中對他的小名---二呆,做了完善的說明:「因為是早春誕生,與梅同時。梅的古寫是『槑』,他在昆仲中排行第二,據說小時有點傻氣,故而以二呆自號。此外,有人說他逢『名』『利』場,其呆無比;供『詩』與『藝』,其樂無窮;樂此不疲,終日如癡如醉,望之如呆漢。」(原刊民國60年6月,《中外》180期) 有時候趙同和會在畫作旁署名「二呆」字,有時會蓋上「槑」章。無論是二呆、還是槑,「呆」字為趙同和一生自命與自嘲的符號。

Zhao Tong-he was born in Jiangsu in 1917. In "Poet and Painter Zhao Erdai," Yao Meng-gu explains the nickname Erdai well: "Zhao was born in early    spring, coinciding with the blossoming of the plums. The ancient Chinese character for plum blossom is "mei" (which contains a double "dai" character in  it), while he is the second oldest sibling in his family. Moreover, he was quite silly when he was little. Therefore, he called himself Erdai. It was said that he would look dumb at social occasions, but was obsessed with poetry and arts. He was so absorbed in arts that he seemed like a silly  man." (Chung-Wai Literary Monthly 180 (June 1971).Sometimes Zhao Tong-e signed the name "Erdai" in his works and sometimes "mei" (double “dais”), both of which were symbols of his deprecation of  himself and his times.
 
 
梅的作品
梅花從植物演變到文學題材至入畫,進而成為中國人的文化價值,是歷經千年文化的醞釀。最早有關梅的作品,為詩經〈國風•召南•摽有梅〉:此詩寫的是梅的果實而不是花的本身,但比喻女子適婚年齡的手法,可預見梅花在後世意義的發展。雖然中華文化以梅自居,但是對於梅花的欣賞,要到南朝才有大量文獻出現。值得一題的是梁簡文帝蕭綱(503-511)所作的〈梅花賦〉,此賦先寫梅花之姿,後寫女子賞花自憐。梅花與美女交融的文學場景,位後世開創了新的繪畫題材。到了宋代,尤其是南宋,確定了梅花在文人心中的地位。北宋的林逋(967-1028)以〈山園小梅〉一詩點出梅花與「我」一般孤高,當群花落盡,仍一枝獨秀。此詩「疏影橫斜水清淺,暗香浮動月黃昏」二句,鮮明的文字畫面也轉化為後世的藝術作品。蘇軾(1037-1101)〈西江月‧梅花〉一詞亦為後世詠梅的範例:此詞為蘇軾悼念隨自己貶謫惠州的侍妾王朝雲而作,寫惠州梅花,實稱她美麗的姿容和高潔的人品的化身。惠州為瘴癘之鄉,梅花卻不怕瘴氣,乃為它的玉骨仙風。另一首〈梅花〉則是他貶謫黃州時所寫:春天本是欣欣向榮,梅花卻在草棘間綻放著,更顯得孤高及脫俗。而〈紅梅〉一詩,指出紅梅與桃、杏不同:紅梅開於早春,常被世人誤認為桃、杏,但本質上仍是梅花。蘇軾贊紅梅,一方面合時宜的改變花色,另一方面不隨波逐流。南宋因歷史、地理位置及社會風氣,與六朝先人相似,繼而將賞梅的文化推向高峰。范成大(1126—1193)的《范村梅譜》紀錄了豐富多樣的梅樹,為第一本寫梅的專書,其序以「天下尤物,無問智賢愚不肖,莫敢有異議。學圃之士必先種梅,且不厭多」點出梅花在南宋的身分地位。在後序的「梅,以韻勝,以格髙,故以橫斜疎瘦與老枝恠竒者為貴」,似乎決定了後世畫梅須掌握的姿態。

Through the refinement of culture for thousands of years, plum blossoms transformed from a topic of literature and painting into a Chinese cultural value. The earliest work about plum blossoms is "Biao You Mei, The Odes of Shao and the South, Lessons from the States," Shi Jing (Classic of Poetry): this poem describes the fruit instead of the blossom, but it sets up the trends of the meanings of plum blossoms in later generations by signifying women’s proper age of marriage with plums. In the Southern Dynasties, large numbers of literary works celebrated people’s appreciation for plum blossoms. It is noteworthy that "Ode  to Plum Blossoms" written by Emperor Jianwen of Liang Xiao Gang (503-511) first describes the style of plum blossoms and then a woman pitying herself   while appreciating the blossoms. The association between plum blossoms and the beauty established new painting topics for later generations. In the Song Dynasties, especially in the Southern Song, the position of plum blossoms in the intellectuals’ mind had been ascertained. "Little Plum Blossom of Hill Garden" written by Lin Bu (967-1028) during the Northern Song points out that plum blossoms are as aloof as "I." When all the other flowers wither, plum blossoms still stand alone. The vivid image described in this work: "Their scattered shadows fall lightly on clear water,/their subtle scent pervades the   moonlit dusk" would be converted into artistic works in the future.Because the history, geographical location, and social milieu of the Southern Song were similar to those in the Six Dynasties, the culture of plum blossom appreciation rose to a peak. Fan Cheng-da (1126-1193)’s Fan Cun Mei Pu was the first book specifically on plums, recording varieties of plum trees. The preface points out the important status of plum blossoms in the Southern Song by referring to plum blossoms as "the most wonderful things in the world, an opinion agreed by the intellectual, the noble, the dumb, and the unworthy alike. Those who learn gardening shall plant as many plum blossoms as possible." In the Post Script, Fan seems to determine the style of plum blossom painting for the later generations by indicating that "plum blossoms distinguish themselves with their noble styles, so those with old, thin, and oblique branches are better."
 
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更新日期:2018-02-02