進入內容區塊
緊急公告
  • 友善列印
  • 字級設定:
  • 小字
  • 一般
  • 大字
中央內容區塊
一、目的及源由
    依據二呆藝館的立館宗旨,應依季舉行二呆藝術作品的特展;二呆先生(本名趙同和)的水墨作品以山水類居多,而出現點景人物的畫作估近40幅。
    本特展【坐看雲起時】,以坐姿點景人物為主軸,探討畫中主人翁身分及其場景意義。
二、展示主題說明
    本次特展,點景人物似乎呈現了王維〈終南別業〉詩中「行到水窮處,坐看雲起時」的意境,無論在月光下、山澗旁或是沙灘上,畫中的點景人物總以側坐或是背坐姿勢,彷彿若有思或是「勝事空自知」,就讓觀賞者冥想。
    本展主題:
(一)    點景人物的意義
    早期藝術的趨勢,無論是中國、埃及或是希臘,藝術基本上以服務「人」為主,因此「人大于山,水不容泛」是早期藝術的普同性表現。
    魏晉時期的山水畫,人物在空間裡的比例開始合理化。宋代山水畫,因新儒學關注自然及理法,山水畫有了空前絕後的發展。人物淡入山水畫中,稱為點景人物。
    點景人物有整體佈局、豐富畫面的功能,並且映射畫家的人生觀及生活。清代王概的《芥子園畫譜》說到:「山水中點景人物諸式不可太工,亦不可太無勢」,因此點景人物的一舉一動及位置,將會影響到整幅畫作的氣氛及意義。
(二)    點景人物與景物的意義
    本館典藏畫作中,有不少山水畫作品出現點景人物。而他們身著的衣物可分紅色、黃色及白色,並且以紅色衣服為最多。根據館藏的照片及衣服,畫中點景人物或許就是趙同和先生本人,也因此場景人物的意義可歸類如下:1、自畫像-有些畫家會將自己繪入畫面,顯現「參與」的意義。本次展出的作品中,點景人物形象大致相同,可說是畫家形象的再現。2、點景人物的顏色-這些點景人物,有身著紅色、黃色及白色衣物的形象還有及黑色剪影(此次展出紅色衣物),從色彩的角度來看,衣物顏色在場景中凸顯人物的存在。3、景物的主題-本展畫作的景物內容有樹林中、樹下、瀑布、懸崖、山巔、河邊及海邊,顯現畫家熱衷自然的生活態度。王維〈終南別業〉一詩為王維隱居輞川時所做。王維從中年起就對佛法有興趣,直到晚年才落實隱居生活,一切與趙同和的人生經歷不謀而合。
 
103年度二呆藝術特展-坐看雲起時

 

2014 Special Exhibition Program
at Erdai Art Hall
 
[Sitting and Watching the Clouds] 
My Retreat at Mount Zhongnan by Wang Wei Tang
In the middle of my journey through life, I finally found my way;
now my life, my home is at the foot of Mount Zhongnan.
Blessed with the beauty of solitude,
and carefree amidst the wondrous vistas.
I walk to the water’s edge,
then sit and watch the clouds above.
And one day I meet an old woodcutter;
we talk and laugh, not noticing the passing of time.
 
The staffages of this special exhibition embody the image of "walking to the water’s edge, sitting and watching the clouds above" as described in Wang Wei’s poem "My Retreat at Mount Zhongnan." The staffages either sit under the moonlight, beside the mountain stream, or at the beach, leaving the viewers wondering whether they are meditating or "simply enjoying all the beauty."
   
Exhibition Theme:
 
About the Staffage:

I. Meaning
In olden times, no matter in China, Egypt, or Greece, art was centered around "people." It was common that in the paintings of olden times "people would be depicted larger than the landscape, and rivers were out of proportion."
In the landscape paintings of the Wei and Jin Dynasties, the proportion of figures in the painting space were more realistic, meanwhile as new Confucianism emphasized nature and rationality, the landscape paintings of the Song Dynasty underwent unprecedented improvement. Staffage refers to the figure blended into a landscape painting.
Staffages complete the overall layout, enriching the picture, and reflect the painter’s life and philosophy. In the Qing Dynasty, Wang Gai’s Manual of the Mustard Seed Garden (Jieziyuan Huapu) suggests: "The staffage in a landscape painting can neither be too artificial nor too passive." Accordingly, the staffage influences the mood and meaning of the overall painting.

II. Explanation of Erdai’s Staffage and Landscape
Staffages appear in many of the landscape paintings collected in the Museum. Most of them are in red while others are in yellow and white. According to the photos and clothing collected by the Museum, the staffage in the paintings may in fact be Zhao Tong-he. The symbolism of these figures are described

follow:
 
I. Self-Portrait
Some painters would include themselves in their works to show their "involvement." In the works at this Special Exhibition, the images of the staffage appear to be similar, and thus are thought to be a representation of the painter.

II. The Colors of the Staffage
The staffages are dressed in red, yellow, or white, or as a black silhouette (red clothing is exhibited). The colors of the clothing emphasize the existence of the figures in the landscape.
   
III. Landscape Theme
The landscapes depicted in the paintings displayed in the Special Exhibition include forests, trees, waterfalls, cliffs, mountains, riverbanks, and the seaside, and demonstrate the painter’s passion for nature. Wang Wei’s "My Retreat at Mount Zhongnan" was written when he was in retreat in Wangchuan. In his middle age, Wang Wei started to become interested in Buddhism, but he did not retreat himself until he was older. Zhao Tong-he’s life coincides with Wang Wei’s experience.
 
The description of the poetry lines "I walk to the water’s edge/then sit and watch the clouds above/And one day I meet an old woodcutter/ we talk and laugh, not noticing the passing of time" correspond to the images depicted in the over 30 works displayed in this Special Exhibition. Perhaps it is just what the painter implies in these paintings.
 
坐看雲起時1984年作品坐看雲起時1983年作品
瀏覽人次:372 人
更新日期:2018-02-02