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2017年翼翼歸鳥 
二呆藝館典藏趙同和先生捐贈千餘件的藝術作品,其中有關花鳥及靜物題材的作品約100多件。104年至105年以花及蝴蝶主題的「蝶戀花」,表現二呆細膩的自然關察, 106年至107將以「翼翼歸鳥」來延續花鳥畫的題材,呈現二呆的鳥禽繪畫。

Erdai Art Hall holds over one thousand of ZhaoTongHe's, who is also called Zhao Erdai, artwork. Of these, over one hundred paintings are flowers,birds, and still-life paintings. From 2015 to 2016 the Erdai Art Hall Exhibition “Butterflies Love Flowers” displayed Zhao's natural observations. The exhibition from 2017 to 2018 “Wings of Birds” is a continuation of the subject matter “Birds Love Flowers”, presenting more of Zhaoerdai's paintings of birds. 


本展以陶淵明《歸鳥詩》詩頭「翼翼歸鳥」作為特展名稱:翼翼歸鳥,指的是歸鳥自由自在的飛翔。陶淵明此詩,將自己比擬為「歸鳥」,闡述隱逸出仕心情。詩中將宦海浮沉及青雲榮華皆視為「林」外之物,唯有回到自得其樂的森林、不受外界干擾,才能回得安心自在。

This exhibition is named after Tao YuanMing's poem “Wings Of Birds”, expressing the carefree soaring of birds.Tao YuanMing uses this as a metaphor for himself. He leaves behind his life as a government official to pursue a hermitic lifestyle. His past office life, with its ups and downs, is seen as the world away from the forest with its clear sky. Only by enjoying oneself quietly in the forest - without interruption of the outside world - one can feel free and at ease.

對照著二呆的人生境遇,二呆畫作上的「禽鳥」,除了有細膩的自然觀察,還透露出濃厚的各種情愫。他曾引用東漢袁閎隱世的故事來比喻自己:「如今我早已棄官不仕,且已留髮蓄鬍,終日散髮坦胸,家住海濱山腰,悠然自得。所謂散髮絕世,投跡深林,可以說完全是我的寫照。」,再看看陶淵明的詩句:「豈思天路,欣反舊棲」,恰如1971年二呆從農工企業公司總經理的職位退休,先隱跡在臺北白沙灣,後於1988年至澎湖籌備二呆藝館的興建;而「雖無昔侶,眾聲每諧」二句之描寫,亦有如二呆面對親人們生離死別後的心情及態度。

Zhao Erdai’s life is quite similar to that of Tao YuanMing. The paintings of his birds are not merely meticulous observation of nature, but moreover express the depth of his feelings. He compares himself to late Han Dynasty's (206BCE-220CE)  YuanHong's  tales: “Now I have long abandoned my government position, grew out my hair and a beard, letting my hair spread over my chest, living at the seaside, halfway up a mountain, leisurely and contend. This unconventional hairstyle casts a deep footprint on the forest, which may be said to be my complete self image”.

        This is similar to Tao YuanMing’s depiction in his poetry: “no need for more lofty goals, happily overturning old ways“. In 1971 Zhao Erdai retires from being a general manager of an agricultural company. First he lives in Taipei’s  Baishawan area (a beach behind YangMingMountain, north of Taipei), and then later on in 1988 he moves to Penghu. There he startsbwith the construction of the Erdai Musum, and thus “Though without former company, hearing chattering sounds harmoniously“.  Above two proses depict Zhao Erdai's sentiment quite well, seeing especially the similarities of Zhao Erdai and Tao YuanMing, in choosing to leave their orderly life with managerial positions behind.


花鳥畫,主要是以花、鳥、樹木及昆蟲為主題的繪畫,因此又有一稱為「翎毛花卉」,該詞使用大抵始於唐代張彥遠《歷代名畫記》之六門分類-(人物、屋宇、山水、鞍馬、鬼神、花鳥),並且於宋代成熟。而在西洋,花鳥畫可以歸類於「靜物畫」,大約始於16世紀,並於17世紀才到達普及。無論是花鳥畫或是靜物畫,其二者之相通性皆為客觀的「觀察」,為藝術家養成的練習;然而在練習之後,到達爐火純青之地步,便為大家之作。

Flower-and-bird paintings  include flowers, birds, trees, and insects. Therefore they are also referred to as “Feathers and Plants”. This naming originates in the Tang Dynasty's (618-906CE) Chang YanYuan's “History's record of famous paintings”. He mentions six categories of paintings: Portrait , building,landscape,sports,religion,and flower-and-bird. Flower-and-bird paintings become more established in the Song Dynasty (960-1279). In the western world the subject belong to still-life paintings, which originate in the 16th century, with a peak in the 17th century.

中國花鳥畫有單獨描繪花卉或禽鳥,也有兩者合一。其中以禽鳥畫出現的時間較早,可追溯於商代的動物神靈化信仰。商朝以鳥之子孫為自居,故多以鳥的形象作為器物裝飾。中國藝術的發展跟朝代的社會風氣有很大的關連:漢代的繪畫作為教化人心功能,因此人物畫流行。魏晉南北朝,社會思想朝向玄學、講求自然,因此禽鳥畫蓬勃發展。

Chinese “Flowers and Bird” paintings can either portray the subject matter of plants and birds individually or arranged together. Paintings with only birds originate earlier in the Shang Dynasty’s animal spirits beliefs.  During the Shang Dynasty (1600-1050 BCE) birds were seen as oneself, thus many objects of the time have paintings depicting birds. The development of Chinese art is strongly linked to the beliefs and practices of a particular dynasty at the time. During the Han Dynasty (206 BCE-220 CE) for example, social life and individuality were quite important, thus making portraits a very popular art form of that time. The Wei, Jin and North/ South Dynasties on the other hand were stressing the natural world more, therefore “Birds and Flower” paintings flourished.

後來五代的黃荃及徐熙在花鳥題材上,以艷麗富貴及筆墨妙趣兩種大異其趣的表現方式,讓花鳥畫更上層樓。到了宋代,皇帝對花鳥畫的喜好,如神宗、仁宗,也影響到繪畫題材的選擇,此時花鳥畫達到了全盛時期。

In the later Five Dynasties period (907-960 CE) “Birds and Flower” paintings become even more popular, being included in the very popular artistic expression method of pen and ink. With the arrival of the Song Dynasty and the emperors liking for “Flowers and Birds” paintings , with an interest in spirituality and ancestry, influences the subject matter of paintings further more. This era thus is the one where “Flower and Bird” paintings flourish the most.  

南宋以後,有以梅、蘭、竹、菊為主題的四君子畫,在畫系中另成一門,其內涵與精神直接影響了元代的文人花鳥畫。元代好武輕文,政治打壓所造成繪畫仿古的現象,使得文人們,一方面以四君子畫來區別自己不願仿古、另一方面透過四君子畫來抒發自我。

Around the Southern Song Dynasty (1127-1279) plum, orchid, bamboo and chrysanthemum are the four noble subject matters. These incorporate spirituality and influence the Yuan Dynasty's scholar’s “ Birds and Flower” paintings even more. The Yuan Dynasty brings about the importance of weaponry over culture, where the government suppresses any art form in the previous styles , thus causing the scholars to use the four noble subject matters to distance themselves from the previous art.


明代,因擺脫異族的統治,在文化復振上,以發揚前人成就為己任,並加以演繹,在官方畫院的繪畫風格,展現了過去各種畫派之。清代又歷經了異族統治,花鳥畫發展到後期,文人寫意成為繪畫的主流。

With the Ming Dynasty (1368-1644) breaking away from the the previous ruling, culture is being recovered. This leads to the revival, flourishing and further advancement of previous art styles.  Under the yet new ruling of the Qing  Dynasty (1644-1912) “Birds and Flower” paintings reach their later stage with a new standard - scholars use a freehand style which emphasizes more on bold stroke than on detail. 


二呆的花鳥畫作品有文人畫的風骨,與其說為寫意,倒不如是為「寫」生,他的禽鳥多以筆勁勾勒、帶有狂狷氣,沒有「傳統」的拘束,顯現個人的特色。

What distinguishes Erdai's paintings from common “Birds and Flower” paintings,however, is his vigorous natural expression style. He uses unique brush styles, by fervently transferring his energy into the art. This can not be seen in the restraint of traditional “Birds and Flower” paintings.

  海報
 
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更新日期:2017-12-08