緣由

        六朝玄學家宗炳所寫的〈畫山水序〉，表達人因為有老病，所以無法遊歷山水，進而體會萬物運行的道理。於是他將山水畫掛於牆上，或是索性畫在牆上，然後躺在床上觀畫，彷彿到自然中遊覽一番，此即「臥遊」。宗炳所提出的「臥遊」觀念，讓視為功利服務的繪畫提高到聖賢求道的層面，所以後代士人也藉由翰墨，抒發心中抱負。
     「水墨」在中國文人世界裡，不僅是閒暇的娛樂，也具有藝術治療的效用。然而，它距離現代學生及民眾，好似變得難以接觸或者欣賞。本展希冀以肢體作為畫筆，落實中國畫「臥遊」的思想，讓民眾從科技中了解山水佈局的樂趣。

                                 
Origin

Neo-Daoist Zongbing, from the Northern and Southern Dynasties, once mentioned in his Preface to Mountain and Water Painting the philosophy of all things perceived by a man who could not travel due to his old age and ailments. The man decided to hang mountain and water paintings on his walls, or simply took a brush and painted on his walls, then enjoyed watching his paintings by lying in bed. It made the man feel as if he actually traveled to those places. This is known as “travel in bed”, a concept that allows paintings to escape from utilitarianism and enter the realm of spiritual enlightenment. This inspired many literati in the later generations to express their aspirations through ink paintings.
In the world of Chinese literati, “ink paintings” are not only seen as a pastime hobby, but also has the effect of artistic treatment. However, students and the general public nowadays seem to be distanced from ink paintings or do not know how to appreciate them. That is why in this exhibition, we wish the visitors can understand the “travel in bed” philosophy prevalent in Chinese traditional paintings by pretending their bodies as brushes, and enjoy the fun of mountain and water layout through technology.

展示主題說明

本展依據趙同和生前的畫作，挑選出以下主題:「點景人物」、「山水」、「屋宇」、「植物」及「其他」5個主題。 

Descriptions on the themes of exhibition

Five themes are chosen from the works of the late Chao, Tong-He (also known as Chao, Erdai), which are: “Embellishment Characters”, “Mountain and Water”, “Architecture”, “Plants”, and “Others”.

點景人物

宋代後，山水畫成為中國畫的主題，而「人」變成畫面的點綴，稱為「點景人物」。點景人物不只呈現人在大自然或是市井中的生活面貌，同時也反映出畫家的人生觀、世界觀及理想。二呆的點景人物大部分將自己做為素材，以寫意與沒骨技法呈現出行走、撐篙、釣魚及坐姿…等形象。

Embellishment Characters

Ever since Song Dynasty, mountain and water became the main theme of Chinese paintings, and “people” became mere embellishments, or also known as “embellishment characters”. These characters not only reveal the realities of Mother Nature or daily livings, but are also reflection of the painter’s own views on life, his/her worldview, and the ideals he/she was pursuing. Most of the embellishment characters in Erdai’s paintings are reflections of Erdai himself, whom are painted with strokes of realism and non-contouring techniques, showing images of walking, punting, fishing, and sitting.

山水

中國繪畫最早的題材是人物，而山水只做為背景。直到隋唐，山水畫逐漸成為繪畫的重要主題。二呆的山水畫可歸類成水墨山水，又不全用水墨做畫，還會加上廣告顏料等西式媒材染色，其筆法少見「皴法」、多見「飛白」。他以層層造境，創造虛實呼應的空間。

Mountain and water

Originally, Chinese paintings focused on characters, leaving mountains and waters as merely background. It was not until Sui and Tang Dynasties that mountain and water paintings became an important motif for paintings. Erdai’s mountain and water paintings are categorized as mountain and water ink paintings; yet he also uses other western medium, such as acrylic, for coloring, and not exclusively uses only inks. He rarely adopted “wrinkling brushstroke technique” in his paintings. The prevalent technique seen in his works is “dry brush strokes”, with which he uses layer by layer to create a space where the void coexists with the full.

屋宇

唐張彥遠《歷代名畫記》將「屋宇」列於畫科中的一門。爾後，中國將表現建築的畫，稱為「界畫」，此一詞來自於宋代界畫的繪畫工具:界尺。二呆的「屋宇」，並沒有界畫所講究的結構精準及空間感。他講求的是建築物的可辨性，因此帶有古樸拙趣。

Architecture

 “Architecture” was listed in Chang, Yan-Yuan’s (from Tang Dynasty) book, Famous Paintings from Previous Dynasties, as a painting subject on its own. The later generations in China gave a particular name for paintings that mostly depict architectures, called “Jiehua (ruler painting)”. It was named so thanks to the painting tool adopted by architecture painters in Song Dynasty— Jiechi, or old-time ruler. From Erdai’s paintings, we do not see architectures being painted with precision and ample of space, which are required according to traditional Jiehua standards; rather, Erdai focused on allowing his architectures become identifiable and quaint.

草木
 
唐代張彥遠《歷代名畫記》將中國畫分成六門，為人物、屋宇、山水、鞍馬、鬼神、花鳥。中國的花鳥畫的主題包含「花」、「鳥」、「瓜果」、「蟲」、「魚」、「禽獸」等動植物。本展依據二呆先生作畫題材的數量，將植物與動物分開。

Plants

In Chang, Yan-Yuan’s (from Tang Dynasty) book, Famous Paintings from Previous Dynasties, he categorized six subjects of Chinese paintings, which are characters (people), architecture, mountain and water, saddled horses, ghosts and gods, and flowers and birds. The category of flowers and birds includes motifs of “flowers”, “birds”, “melons and fruits”, “bugs”, “fish”, and “birds and animals”. In this exhibition, plants and animals are treated as separate topics due to the number of Erdai’s paintings on such subjects.

其他

中國以「氣韻」作為評論繪畫的優劣基準，一開始只是描述人物畫首重神情，而不在形象，後來擴大到花鳥及山水等對象，而從五代荊浩後，筆記技法和畫面效果更講求氣韻。二呆的作品，少有白描或勾勒填彩等工筆畫，多以沒骨或簡筆來表顯萬物的靈動。他不僅繪畫自然萬物，也將現代物品，如電線桿、車子、輪船…做為主題。
 
Others

Traditionally, “qiyun”(aesthetical beauty and vibe) is used as a judging criterion against all paintings to determine whether a painting is good or bad. At the beginning, the criterion only applied to portraits or paintings with human characters and focused on the emotions rather than appearances. Later on, the criterion was extended to be applied to not only characters but also flowers, birds, mountains, and waters. Ever since Jinghao (of the Five Dynasties and Ten Kingdoms) the painter, qiyun became ever more emphasized in brush strokes and visual effects. It is rare to see Erdai employing simply contouring technique, but instead non-contouring or simple stroke techniques to express the liveliness of all things. He not only chose nature as subjects of his works, but also included things such as utility pole, cars, and steam boats as subjects.