緣由
元曲《天淨沙・秋思》：「枯藤老樹昏鴉，小橋流水人家，古道西風瘦馬。夕陽西下，斷腸人在天涯。」馬致遠以簡明的文字描繪秋天的景色，呈現遊子的憂愁。此種帶有輕快節奏、言簡意賅的意趣，與趙二呆多數國畫作品所呈現的極簡，不謀而合，是中國寫意畫的特點。
二呆藝館典藏趙同和千餘件藝術作品，其中有關於「橋」的作品計40幅，包含水墨、油畫及素描。本展擷取元曲《天淨沙・秋思》一句「小橋流水人家」為引，片段中好似安逸閑居的田園生活，而不是天涯遊子的思愁。「擷取片段」乃為平面藝術作品的特色，如何在風景畫中產生時間的流動，便仰賴觀者的想像。
「人家」，據教育部重編國語辭典修訂本作為住宅、稱呼他人…等用法，本展以「他人」為解釋，並以「無」字作為破題，傳達展出作品，雖有人的生活建築設施，如小橋、舟船或房舍，卻少有人物的出現。「橋」向來為中國水墨畫的「點景」，但在本展將轉換配角的身分，作為帶領觀眾走入畫中世界的媒介。
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Inspiration
From Yuanqu "Tian Jing Sha - Autumn Thoughts": "Withered vines hanging on old branches, returning crows croaking at dusk. A few houses were hidden beyond a narrow bridge over a running creek. Down a worn path, in the west wind, plods a lean horse. The sun dips down in the west, and there, at the end of the world, walks a lovesick traveler." The author Ma Zhi-yuan describes this autumn scene in just a few simple words and reveals the sadness of a wanderer. This kind of lively and concise charm, coinciding with the minimalism presented in most of Zhao Erdai's traditional Chinese paintings, is a characteristic of Chinese freehand brushwork.
The Erdai Art Hall collects over a thousand artworks by Zhao Tong-He, including 40 works related to the "Bridge", including ink paintings, oil paintings, and sketches. This exhibition is taken from the quote from the Yuanqu "Tian Jing Sha - Autumn Thoughts", which reads "A few houses hidden beyond a narrow bridge over a running creek". This excerpt seems more like a peaceful and leisurely rural life, rather than the sorrow of a traveler at the end of the world. Excerpting is a characteristic feature of graphic art, and, how to create the flow of time in landscape painting, depends on the viewer's imagination.
As per the Revised Mandarin Chinese Dictionary of the Ministry of Education's Dictionary of the Chinese Language, the term "人家" (the Houses in the poetry) in this poem could be used to refer to a residence or to address other people. In this exhibition, the explanation of "other people" is adopted, and the Chinese character "無" (None) is used as the clue to the topic, to convey the idea that although the works on display are filled with human architectural facilities, such as bridges, boats, or houses, they are seldom populated by human figures. The "Bridge" has always been a "staffage" in Chinese ink paintings, but in this exhibition, it’s transformed into a supporting role as a medium to lead the audience into the art world.
元曲《天淨沙・秋思》：「枯藤老樹昏鴉，小橋流水人家，古道西風瘦馬。夕陽西下，斷腸人在天涯。」馬致遠以簡明的文字描繪秋天的景色，呈現遊子的憂愁。此種帶有輕快節奏、言簡意賅的意趣，與趙二呆多數國畫作品所呈現的極簡，不謀而合，是中國寫意畫的特點。
二呆藝館典藏趙同和千餘件藝術作品，其中有關於「橋」的作品計40幅，包含水墨、油畫及素描。本展擷取元曲《天淨沙・秋思》一句「小橋流水人家」為引，片段中好似安逸閑居的田園生活，而不是天涯遊子的思愁。「擷取片段」乃為平面藝術作品的特色，如何在風景畫中產生時間的流動，便仰賴觀者的想像。
「人家」，據教育部重編國語辭典修訂本作為住宅、稱呼他人…等用法，本展以「他人」為解釋，並以「無」字作為破題，傳達展出作品，雖有人的生活建築設施，如小橋、舟船或房舍，卻少有人物的出現。「橋」向來為中國水墨畫的「點景」，但在本展將轉換配角的身分，作為帶領觀眾走入畫中世界的媒介。
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Inspiration
From Yuanqu "Tian Jing Sha - Autumn Thoughts": "Withered vines hanging on old branches, returning crows croaking at dusk. A few houses were hidden beyond a narrow bridge over a running creek. Down a worn path, in the west wind, plods a lean horse. The sun dips down in the west, and there, at the end of the world, walks a lovesick traveler." The author Ma Zhi-yuan describes this autumn scene in just a few simple words and reveals the sadness of a wanderer. This kind of lively and concise charm, coinciding with the minimalism presented in most of Zhao Erdai's traditional Chinese paintings, is a characteristic of Chinese freehand brushwork.
The Erdai Art Hall collects over a thousand artworks by Zhao Tong-He, including 40 works related to the "Bridge", including ink paintings, oil paintings, and sketches. This exhibition is taken from the quote from the Yuanqu "Tian Jing Sha - Autumn Thoughts", which reads "A few houses hidden beyond a narrow bridge over a running creek". This excerpt seems more like a peaceful and leisurely rural life, rather than the sorrow of a traveler at the end of the world. Excerpting is a characteristic feature of graphic art, and, how to create the flow of time in landscape painting, depends on the viewer's imagination.
As per the Revised Mandarin Chinese Dictionary of the Ministry of Education's Dictionary of the Chinese Language, the term "人家" (the Houses in the poetry) in this poem could be used to refer to a residence or to address other people. In this exhibition, the explanation of "other people" is adopted, and the Chinese character "無" (None) is used as the clue to the topic, to convey the idea that although the works on display are filled with human architectural facilities, such as bridges, boats, or houses, they are seldom populated by human figures. The "Bridge" has always been a "staffage" in Chinese ink paintings, but in this exhibition, it’s transformed into a supporting role as a medium to lead the audience into the art world.
