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作者◎林亭安
增補◎梁淑慧
【Pe̍h-ōe-jī】
Kin-á-ji̍t beh siāu-kài ê chit-ūi, sī Tâi-tiong tong-tē ê bí-su̍t-ka Iûⁿ Khé-tong sian-siⁿ. Iûⁿ Khé-tong sian-siⁿ 1906 nî tī Ji̍t-pún sî-tāi ê Tâi-tiong Hong-goân chhut-sì, m̄-nā sī chi̍t ūi ōe-ka, mā-sī chi̍t ūi kàu-io̍k-ka. It-seng chiong i só͘ ì-ài ê Tâi-oân hong-thó͘ ōe chò chi̍t pak koh chi̍t pak ê chok-phín, it-ti̍t kàu káu-cha̍p kúi hòe iû-goân teh chhòng-chok, tùi gē-su̍t ū i te̍k-pia̍t ê thé-hōe kah kian-chhî.
Nā-sī kóng-tio̍h Iûⁿ Khé-tong hām bí-su̍t ê iân-hūn, tō ài tùi i tha̍k Hô͘-lô͘-tun Kong-ha̍k-hāu ê sî kóng-khí. Sè-hàn ê sî, lāu-pē khì kàu Ji̍t-pún こうべ(Kōbe) chò khang-khòe, tān-sī ta̍k goe̍h-ji̍t lóng ē kià siàu-liân cha̍p-chì tńg-lâi hō͘ kah-ì gē-bûn ê i oa̍t-tho̍k; tī cha̍p-chì lāi-té hia-ê ìn-soat cheng-bí ê ōe-tô͘ chok-phín, hō͘ i khai-sí tùi ōe-tô͘ sán-seng hèng-chhù.
Tha̍k Tâi-pak Su-hoān Ha̍k-hāu ê sî, ōe-tô͘-kho lāu-su sī Ji̍t-pún chhut-miâ ê bí-su̍t-ka Chio̍h-Chhoan Khim-it-lông（いしかわ きんいちろう）. Tī Su-hoān Ha̍k-hāu ê chòe-āu chi̍t tang, i tòe Chio̍h-Chhoan siá-seng, siū-tio̍h lāu-su ê khan-kà, mā khak-li̍p i it-seng ê chì-hiòng. Tī chit tōaⁿ kî-kan, i se̍k-sāi bí-su̍t-kài chiâⁿ chē tông-hâng iú-chì, m̄-koh, soah in-ūi chhù–nih ê keng-chè chōng-hóng, hō͘ i bô-hoat-tō͘ chhin-chhiūⁿ kî-tha ê chiân-pòe kāng-khoán khì Ji̍t-pún chhim-chō. Ka-chài, chit tōaⁿ hām pa̍t-lâng bô-kāng ê keng-le̍k, tian-tó hō͘ i ê chok-phín seⁿ-sêng te̍k-sû ê hong-keh, mā hō͘ lâng chiong i kah Nâ Ìm-téng, Lí Te̍k-hoan pēng-lia̍t chò Tâi-oân chúi-chhái-ōe ê saⁿ ê thâu-lâng.
Tī i ê chok-phín lāi-té, tiāⁿ-tiāⁿ ē-tàng khòaⁿ-tio̍h i kā kò͘-hiong Hong-goân ê kéng-tì ōe–lo̍h-lâi. “Hong-goân” kū-miâ hō-chò “Hô͘-lô͘-tun”, ū chúi-chùn, ū sī-biō, mā ū Ji̍t-pún chèng-hú ūi-tio̍h hoat-tián lîm-gia̍p só͘ siat-li̍p ê “tún-chhâ-tî”, chia–ê lóng chiâⁿ-chò i siá-seng ê tê-châi. Sīm-chì lán ē-tàng khòaⁿ-tio̍h i tī bô-kāng nî-tāi iōng kāng chi̍t ê kak-tō͘ ōe–lo̍h-lâi ê hong-kéng, hō͘ lán kám-kak “sî-kan” káⁿ-ná tòe i ōe ê tô͘ teh liû-tōng. M̄-nā khòaⁿ-tio̍h Tâi-oân tī 1930 nî-tāi kàu chiàn-āu ê hiong-thó͘ bîn-chêng, mā kám-siū tio̍h ōe-ka ê jîn-bûn koan-hoâi.
Iûⁿ Khé-tong sian-siⁿ chá-kî ê chok-phín sī í chúi-chhái-ōe ûi-chú, āu-kî choán-chò iû-ōe. Ùi Hô͘-lô͘-tun kàu choân Tâi-tiong, ùi in tau hù-kīn ê iā-chhī-á kàu Le̍k-chhoan, Liú-chhoan ê kéng-tì, lóng ē-tàng tī chok-phín lāi-té khòaⁿ-tio̍h i iù-lō͘ ê biâu-hōe. Tī chia, góa soán-te̍k i boán-liân ê nn̄g pak chúi-chhái-ōe kah chi̍t pak iû-ōe lâi siāu-kài, hun-pia̍t sī 1982 nî ê Liú-chhoan Iā-sek, 1983 nî ê Liú-chhoan Sîn-hi kah 1982 nî ê 548 Iā-chhī Ke-kéng.
Nn̄g pak ōe Liú-chhoan ê tô͘ lóng chhái-iōng “tiong-sim-tiám thàu-sī hoat” ê kò͘-tô͘ hong-sek; tī ōe-bīn-tiong, lán ū khòaⁿ-tio̍h te̍k-sû ê “Tiàu-kha-lâu” chhut-hiān tī chok-phín lāi-té. “Tiàu-kha-lâu” sī 1949 nî tòe Kok-bîn chèng-hú thiat-thè lâi Tâi ê chē-chē kun-bîn, in-ūi bô só͘-chāi an-tì, chí-hó tī Liú-chhoan hōaⁿ-piⁿ tah khek-lān ê liâu-á chò khiā-ke; it-ti̍t kàu 1970 nî-tāi, ūi-tio̍h to͘-chhī ê bí-hòa, chiah ta̍uh-ta̍uh-á thiah-tû, thang kóng sī sî-tāi ê kiàn-chèng. Nn̄g pak tô͘ pí-kàu–khí-lâi, Liú-chhoan Iā-sek ê kng-iáⁿ tián-hiān ke khah tōa-táⁿ, ti̍t-chiap, chiong hn̄g-hn̄g ê kng-sòaⁿ chū-chi̍p tī ōe-bīn tiong-ng, bē-su thong-kòe chok-phín ê sè-chiat teh àm-sī lāu-peh-sèⁿ tùi seng-oa̍h hiān-hóng ê kám-siū, sui-bóng gán-chêng kan-khó͘ khám-khia̍t, iû-goân bô hòng-khì tùi bī-lâi ê kî-thāi kah kià-bāng.
Iû-ōe 548 Iā-chhī Ke-kéng sī ùi Hong-goân Chû-chè-kiong piⁿ-á ê Biō-tong iā-chhī-á chhú-kéng, í jîn-kûn chò tiong-sim-tiám, kā kiàn-tiok-bu̍t tùi ōe-bīn nn̂g-pêng iân-sin–chhut-lâi. Chi̍t-pak tô͘ lī-iōng siám-sih ê kng-goân lâi tián-hiān iā-chhī-á ê chú-tê, sui-bóng sī tī àm-sî, m̄-koh ōe-bīn lāi-té ū lō͘-teng, khǎng-páng kah tiàm-thâu ê kng-tiám, hō͘ lán ē-tàng kám-siū-tio̍h iā-chhī-á ê lāu-jia̍t-chhih-chhah kah hoân-hôa ê khì-hun.
Chāi góa kám-kak, Iûⁿ Khé-tong sian-siⁿ ê chok-phín chhin-chhiūⁿ ē chhōa lâng tò-tńg-khì i ōe-tô͘ ê hit-tong-sî, in-ūi i tùi seng-oa̍h khoân-kéng ê sè-chiat koan-chhat kah chiâⁿ iù-lō͘, chiong ka-kī seng-tióng ê thó͘-tē choán-ōaⁿ chò chi̍t pak koh chi̍t pak ê tô͘, hō͘ lán chia-ê hiō-pòe thang him-sióng, chham-ú hit ê lán bô-hoat-tō͘ chhin-sin thé-hōe ê nî-tāi.
Iûⁿ Khé-tong sian-siⁿ ê tô͘ ū to-goân ê tê-châi, te̍k-iú ê hong-keh, tián-hiān hiong-thó͘ sûn-chin koh chū-jiân ê súi, sek-chúi chhiⁿ-chhioh, chhái-tō͘ sian-bêng, mā chin gâu lī-iōng sek-chhái ê tùi-pí, só͘-í hō͘ lâng ū chiok chhim ê sī-kak thé-giām. I m̄-nā liân-sòa 10 tang lóng ū ji̍p-ûi “Tâi-oân Bí-su̍t Tián-lám-hōe”, “Tâi-oân Choân-séng Bí-su̍t Tián-lám-hōe”, koh tiāⁿ-tiāⁿ tī kok-chè-sèng ê bí-su̍t tián-lám ji̍p-soán, tit-tio̍h choân sè-kài ê khéng-tēng.
I chiân-āu chhòng-li̍p Tâi-tiong Bí-su̍t Hia̍p-hōe, Chhun-chhiu Bí-su̍t-hōe, Tiong-pō͘ Chúi-chhái-hōe téng; in-ūi ū i ê khan-kà, hō͘ Tâi-oân tiong-pō͘ cheng-ka chin chē iu-siù ê bí-su̍t-ka, tùi pún-thó͘ gē-su̍t ê thui-kóng si̍t-chāi kòng-hiàn put-hoân.
Tī i kòe-óng liáu-āu, ū chiong chi̍t-pō͘-hūn chok-phín koan hō͘ Kok-li̍p Tâi-oân Bí-su̍t-koán, ǹg-bāng ta̍k-ke ū-êng ê sî ē-tàng chhin-sin khì kiâⁿ-kiâⁿ khòaⁿ-khòaⁿ–leh, thàu-kòe Iûⁿ Khé-tong lāu-su ê chok-phín, lâi se̍k-sāi Tâi-tiong chāi-tē ê súi.
【漢羅】
今仔日欲紹介ê這位，是台中當地ê美術家楊啟東先生。楊啟東先生1906年佇日本時代ê台中豐原出世，毋但是一位畫家，嘛是一位教育家。一生將伊所意愛ê台灣風土畫做一幅閣一幅ê作品，一直到九十幾歲猶原咧創作，對藝術有伊特別ê體會佮堅持。
若是講著楊啟東和美術ê緣份，就愛對伊讀葫蘆墩公學校ê時講起。細漢ê時，老爸去到日本神戶(Kōbe)做工課，但是逐月日攏會寄少年雜誌轉來予佮意藝文ê伊閱讀；佇雜誌內底遐ê印刷精美ê畫圖作品，予伊開始對畫圖產生興趣。
讀台北師範學校ê時，畫圖科老師是日本出名ê美術家石川欽一郎（いしかわ きんいちろう）。佇師範學校ê最後一冬，伊綴石川寫生，受著老師ê牽教，嘛確立伊一生ê志向。佇這段期間，伊熟似美術界誠濟同行有志，毋過，煞因為厝裡ê經濟狀況，予伊無法度親像其他ê前輩仝款去日本深造。佳哉，這段和別人無仝ê經歷，顛倒予伊ê作品生成特殊ê風格，嘛予人將伊佮藍蔭鼎、李澤藩並列做台灣水彩畫ê三个頭人。
佇伊ê作品內底，定定會當看會著伊共故鄉豐原ê景緻畫落來。「豐原」舊名號做「葫蘆墩」，有水圳、有寺廟、嘛有日本政府為著發展林業所設立ê「囤柴池」，遮ê攏成做伊寫生ê題材。甚至咱會當看著伊佇無仝年代用仝一个角度畫落來ê風景，予咱感覺「時間」敢若綴伊畫ê圖咧流動。毋但看著台灣佇1930年代到戰後ê鄉土民情，嘛感受著畫家ê人文關懷。
楊啟東先生早期ê作品是以水彩畫為主，後期轉做油畫。對葫蘆墩到全台中，對in兜附近ê夜市仔到綠川、柳川ê景緻，攏會當佇作品內底看著伊幼路ê描繪。佇遮，我選擇伊晚年ê兩幅水彩畫佮一幅油畫來紹介，分別是1982年ê《柳川夜色》、1983年ê《柳川晨曦》佮1985年ê《548夜市街景》。
兩幅畫柳川ê圖攏採用「中心點透視法」ê構圖方式；佇畫面中，咱有看著特殊ê「吊跤樓」出現佇作品內底。「吊跤樓」是1949年綴國民政府撤退來台ê濟濟軍民，因為無所在安置，只好佇柳川岸邊搭克難ê寮仔做徛家；一直到1970年代，為著都市ê美化，才沓沓仔拆除，通講是時代ê見證。兩幅圖比較起來，《柳川夜色》ê光影展現加較大膽、直接，將遠遠ê光線聚集佇畫面中央，袂輸通過作品ê細節咧暗示老百姓對生活現況ê感受，雖罔眼前艱苦坎坷，猶原無放棄對未來ê期待佮寄望。
油畫《548夜市街景》是對豐原慈濟宮邊仔ê廟東夜市仔取景，以人群做中心點，共建築物對畫面兩爿延伸出來。這幅圖利用閃爍ê光源來展現夜市仔ê主題，雖罔是佇暗時，毋過畫面內底有路燈、khǎng-páng佮店頭ê光點，予咱會當感受著夜市仔ê鬧熱chhih-chhah佮繁華ê氣氛。
在我感覺，楊啟東先生ê作品親像會𤆬人倒轉去伊畫圖ê彼當時，因為伊對生活環境ê細節觀察甲誠幼路，將家己生長ê土地轉換做一幅閣一幅ê圖，予咱遮ê後輩通欣賞、參與彼个咱無法度親身體會ê年代。
楊啟東先生ê圖有多元ê題材、特有ê風格，展現鄉土純真閣自然ê媠，色水鮮沢、彩度鮮明，嘛真𠢕利用色彩ê對比，所以予人有足深ê視覺體驗。伊毋但連紲10冬攏有入圍「臺灣美術展覽會」、「臺灣全省美術展覽會」，閣定定佇國際性ê美術展覽入選，得著全世界ê肯定。
伊前後創立臺中市美術協會、春秋美術會、中部水彩畫會等；因為有伊ê牽教，予台灣中部增加真濟優秀ê美術家，對本土藝術ê推廣實在貢獻不凡。
佇伊過往了後，有將一部分作品捐予國立臺灣美術館，向望逐家有閒ê時會當親身去行行看看咧，透過楊啟東老師ê作品，來熟似台中在地ê媠。
