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作者◎李育誼
增補◎梁淑慧
【漢羅】
創作ê跤跡：無論行偌遠iáu是意愛畫圖
張耀熙（1925～2013年） tī台中大雅出世，自細漢就對畫圖誠有興趣，讀國校仔ê時就是畫圖選手，主要是用蠟筆kah水彩來創作。1938年tī台中一中讀冊，彼時拄好有機會接受李石樵ê啟示kah牽教，對hit-chūn開始學畫油畫，伊對寫生痴迷ê種子mā開始puh-íⁿ。
中學畢業了後，過鹹水去日本東京ê川端画学校進修，一直到戰後才轉來台灣。雖然心內意愛畫圖，soah因為hit當時台灣猶無美術系，落尾選擇去讀台灣大學外文系，m̄-koh便若有閒就會行跤到李石樵ê畫室學習。大學二年仔頭一擺參加「臺灣省美展」就入選，hō͘伊真大ê鼓勵kah肯定。
自由路ê文藝店頭家、新民商工ê英語先生
1950年代，台中舊城區ê自由路hit-tah有不止仔厚ê文藝氣。當當時，張耀熙in阿爸張濬哲扞ê中央書局已經交hō͘阿兄張耀東kah阿叔張煥珪共同經營。張耀熙1951年kah牽手林翠釵就tī彰化銀行ê斜對面創辦「臺中英文雜誌社」。這間雜誌社m̄-nā代理英文雜誌kah報紙，koh有leh賣文具kah美術用品，是bē少台中人頭一擺接觸西洋文化ê門窗。M̄-koh，經營事業m̄是張耀熙ê專門科，雜誌社kan-na維持六冬就收起來矣。
無做生理了後，張耀熙去新民商工教英語，課後kah同事張炳南共同指導美術社團。伊佮意畫圖，定定學生出去寫生，家己m̄-nā行遍全台灣，mā不時出國去欣賞、體會無仝所在ê媠。
豐原班：前後輩相牽
台中ê美術發展tī日本時代早期，有林之助、廖繼春kah陳慧坤chia-ê前輩leh活動；1940年代，李石樵搬來台中蹛， kah葉火城做伙tī豐原地區指導油畫，牽成張耀熙、張炳南、林天從kah劉國東chia-ê畫圖家，kā創作ê風氣牽起來，就按呢hō͘人稱做「豐原班」。
Hit時對日本傳入來ê西洋畫圖技巧kah觀念對豐原班ê影響真大，in學習「印象派」注重時間光影ê變化，實踐「外光派」ê精神，去戶外有日頭光ê所在寫生。定定相招去卓蘭、谷關、火炎山chia-ê所在行踏，畫出對鄉土ê熱情，mā呈現出彼時豐原班對台灣美術ê推廣kah共學ê風氣。
82歲歸向上帝：作品加添和諧kah哲學思考ê色彩
張耀熙ê藝術路途tī食老以後有真大ê變化。有一擺因為嚴重ê病蹛入去加護病房，伊ê後生張杰夫kah張達夫tī病床邊為伊祈禱、讀聖經詩篇第23篇「耶和華是我ê牧者」，hō͘伊深深受感動。出院了後，tī 82歲hit冬，kah牽手同齊tī台中中會復興長老教會領洗禮，正式成做基督徒。張耀熙對信仰ê態度誠認真，m̄-nā逐日勤讀聖經做靈修筆記，去教會禮拜mā一定坐tī頭前排中央專心聽牧師講道。
後生張杰夫觀察著阿爸信上帝了後，原本強烈ê創作風格轉變做和諧ê色彩，基督信仰mā替伊ê作品加添無形ê哲學氣味。
追求藝術價值ê理念
李石樵捌呵咾張耀熙畫ê圖「看愈久，愈好看」，這个耐看，源自張耀熙對畫面巧妙ê安排、對色彩幼路ê控制，對結構斟酌ê思考。張耀熙講伊家己ê創作一直堅持四个理念。
1.有哲理：Thong-kòe畫作ê內涵，hō͘欣賞ê人thang kā跤步放hō͘慢，ta̍uh-ta̍uh-á去思考、感受圖內底hit-ê美麗ê世界。
譬論講伊常在以「燈塔」做題材，因為燈塔代表替心靈炤光。1988年ê作品《希望》，伊就用圖內面上細塊ê白色燈塔來對比規片紅色ê天kah闊bóng-bóng暗青色ê海，這款強烈ê色緻m̄是欲追求視覺ê刺激，是欲表達tī茫茫渺渺ê烏暗中，燈塔所帶來ê希望。
2.富詩意：作品追求意境，對畫面經營、結構安排、光影變化kah情境起造lóng tio̍h斟酌，達到「詩中有畫，畫中有詩」ê境界，hō͘欣賞ê人產生共鳴。
像伊tī 1996年ê《朝陽梅香》，kā梅花畫kah規大片，占三份二ê畫面，親像欲hō͘欣賞ê人也thang鼻著梅花ê芳味，親身感受著hit款清閒自在。
3.Ùi大自然取材：伊認為大自然是媠ê根頭，若欲做藝術，tio̍h-ài對大自然痴迷，才ē-tàng得著珍貴ê啟示，產生心靈ê感動。
1996年ê《埔里連峰》，伊利用坦橫ê構圖方式，安排稻仔田、草埔kah厝宅，營造安穩ê氣氛；m̄-koh tī正手爿畫一欉懸大坦直ê樹仔，畫面活潑koh趣味。
4.色彩和諧含溫柔：強調自由活跳ê手路、和諧含溫柔ê色彩、有節奏ê明暗度，追求有主觀意識ê畫面。
伊用柑仔色起底，kā秋天ê鬧熱表現tī 1990年ê代表作《秋色》。柑仔色ê草埔透濫柔和ê青色、藍色、白色kah紅色；koh選用各種笑色（淺色）來畫天頂ê雲彩，色水豐富koh和諧。
2003年ê《太魯閣》色彩更加幼路，採用「之」字形描畫溪谷兩岸重疊崎直ê山壁，近景河床遍滿石頭；用茄仔色、白色、青色kah柑仔色呈現石頭tī光線變化下ê無仝色緻，kā tēng硞硞ê石頭畫出溫柔ê感覺。2004年張耀熙將這件百號油畫（長162公分，闊130公分）捐hō͘臺中市港區藝術中心，疼惜鄉土ê情懷hō͘人感動。
張耀熙透世人堅持創作，用行動表明伊「若無畫圖，生活就無重心」。伊創作出心靈富裕ê作品，用心推行美術教育，作品內底ê光影溫柔楦闊tī咱ê心肝內。
【Pe̍h-ōe-jī】
Chhòng-chok ê kha-jiah:
bô-lūn kiâⁿ jōa hn̄g iáu-sī ì-ài ōe-tô͘
Tiuⁿ Iāu-hi (1925-2013 nî) tī Tâi-tiong Tāi-ngé chhut-sì, chū sè-hàn tiō tùi ōe-tô͘ chiâⁿ ū hèng-chhù, tha̍k kok-hāu-á ê sî tiō sī ōe-tô͘ soán-chhiú, chú-iàu sī iōng la̍h-pit kah chúi-chhái lâi chhòng-chok. 1938 nî tī Tâi-tiong-it-tiong tha̍k-chheh, hit-sî tú-hó ū ki-hōe chiap-siū Lí Chio̍h-chiâu ê khé-sī kah khan-kà, ùi hit-chūn khai-sí o̍h ōe iû-ōe, i tùi siá-seng chhi-bê ê chéng-chí mā khai-sí puh-íⁿ.
Tiong-ha̍k pit-gia̍p liáu-āu, kòe kiâm-chúi khì Ji̍t-pún Tang-kiaⁿ ê かわばたがっこう chìn-siu, it-ti̍t kàu chiàn-āu chiah tńg–lâi Tâi-oân. Sui-jiân sim-lāi ì-ài ōe-tô͘, soah in-ūi hit-tang-sî Tâi-oân iáu bô bí-su̍t-hē, lo̍h-bóe soán-te̍k khì tha̍k Tâi-oân Tāi-ha̍k Gōa-bûn-hē, m̄-koh piān-nā ū-êng tiō ē kiâⁿ-kha-kàu Lí Chio̍h-chiâu ê ōe-sek ha̍k-si̍p. Tāi-ha̍k jī-nî-á thâu chi̍t pái chham-ka “Tâi-oân-séng Bí-tián” tiō ji̍p-soán, hō͘ i chin tōa ê kó͘-lē kah khéng-tēng.
Chū-iû-lō͘ ê bûn-gē tiàm-thâu-ke,
Sin-bîn Siong-kang ê Eng-gí sian-siⁿ
1950 nî-tāi, Tâi-tiong kū-siâⁿ-khu hit-tah ū put-chí-á kāu ê bûn-gē-khùi. Tng-tong-sî, Tiuⁿ Iāu-hi in a-pah Tiuⁿ Chùn-thiat hōaⁿ ê ”Tiong-ióng Chu-kio̍k” í-keng kau hō͘ a-hiaⁿ Tiuⁿ Iāu-tong kah a-chek Tiuⁿ Hoàn-ke kiōng-tông keng-êng. Tiuⁿ Iāu-hi 1951 nî kah khan-chhiú Lîm Chhùi-chhai tiō tī Chiong-hòa Gîn-hâng ê chhoa̍h-tùi-bīn chhòng-pān “Tâi-tiong Eng-bûn Cha̍p-chì-siā”. Chit keng cha̍p-chì-siā m̄-nā tāi-lí Eng-bûn cha̍p-chì kah pò-chóa, koh ū leh bē bûn-kū kah bí-su̍t iōng-phín, sī bē chió Tâi-tiong-lâng thâu-chi̍t-pái chiap-chhiok se-iûⁿ bûn-hòa ê mn̂g-thang. M̄-koh, keng-êng sū-gia̍p m̄ sī Tiuⁿ Iāu-hi ê choan-bûn-kho, cha̍p-chì-siā kan-na î-chhî la̍k tang tiō siu–khí-lâi–ah.
Bô chò-seng-lí liáu-āu, Tiuⁿ Iāu-hi khì Sin-bîn Siong-kang kà Eng-gí, khò-āu kah tông-sū Tiuⁿ Péng-lâm kiōng-tông chí-tō bí-su̍t siā-thoân. I kah-ì ōe-tô͘, tiāⁿ-tiāⁿ chhōa ha̍k-seng chhut-khì siá-seng. ka-tī m̄-nā kiâⁿ phiàn choân Tâi-oân, mā put-sî chhut-kok khì him-sióng, thé-hōe bô kāng só͘-chāi ê súi.
Hong-goân-pan: Chêng-āu-pòe saⁿ khan
Tâi-tiong ê bí-su̍t hoat-tián tī Ji̍t-pún sî-tāi chá-kî, ū Lîm Chi-chō͘, Liāu Kè-chhun kah Tân Hūi-khun chia-ê chiân-pòe leh oa̍h-tāng; 1940 nî-tāi, Lí Chio̍h-Chiâu poaⁿ-lâi Tâi-tiong tòa, kah Ia̍p Hóe-siâⁿ chò-hóe tī Hong-goân tē-khu chí-tō iû-ōe, khan-sêng Tiuⁿ Iāu-hi, Tiuⁿ Péng-lâm, Lîm Thian-chiông kah Lâu Ko̍k-tong chia-ê ōe-tô͘-ka, kā chhòng-chok ê hong-khì khan–khí-lâi, chiū-án-ne hō͘ lâng chheng-chò “Hong-goân-pan”.
Hit-sî ùi Ji̍t-pún thoân–ji̍p-lâi ê se-iûⁿ ōe-tô͘ ki-khá kah koan-liām tùi Hong-goân-pan ê éng-hióng chin tōa, in ha̍k-si̍p “Ìn-siōng-phài” chù-tiōng sî-kan kng-iáⁿ ê piàn-hòa, si̍t-chiān “Gōa-kng-phài” ê cheng-sîn, khì hō͘-gōa ū ji̍t-thâu-kng ê só͘-chāi siá-seng. Tiāⁿ-tiāⁿ sio-chio khì Toh-lân, Kok-koan, Hóe-iām-soaⁿ chia-ê só͘-chāi kiâⁿ-ta̍h, ōe-chhut tùi hiong-thó͘ ê jia̍t-chêng, mā thêng-hiān-chhut hit-sî Hong-goân-pan tùi Tâi-oân bí-su̍t ê thui-kóng kah kiōng-ha̍k ê hong-khì.
82 hòe kui-ǹg Siōng-tè:
Chok-phín ke-thiⁿ hô-hâi kah thiat-ha̍k su-khó ê sek-chhái
Tiuⁿ Iāu-hi ê gē-su̍t lō͘-tô͘ tī chia̍h-lāu í-āu ū chin tōa ê piàn-hòa. Ū chi̍t pái in-ūi giâm-tiōng ê pēⁿ tòa ji̍p-khì ka-hō͘ pēⁿ-pâng, i ê hāu-seⁿ Tiuⁿ Kia̍t-hu kah Tiuⁿ Ta̍t-hu tī pēⁿ-chhn̂g-piⁿ ūi i kî-tó, tha̍k Sèng-keng, Si-phian tē 23 phiⁿ “Iâ-hô-hôa sī góa ê bo̍k-chiá”, hō͘ i chhim-chhim siū kám-tōng. Chhut-īⁿ liáu-āu, tī 82 hòe hit tang, kah khan-chhiú tâng-chê tī Tâi-tiong tiong-hōe Ho̍k-heng Tiúⁿ-ló Kàu-hōe niá-sé-lé, chèng-sek chiâⁿ-chò Ki-tok-tô͘. Tiuⁿ Iāu-hi tùi sìn-gióng ê thài-tō͘ chiâⁿ jīn-chin, m̄-nā ta̍k-ji̍t khîn tha̍k Sèng-keng chò lêng-siu pit-kì, khì kàu-hōe lé-pài mā it-tēng chē tī thâu-chêng-pâi tiong-ng choan-sim thiaⁿ bo̍k-su káng-tō.
Hāu-seⁿ Tiuⁿ Kia̍t-hu koan-chhat-tio̍h a-pah sìn Siōng-tè liáu-āu, goân-pún kiông-lia̍t ê chhòng-chok hong-keh choán-piàn chò hô-hâi ê sek-chhái, Ki-tok sìn-gióng mā thè i ê chok-phín ke-thiⁿ bû-hêng ê thiat-ha̍k khì-bī.
Tui-kiû gē-su̍t kè-ta̍t ê lí-liām
Lí Chio̍h-chiâu bat o-ló Tiuⁿ Iāu-hi ōe ê tô͘ “khòaⁿ jú kú, jú hó-khòaⁿ”, chit ê nāi-khòaⁿ, goân-chū Tiuⁿ Iāu-hi tùi ōe-bīn khá-biāu ê an-pâi, tùi sek-chhái iù-lō͘ ê khòng-chè, tùi kiat-kò͘ chim-chiok ê su-khó. Tiuⁿ Iāu-hi kóng i ka-kī ê chhòng-chok it-ti̍t kian-chhî sì ê lí-liām.
1. Ū thiat-lí: Thong-kòe ōe-chok ê lōe-hâm, hō͘ him-sióng ê lâng thang kā kha-pō͘ pàng hō͘ bān, ta̍uh-ta̍uh-á khì su-khó, kám-siū tô͘ lāi-té hit-ê bí-lē ê sè-kài.
Phì-lūn-kóng i chhiâng-chāi í “teng-thah” chò tê-châi, in-ūi teng-thah tāi-piáu thè sim-lêng chhiō-kng. 1988 nî ê chok-phín Hi-bāng, i tiō iōng tô͘ lāi-bīn siōng sè tè ê pe̍h-sek teng-thah lâi tùi-pí kui-phìⁿ âng-sek ê thiⁿ kah khoah-bóng-bóng àm-chheⁿ-sek ê hái, chit khoán kiông-lia̍t ê sek-tī m̄ sī beh tui-kiû sī-kak ê chhì-kek, sī beh piáu-ta̍t tī bông-bông-biáu-biáu ê o͘-àm-tiong, teng-thah só͘ tòa–lâi ê hi-bāng.
2. Hù si-ì: Chok-phín tui-kiû ì-kéng, tùi ōe-bīn keng-êng, kiat-kò͘ an-pâi, kng-iáⁿ piàn-hòa kah chêng-kéng khí-chō lóng tio̍h chim-chiok, ta̍t-kàu “si-tiong ū ōe, ōe-tiong ū si” ê kéng-kài, hō͘ him-sióng ê lâng sán-seng kiōng-bêng.
Chhiūⁿ i tī 1996 nî ê Tiau-iông-mûi-hiong, kā mûi-hoe ōe kah kui-tōa-phiàn, chiàm saⁿ hūn jī ê ōe-bīn, chhin-chhiūⁿ beh hō͘ him-sióng ê lâng iā thang phīⁿ-tio̍h mûi-hoe ê phang-bī, chhin-sin kám-siū-tio̍h hit khoán chheng-êng chū-chāi.
3. Ùi tāi-chū-jiân chhú-châi: I jīn-ûi tāi-chū-jiân sī súi ê kin-thâu, nā beh chò gē-su̍t, tio̍h-ài tùi tāi-chū-jiân chhi-bê, chiah ē-tàng tit-tio̍h tin-kùi ê khé-sī, sán-seng sim-lêng ê kám-tōng.
1996 nî ê Po͘-lí liân-hong, i lī-iōng thán-hoâiⁿ ê kò͘-tô͘ hong-sek, an-pâi tiū-á-chhân, chháu-po͘ kah chhù-the̍h, êng-chō an-ún ê khì-hun; m̄-koh tī chiàⁿ-chhiú-pêng ōe chi̍t châng koân-tōa thán-ti̍t ê chhiū-á, ōe-bīn hoa̍t-phoat koh chhù-bī.
4. Sek-chhái hô-hâi kâⁿ un-jiû: Kiông-tiāu chū-iû oa̍h-thiàu ê chhiú-lō͘, hô-hâi kâⁿ un-jiû ê sek-chhái, ū chiat-chàu ê bêng-àm-tō͘, tui-kiû ū chú-koan ì-sek ê ōe-bīn.
I iōng kam-á-sek khí-té, kā chhiu-thiⁿ ê lāu-jia̍t piáu-hiān tī 1990 ê tāi-piáu-chok Chhiu-sek. Kam-á-sek ê chháu-po͘ thàu-lām jiû-hô ê chheⁿ-sek, nâ-sek, pe̍h-sek kah âng-sek; koh soán-iōng kok-chióng chhiò-sek lâi ōe thiⁿ-téng ê hûn-chhái, sek-chúi hong-hù koh hô-hâi.
2003 nî ê Thài-ló͘-ko͘h sek-chhái kèng-ka iù-lō͘, chhái-iōng “chi” jī-hêng biâu-ōe khe-kok nn̄g hōaⁿ têng-tha̍h kiā-ti̍t ê soaⁿ-piah, kīn-kéng hô-chhn̂g phiàn-móa chio̍h-thâu; iōng kiô-á-sek, pe̍h-sek, chheⁿ-sek kah kam-á-sek thêng-hiān chio̍h-thâu tī kng-sòaⁿ piàn-hòa hā ê bô kāng sek-tī, kā tēng-khok-khok ê chio̍h-thâu ōe-chhut un-jiû ê kám-kak. 2004 nî Tiuⁿ Iāu-hi chiong chi̍t kiāⁿ pah-hō iû-ōe ( tn̂g 162 kong-hun, khoah 130 kong-hun) koan hō͘ Tâi-tiong-chhī Káng-khu Gē-su̍t Tiong-sim, thiàⁿ-sioh hiong-thó͘ ê chêng-hoâi hō͘ lâng kám-tōng.
Tiuⁿ Iāu-hi thàu-sì-lâng kian-chhî chhòng-chok, iōng hêng-tōng piáu-bêng i “nā bô ōe-tô͘, seng-oa̍h tiō bô tiōng-sim”. I chhòng-chok-chhut sim-lêng hù-jū ê chok-phín, iōng-sim chhui-hêng bí-su̍t kàu-io̍k, chok-phín lāi-té ê kng-iáⁿ un-jiû hùn-khoah tī lán ê sim-koaⁿ-lāi.
