No. 41：梅花 10

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其實一開始，我構想這件作品並非現在概念。

原本我想以兩朵五枚花瓣的梅花作為主要視覺元素，但在設計過程中，我發現兩朵五瓣梅花在視覺上顯得單一，甚至有些無聊。

於是，我在想：如果改變梅花花瓣的數量，作品是否產生不同的視覺與象徵意義？

一般來說，我們最常見的梅花是五枚花瓣，但自然界中其實也存在著六枚花瓣的梅花，只是非常少見，在日常生活中並不容易遇到。

因此，我將六枚花瓣的梅花放進作品之中。

它不單是花瓣數量上的改變，也象徵著一種罕見與幸運。

比起這個，我更想詮釋的是，如果說五瓣梅花是我們熟悉的存在，那麼六瓣梅花則是「幸運中的幸運」。

At the beginning, the concept for this work was actually quite different from what it is today.

Initially, I wanted to use two five-petaled plum blossoms as the main visual elements.

However, as I developed the work, I found that two five-petaled plum blossoms felt visually repetitive, and even somewhat dull.

So I began to wonder: What if I changed the number of petals? Could this create a different visual effect and symbolic meaning?

Generally, the plum blossom we are most familiar with has five petals. However, six-petaled plum blossoms do exist in nature.

They are extremely rare and not something we commonly encounter in everyday life.

Therefore, I decided to incorporate a six-petaled plum blossom into the work.

This is not simply a change in the number of petals; it also represents a sense of rarity and good fortune.

More importantly, what I want to convey is that if the five-petaled plum blossom represents something familiar and commonly seen, then the six-petaled plum blossom represents “good fortune within good fortune.”

而作品下方的四枚花瓣，則是取自日本「梅鉢」（うめばち）的幾何紋樣概念。

早期梅鉢紋樣的誕生，與日本平安時代的學者菅原道真有密切關係。

菅原道真一生極度喜愛梅花，也留下了許多讚美梅花的詩詞。

後來，人們因為對他的尊崇，將梅花圖案化、抽象化，使梅花不再只是自然中的花朵，成為具有象徵意義的紋樣。

到了今天，工藝與設計也持續將梅花的形體簡化、幾何化，而四枚花瓣的梅花，便是其中一種視覺上的表現方式。

所以在這件作品裡，我讓兩種不同花瓣數量的梅花組合：

六枚花瓣的梅花，加上四枚花瓣的梅花，形成 梅花十。

The four-petaled flower at the bottom of the work is inspired by the geometric patterns of the Japanese “Umebachi” (うめばち).

The origins of the Umebachi pattern are closely associated with Sugawara no Michizane, a scholar who lived during Japan’s Heian period.

Sugawara no Michizane had a deep love for plum blossoms throughout his life, and he left behind many poems celebrating their beauty.

After his death, people revered him and gradually transformed the plum blossom into a stylized and abstract motif.

The plum blossom was no longer simply a flower found in nature, but became a pattern carrying symbolic meaning.

Even today, traditional crafts and contemporary design continue to simplify and geometrically reinterpret the form of the plum blossom. The four-petaled plum blossom is one such visual representation.

Therefore, in this work, I combine two plum blossoms with different numbers of petals:

A six-petaled plum blossom + A four-petaled plum blossom = Ten of Clubs.