淡水風景(一)

Tamsui Scenery (1)

1935

木板油彩 Oil on wood

19×24cm

私人收藏 Private collection

作品相關資料

英文版  譯者:杜德倫、許邏灣
西文版  譯者:孔方明
法文版  譯者:徐鵬飛 
德文版  譯者:孫敏學
日文版  譯者:富田哲
俄文版  譯者:律可娃柳博芙、劉皇杏
校譯:許邏灣、柯大衛、孔方明、孫敏學、曾秋桂

站在禮拜堂後方的小山坡上,陳澄波眼裡的小鎮風景,呈現一種和諧的反差──天空與河水清淺如碧,屋瓦、磚牆、樹幹與帆船卻醞釀著深沉的紅。淡水特有的潮濕空氣蒸騰在畫境裡,岸上景物的粗獷線條似也隱隱躁動。但遠方山水寂然無聲,河上慢船投射出寧靜倒影。樹梢的輕曳隱喻了一陣和風,消融了紅與綠、動與靜的衝突,調和出獨特的美感。

Standing on the slope of a small hill behind a church, the scene of the small town in the eyes of Chen Cheng-po appears as a kind of harmonious contrast—the limpid light blue of the sky and river to the dark red concocted by the roof tiles, brick walls, tree trunk and sailboat. The humid air peculiar to Tamsui is rising in the painting’s scene. The rough lines of the scenery along the shore seem to be faintly moving. But the distant water and mountain remain silent. The slow boat on the river casts a tranquil reflection. The slight drag of the tree branches hint of a gust of wind, dissolving the contrast of the red and green, the action and stillness blending a distinctive aesthetic sensibility.

 

1. 樹 Tree

頭角崢嶸的一株闊葉樹搶佔近景,它的枝幹恣意蔓生,環繞在樹旁的低矮植物也躍然有動勢。油彩在樹冠上皴擦出大片青綠,在水天一色的烘托下,綻放出旺盛的生命力。畫筆輕掠,帶出右側樹梢的晃影,暗示了微風的撫觸。

The spectacular broadleaf tree grabs the close view; its trunk and branches wantonly sprawl forth. The lower plants encircling the tree also exude a vivid kinetic potential. The oil paint on the crown of the tree has been swiped to form a large expanse of textured dark green strokes; these are highlighted by the single color of the water and sky which blossoms forth an exuberant vitality. The brush strokes vector slightly to the right making the tree branches on the right have a swaying image suggesting the touch of a light breeze.

相近的取景角度,照片裡的大樹與陳澄波畫作裡的樹型相仿。
Photo Credit:大塚清賢,《非常時下の臺灣全貌續編》(東京:中外每日新聞社,1939),頁176。
http://photo.lib.ntu.edu.tw/pic/db/detail.jsp?dtd_id=32&id=15666&334&pk=seq&showlevel=2

 

2. 景物線條 The lines of the scenery

與陳澄波的其他淡水主題作品相比,這幅小型的木板畫有較繁複的擦筆,油彩也相對厚重。自上海返台的陳澄波受中國水墨畫的衝擊,或也影響他對這幅畫的構思,著意於表現景物線條的動態。

Compared to the other works of Chen Cheng-po about Tamsui, this small wood panel painting has comparatively heavy use of a stump; the oil paint is also relatively thick. Having returned to Taiwan from Shanghai, Chen Cheng-po was confronted with Chinese ink painting, or as well it influenced his conception of this painting, so he took pains to express movement in the lines of the scenery.

 

3. 帆船 Sailboat

一艘單桅帆船在水面上徐徐航行。古舊的中式帆船,可以投入內河運輸、遠洋航行、近岸捕魚等各種用途,在數百年前便已航行於淡水河口。畫家特意將帆船與岸上建築安排為同樣的磚紅色系,或也暗喻著同樣厚重的歷史沉積。

A single-masted sailboat is slowly sailing. Of old Chinese sailboats can be used in various ways like inland river transportation, open ocean navigation, coastal fishing, etc.; several hundred years before the sailboats were already sailing in Tamsui Harbor. The artist expressly arranged the sailboat and the buildings along the shore to have the same red brick color, perhaps to hint at the same kind of heavy historical deposits.

日本時代的一張風景明信片,也可見到悠然行駛於淡水河上的一艘小帆船。
Photo Credit:http://taipics.com

 

4. 沙洲 Shoal

水面上的淺綠色塊是覆蓋著綠色植物的沙洲。臺灣文學家王昶雄在《淡水河的漣漪》裡寫到「河面靜靜橫著的綠色中洲」,以及粼粼水波、繽紛街景,像是「夢的殿堂裡少女雲裳天成的色彩」──那是否也是陳澄波心裡的顏色呢?

The light green mass on the water is a shoal covered with green vegetation. The Taiwan writer Wang Chang-xiong in his Tamsui River Ripples wrote, “Green shoals quietly traversing along the River,” and the sparkling water waves and a profusion of street scenes seem to be “palace maidens wearing cloud garments of a color made in heaven”—Is that perhaps the color Chen Cheng-po had in mind?

 

5. 觀音山 Guanyin Mountain

觀音山的南麓被帶進了畫面右側的遠景。在濕氣的浸潤與暖陽的照拂當中,河對岸的山坡上,也表現出溫潤的黃綠。澄亮而溫暖的顏色連接著近景的樹冠,大自然的生機也在遠近之間,宛轉流動。

The southern foot of Guanyin Mountain enters the right side of the painting in the distant view. In the midst of the gradual soaking of the humidity and the gentle care of the warm sunshine, the mountain slope on the opposite side of the river also exhibits a mild yellow-green. The light warm color connects with the tree crown of the near view. The vitality of nature delicately flows between the far and the near.

 

6. 淡水禮拜堂 Tamsui church

淡水禮拜堂的鐘塔在大樹背後隱隱浮現輪廓。在畫家的感受裡,聳立於小鎮當中的仿哥德式建築尖塔,似乎並不令他覺得突兀。洋樓的磚紅,反倒與周遭閩式建築群的磚瓦顏色,融溶為和諧的整體。

The clock tower of the Tamsui church behind the large tree faintly appears in contour. In the feeling of the artist, the Gothic-style tower rising up in the small town seems not to have been taken as out of place. The Western-style, red brick building and the red brick color of the surrounding Min-style buildings blend to make a harmonious whole.

1.《哥德傳世經典 國之寶 百年油畫前輩畫家》p.35,2004.1,臺中:哥德藝術中心
2.《陳澄波畫作精選集》p.160,2011.12.30,嘉義:財團法人嘉義市二二八紀念文教基金會