淡水風景(淡水)

Tamsui Landscape (Tamsui)

1935

畫布油彩 Oil on canvas

91×117cm

國立臺灣美術館典藏 Collection of National Taiwan Museum of Fine Arts

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


逐漸向上爬升的小徑是三層厝街。舊時淡水的民宅順地勢興築,又有西洋樓房與日式房舍陸續起造,文化風貌各異的建築高低錯落、跌宕參差,也隱喻著在地歷史的層層積累。以小徑為軸線,筆直矗立於右側的兩幢洋樓,與左側不規則疊起的閩式建築形成和諧的對比。畫裡的小鎮自成世界,在堆疊中見齊整,在紛雜中見穩定。
[1]
The gradually ascending side street is Three-Storey House Street. In old times the people’s residences in Tamsui were built following the terrain. Western-style and Japanese-style houses were constructed one after another; the buildings of different cultural traditions are scattered about high and low and are freely mixed—this is a metaphor for the accumulated layers of history. The side street is the axis, and the two squarely erected western buildings on the right form a harmonious contrast with the irregularly stacked-up, Fujian-style buildings on the left. The small town in the painting is a self-contained world; in the pile there is neatness and in the disorder there is stability.


[1] 蕭瓊瑞,〈山海之城──陳澄波淡水系列〉,收錄於《彩筆江南──陳澄波》(臺北:尊彩國際藝術有限公司,2012),頁68

 

1. 水溝與石板橋The Gutter and Stone Bridges

汙水處理系統還未建立完善的年代,隨著道路蜿蜒的明溝,負擔著整個街區的排水,讓雨水與家庭廢水流進淡水河裡。曲折小徑裡常有越過溝渠的小石板橋,引誘著人們的好奇心,走向山城裡的神秘天地。
The era of the sewage treatment system was still not in a complete form. The open drains followed the zigzag of the streets and bore the drainage of the entire area of the street letting rainwater and domestic wastewater both flow into the Tamsui River. The winding side street often has small stone bridges spanning over the gutter, arousing people’s curiosity to head into the mysterious world of the hillside town.

轉引自蘇文魁主持,《淡水文化資源提引:以淡水為臺北縣文化示範鎮之評估報告》(臺北縣:淡水鎮公所,1994),頁114
Sourced from Su Wen-kui, ed. Tamsui Cultural Resources Introduction: Evaluation Report of Tamsui as a Standard Cultural Township of Taipei County (Taipei County: Tamsui Township Office, 1994), p. 114.

引用自(旧)淡水:夕陽の美しいやさしい街http://www.shipboard.info/blog2/archives/cat64/
Sourced from (Old) Tamsui: Beautiful Sunset of the Friendly Townhttp://www.shipboard.info/blog2/archives/cat64/

 

2. 支窗Propped up Windows

舊時的淡水民宅偶能得見向外推起、以木條支撐的窗板。這種窗戶雖不利房屋採光,但便於防雨。在潮濕的淡水,室內通風與遮蔽風雨同樣重要,支窗的設計恰可因應天氣變化,靈活開闔。
In the old days Tamsui houses occasionally had window plates that were pushed outward and supported by a wooden prop. This kind of window, though not advantageous for house lighting, was convenient for keeping the rain out. In humid Tamsui to have indoor air ventilation and protection from rain and wind were equally important. The design of the propped up windows appropriately could be flexibly opened or closed in response to changes in the weather.

許蒼澤攝,轉引自國家文化資料庫。
Photo by Xu Cang-ze; sourced from the National Culture Database.

林玉珠,《西日》,日治時期的明信片。
Lin Yu-zhu, Western Day, a postcard from the Japanese colonial period .

 

3. 點景人物Staffage

一對父女正朝著小徑的深處攜手前行。表現親子感情的點景人物,是陳澄波畫作裡的重要元素。讓父母牽著孩子漫遊於大千世界,或許也寄託了畫家自己對早逝雙親的遙遠思念。
Two people, father and daughter, deep in the side street facing straight on are walking forward hand in hand. The figures in the scene represent a parent-child relationship, which is an important element in Chen Cheng-po’s painting. Letting parents lead their children along to roam the boundless universe is perhaps the means whereby the artist himself thinks of his own faraway departed parents.

 

4. 紅樓與白樓Red House and White House

聳立於山城間,同樣以外廊與拱圈為特色的兩幢建物是紅樓與白樓。兩棟洋樓是舊時淡水的地標,也是早期許多畫家共同的創作主題。陳澄波在畫中採用一種經典視角,同樣的俯視角度,也能得見於倪蔣懷、陳慧坤等人的作品。
Standing straight up on the hillside, the two buildings with features of outside facing verandas and arches are Red House and White House. These two western buildings are both landmarks of early Tamsui and perhaps are common as creative themes for many early-period painters. The classical perspective and the bird’s-eye view utilized by Chen Cheng-po in the painting are also visible in the works of Ni Jiang-huai and Chen Hui-kun.


畫家林玉珠的作品《西日》,採取與陳澄波相仿的作畫視角。實際上,許多知名畫家都曾在畫作當中採用類似視角,例如本名文任、名島貢、陳慧坤、倪蔣懷、吳棟材,皆留有相仿的作品。Photo Credit:臺灣創價學會

倪蔣懷,淡水民家,1936
Ni Jiang-huai, Tamsui Houses, 1936

陳慧坤,淡水觀音山,1966
Chen Hui-kun, Tamsui Guanyin Mountain, 1966

 

本名文任,淡水風景,1928。
Honna Fuminori, Tamsui Scenery, 1928

 

5. 鳥踏Bird Rest

山牆上突起的ㄇ字型線條是「鳥踏」,聽來像是提供鳥兒駐足休息的地方,其實是要防止雨水沿著牆面流進下方的窗子裡。後來的鳥踏逐漸發展出裝飾功能,樣式變得繁複而華麗。[2]
The inverted “u”-shaped lines that protrude on the side of the gable are the “bird rest”. Apparently they were a place provided to give a perch for birds to rest on. Actually they were there to prevent water from running down the wall and entering the window below. Later the Bird Rest gradually took on a decorative function with the styles becoming complicated and flamboyant.

引用自 http://www.clvyou.com/cjy/gonglue-4145.html
Sourced fromhttp://www.clvyou.com/cjy/gonglue-4145.html

 

轉引自典藏臺灣 
http://catalog.digitalarchives.tw/item/00/32/e1/37.html

Sourced from the Digital Taiwan – Cultural & Nature
http://catalog.digitalarchives.tw/item/00/32/e1/37.html

 

與陳澄波畫作視角相仿的一幀老照片。Photo Credit:蘇文魁老師(淡江中學校史館館長)

 

山崎直方、佐藤傳藏,《大日本地誌》,卷10(東京市:博文館。1915),頁546後,〈(乙)淡水市街(第五十七圖)〉。


[2] 李乾朗,《臺灣古建築圖解事典》(臺北:遠流出版社,2003),頁78

 

《臺灣日日新報》第12版,1936.5.21

本圖檔授權予  國立臺南大學戲劇創作與應用學系

瞧! 淡水精靈說故事 ──默劇導覽‧聽損無礙 友善兒童美術館導覽實驗計畫

緣起
本計畫是專為聽損兒童所設計之「戲劇性導覽」活動。它結合了兒童默劇、戲劇性導覽及戲劇教育的型式,希望透過戲劇情境化、脈絡化的營造以及戲劇教育活動的設計,帶給兒童觀眾不一樣的美術館導覽經驗!

活動簡介
國立臺灣美術館積極發展「全人友善博物館」,本年度在聽語障服務工作上,邀請臺南大學戲劇創作與應用學系團隊,結合默劇表演與戲劇性導覽,專為聽障兒童研發了本次「友善兒童美術館導覽實驗計畫」的劇本創作及表演。

活動內容介紹
「瞧! 淡水精靈說故事」是國美館專為聽損兒童所設計開發之「戲劇性導覽」活動。內容融合兒童默劇、藝術導賞與戲劇教育活動於其中,帶領兒童透過戲劇情境的營造與教育活動的設計,達到「做中學」的學習效果!期待藉由「默劇」與「戲劇創作活動」的特性,激發聽損兒童在戲劇參與中發現潛能,啟發即興式的表達與思考,進而達到藉由戲劇探索更多非語言溝通的方式。另一方面則促進美術館聽障導覽型式的多元與豐富性,為聽損兒童打造更無礙的藝術欣賞環境。
 

演出長度|約60分鐘 

演出時間、地點:

國立台灣美術館
107/9/29|10:00
107/9/30|14:30

臺北市立啟聰學校
107/10/6|14:00

高雄市左營國小
107/11/2|08:00

臺南大學附設啟聰學校
107/11/3|14:00

 


指導單位:文化部
主辦單位:國立臺灣美術館
執行單位:國立臺南大學戲劇創作與應用學系

‧1936.4.26-5.3第二回臺陽美術展覽會於臺灣教育會館
‧1979.11.28-12.9「陳澄波遺作展」於臺北春之藝廊

1.《臺灣美術全集1:陳澄波》p.114-115,1992.2.28(初版),臺北:藝術家出版社
2.《油彩‧熱情‧陳澄波》p.116,2000.1(二版一刷),臺北:雄獅圖書股份有限公司
3.《陳澄波百年紀念展》p.71,1994.8(初版),臺北:臺北市立美術館
4.《陳澄波‧嘉義人》p.88,1995.6.26(再版),嘉義:嘉義市立文化中心
5.《切切故鄉情:陳澄波紀念展》p.237,2011.10,高雄:高雄市立美術館
6.《陳澄波畫作精選集》p.166,2011.12.30,嘉義:財團法人嘉義市二二八紀念文教基金會
7.《豔陽下的陳澄波》p.39、p.92-93,2012.3.16,臺北:財團法人勤宣文教基金會
8.《尊彩貳拾週年暨陳澄波彩筆江河紀念專刊》p.68、p.77、p.188,2012.5,臺北:尊彩國際藝術有限公司