淡水風景(二)

Tamsui Scenery (2)

1935

畫布油彩 Oil on canvas

72.5×91cm

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


在山城腳下抬頭仰望,一幢奇特的建物九十度延展,遮攔了陳澄波的視線。洋房的外廊有成排的拱圈,搶眼的大片白色在周圍土埆厝的群落裡,乍看顯得有些突兀。但仔細一瞧,樓房的紅瓦與磚牆,卻又表現出強烈的在地特色。中西合璧的建築,土洋雜陳的風景,這幅畫宛若小鎮的歷史縮影,投射出異文化在淡水的交會與融合。

At the foot of the hill lifting his head to look up, one peculiar building with a ninety degree extension blocked Chen Cheng-po’s line of sight. One foreign building with a row of arches along the veranda has an eye-catching expanse of white in the midst of the surrounding community of local buildings. At first sight it appears there is something unexpected. However upon closer examination, the red roof tiles and wall bricks of the houses really only exhibit strong local characteristics. The Western and Chinese buildings are well matched; the scene mixes the foreign and local. This painting seems to epitomize the history of this town projecting the different cultures meeting and merging in Tamsui.

 

1. 白樓 White House

落成於19世紀末的白樓,是馬偕首位學生嚴清華的房子。他聘請了當時淡水最知名的土水師「洪仔泉」主持工程,建造出這棟雜揉中西文化元素的奇特建物。戰後的白樓輾轉易手,終在1992年改建,今日尚能得見外牆的部分遺構。
White House was completed at the end of the 19th century and was the house of Yan Qinghua, the premier student of George L. Mackay. He engaged at that time the most famous builder in Tamsui, Hong Zaiquan, to oversee the construction; he built this peculiar building mixing Chinese and Western cultural elements. After WWII, White House changed hands may times, and finally in 1992 it was reconstructed. Today one can still see the remains of part of the outer wall.


引用自臺北達觀數位攝影藝術空間 DGVAS 對Life Magazine中Jack Birns攝影作品的數位重製  
https://dgvas.blogspot.tw

Sourced from Taipei Daguan Digital Photography Artistic Space; DGVAS digitally reproduces the photographs of Life Magazine’s Jack Birns.
https://dgvas.blogspot.tw


老照片裡的白樓樣貌。Photo Credit:蘇文魁老師(淡江中學校史館館長)

 

2. 木下靜涯故居 Kinoshita Seigai's Former Residence

東洋畫家木下靜涯自1918開始在臺灣各地作畫,其後又因為迷戀淡水風景,長期賃居於這棟視野開闊的小房子裡埋首創作,逐步取得繪畫上的成就。他參與創辦了臺灣第一個美術展覽會,為陳澄波等後起的藝術家搭建了重要舞臺。
Japanese painter Kinoshita Seigai started in 1918 to make paintings in various locations in Taiwan. Later because he was infatuated by the scenery of Tamsui, he rented long term this small house with an unobscured line of sight and buried himself in his painting. Gradually he obtained some accomplishment in painting. He participated in establishing the first painting exhibition in Taiwan. It became an important stage for later artists like Chen Cheng-po and others.

 

3. 庇 Hisashi

突出於屋簷下的「庇」(或「霧除」),是木下靜涯故居一個頗為醒目的特徵,也表現在許多畫家的作品裡。「庇」在日式建築當中頗為常見,這樣的建築構造除了能遮擋風雨與日照,同時能為房屋的外觀創造層次上的變化。
The “hisashi” (or “kiriyoke”) extending out from the eaves is a rather eye-catching feature of Kinoshita Seigai’s Former Residence; it is also represented in the works of many painters. The “hisashi” is commonly seen in Japanese buildings. This structure besides being able to block wind, rain and sunlight at the same time can also create layered changes to the house’s exterior appearance.



上圖:名島貢,中秋淡水風景,1932(第六回臺灣美術展覽會)。
Upper: Najima Mitsugu, Mid-autumn Tamsui Scenery, 1932 (The 6th Taiwan Art Exhibition)

下圖:淺原清隆,臺灣風景,1939
Bottom: Asahara Kiyotaka, Taiwan Scenery, 1939.

兩幅畫裡的木下靜涯故居,都注意到簷下的「庇」,並將這一構造描繪出來。
In both pictures of Kinoshita Seigai’s Former Residence, the artist notices the “hisashi” extending out from the eaves and depicts the structure.

上圖:正立面入口屋簷下之「庇」。
Upper: Elevation drawing of a "hisashi" under the eaves at the entrance.

下圖:正立面屋簷下之「庇」。
Bottom: Elevation picture of the "hisashi " under the eaves.

日式建築裡的「庇」,轉引自《臺北縣縣定古蹟淡水街長多田榮吉故居修復或再利用計畫》,頁124。
The “hisashi” of Japanese buildings is sourced from Taipei County County Historical Site Tamsui Street Former Residences Renovation or Reuse Plans), p. 124.

 

4. 牛眼窗 Bull's-eye Window

在氣候潮濕的淡水,不論土埆厝或洋樓,建物常在側面的山牆頂端開窗,以促進屋內的空氣流通。白樓的牆頂有圓形的牛眼窗,這種圓窗常見於日本時代的仿巴洛克式建築,除了通風與採光,在稜稜角角的牆面上亦有裝飾功能。
In the humid climate of Tamsui, regardless of local houses or foreign houses, the buildings often place a window at the top of the side gable in order to promote air circulation inside. The gable of White House has a round Bull’s -eye window. The round window is seen in Japanese era imitation baroque buildings. Beside air circulation and ambient lighting, the angular edges on the wall has a decorative effect.



在氣候潮濕的淡水,建物通在牆頂開窗。
In Tamsui with a humid climate, all buildings at the top of the wall installed windows.

上圖:引用自淡水文化基金會http://www.tamsui.org.tw/old-photos/index.htm
Upper: Sourced from the Tamsui Cultural Foundation http://www.tamsui.org.tw/old-photos/index.htm

下圖:臺灣總督府交通局鐵道部編,《風光臺灣》(1939)。
Bottom: Taiwan Governor General Ministry of Communication Railway Department, ed., Scenery ofTaiwan, 1939.


老照片裡的白樓與山牆頂上的圓窗。(攝影師Jack Birns刊登於Life Magazine的攝影作品)
An old photograph of White House and the round window at the top of the gable. (The photographic work of photographer Jack Birns published in Life Magazine.)


吳棟材的《淡水風景》明顯表現出白樓牆頂上的圓窗,與一般民家山牆上的方窗之不同。
Tamsui Scenery by Wu Dong-cai shows the obvious difference between the round window at the top of the wall of White House and the square windows at the top of the wall of ordinary residences.

 

5. 門聯 Door couplets

門聯是漢人社會裡的文化特色。在家門口張貼文字招祥納福的習慣,起源於「桃符」,即桃木做成的辟邪物。在陳澄波的時代,日本政府雖鼓吹廢除臺灣人的舊曆新年,但也默許一些本土的文化傳統,畫裡的門聯也是一例。
Door couplets are a cultural feature of Chinese society. It is a custom to put up writing on the entrance door to attract good fortune. It originated in “Peach Wood Charms”; these were charms made of peach wood to counteract evil. In the time of Chen Cheng-po, although the Japanese government encouraged abolishing the Lunar New Year, it still acquiesced to a few local cultural traditions, of which the door couplets in the painting are an example.

 

6. 畫框之外 Outside the frame of the painting

陳澄波的青年時代,常與畫壇的朋友們結伴到各個地方旅行、作畫。這幅畫是1935年畫家楊三郎入選臺灣美術展覽會的《盛夏の淡水》,畫中的景物特徵與陳澄波的畫作相仿,兩位畫家可能約在同一地點寫生,完成各自的作品。
In the time of Chen Cheng-po’s youth, he in the company of his painter friends would go to various places to travel and to paint. The painting below, “Midsummer Tamsui”, by Yang San-lang was selected in 1935 for the Taiwan Art Exhibition. The features in the scene in the painting are similar to Chen Cheng-po’s work. The two artists probably arranged to paint at the same place and complete their own individual works.

楊三郎,《盛夏の淡水》。Photo Credit:臺灣創價學會

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