淡水河邊

Tamsui Riverside

1936

畫布油彩 Oil on canvas

90×116.5cm

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


泛黃的油彩也是老日子的顏色,厚重的故事彷彿就封存在古街舊厝的迷宮裡,找歷史的人若跌了進去,總得流連上好一陣子,方能尋得回家的路。遠遠望去,時間與記憶都在山腳下的異境裡相疊成海,寂靜而凝滯的海,只有海鷗望著總不停息的河,慢悠悠地飛翔。
The yellowing oil paint is the color of the old days, and the heavy story seems to be caught up in a maze of old streets and houses. Any historical person who has fallen into this maze is bound to be delayed quite a time before finding the road back to home. Looking from afar both time and memory are stacked into the sea which lies in the abnormal space at the base of the hill, the still sluggish sea; there are only seagulls overlooking the never ceasing river and unhurriedly soaring.

 

在陳澄波一系列以淡水為題的油畫當中,這幅畫所表現的故事氛圍,迥異於其他作品。畫境裡的光線昏黃黯淡,杳無人煙的建築群落,蒼茫浩渺的河流,小山坡上一株枝葉寥落的枯樹,畫面裡的一切細節,在在醞釀著強烈的孤寂感。
In the series of oil paintings in which Chen Cheng-po takes Tamsui as the subject matter, the story atmosphere expressed in this painting is widely different from his other works. The light in the scene is pale yellow and bleak, the community of buildings is uninhabited, the river is endlessly vast, a leafless withered tree is on the hillside. All the details in the painting everywhere are brewing a powerful sense of desolation.

 

視線望向遠方,紅樓的赤煉瓦依舊是明豔的磚紅,然而,山腳下那座失了顏色的小鎮,卻像是永遠地停留在舊時光裡。一幢幢老房子無秩序地紛雜錯落,也予人一種惘然迷失的錯覺。
In the far distant line of sight, the red bricks of Red House as before are an impressive brick red. Nevertheless, the small town at the foot of the hill which has lost its color seems to be forever stuck in the old times. One old house after another without any order is variously scattered about. It leaves one with the illusion of having disappointedly gone astray.

 

畫中的透視表現也饒富趣味。朝著小鎮的方向望去,由近到遠的視覺縱深,與畫裡其他景物的透視比例,似乎並不相當。視線在高低之間移轉,隱約有種奇異的不協調感。
The line of perspective displays something genuinely interesting. Looking from the direction facing the small town, the line of sight from close to far has depth. The line of perspective proportions with the other scenery in the picture seems by no means to be balanced. The line of sight shifts between high and low. It indistinctly has some odd sense of disharmony.

 

對於風景畫的空間佈局,陳澄波其實有自己的獨特思考。在他的作品裡面,我們常能見到多點透視所導致的奇幻視覺效果。考慮到這幅畫刻意營造的寂寞氣氛,畫面裡的一切迷離與錯置,或許也是畫家別出心裁的安排吧。置身於淡水小鎮,你是否也曾遇見畫境裡的古舊意象呢?
As for the space arrangement of landscape paintings, Chen Cheng-po really has his own special thinking. In his works, we often are able to see fanciful visual effects which multi-point perspective induce. Considering the painstaking effort to make the lonely atmosphere of this painting, all the vagueness and misalignment in the general appearance perhaps is the arrangement of the painter adopting an original approach. Putting yourself in the town of Tamsui, have you or have you not encountered before the antiquated image inside this picture?

淡水禮拜堂屋脊上的小型尖塔(pinnacle),也出現在這幅畫當中。Photo Credit:日本旅行協會臺灣支部編,《臺灣鐵道旅行案內》(臺北:日本旅行協會臺灣支部,1940),頁164,〈詩と繪の淡水〉,中研院臺史所臺灣古籍研究資料庫。

日本畫家片瀨宏在1929年第三回臺展當中的入選作品《淡水風景》,視角與陳澄波的畫作相若,同樣表現了淡水下街擁擠的建築群落。除了淡水河上的帆影以外,他也描繪了遠處的白樓、木下靜涯故居以及紅樓等淡水的特色建築。Photo Credit:臺灣創價學會

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