淡水風景(三)

Tamsui Scenery (3)

年代不詳 Date unknown

畫布油彩 Oil on canvas

35.7×42.6cm

私人收藏 Private collection

作品相關資料


習慣以大自然為畫室的陳澄波,或許是在淡水小鎮的郊外,找到了這樣一個美麗的山水畫境。小船上的漁夫倚著桅杆打起了盹,一群鴨子在水面漫游。河的對岸是大片的田野,一直延展到遠遠的大屯山下。開闊的視野裡,隱約能見到農人的身影在田間默默勞作。山河間的歲月靜好,坐在河邊垂釣的父子倆人,是否也徜徉於那樣的寧靜裡呢?

Chen Cheng-po, who has the habit of taking nature as his painting studio, perhaps in the outskirts of Tamsui town found this kind of beautiful landscape scenery. A fisherman on a small boat is leaning against the mast taking a nap; a flock of ducks are freely swimming on the water surface. The other side of the river is a wide swath of fields extending all the way to below the faraway Datun Mountain. In the wide field of vision, you can vaguely see the silhouettes of farmers quietly working in the fields. The years of the mountains and river are quietly serene. Are the two people, the father and son, who are sitting on the riverside and fishing, also loose in that kind of tranquility?

 

1. 庄子內溪 Zhuangzinei Stream

屬於淡水河系的庄子內溪流貫眼前,溪水沖積的谷地提供了肥沃的田土,早期許多聚落都沿著這條河而形成。近年來隨著淡水的都市化,庄仔內溪的下游河段被埋到了水泥叢林的深處,淪為汙濁而淤塞的城市暗溝。
The Zhuangzinei Stream belonging to the Tamsui River System flows before our eyes; the alluvial waters of the valley floor provide fertile farmlands. In the early period, many villages were established along this stream. In recent years with the urbanization of Tamsui, the lower reaches of the Zhuangzinei Stream has been buried in the dark recesses of a concrete jungle being submerged in the dirty, silted-over covered sewers of the city.

 

2. 養鴨 Raising Ducks

臉紅紅的鴨子成群結隊地在水面漫游。原生於南美洲的番鴨在17世紀被引入臺灣,並為許多農家所養殖。鴨子可以吃掉田裡的害蟲,提供碩大的鴨蛋,肥美的鴨肉也富營養價值,難怪「養鴨人家」是舊時臺灣農村的代表性圖景。
The red-faced ducks freely swim in flocks on the surface of the water. The Muscovy ducks originating in South America were introduced into Taiwan in the 17th century, and were raised by many farmers. The ducks can eat the harmful pests in the fields, supply very large duck eggs, plump duck meat and also rich nutritive value. It’s no wonder “the duck herder” is the representative image of the farming village in old Taiwan.

臺灣總督府編,《共進會記念臺灣寫真帖》(臺北:臺灣日日新報社,1916),照片題名:淡水河の家鴨放飼
Taiwan Governor-General’s Office, ed. Joint Commemoration of Taiwan Photo Posts (Taipei: Taiwan Daily News, 1916). Name of Post Card: “Feeding Ducks on the Tamsui River”

 

3. 鴨母船 Duck Mother Boat

停泊在鴨群旁的舢舨可能是「鴨母船」。淡水河系常有小船載著鴨子,尋找淺灘放鴨覓食,再把鴨群載回寮舍。在異邦人的眼裡,放鴨是臺灣的特殊風景。1923年裕仁皇太子到訪臺灣,也特意到基隆河畔,參觀飼養鴨群的景況。
The sampan moored beside the flock of ducks is likely a “Duck Mother Boat”. In the Tamsui river system, there were often small boats carrying ducks, looking for a sand bank to release the ducks on to look for food and then to carry them back home. In the eyes of foreigners releasing ducks is a peculiar scene of Taiwan. In 1923 when Prince Hirohito came to visit Taiwan, he also went to the Keelung riverbank to see the scene of rearing flocks of ducks.

 

4. 小漁船 Small fishing boats

停泊於溪流上的小船,擁有竹片與竹殼編成的半圓型低矮船蓬,為船上的人創造出可以遮陽或擋風的休息空間,船艏有小型的桅杆可以掛帆,若是不倚靠風力,則可以划槳,行動十分自在。
The small boats moored on the river have low semi-circular boat screens composed of bamboo slats or bamboo casing; they were created by the people on the boats to form a rest area to be able to shade themselves from the sun or block the wind. The prow of the boat has a small mast which can carry a sail. If not relying on the power of the wind, they can paddle with oars; their movement is very free.

 

5. 沒骨技巧 Boneless (Mogu) Technique

近景的三棵大樹,近似中國水墨畫的沒骨技法,取消線條輪廓,直接運筆帶出樹幹的動勢。在1930年代中期,陳澄波有意識地在繪畫中融入倪瓚、八大山人等中國畫家的技法,這幅作品也似能得見幾許山水畫的意境。
The near view of the three tree trunks is similar to the Boneless (Mogu) technique used in Chinese ink painting; there is no linear outline rather the momentum of the brush is directly wielded to render the tree trunk. In the decade of the 1930s, Chen Cheng-po was consciously blending the techniques of Chinese painters such as Ni Zan, Bada Shanren, etc. In this work we also seem to be able to see to some degree the artistic conception of landscape painting.

 

6. 釣魚 Fishing

陳澄波可能在這幅畫裡援引了一些習自中國的繪畫概念,常見於山水畫裡的垂釣者,也被用在這裡點綴畫面。實際來說,日治時期的淡水,也是個遠近馳名的釣魚聖地,每到假日,小鎮的海岸與河邊總會聚集許多遠地來的釣客。
Chen Cheng-po probably was in this painting citing a few customary concepts from Chinese painting. The angler which frequently appears in landscape painting also is used here to adorn the painting. Actually the Tamsui of Japanese Colonial Period was known far and near as a ‘holy’ fishing spot. On every holiday numerous anglers from afar would assemble on the seacoast and riverbanks.

 

7. 大屯山系Datun Mountain System

遠景裡連綿起伏的山巒應是大屯山系,山腳下的坡地似有土埆厝的聚落。日本文學家西川滿認為淡水背後的這些山嶺充滿了陽剛氣息,與觀音山的溫柔形成強烈對比。藉著這幅畫的描繪,我們似乎也可以感受到山嶺的雄偉與壯闊。
The uninterrupted rising and falling of the mountain peaks in the distant view should be the Datun Mountain system. The slope at the base of the foothill seems to have a village of rammed earth houses. The Japanese author Nishikawa Mitsuru considered that the mountains behind Tamsui were full of a masculine atmosphere and formed a strong contrast to the softness of Guanyin Mountain. Availing ourselves of what is depicted in the painting, we seem to be able to feel the majesty and magnificence of the mountains.

《臺灣日日新報》,1940年4月3日第5版。
Taiwan Daily News, April 3, 1940, the 5th section

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