風景速寫(115)-SB18:34

Landscape Sketch (115)-SB18: 34

1934

紙本鋼筆Pen on paper

12.5×18.5cm

私人收藏Private collection

作品相關資料


長長的時光荏苒如河,突出於河面上的船桅與電線杆,像是分別標誌著古舊與現代的座標。河中央的沙洲也是時間的隱喻,細碎的沙在長河的奔流裡堆積,繼而消蝕。躺臥在河對岸的觀音山是更厚重的時間積累,山的稜線在天空裡畫著數十萬年的曲折……打開素描本子,陳澄波輕輕勾畫的是淡水的河岸風景,也是光陰的故事。

A long time has slipped by like the river; the mast sticking out on the river and the wire pole look like coordinates marked with antiquity and modernity, respectively. The sandbar in the middle of the river is also a metaphor for time—fine grains of sand accumulating and then dissolving in the racing currents of the long river. Reclining on the opposite shore, Guanyin Mountain is the heavier and deeper accumulation of time; the ridge of the mountain against the sky is depicted with twists and turns in hundreds of thousands of years…. What Chen Cheng-po delineated gently on his sketchbook is a narrative of time as well as a riverscape at Tamsui.


1. 稅關監視部 The Inspection Branch of the Customs Office

外牆上有成排拱圈的兩層樓建物是淡水稅關的監視部。日本時代,淡水仍是外國輪船的靠泊港,自然需要設立海關,處理相關事務,稅關當中的監視部,便負責針對港口往來的貨物、船隻、人員,執行稽查工作。
The two-floor structure with a row of arches on the outer wall is the Inspection Branch of Tamsui Customs Office. In the Japanese rule period, as Tamsui was still a harbor for foreign steamships to berth, it was necessary to establish a customs office to manage related affairs. The Inspection Branch of the Customs Office was in charge of checking goods, ships, and people coming and going at the harbor.

2. 郵便局 The Post Office

露出一截屋頂的淡水郵便局落成於1917年,以其維多利亞式建築的優美造型而聞名於世。在文化景觀本已複雜的淡水,這棟充滿歐洲風情的房子,是另一種奇異的變貌。可惜它在1969年遭到火災焚毀,迷人的風采只遺留在老照片裡。
Completed in 1917, the Post Office showing part of its rooftop is renowned for its elegant style of Victorian architecture. While the cultural heritage of Tamsui is extremely complex, this building permeated with the European flavor and mood is another example of exotic transformation. It is a pity that the Post Office was destroyed by fire in 1969 and left its fascinating looks only in the old photographs.

3. 觀音山 Guanyin Mountain

觀音山的海拔高度並不突出,但這座錐形火山的形勢完整,周圍也沒有山頭與之爭雄,自有一種雄壯氣概。日本時代的觀音山是熱門的登山去處。1926年一群在臺日本人成立的「臺灣山岳會」,便選擇觀音山作為第一個攀登目標。
Although the elevation of Guanyin Mountain is not prominent, the topographical features of this conical volcano are perfect. As there are no nearby hilltops to compete for supremacy, Guanyin Mountain has its own majestic quality. In the Japanese rule period, Guanyin Mountain was a favorite haunt of mountain-climbers. In 1926, a group of Japanese residents in Taiwan organized the Taiwan Mountaineering Society and chose Guanyin Mountain as their first goal of mountain climbing.

4. 占 Chan Shan

隆起於觀音山左側的山頭,應是標高380公尺的尖山。或許因為臺語讀音相近的緣故,又被稱作「占山」。尖山與觀音山之間存在著一條「北橫古道」,過去是溝通五股與八里的山間道路,今天則是遊客時常走訪的路線。
The hilltop that swells up to the left of Guanyin Mountain must be Chien Shan (i.e. the Sharp Summit), 380 meters in elevation. Probably due to the similar pronunciation in Taiwanese language, Chien Shan is also called Chan Shan. Located between Chien Shan and Guanyin Mountain is the Northern-Cross Ancient Path. Formerly a mountain road connecting Wuku and Pali, the Northern-Cross Ancient Path is now a popular route taken by excursionists.

5. 八里坌 Pat-lí-hun

河對岸的八里坌,在七千年前已有原住民族聚居。18世紀初期漢人族群陸續移入,使得該地轉變為繁盛的商港。降至19世紀,淡水河口南岸的泥沙淤積逐漸損害其航運機能,八里坌的港口地位,遂為河對岸的滬尾所取代。
On the opposite shore, Pat-lí-hun (now Pali Township, or called Parrigon), has been inhabited by aboriginal tribes in compact communities since seven thousand years ago. In the early 18th century, Han tribes immigrated into Pat-lí-hun one after another, and consequently, Pat-lí-hun was transformed into a prosperous trading port. In the 19th century, a heavy accumulation of sand on the south bank of the Tamsui River estuary gradually damaged the shipping function; therefore, the role of Pat-lí-hun as a port was replaced by Hobe on the opposite shore.

6. 桅杆 Masts

從房子後面探出頭來的帆船桅杆,在陳澄波的另一些淡水畫作裡亦有所描繪,他顯然特別留意這樣的特色風景。不過,當機械引擎成為民船上的普遍裝置,帆船便逐漸退場。大約在1960年代末,淡水河岸已少見船桅矗立的景象了。
Popping out from behind the house, the mast of the sailboat is also depicted in other Tamsui landscape paintings by Chen Cheng-po; it is evident that he paid close attention to such a distinguishing feature on the landscape. However, since the mechanical engine became a common device on civilian boats, sailboats have gradually exited from the river. In the late 1960s, rarely was the view of erect masts seen along the Tamsui River.


和田三造,淡水風景,1931(第五回台灣美術展覽會無鑑查)
Wada Sanzo, Tamsui Landscape, 1931 (Reviewless at the Fifth Taiwan Fine Arts Exhibition)



南風原朝光,淡水風景,1933(第七回台灣美術展覽會)
Haebaru Choukou, Tamsui Landscape, 1933 (at the Seventh Taiwan Fine Arts Exhibition)



竹中正義,淡水風景,1936(第十回台灣美術展覽會無鑑查)
Takenaka Masayoshi, Tamsui Landscape, 1936 (Reviewless at the Tenth Taiwan Fine Arts Exhibition)


盧春元,淡水風景,1936(第十回台灣美術展覽會無鑑查)
Lu Chun-yuan, Tamsui Landscape, 1936 (Reviewless at the Tenth Taiwan Fine Arts Exhibition)