淡水達觀樓-SB18:34

Dakuan Building in Tamsui-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

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

1934年,陳澄波在淡水禮拜堂後方的高處,朝著南方的淡水河上游遠遠望去。開闊的視野裡,最引人注目的,莫過於山崗上的紅樓。卓然獨立的一棟洋房拔起於半山腰,頗有雄視四野八荒的氣概,難怪要叫「達觀樓」了。在落款處,陳澄波以斗大字體,特意寫下這個名字──表現紅樓的氣象,大抵也就是這幅速寫的主題吧。
In 1934, from a high place behind the Chapel of Presbyterian Church, Chen Cheng-po looked far into the upper reaches of the Tamsui River in the south. Most striking in the large field of vision is the Red House on the hill. Such an isolated Western-style house erectly standing halfway up the hill has the lofty quality of dominating the vast expanse of all the surroundings. No wonder, it is called “Dakuan Building” (i.e. the building embodying the idea of being magnanimous and philosophical). When inscribing the sketch, Chen Cheng-po deliberately wrote down the name of the structure in remarkably large Chinese characters. On the whole, the subject matter of this sketch is to represent the imposing air of the Red House.


有趣的是,1936年陳澄波再度來到淡水,並以差不多的視角與構圖,完成了一幅五十號的油畫,亦即〈淡水河邊〉。比較這兩幅畫,右側的樹、左側的紅樓、三角形的斜坡、淡水河與河岸山巒,畫中的種種配置,看來都十分相仿。
Amusingly, in 1936, Chen Cheng-po visited Tamsui again and completed the No. 50 oil painting, i.e. Tamsui Riverside, with a similar optic angle and composition. Judging from their similar layouts—a tree to the right, Red House to the left, a triangular slope, the Tamsui River, and the hills—these two pictures look really alike.


值得注意的是:〈淡水河邊〉(下圖)裡的紅樓,退縮到畫面的角落,氣勢也不如速寫那般雄渾。右側的枯樹從近景被擺到了邊緣,從主幹變成了旁綴。取而代之,在油畫中躍為主角的,則是堆疊於畫面下方的傳統建築群。
It’s worth noticing that in the Tamsui Riverside (the lower picture), the Red House recedes to the corner of the picture plane and appears not as imposing as it is in the sketch. To the right, the withered tree is moved from the foreground to the margin and thus changed from the trunk into an ornament. Instead, a complex of traditional buildings piling up at the bottom of the picture plane takes the leading role in the oil painting.


其實,陳澄波時常在速寫稿裡反覆琢磨一幅畫的畫面結構,有時,他會在已完成的畫稿上縮小畫框,裁切不必要的部分。在〈淡水河邊〉的創作裡面,他可能也刻意改變了原本的空間距離安排,選擇了更高的視點,畫中景物因此被拉遠,視野也變得更為開闊。
In fact, Chen Cheng-po would repeatedly refine the construction of a picture plane in his rough sketches. Sometimes, he would shorten the frame for a finished picture to cut out the redundant parts. In the work of Tamsui Riverside, it is very likely that he deliberately changed the original arrangement of space and distance by choosing a higher viewpoint. As a result, the distance of the pictorial landscape is increased, and the field of vision becomes larger.


也不妨想像一下:假若當初陳澄波以這幅速寫的構圖,來完成一幅油畫,那又會是什麼樣子的一件作品呢?
Let’s imagine: If Chen Cheng-po had used the composition of this sketch to complete an oil painting, what kind of work would it be?