風景速寫(139)-SB20(35.10-11)

Landscape Sketch (139)-SB20 (35.10-11)

約1935

紙本鋼筆Pen on paper

13.5×18.2cm

私人收藏Private collection

作品相關資料

山坡上的樹叢遮攔了大部分的視野,但天際線上仍能見到一座突出的尖塔,毗連的房舍也露出了部分屋頂,向小山崗的兩側延伸。山坡下的小鎮裡,高高低低的建築群,緊密地堆疊在河岸旁邊,看來是個擁擠而熱鬧的地方呢!
Though a large part of the visual field is blocked by the uphill groves, a projecting pagoda is visible against the sky and the adjacent house shows part of its roof stretching to either side of the low hill. In the small town downhill, the architectural complex is filled with both tall and low buildings, which closely tier along the riverbank. It looks like a crowded place bustling with activity.

從景物特徵看來,這幅速寫所描繪的遠方高塔,就是淡水中學校的八角塔。右側的方形樓房,也很像是埔頂山崗上,那些有拱廊的殖民地式建築。
Judging from the distinctive features of the landscape, the distant pagoda depicted in the sketch is the Octagonal Tower of Tamsui Middle School. To the right, the square building looks exactly like those colonial buildings with arched corridors located on the hill at Pu-ding (i.e. the Fortress Hill).

有趣的是,畫家的視線前方停泊著一只小舢舨,似乎暗示了他是在岸上,望著淡水的方向寫生。但在河對岸的八里,可沒辦法把淡水的景物看得清楚。那麼,陳澄波究竟是在什麼地方,留下了這幅速寫呢?
Amusingly, before the painter’s line of sight is a small sampan at anchor; it seems to suggest that the painter was looking to Tamsui and sketching the landscape from the shore. However, at Pali, on the opposite shore, one cannot see clearly the scenes of Tamsui. In that case, where was Chen Cheng-po when he made this sketch?

一個可能的答案,是1960年代以前存在於河道中央的沙洲,也就是老淡水人熟知的「浮線」。日本時代,面積頗為遼闊的浮線,終年覆蓋著綠色植被,是淡水河口的獨特風景,在陳澄波的其他淡水畫作當中,也能見到這片沙洲的身影。
One possibility for the answer is the sandbar which had existed in the middle of the river course till 1960 and was known as “the floating line” to the old locals at Tamsui. During the period of Japanese colonization, the area of the floating line was really broad and covered with vegetation all the year round, which was a unique scene at the Tamsui River estuary. The stretch of this sandbar was also depicted in other Tamsui landscape paintings by Chen Cheng-po.

知名文學家王昶雄曾在他的中篇小說《淡水河的漣漪》裡,寫到一名習畫的船夫阿川,帶著他心儀的女子,乘船來到了沙洲畔。在那裡,阿川拿起了素描簿,胸中湧現一股激動,要將眼前那女孩的容貌留在紙頁上。
In The Ripples Across the Tamsui River, a novella written by the distinguished scholar Wang Chang-hsiung, a boatman named A-chuan learned to draw paintings. One day, A-chuan took his admired girl to come to the sandbar by boat. On the sandbar, seized by a surge of excitement, A-chuan picked up his sketchbook and started to draw the girl’s looks on the paper.

望著淡水小鎮的絕美景緻,陳澄波也在這片沙洲上攤開了素描本子。而他的內心裡面,是否也曾湧起相仿的激動呢?
Looking at the superb landscape of Tamsui Town, Chen Cheng-po also opened his sketchbook on the sandbar. Did he feel a similar surge of excitement?


河道中央的沙洲。
加藤駿,《常夏之臺灣》(臺北:常夏之臺灣社,1928),前置頁3。轉引自臺灣舊照片資料庫。

The Sandbar in the Middle of the River Course.
Katô Hayao, Always Summer in Taiwan, (Taipei: Always Summer in Taiwan Publishing House, 1928), p. iii, cited from Database of Taiwanese Old Photos.


淡水中學校八角塔
The Octagonal Tower of Tamsui Middle School

埔頂「黒樓」舊址
Pu-ding (Black House)

砂州(浮線)
Sandbar (the floating line)