風景速寫(158)-SB22(36.11-12)

Landscape Sketch (158)-SB22 (36.11-12)

約1936

紙本鉛筆Pencil on paper

14.3×20.5cm

私人收藏Private collection

作品相關資料

兩種風景速寫並陳於同一張紙上。左邊的視點與〈淡水(一)〉近似,右邊的構圖則與〈淡水夕照〉相仿。這兩幅知名的油畫,分別從相反方向描繪了小鎮兩端的風景,在美術界被並稱為「左右淡水」。而呈現在我們眼前的這件作品,或許就反映了陳澄波如何在他的腦海裡,形構兩種角度的淡水故事。
Two landscape sketches are juxtaposed on a sketchbook page. The left sketch is similar to Tamsui (1) in the viewpoint, while the right sketch is similar to Sunset at Tamsui in the composition. Both oil paintings are renowned in the fine arts society as “The Left and Right Landscapes of Tamsui” because they represent the landscapes on either end of the small town, respectively from the opposite direction. The piece displayed before our eyes probably reflects how Chen Cheng-po constructed two different perspectives of Tamsui in his mind.


這張鉛筆稿與「左右淡水」之間的連結關係,過去並未引起研究者的注意。乍看之下,兩種線條簡單的速寫,似乎就是相對應的油畫草稿。但若參照同一本素描簿當中其他作品的時間排序,這張鉛筆稿應當完成於1936年末,比起1935年完成的「左右淡水」,都要來得更晚。
Hardly any researcher has paid attention to the connection of this pencil draft with “The Left and Right Landscapes of Tamsui”. At first glance, both sketches with simple lines seem to be the exact drafts of the corresponding oil paintings. However, referred to other works arranged in chronological order in the same sketchbook, this pencil sketch was presumably finished in late 1936, much later than “The Left and Right Landscapes of Tamsui” of 1935.

實際上,在素描簿裡面,這張鉛筆稿的後一頁(風景速寫(159)),也能見到兩種風景畫草圖的平行並置,其筆跡同樣凌亂而不重視細節。這兩件作品,或許都是陳澄波在研究、比較自己的畫作構圖時,隨手的塗寫。
In fact, in the sketchbook, after this pencil draft is Landscape Sketch (159), which also presents two landscape sketches side by side, with the same confusing strokes and few details. Both sketches are probably scribbles for Chen Cheng-po to study and compare the compositions in his drawing.

陳澄波的風景畫,在透視技法上有許多別出心裁的嘗試,並且常有與眾不同的奇特風格。在他所遺留下來的數十本素描簿當中,我們可以看到這位畫家積極地藉由風景速寫,實驗各種各樣的空間表現。而這張鉛筆稿,可能就紀錄了他對畫作構圖的一些思索。
In his landscape paintings, Chen Cheng-po adopted many innovative techniques in the perspective to create an extraordinary style successfully. Observing the several dozens of sketchbooks that he handed down, we realize that the painter had actively experimented with all sorts of spatial representations in his landscape sketches. This pencil draft may have recorded his ideas for the composition in his painting.


凝視著兩個方向的淡水,陳澄波在想些什麼?從這兩幅速寫裡面,你又看見了什麼呢?
Gazing at the two directions of Tamsui, what was Chen Cheng-po thinking about? What do you perceive in these two sketches?