淡水(一)

Tamsui (1)

約1935

畫布油彩 Oil on canvas

91×116.5cm

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


從淡水公會堂的位置俯瞰下街,人可真是不少。古樸的建築群裡,電線杆沿著筆直的道路排成兩列縱隊,現代化改造過的街區展現出齊整的秩序。然而,高低錯落的白色屋牆,卻一個接一個探出頭來,跳動著有趣的節奏感。陽光在小鎮裡映出大片的溫暖橙紅,與寶石般碧藍的河水相稱極了。畫裡的淡水像是個迷人的夢境,既優雅也稚趣。

From the position of the Tamsui Public Hall overlooking the street below, there really are a lot of people. Among the group of simple buildings, electric poles are arranged in two rows going along the straight street; the area of the street that has been modernized reveals a neat orderliness. At the same time the white-colored walls of houses, scattered high and low, stick their heads out one after another pulsating with an entertaining sense of rhythm. The sunlight in the small town reflects a large stretch of a warm orange-red color which impeccably matches the gem-like dark blue of the river. The Tamsui in the painting seems to be a bewitching dreamscape that is both elegant and innocent.

上、下兩條街道分別為今日的新生街與馬偕街,往左望去就是淡水公會堂,即今新北市立圖書館淡水分館後方。除了〈淡水(一)〉以外,陳澄波還有另外兩幅已經佚失的油畫(僅存圖錄上的黑白照片),作畫的視點都在此處。
兩張照片皆攝於國民政府遷臺以後,照片中的景物與陳澄波的畫作略有出入,不過,我們仍可見到左側道路旁的三孔圍欄,以及畫面右邊開了兩扇窗戶的大房子。注意後者,突起於該建物右側屋頂上的山牆,形狀與陳澄波的描繪完全一致。Photo Credit:淡水文化基金會http://www.tamsui.org.tw/old-photos/index.htm

 

1. 沙洲 Shoal

淡水河的下游河道平淺,加上漲潮時候的河水回流,以及中法戰爭期間的沉船塞港,河口的堆積作用旺盛。[1]長期的泥沙淤積,雖然造就了畫中的美麗沙洲,卻也影響了淡水的港口機能,使得它的航運日益衰退。

The accumulation of silt at the mouth of the Tamsui River was vigorous, partly because the lower watercourse of the Tamsui River is level and shallow, and partly because wrecked vessels, relics of the Sino-French War, piled up in the harbor with the backflow of the river at rising tide, thus the pile at the river mouth affected the town’s prosperity. In the long run, silt accumulated and although it is a beautiful shoal in the painting, it influenced the function of Tamsui as a port making its shipping increasingly decline over time.


[1] 參閱李鹿苹,《臺灣小區域地理研究集》(臺北:國立編譯館,1984),頁72-77

 

2. 桅杆 Masts

高高豎起的兩根柱子是帆船桅桿。根據1898年的《臺灣協會會報》,往來中國與臺灣之間的中式帆船,會懸掛各種顏色的三角形「樯頭旗」以標示屬地。而紅旗代表的是廣東,我們因此知道:那裡停泊著一艘來自廣東的中式帆船。[2]
The two tall, erect poles are the masts of a junk. According to the Taiwan Association Report of 1898, Chinese-style sailing vessels going to and fro between China and Taiwan would fly various colored triangular ‘Headboards’ to indicate their place of origin. Since a red color indicated Guangdong, we thus know the berthed Chinese-style sailing vessel was from Guangdong.

山川岩吉,《臺灣大觀》,臺南:臺灣大觀社,1912。可以見到中式帆船桅杆頂端的小旗子。
Yamakawa Iwakichi, Grand Sights of Taiwan (Tainan: Grand Sights of Taiwan Association, 1912). The small flags of on the masts of the Chinese style sailing vessels are visible.


[2] 《臺灣協會會報》,16(東京,1898.2),頁71,〈實業問答‧汽船の運費〉。

 

3. 手車仔 Rickshaw

街道末尾頂棚與輪胎的描繪,應是一輛人力車,臺語稱之為「手車仔」。近代的人力車發明於1869年的日本,後來從日本被引進臺灣,成為普遍的交通工具。在1925年,僱人力車從淡水車站到紅毛城只需二十五錢,比搭公車更划算。[3]
At the end of the street, the depiction of the awning and tires of a carriage should be that of a rickshaw. The modern rickshaw was invented in Japan in 1869; later it was imported to Taiwan and became a common form of transportation. In 1925, it only took 25 sen to go by rickshaw from the Tamsui Train Station to Fort San Domingo, even cheaper than taking a bus.


[3] [日]柴山愛藏,《臺灣之交通》(臺北市:臺灣交通研究,1925),頁103

 

4. 市區改正 City Rectification

長直而寬闊的街道剛剛完工不久,這是1933年「市區改正」的結果。日本政府仿效西方的現代都市規劃理念,時常在臺灣各地方城鎮執行類似的改造工程,除了整建街廓外觀與基礎道路設施以外,也改善整個街區的排水系統。
With the straight and broad streets just having been finished not long before, in 1933 this is the result of the “City Rectification.” The Japanese government was imitating the idea of modern western city planning and often undertook similar kinds of reconstruction projects in the cities and towns of Taiwan. Besides working on the appearance of the wider street and the facilities of the street foundation, they also improved the drainage system of the entire area.

日本時代經過「市區改正」以後變得筆直而寬敞的淡水下街,兩側豎立著成排的電線桿,今日的街道規模大抵確立於這個時期。照片的遠景處,可以見到一臺「手車仔」正朝著我們的方向行進。Photo Credit:http://taipics.com
This Tamsui street having undergone the City Rectification appears straight with rows of electric poles. Along the street is a quickly traveling rickshaw carrying a customer. Sourced from http://www.taipics.com/taipei_danshui.php

 

5. 電線桿 Electric Poles

與街道同樣筆直的電線桿,進一步凸顯了現代化意象。日治初期,電力事業在臺灣的各大城市興起,逐步融入日常生活圖景的電線桿,成為陳澄波的畫作當中重要的表現主題,同時是他用以表現空間距離感的重要元素。
The electric poles like the straight streets even more advance the image of modernization. At the beginning of the Japanese colonial period, the undertaking of electrification of each large city sprang up, and gradually the electric pole merged into the view of everyday life. It became an important representative topic in Chen Cheng-po’s paintings; at the same time he uses it as a major element to represent a sense of spatial distance.

6. 紅瓦白牆 Red Tiles and White Walls

三角形的牆面上塗抹了石灰,大片的白色在陽光和暖的日子裡顯得格外好看。在多雨的淡水,建物外牆上的石灰塗層能防止滲水。小鎮的石灰多半供應自北邊的「灰窯仔」,早期臺灣有許多燒製石灰的聚落,都留有相仿的地名。
Lime was smeared on the triangular wall faces. The large swaths of white color in the sunlight and on warm days were especially attractive. In rainy Tamsui, a layer of lime smeared on the exterior walls of buildings was able to prevent water seepage. The lime for the small town was most often provided by “Ash Kiln” in the north. In early Taiwan there were many locations where lime was produced; most places have similar names.

 

7. 日本瓦 Japanese Tiles

黑色屋瓦與周遭建築屋頂的紅瓦形成對比,應是一棟日式建築。因應這類建築的大量需要,日本時代的臺灣曾引進許多燒製黑瓦的「達摩窯」,民間俗稱「狗頭窯」。黑色的窯片是在燒製過程中引起黑煙,使碳素附著的結果。[4]
The black roof tiles and the red tiles on the roofs of the buildings in the surrounding area form a contrast. The one with black tiles is likely a Japanese building. Because of the considerable quantities required for this kind of building, Taiwan during Japanese times once imported many “Dharma Kiln” produced black tiles. Among the common folk they were popularly called “Dog Head Kiln”. The black colored kiln pieces are in the process of firing exposed to black smoke which has the result that carbon affixes itself to the pieces.


[4] 參閱盧泰康,〈閩臺兩地的傳統烏瓦窯〉,《陶博館研究集刊‧2013-2014》(新北市:新北市鶯歌陶瓷博物館,2014),頁160

 

8. 山頭 Pediment

四披水屋頂的建築應是一棟洋樓,它的正面有一塊線條簡單的「山頭」。這種突出於建築立面頂端的裝飾起源於古希臘,後來在臺灣的仿巴洛克式建築當中也被大量採用。山頭正面常有線條繁複的華麗浮雕,增添建物的氣派。
A building with a four-sided hip roof should be a Western-style building; its front side has the lines of a simple pediment. This kind of embellishment that protrudes out at the top of a façade originates in ancient Greece. Later in Taiwan, buildings imitating a Baroque style largely used this. The front side of a pediment frequently has complex lines of beautiful low relief engraving which adds to the style of the building.

左上方的建築有造型類似的山頭。中間則可以見到成排的「手車仔」。引用自淡水文化基金會http://www.tamsui.org.tw/old-photos/index.htm
The building in the right upper part has the form of a pediment. In the upper middle of the photo a row of rickshaws is visible. Sourced from the Tamsui Cultural Foundationhttp://www.tamsui.org.tw/old-photos/index.htm

 

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2006.10.9蘇富比拍賣,成交價:HK$ 34,840,000/TW$ 148,025,000