觀音山

Guanyin Mountain

約1938

畫布油彩 Oil on canvas

尺寸不詳 Dimensions unknown

中央研究院臺灣史研究所典藏 Collection of Institution of Taiwan History, Academia Sinica

作品相關資料

雄偉壯峙的觀音山,是來到淡水寫生的許多前輩畫家所鍾愛的創作題材。他們時常從小鎮的高處望向河流對岸,將翠綠的山與碧藍的河,邀請到畫作裡面。在廖繼春、陳德旺、廖德政等名家筆下,都能見到這類遠眺觀音山的作品。
Majestic and imposing, Guanyin Mountain is a favorite subject matter for numerous senior painters to sketch Tamsui. They would situate themselves at a high place of the small town to overlook the opposite riverbank, and invite the emerald green mountain and the dark blue river to stay in their paintings. Many distinguished painters, like Liao Chi-chun, Chen De-wang, and Liao Te-cheng, have made such works by looking far into Guanyin Mountain.

而在目前可見的陳澄波油畫當中,僅有這幅尚餘黑白照片的作品,是以觀音山為主題。有趣的問題是,這位畫家究竟是在什麼地方,眺望著那座被譽為「淡水富士」的美麗山峰呢?
Among the extant oil paintings by Chen Cheng-po, only this piece is left with a black and white photograph treating Guanyin Mountain as its subject. It is interesting to wonder: Where was the painter when he looked far into the spectacular peak of the acclaimed “Fuji at Tamsui”?

觀察這幅畫,右側的筆痕若是表現淡水河的流動,按照山與河的相對位置來看,作畫地點可能是在觀音山南方的某個高地。1935年陳澄波曾在觀音山南側的獅子頭留下一張鉛筆速寫,這張油畫的視點,或許也相去不遠。
Let’s watch this picture. If the brushwork on the right represents the flowing Tamsui River, according to the relative position of the mountain and the river, this painting was probably made at a high place in the south of Guanyin Mountain. In 1935, Chen Cheng-po completed a pencil sketch from the Shihzihtou, a pass in the south of Guanyin Mountain. The viewpoint of this oil painting is hardly different from that of the sketch.

觀音山獅子頭展望淡水-SB20:35.11.29  1935  紙本鋼筆  13.5×18.2cm  私人收藏
Looking Towards Tamsui from Shihzihtou -SB20:35.11.29  1935  Pen and ink on paper 13.5×18.2cm  Private collection

 

不過,仔細審視畫面中央,山腳下的橫向線條,似乎有些像是水流的描繪。從畫中的山形來看,也比較符合我們從淡水遠眺觀音山的整體輪廓。另外,這幅畫與陳澄波的小型木板油畫〈淡水高爾夫球場〉,亦頗為相仿,特別是畫面下方整片平坦的淺色油彩,以及左下角的方格排列──那會不會也是淡水球場的果嶺以及階梯呢?
However, taking a closer look at the center of the picture plane, you may find that the horizontal lines at the foot of the mountain seem to represent the flowing water, and the shape of the pictorial mountain closely corresponds to the panorama of Guanyin Mountain overlooked from Tamsui. In addition, this painting is also similar to Chen Cheng-po’s another painting Tamsui Golf Course, a small-sized oil on wood. Above all, there is a whole stretch of flat, light-colored oil paint at the bottom of the picture plane, along with the squares piling up from the left bottom corner—perhaps they also represent the green and steps on Tamsui Golf Course.

淡水高爾夫球場  1935  木板油彩  23.5×33cm 私人收藏
Tamsui Golf Course  1935  Oil on wood  23.5×33cm  Private collection


在畫作的真實顏色被確認之前,種種猜想都還難以確證。1938年,陳澄波將這張照片送給了彰化的著名文人陳虛谷(即陳滿盈)。畫作的線索,或許還遺留在那段故事裡,等待我們進一步的考掘。
Until the true coloration of the painting is identified, all kinds of speculation cannot be confirmed. In 1938, Chen Cheng-po gave this photo to Chen Hsu-ku (also called Chen Man-ying), a distinguished scholar in Changhua. The clues to the painting are probably hidden in that story, waiting for us to make further textual researches.

陳滿盈先生惠存
旅居彰市開催個展中出品的觀音山
一九三八、三、廿六
弟 陳澄波 敬贈

To Mr. Chen Man-ying:
Please keep this painting as a souvenir.
The Guanyin Mountain was made for a one-man show of painting held when I sojourned in Changhua City.
Respectfully yours,
Chen Cheng-po
On March 26, 1938