︻目 次︼
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臺灣 趣味
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臺灣 即景
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臺灣 廟宇
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臺灣 女性
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親子
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原住民之文面譜學
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古厝
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老人
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他們眼中的許釗滂
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他是攝影界的「玩童」，也是「頑童」/鄭光遠
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一封用光來書寫臺灣的情書/李隆安
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一趟不孤單的文化紀實之旅/眭澔平
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給默默在臺灣用影像紮根三十年的人，掌聲鼓勵/林清汶
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攝影是一門生活的藝術 /許釗滂
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編輯後記 /杜綺文
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拍攝地點與攝影數據
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[Contents] Taiwan Flavors
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Taiwan Scenes
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Taiwan Temple
060
Taiwan Women
074
Family
090
Indigenous Facial Tattoos
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Traditional Mansion Homes
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The Elderly
170
Hsu Jau-pang, as others see him.
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Spontaneous and Focused: The World Through His Lens / James Jeng
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Composed in Light and Shadow - A Love Letter to Taiwan / Sure A. Lee
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A Welcome Companion on the Road to Documenting Taiwan’s Cultural
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Heritage / Hao-ping Hsu Accolades for Jau-pang Hsu’s Three Decades of Devotion to Taiwan /
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Vincent Lin
Photography and the Art of Living / Jau-pang Hsu
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Editorial Postscript / Audrey Tu Chi-wen
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Location and other photo data
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"有些故事只是沈睡在某處，需要一點光，將它喚醒" "So many stories waiting a voice … a little illumination is enough to dispel a prolonged slumber."
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臺灣 趣味
| Ta i w a n
Flavors
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有一次，我和朋友講好要去南部拍養鴨人家。沿途中，剛好路過了一家鳳梨農家，眼前一片黃 澄澄的鳳梨，在太陽底下閃爍著金黃色的光，這是上天給我們的禮物，於是我們當機立斷停好 了車，架起器材，不放過這難得的美景。三個大男人，烈日當頭，汗流浹背，揮汗如雨，不顧 形象的拍。農家體恤我們的辛勞，拿了一盤削好的鳳梨犒賞我們。臨走前，一整個後車廂，都 裝滿了鳳梨。
後來，我們又及時搭上小玉西瓜的採擷時分，裝滿鳳梨的後車廂又滾上了幾個西瓜，再塞上一 箱的小紅蕃茄。而我們原先的第一鴨主角，早在前一天晚上全送到臺北，沒進了我的框，倒進 了他人的五臟廟。
臺灣從來不是正經八百的模樣，常有的是看似平凡的人事物，冷不防的從某個角落竄了出來， 以出其不意的姿態，成為下一個轉角的驚喜。
於是，踏尋街頭巷弄，不需一字一語，只需將鏡頭望向景中人，一則則故事就這樣留了下來。
On the way to a shoot scheduled at a southern Taiwan duck farm, my companions and I happened upon fields carpeted in golden ripe pineapples - photographic manna from heaven. We immediately parked the car and offloaded our equipment. Three guys, dripping in sweat beneath a scorching sun, were like kids in a candy store! A farmer watching us hard at work brought over a platter of freshly cut pineapple to quench our thirst. When we left, we had a trunk brimming with farm-fresh pineapples.
The trip also coincided with the yellow watermelon harvest, and our remaining trunk space was soon given over to fresh-picked watermelons and a case of cherry tomatoes. Dallying lost us our appointment with those southern ducks, which had been shipped to market by the time we finally arrived.
Taiwan is never pretentious. It is not unusual for apparently average people or things to reveal something wholly unexpected and truly surprising.
Venturing into a new street or alleyway, words become superfluous. I focus in on the strangers who cross my lens’ path, opening doors onto their rich and varied stories.
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彰化縣西，近海沙岸，是台灣重要的蒜頭產地。收成數量多的時候，院子的空 地不夠曬，多出來的蒜頭，就攀上紅屋磚牆，成為﹁蒜牆﹂一景。
有一年過年，濃密的蒜牆毫不保留地傾訴了那年的豐收。為了這應景的喜
氣，﹁福、祿、壽﹂三位白紳士，在大門前一字排開，立正鞠躬，向眾人獻上 ﹁百福千祥﹂的新年祝福。
新年快樂！
Xianxi, a coastal town in Changhua County, is a major production area for garlic. When the
harvest is good, there’s often not enough room on the ground to sun-dry all the bulbs for market, and the brick walls of houses are drafted hastily into service.
These walls laden with freshly uprooted garlic bulbs advertise a bumper harvest. Taken soon after
New Year, I was lucky enough to catch these three white gentlemen prospitiously arrayed like
the classic New Years’ blessing for fortune and longevity. One is even bowing to his audience wishing all a plentiful harvest of good fortune and happiness.
I wish you all a warm and wonderful New Year!
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原來，神明之間也有祕密啊！
The gods keep secrets too!
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開車載狗載貓不稀奇
這年頭帶著鴕鳥上路才犀利
這是二十一世紀﹁新遛鳥俠﹂
遛鳥請戴安全帽
Taking your dog or cat on the road is old hat.
Now, taking your ostrich out for a stroll – that’s awesome!
This man is a 21st century “super pet walker”.
Please make sure his safety helmet is securely fastened.
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臺灣 即景
| Ta i w a n
Scenes
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如果以詩情剪影，以畫意寄情 然後，風景有了對話，畫面有了想像，寂靜有了溫度 一片蒼茫，也成為了故事 仰不愧於天，俯不怍於地的討海人，以坦蕩的姿態，乘風破浪。大海任性依舊，瞬間萬變如天 般的雲，這次的滿載而歸不代表永恆，下次出航才是終身不渝的使命。 一座座的車站，時光列車的穿梭，將一批批的人群，送進現代，迎向未來。曾經的風華絕代， 見證時代的更迭，送走了過去，自己也成為了歷史。 台灣的鄉野則有一種樂天知命的味道。面對著不可預測的天災人禍，他們比較相信險厄是上天 注定的命運，生活頓時豁然開朗。再累的心，也放下疲憊，拾起笑容，掛在臉上，然後有了力 量，期待明日又是藍天與朝陽。 我發現台灣鄉村的天空，總是特別的藍。 或許，因為心更澄澈了，就像那裡的空氣一樣，清晰的看不見一片塵埃。 Images poetically perfected; emotions artistically expressed … Landscapes speak; images inspire; silence effervesces with life. Stories are woven from the everyday. Those who proudly make their life from the sea face stoically their daily struggle against wind and waves. Neptune’s tempestuous humors make even a hold brimming with fish a short-lived triumph. The battle begins anew tomorrow. A time caravan threads distant whistle stops together. Trains welcome passengers into the present and shuttle them into the future. Shadows of a nostalgic past and witnesses to change, train stations have bid countless farewells and, in the process, woven themselves into history’s grand tapestry. In rural Taiwan, life is more real … bracingly genuine. Hardship and natural disasters are entwined in fate’s fabric, and life’s rules are writ bold and clear. The end of a hard day’s work is invariably a happy occasion, reflected on faces chiseled by the elements. May tomorrow’s work be blessed again by blue skies and warm sunshine. The skies over rural Taiwan seem a subtly more brilliant shade of blue. Perhaps my newfound tranquility has made my soul, like the air, smog-free.
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The Northeast Monsoon occasionally keeps Taitung’s Chenggong fishing fleet in port. Relishing these moments away from work, fishing boat workers from Mainland China
contemplate the Pacific from atop the harbor’s seawall. Homesick dramas have been told and
retold ad infinitum upon the oceans, the world’s largest stage. Every drop of sweat touched by
a familiar sea breeze, every wave that crumbles to froth onshore echoes heartfelt thoughts of
a home far below the horizon. The speechless silence, however, is not a dirge to a family lost, but a passionate flood of thoughts celebrating a connection still vibrant.
Silence is the only way to commune with loved ones far removed.
My photo taken, I leave my subject to his myriad thoughts.
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臺東的成功漁港，有時因為強勢的東北季風，無法出港。工作的休息片 刻，對於大陸漁工來說，堤岸是最佳的觀景台，廣大的海洋是世界上最大 的舞台，上演有關鄉愁的所有劇碼。海風輕拂掉他臉上的汗水，一聲聲與 家鄉同音同調的潮聲，與內心的思鄉惆悵共鳴。無言以對的沈默，不是遙 念故里的休止符，而是不斷湧現的無限思念，難以自拔。
頃刻的當下，﹁靜默﹂是他和故鄉對話的唯一語言。
於是，留下影像，我退下。
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臺東三仙台 一名釣客在海邊守候了半晌 空的竹簍 空盪的堤岸海邊 寂寞凝結瞬間
Sanxiantai, Taitung, Southeastern Taiwan
A Fruitless Wait
He stows his pole.
An empty bamboo basket on a vacant jetty
Silently encapsulates the moment.
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絲瓜的花，一種普遍常見的植物 花影瘦弱的枝苗，攀上高牆，只為尋得一個盡情綻放的空間
孤單的靜默，更顯出堅毅的力量
This flower of the vine plant loofah is a common sight throughout Taiwan.
Fragile petals, seeking their moment in the sun, unfurl from vines that reach tenaciously skyward.
The silence of solitude accentuates indomitable determination.
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Charcoal was not long ago a basic necessity of life in Taiwan, and charcoal kilns were once profitable ventures. Hsinchu County’s Baoshan Township is a witness to the days of “king” charcoal and, at its height, the township ran more than a hundred kilns. However, the growing convenience of natural gas and rising environmental and health concerns shuttered one operation after another until Baoshan’s charcoal industry made a final bow into history. The dingy black soot of a lifetime spent in the company of countless tons of charcoal leaves its indelible mark.
Tasks repeated through the day and deep into the night; Charcoal slabs stacked one atop another, delivered into the kiln’s maw.
In silence, A flickering flame is all that is left of Taiwan’s once fire-belching charcoal kilns.
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木炭，曾是臺灣早期生活的必須品。 專門生產木炭的﹁炭窯﹂有過一段燦 爛歲月。
新竹寶山，曾經見證這段炭窯的歷史 風華。顛峰時期，光在寶山就有一百 多個炭窯。然而，這段輝煌隨著瓦斯 天然氣的普及，生態環保的訴求，以 及健康養生的概念，逐漸沒落，走進 歷史。
一噸噸的炭在炭工身上留下難以抹去 的黑， 他們日以繼夜地， 疊起一堆堆的炭，送進炭窯， 一次一次地， 沈默無聲地， 燃燒著台灣炭窯史上，這僅存的最後 一道火苗。
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古色古香的幽靜，不及不徐地隔離了生活不必要的憂慮，用著一種寧靜耐 久的氣質，慢慢的淨化心情。於是，我們開始尊敬生活，在這清靜的角 落，在這一步一腳印的輕盈巡禮中。
The serenity of the past helps put life’s pressing concerns into comforting perspective, and the
air of impassive endurance that surrounds old buildings purify the soul. Our new respect for life pervades this tranquil corner of existence and permeates this unhurried pilgrimage.
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臺灣 廟宇
| Ta i w a n
Te m p l e
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臺灣早期的先民開墾，在與複雜多變的大自然搏鬥，謀求生存空間之時，他們透過「信仰」獲 得精神寄託與鼓舞的力量，得以力抗臺灣這個傳聞中的「蠻荒漳癘之區」（清朝，李鴻章）， 開拓屬於他們的美麗新世界。 四百年來，媽祖婆點亮了海上最顯明的那座燈塔，臺灣海峽不再是深不見底的黑水溝，而是通 往幸福彼岸的藍色公路。 諸姓王爺隨著王船停泊於臺灣西岸，代表天帝巡察人間善惡，以「護祐之神」的姿態鎮壓地方 不靖。 台南「公廨」的壺甕，則是阿立祖的化身，付託著西拉雅族的心與靈。 神明用祂們的意志，書寫了一部臺灣史。 點燃一炷焚香，宗教傳承，翻開了第一章。 臺灣先民的故事，就讓我們從那一縷輕煙裊裊，開始說起。 Early Chinese settlers fought a multifarious, shifting battle with nature. Religious faith’s comfort and encouragement helped these immigrants build a beautiful new life in what senior Qing Dynasty official Li Hung-chang disparagingly described a, “wild and pestilence-plagued land.” For four long centuries the sea goddess Matsu (Mazu) illumined the way to Taiwan. Tamed of its legendary terrors as the ravenous “Black Ditch”, the Taiwan Strait emerged as an enticing bluewater gateway, beckoning settlers to a new life rich with promise and potential. Various “royal lord” gods have called on Taiwan’s western shores, conducting inspection tours on behalf of the Taoist Supreme Ruler of Heaven. The deities take note of good and bad deeds and protect the pious. Urns at this indigenous ceremonial meeting hall (konkai) in Tainan are the physical incarnation of Anitu, the ancestral soul and spirit of southern Taiwan’s Siraya tribe. The “will” of many gods has helped shape the modern history of Taiwan. The embers of a lighted joss stick uphold religious conventions that arrived with Taiwan’s earliest homesteaders. Our collective story began with curls of incense smoke rising heavenward.
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筊杯 新月狀，兩支一對。雙手合十，心中默語，誠心請示，香爐上的繚繞三 圈，單手擲筊，無論是聖筊、哭筊還是笑筊，信眾的心在神明指示下，擲 出一座連結了民間與天庭的橋。
Jiaobei (Divination Blocks)
Moon-shaped divination blocks, always found in pairs, are “hotlines” to heaven. Those seeking
answers to any of life’s myriad conundrums can elicit divine guidance through prayer, incense and the toss of care-worn blocks such as these.
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臺灣 女性
| Ta i w a n
Wo m e n
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臺灣女性有一種認真專注的氣質，一種用最華麗的衣裳，最完美的妝容也無法取代的美麗。
年輕女子的虔誠祈求，無論是求姻緣、求事業還是求家和萬事興，時間定格於當下，而誠意感 動天。母親關心孩子的眼神則透露出無私的關懷，肢體的情感則傳遞了母愛的真摯與偉大。
很多臺灣女性選擇讓男人站在前面，自己則在背後打理所有的一切。
沈默的付出成為無聲的可靠，家被撐了起來，我們聽見孩子開朗的笑。
她們燃燒了青春，點亮了一盞燈，
於是，
深夜裡，在回家的路上，有火。
Naturally keen and focused, Taiwanese women radiate an inner beauty that shines more brightly than any elegant outfit or expensive makeover.
The innocent wish of a young woman, be it for matrimony, career or home and hearth, can still time’s impassive hands and move the heavens.
A mother’s eyes filled with selfless love for her child; Her entire body conveys the expansive beauty of motherly love.
Many Taiwanese women let their man take center stage, helping him take care of the details behind the scenes.
Silent support, unvoiced devotion … She is the bedrock of the family. We hear laughing, happy children.
They’ve burned through their youth to set new lamps alight.
Thus,
Flames flicker along the night road home.
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While I’ve shared countless intimate conversations with Taiwan through my camera lens, there is only one who has dedicated all of her love to me.
She was only 21 when she chose to make the leap and eloped with me. It is she that built our warm, loving family from the simplest beginnings.
She turned one journey after another into a never-ending adventure together, and graced my photographic works with beauty and light.
She’s never sacrificed. She says “sacrifice” is not in her dictionary. Her journey with me, she claims, has taught her true purpose.
It is she that made my photography possible. It is she that keeps me under love’s magic spell, despite its tests and trials.
It is she who two decades ago gave a man with two left feet the courage to dance for the first time in his life – one memorable starlit night. The name of this dance is Forever .
She is Yu-ling.
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這一生，我用鏡頭對臺灣說了許多情話
2歲 1 那年和我的出走，定義了私奔
有個人，則用她的一生向我宣示她的愛情
她用
她用柴米油鹽醬醋茶的平凡瑣碎中拼出一張幸福家庭的合照 她將一趟又一趟車軌轉換成無限迴圈的車跡，我的攝影多了光
她說，沒有犧牲，因為她的字典裡，沒有這個詞 她說，透過參與，她知道什麼叫做意義
因為她，我的攝影成為可能
2年 0 前，不善駕馭肢體的我，鼓起勇氣邀她跳了第一支雙人舞
因為她，愛情儘管添加了道德與責任，依舊攝魂 因為她，
滿天星斗為我們打了光，在星光下 這支舞叫做﹁永恆﹂
她是玉鈴
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親子
| Family
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複雜的人際關係、炫目的金錢權力、人生不可避免的面對，我們總是在成人世界的無情與現實 中，尋找一種溫度與慰藉。 我們懷念童年單純的小幸福，希望時光可以停駐在高唱無敵鐵金剛，辦家家酒的那個年代。 我們回頭尋找情感的原型，至少，這是可以相信的記憶。 我們看著孩子們用著摯真的眼神向你說聲「嗨」，不自覺的和他們一起發出稚真的笑聲，這不 是面具上的微笑符號。 我們在親子的肢體語言中，讀到了依靠。 我們在虛偽的正義下找到單純的象徵，洗滌臉上的疲憊，生活也換了模樣。
每個人都需要童年，小孩是，大人更是。 赤子之心，沒有使用期限。 Complicated relationships, the allure of money and posessions, life’s path is littered with such challenges, distractions and disappointments. Surrounded by callousness and unabashed pragmatism, we seek warmth and consolation. The simple pleasures of youth fondly remembered, we wish those endless, carefree summers and games of hide and seek could have continued forever. We try to recapture the joys of youth. These memories, at least, are ‘true’. We drop all pretenses and smile easily in the face of a child’s sparkling eyes and friendly “Hi!” It is a smile that flows from the soul … genuine and wholly natural. Trust saturates the body language that flows between parent and child. Hypocracy teaches a simple lesson. Cleanse the fatigue and an entire life can change.
You need never abandon youthful innocence. All should hold lovingly to youth, even more so as years and experience accumulate.
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Flatbed trucks brightly festooned and painted unabashedly advertise the feminine temptations within.
A young boy uses his father’s cell phone to snap a singer’s sensual pose. Take another look – the boy’s photo has an adult director!
The camera phone now safely stowed, the boy pulls a stool over to enjoy the show. I am a professional photographer as well as a father of three. After a brief struggle of conscience between my two roles, I chose to go ahead and capture this culturally telling moment on film.
The photographer distills reality. We capture the moment in hopes of stirring reflection and
discussion and, perhaps, sowing the seeds of change. Particularly because of my deep interest and concern for how society educates its young, I took this photograph in order to spur questions.
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電子花車，五光十色的俗豔風格，襯著花車女郎動感的肉體氣味。
小弟弟拿著爸爸的手機當相機用，紀錄花車女郎的性感時刻，仔細一看， 還有一個大人，從旁指導。
後來，小弟弟放棄了手機，乾脆搬了凳子專心的看起表演。
我，專業攝影師，也是三個孩子的父親，因為心中的一些道德標準，最後 選擇拍攝了這張照片。
紀實攝影的價值在於寫實記錄，記錄的當下，啟動思考與討論，也帶動改 變的契機。有關臺灣親子教育的關切與思考，這次我舉起手，按下快門， 讓影像來提問。
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I’ve been joined by a companion on some of my photographic outings in recent years. What I have, he most often wants. What I photograph, he wants to photograph too. Our shared
journey has paved the way to his own growing and expansive world of photographic potential.
He’s grown up with a comfortable familiarity with countless towns and villages throughout
Taiwan, grown into increasingly professional cameras, and grown a respectible set of his own
peripheral equipment. I’ve introduced him to the world through the camera lens, helped him
make friends with nature and love his island home. His dream is to be a modern-day Tarzan and to devote his life to caring for animals.
This is Pi, my youngest son. He got his first camera at age four and has been trekking Taiwan’s lush hinterland with me ever since.
As our shared world has been filtered through the camera lens, it’s only natural that I make
him the focus of a picture now and then. Here he is with an incense joss, sending up a prayer for good fortune.
In this picture, I wanted him to understand one of my deepest desires – that of sharing forward from generation to generation.
The two characters (chuan-jia in gold on red in the background) sum my thoughts up perfectly. He tells me, “I will,” through the strength of character alight in his eyes.
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這幾年，出外拍照的時候，身邊除了照相器材之外，也多了個身影。常常 我有什麼他就要什麼，我拍什麼他就要拍什麼，依樣畫葫蘆，幾年下來， 也讓他畫出屬於自己的攝影世界。
走遍臺灣大大小小數不清的鄉鎮，他個頭高了，身體壯了，相機也越換越 專業，身邊的行當也越來越齊全。我用相機帶他認識這個世界，和大自然 做朋友，愛惜臺灣這塊土地，因此，成為泰山是他的夢想，照顧小動物變 成他的使命。
這是小鷿，我最小的兒子。四歲擁有人生第一臺相機，開始跟著我看遍臺 灣所有的山川壯麗。
以往，父子的兩人世界是在鏡頭之後。這次，我要他當一次模特兒，也上 柱香，祈個福。
我想要告訴他，一個深藏在我內心的掛念：﹁傳家﹂。 就這簡單的兩個字，卻說的再清楚也不過了。 而他也以插香專注的神情，告訴我：﹁他會﹂。
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原住民之文面譜學
| Indigenous
F a c i a l Ta t t o o s
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無論是生於巨石裂岩，或是源於大霸尖山上的巨石，還是誕生於萬大北溪上游之白石山上的老 樹根，「泰雅族」從起源就蒙上層層撲朔迷離的紗。爾後，後代為身份、為正統，換了名號， 別了服裝，從此各自為政，「泰雅族」、「太魯閣族」、「賽德克族」三分天下。 不過，至少還有「文面」的系譜織就了共同的記憶，聯繫著彼此。「文面」是指「臉部刺 青」，象徵著祖訓，標記著認同，是死後靈魂回歸靈界的通行證，也是反抗日治時期的文面禁 令所留下的血斑淚痕。對於族人而言，成功獵首的男性，織布技術純熟的女性，才可接受這道 象徵驕傲與成熟的生命禮讚。 西元 1939 年，16 歲的泰雅族少女 Bu'uh Ga'i 由文面師 Yuma Ali 偷偷為她刺下額紋和頰紋。 她是最後一位文面女子。 從此，流傳數千年的文面習俗，正式沈入歷史的悠悠長河，沒了它的蹤影。 Whether tracing their origins to a cracked boulder in Nantou County’s Pinsebukan, a rocky outcropping in Hsinchu County’s Dabajianshan, or the root of a sacred tree on the heights of Baishishan in the upper reaches of Wandabei Stream, a shroud of mystery continues to obscure the Atayal’s earliest history. At some point, this once unified group began to splinter. Adopting distinct tribal mores, different names and unique clothing traditions, the tribe dissolved into three - the Atayal, Truku and Seediq.
While highly distinct from one another, all three tribes continue to practice the shared ancestral art of facial tattooing. Atayal facial tattoos symbolize respect for ancestral ways, mark tribal affinities, and, after death, ensure smooth passage into the spirit world. In more modern times, tattoos have also served as indelible symbols of defiance against Japanese colonial policies that strove to end traditional tribal ways. Facial tattoos announce full adult membership in the community, and are earned by men through hunting prowess and by women through weaving skill.
Yuma Ali gave Bu’uh Ga’i her facial tattoos in a secret ceremony in 1939.
Her was the last face marked by this time-honored symbol of Atayal heritage.
After Bu’uh Ga’i, Atayal facial tattooing was relegated to history – a lost art never practiced again.
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古厝
| Tr a d i t i o n a l
Mansion Homes
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過去傳統的古老宅院總是披上一層頹圮的灰。
揮揮衣袖，輕輕一吹，我們以為自己擺脫了過往，吹走了老朽。
這些古老宅院一直停留在原來的地方，他們有自己的風骨，把氣韻藏在細節裡，如同征戰沙場 多年的老兵，以一種忠誠信守的姿態，與時間拉扯，沒有誰是勝利的一方。
當一磚一瓦都刻上了歷史，形體可以蒼老，磚瓦可以殘破，屋頂可以半垮，唯有記憶沒有褪 色，我們得以感念懷舊。
Many see Taiwan’s old mansion homes as dust-encrusted relics of a discomfiting past. With a flick of the cuff, we tried to escape history’s shadow … to shed a useless past.
But these buildings have remained. They exude their own distinct character, their beauty and myriad stories remembered in subtle architectural details. They are jaded old soldiers, witnesses to countless battles. Faithful keepers, they have helped slow time’s impatient drive forward. But this war has no victors.
With the mark of history on every brick and tile, a building cannot but begin to sag under the weight of time. Bricks awry, tiles cracked, roofs half collapsed and paint flaking away … Only memories persist unfaded – to inspire and fuel our nostalgia.
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儘管影片盡情發揮想像力、穿越時空，帶領觀眾體會另外一個世界的奧妙神奇 越快樂的時光總是越容易消逝 觀眾漸漸散了、笑聲漸漸遠了、現實漸漸近了、歷史終究到來 最後的斷簡殘編，膠捲不再上演人世間的悲歡離合 而是自身糾結纏繞，封存歷史於無形，上演最後一場無言的結局
Movies inspire the imagination and remove the shackles of time and space. They guide us on
journeys of exploration and wonder. However, the happiest of moments seem also the most fragile. As audiences dwindled and their laughter faded, reality checked in to fill the gap... Another theater overtaken by history.
Film fated never again to share the human drama etched onto its celluloid surface unwittingly pens
this theater’s obituary. A tattered coiled mass; the film conceals history by giving the story a silent, untold ending.
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新竹縣竹北六家的﹁問禮堂﹂，紀錄著新竹和儒家結緣的一個開始。早期林家
祖先林放曾向孔子請教禮的根本，孔子一句 ﹁大哉問！﹂讓﹁放公問禮﹂成 為林家榮光。﹁問禮堂﹂遂成為林家堂號，紀念此刻的永恆。
﹁問禮堂﹂的構造反映著客家建築的特色：牆身底部下段以卵石環繞牆腳，
8年 9 開始整修，
9年 1 完工，內院的﹁問禮
上層以灰磚收邊，再承接土埆磚牆，外表塗上一層白色灰泥，風格簡單而樸 實。
因為年久失修，﹁問禮堂﹂於民國
榮義﹂頓時多了光，顏色鮮明了起來。
Wenli (“Asking about Ritual”) Hall in Zhubei Township’s Liuchia Mansion witnessed the
beginnings of Confucianism in the Hsinchu County area. A Lin family ancestor and disciple of
Confucius once asked the Sage regarding the foundations of traditional ritual practices. His
response, “An excellent question,” has been a badge of honor carried by the Lin family ever since. Wenli Hall is the Lin family temple and memorial to that eternal moment in history.
Wenli Hall incorporates traditional Hakkanese aesthetics. Pebbles surround the base of its walls
and grey bricks finish off their corners with mud bricks arrayed in between. Walls are faced with light colored mud, giving the entire hall its simple elegance.
Years of neglect ended with a major restoration effort between 2000 and 2002. This photograph
captures a sudden burst of sunlight that highlighted the placard “The Honor of Asking about Ritual” and enlivened the room’s bright colors.
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享受陽光 享受古樸 享受歲月沈澱的味道 享受這難得天地共構的美麗時光
Basking in sunshine;
Enjoying the unfashionably plain;
Savoring the subtle flavors of bygone days;
Finding immeasurable joy in the beauty of this perfect moment in time.
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相機的觀景窗， 是我們看見景物唯一的框嗎？ 是你選擇了框， 還是框為你做選擇？
Is the camera the only way to frame our world?
Is it you in control?
Or does the frame choose for you?
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在中國電影﹁大紅燈籠高高掛﹂中，紅色的燈籠是寵幸的象徵，豪門四房 的眾女人們為了贏得家中男主人的青睞，無所不用其極，紅色的情慾，撩 撥著慾望，爭寵臨幸揭開女性糾結的愛恨情仇。
現實生活裡，時間在老房子上留下了刻痕。漆，斑駁了；窗櫺的藍色，也 褪了； 地上的拖鞋因為掉了漆而呈現老態，延緩了行走的速度與步調。 但還有那盞紅色燈籠，投注了最後的微弱光芒，指引著前進的方向。
於是，故事還在說。
Red lanterns in the 1991 film Raise the Red Lantern symbolized favored status. Wives and concubines used all means at their disposal to earn the favorable attentions of their master
of the house. Desire-fueled passions caught the women in a tangled web of love and hatred, schemes and betrayal. Time has etched its indelible mark on this old home. Paint clings to its façade in stubborn
blotches and azure blue paint continues to fade from wood frames. Sandals dusted by flecks
of disintegrating paint are now permanent fixtures, accentuating the scene’s unhurried shuffle into oblivion. The tenuous heartbeat of a dimly lit red lantern beckons us inside.
Our story... continues...
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攝影，是一張張用影像寫成的詩
Photography is poetry created one image at a time.
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老人
| The
Elderly
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走遍臺灣大大小小的鄉鎮，老人的身影一直是臺灣重要的景觀之一。
他們常常坐在人群中，看出去是滿滿的人，獨處在熱鬧之中，人聲鼎沸，孤獨卻不孤單。
表情平靜的，大腦轉動著，過去的世界開始倒帶，快速倒往過去。
過去多少的鞠躬盡瘁，多少的歲月駐留在這裡。
前塵往事，無法於人前訴說，
於是，他們在一個角落，靜靜的坐著，
然後，找到回憶來陪伴自己。
Senior citizens pervade Taiwan’s human landscape. They are part of our experience … faces in the crowd. In big cities or rural towns, elderly are pockets of calm in the surrounding swirl of electric energy – alone but never lonely.
Serene expressions mask minds that are still alert and bright. Thoughts drift to times long gone … to younger days.
Memories of previous toils; innumerable experiences carefully bundled and stored.
The past is a personal, private affair, not sharable with others.
So they sit in solitude; quietly coaxing up memories to keep them company.
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鹿港的龍山寺，一位老人坐在廣場前。不知從何時開始，老人不太說話 了，無聲的靜默，成為他與這個世界共處的唯一方式。
An old man sits in the square outside Lukang’s Longshan Temple. He rarely talks to anyone anymore... He interacts with his world in placid silence.
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9歲 8 ，花蓮客家人
1 0歲 4 時遐齡過世，時間已經過了
阿嬤，今年
阿公在
4年 ,5 。阿嬤依舊過著自己的生活，種
南瓜、火龍果，還有蓮花和桑椹。養了十幾隻貓，野生的，她好心照顧牠們，結 果，貓偷吃了她的魚。
阿嬤為自己做了一件壽衣 ，她每年都會把壽衣拿出來曬。因為人老了，會變矮， 會變胖，壽衣也會跟著不合身。阿嬤說：﹁沒關係，再改就好了﹂
她說，她會穿著這件最後的禮服，漂漂亮亮地，踏上那條﹁回家的路﹂。
growing pumpkin
而我們要笑著送她，這是她希望的，就像她這個人一樣，這一生，都笑笑的。
This Hakkanese matriarch from Hualien is 98 years young.
… Her husband passed away 4 or 5 years ago at 104 years of age. She lives as always
although, she complains, they occasionally make off with her fish.
and dragon fruit along with some lotus and mulberry. She looks after a dozen or so wild cats in her
… neighborhood
She tailored her own funeral dress, and takes it out every year to air it out in the sun.
But as she shrinks and changes with age, her dress no longer fits like it used to. “No matter,” she says, “Adjustments can be made.”
She says the dress will make sure she looks radiant for her final “journey home.”
Her friends, she says, should see her off with smiles. It is her wish. Her funeral should be as her life – full of smiles and good cheer.
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"時間不用哀悼，因為我們擁有當下" "We needn’t mourn for time lost, as we are still masters of the present."
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︻
︼ Hsu Jau-pang, as others see him.
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"一位用相機說故事的人" "A narrator of stories in light and shadow."
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他是攝影界的「玩童」，也是「頑童」
長榮航空董事長 鄭光遠
照片雖然代表的是一個「時間」，一個「瞬間」……但照片本身並不代表那個長度，被沿用的 不是「時間」，而是「意義」。
André Kertész (1894-1985)
臺灣，是我和釗滂相識的開始。幾年前，在我擔任立榮航空董事長之時，為了開拓離島航線的市 場，推出「五金齊發」與「五馬奔騰」的「立榮假期」航空國旅方案，大力推動金門、馬公等觀光 景點，希望讓更多人知道台灣離島之美。當時，釗滂經常駐點拍攝金門澎湖，留下許多膾炙人口的 經典作品。他的影像除了風景秀麗，也有著溫暖的在地質樸，是我們心中最佳的離島寫照，因此透 過影像，展開雙方合作的開始，也結下這份良緣。我從事航空運輸事業多年，若論及專業的攝影藝 術，我是一個道地的門外漢。這次受釗滂的邀請，替他的攝影集為言做序，實不敢當，但想藉此機 會跟大家介紹我所認識的許釗滂 — 熱愛生活，熱愛攝影，熱愛臺灣的許釗滂。
釗滂出生於臺東的鄉村小鎮，具有臺東人的開朗天性，樂觀熱情。他處事自在，自然不造作，有著 凡事任我行的瀟灑自在。每每在電話那頭，他總是開朗地跟我分享他所見的好山好水，或是最近聽 到的趣聞軼事，無形中，生活就在他的談笑風生裡，多了笑聲，多了輕鬆。生活的定義，有了重新 書寫的可能。走遍臺灣大小的無數鄉鎮，看遍臺灣的良辰美景，吃遍臺灣的道地美食，他懂得生 活，他樂在生活，他是一位生活「玩」童。
熟識釗滂的人都知道，他是個名符其實的攝影狂熱者。每每講到攝影，他的眼神頓時炯炯有神，銳 利如經驗老到的鷹，從清晨聊到傍晚。他也可以在清晨兩點備好全車的攝影裝備，前往花蓮捕捉曙 光乍現的感人瞬間，然後驅車前往南臺灣鄉間，記錄農婦播種的辛勤汗水以及漁夫滿載而歸的歡欣 鼓舞，晚上出現在臺灣的一座山嶺拍攝如詩般浪漫的滿天星軌。為了攝影，釗滂一天橫跨臺灣三、 四個縣市是稀鬆平常的事。他一刻都不浪費地將臺灣美景盡收眼底，深怕一個疏忽，錯過了一個 景，下一個瞬間可能不再到來。這是他對於攝影的執著，對於臺灣土地的熱情。我可以看到他的情 感與生命在影像中流淌，我們對於臺灣的情與愛在他的影像中找到了寄託。關於攝影，這是他的態 度、他的熱情、他的執著，他是一位攝影「頑」童。
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《許釗滂—人．文．貳零壹貳》收集了釗滂這30年來累積的攝影精華。書中談人、繪景、話建 築。臺灣如同一張張從黑白到彩色的扉頁，羅織成篇篇的感人篇章。在〈古厝〉中，我們看到中臺 灣陽光的美好，初春晴好的愉悅，抖落了古厝上的灰，多了年輕的氣象。一趟古厝的探訪之旅，橫 亙古今，無論是以頹圮毀壞的姿態，吟唱灰飛煙滅的悲歌，或是承載歷史風華，以古蹟的姿態昂然 在這塊土地上，這盛衰迭起，唱著一首首臺灣建築的歷史詩歌，訴說影像背後的故事，釗滂的影像 為臺灣建築史做了記錄，也做為傳承。
在〈老人〉中，釗滂毫不留情的刻畫老人與歲月交戰後血淚斑斑的刻痕。無論是龍山寺老人身上如 化石般的指甲指尖，或是婦人臉上滿布歲月滄桑的皺紋，無情的衰老，殘忍地令人無法迴避。如果 時間這隻無形的手，終將人們帶向衰老，釗滂的影像呈現歲月在人類身上刻畫的鬼斧神工，是為驚 奇，也做為警惕。
另一方面，我們也在老人的笑靨中，看到歷經大風大浪後的坦然與釋懷。人的一生都以自己熟悉的 方式書寫著自我，傳遞經驗，也延續生命。老人，是我們的人生教材，做為一盞明鏡，透過老人， 我們得以關照他人也審視自己。釗滂以爐火純青的技術記錄了歲月的刻痕，如實地呈現老人的樣 貌，我們也在如真如實的影像流轉中，彷彿走了人生一遭。這一趟，著實深刻且難忘。
回首釗滂玩攝影的日子，時光荏苒已過了30年，許釗滂這位生活「玩童」，依舊走遍臺灣，玩遍 臺灣。同時，做為一位攝影「頑童」，釗滂的這趟攝影紀實勢必會一直行走下去，我們可以期待 他日後精彩的攝影作品。釗滂曾跟我說，他與他的相機約定好今生都要記錄台灣之美，讓後世子孫 都看得到這份美麗。臺灣的美，無庸置疑，釗滂希望用影像傳遞福爾摩沙的萬千風華，這是他的心 意，也是他的用心。如果誠如名攝影家André Kertész所言「影像是一種意義的延續」，那麼這個 約定，也因為延續，所以美麗。
以此序祝福釗滂，還有我們都深愛的這塊美麗島——臺灣。
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Spontaneous and Focused: The World Through His Lens
James Jeng, Chairman, EVA Airways Corporation
While a photograph may capture “the moment” … an instant in time, it is used to convey something very different. Photographs infer meaning, not time.
André Kertész (1894-1985)
My acquaintance with Jau-pang began with Taiwan. I was chairman of UNI Airways at the time and had just launched a package vacation campaign promoting the offshore islands of Jinmen and Penghu. We wanted to get more people interested in the two islands’ tourism hotspots and about visiting Taiwan’s offshore islands. At the time, Jau-pang was a frequent visitor to Jinmen and the Penghu Archipelago. He’d accumulated an exceptional collection of local photographs that, for me, captured perfectly their inherent and unpretentious warmth. This was just what we were looking for. His photographs were the initial foundation for our cooperative relationship and the catalyst of a growing friendship. While I consider myself a seasoned air transportation professional, I’m a true novice when it comes to photography. I thus felt quite out of my depth when Jau-pang approached me to pen a foreword for his new photography book. So, rather than lauding his obvious photographic skills, I’ve chosen to write something about the Jau-pang I’ve come to know as a friend … the enthusiast of life, photography and Taiwan. Jau-pang’s open-mindedness and optimism can be attributed to his rural Taitung County childhood. He approaches everything naturally, with little pretense and accepts responsibility coolly and confidently. Our phone conversations invariably effervesce with good cheer, whether he’s called to share a new scenic discovery or some interesting tidbit. My life is richer because of our friendship and good times together. It is certainly possible to revise and even rewrite one’s purpose in life. After visiting countless towns, admiring innumerable scenic vistas and sampling local specialties from Taiwan’s every nook and cranny, Jau-pang has more than proven himself a connoisseur of life. He is enamored with living - a man who continues to explore the world with untarnished enthusiasm. Those familiar with Jau-pang are well aware of his passion for photography. Just the mention of the subject is enough to give a passionate glint to his eyes. He’ll talk photography from dawn to dusk and then some. Jau-pang is one of those rare individuals ready at the drop of a hat to load up a carful of camera equipment at two in the morning to drive through the night to Hualien in time for the morning sunrise, proceed down the Souther Taiwan taking pictures of farmers seeding their fields
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and fishermen returning to port, and then end the day atop an inland mountain ridge setting up for shots of stars traipsing across the night sky. Traversing several counties in pursuit of his shutterbug passion is not an unusual day for Jau-pang. He is anxious that his lenses record every aspect of Taiwan’s innate beauty and is even more anxious that precious moments and memories may slip by, never to return. This is what drives Jau-pang … what underscores his lifelong romance with Taiwan. I see his passions, the essence of his life pulsating through his pictures. The images he captures are a repository as well for the deep feelings and love we all share for our Taiwan home. For Jau-pang, photography is an attitude, a passion and a commitment. He is truly a “focused” photographer.
Jau-pang Hsu’s Taiwan Tapestry 2012 distills thirty years of Jau-pang’s work. It uses a broad artistic brush to present the beauty of Taiwan’s people, scenery and architecture. Black-and-white and color photographs are woven artfully together into flowing visual poetry. In “Traditional Mansion Homes”, we feel the luscious warmth of the Taiwan sun and sense the fresh exhilaration of early spring chipping away at winter’s grey dullness, infusing a breath of youthful vitality. Traditional Taiwanese mansion homes bridge the past with the present. Whether decaying away in silence, whispering eulogies to better days gone by, or holding stoically to bygone glories, every historic home is a poetic monument to traditional architecture and has a plethora of stories to tell. Jaupang’s efforts both record Taiwan’s architectural history and preserve this important heritage for future generations. “The Elderly” offers an unvarnished glimpse of the heavy toll extracted by years of hardship and struggle. Gnarled fingers and deeply furrowed lines signal the decay of age – indelible reminders that time, once gone, is lost forever. As no one can escape the invisible hand of time, Jau-pang’s focus here on the scars of time both shocks and startles – a stark reminder to make the most of our precious but limited allotment of days. But calm is also unmistakably written in their smiles – a beacon of hope and the “light at the end of the tunnel.” Everyone writes the story of life in his or her own unique way – passing along experience and continuing the cycle. The elderly are teachers and role models. How we treat our elderly reflects on our own values and character. Jau-pang’s consummate skill captures the furrows of time to show
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us the true “faces” of age. Wrinkles and blemishes contain the story of a lifetime – a story sure to touch the heart of all who are willing to listen. Jau-pang has been training his camera on a continuous parade of interesting subjects for some three decades. A lover of fun and life, he has personally experienced just about every aspect of Taiwan. As a serious professional, however, his journey is far from finished. I have no doubt we will see more compilations from him in the future. Jau-pang told me that he and his camera had agreed to document Taiwan’s beauty together for the benefit of posterity. I’ve no doubt Jau-pang will continue to pursue Taiwan’s sumptuous and multifaceted splendor and share his “Ilha Formosa” with the world. This is his passion and his devotion. If renowned photographer André Kertész was right when he said, “The photograph is a fixed moment … a raison d'être , which lives on in itself,” then its continuance alone gives it inherent beauty. I wish all the best to Jau-pang and to Taiwan - this beautiful island that inspires our love and passion.
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一封用光來書寫臺灣的情書
臺灣愛普生(Epson)科技股份有限公司總經理 李隆安
如果，作家用文字陳述對於世界的動見觀察，畫家用畫筆呈現人生的愛恨癡癲，那麼，對於Jean Dieuzaide這些攝影家而言，攝影並非歷史的一件意外，而是其片刻的化身，他們選擇用光線來為 他們發出聲音。
攝影家，都有著一種常人不可企及的狂熱，浪漫與堅持。許老師尤其是其中的佼佼者。他近乎瘋狂 的熱愛臺灣這片土地，從1978年玩攝影開始，至今30個年頭。他投入情感，用生命追逐，以歲月 捕捉，無論是高山峻嶺還是山谷溪流，身影遍及全台，只為了捕捉最美麗的剎那。休旅車轉動無數 次的胎痕刻畫著攝影紀行的軌跡，足以繞行臺灣數千百公里。也因此，他的攝影資料庫儼然就是台 灣的縮影，攝影主題涵蓋多元，從傳統產業、自然風景、人物身影、特色建築、到動物植物，都是 他的鏡中景，他的影中情，因為親自走過才會珍惜，因為真情愛過才會感動。這是狂熱且浪漫堅持 如他，用30年的光陰，對臺灣寫下的一封封情書。
在《許釗滂—人．文．貳零壹貳》一書中，我發現許老師以心眼觀看，以性靈詮釋，淬鍊出身邊 俯拾即是的人物地景所內含的生命力。這時才猛然驚覺，身邊周遭的習以為常，並不是冰冷的而是 有溫度的，並不是冷漠的而是有人情溫暖的，在平凡之中醞釀著獨特內斂的美。原來，台灣的堅 韌、熱情、活力、傳統與情感，從不曾完全淹沒在資本主義的理性之中，而是栩栩如生的扎根於在 地生活裡。這是許老師身心靈合一的攝影造詣所帶來的體悟，讓我對生活將近一甲子的台灣，有了 全新的眼光與感情。
許老師的熱愛攝影，眾人皆知。而日常生活中的他，幽默風趣，有他的地方，常常笑聲不斷，也因 此朋友遍及全台，只要一通電話，臺灣到處都可以是他落腳的地方。他活力充沛，熱情外向，看遍 臺灣的山水美景，吃遍臺灣的山珍海味。他可以迎著風，遠征臺灣三百里，他可以乘風破浪，擁抱 太平洋的浩瀚無涯。他敞開心胸，放開感官，享受臺灣這塊土地的熱情與光芒。人生，盡情恣意， 暢意快活，可以說他是「六感 (色、聲、香、味、觸、法)」盡出的生活達人，一點也不為過。
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許老師在攝影設備的精進上，也是攝影同行的先驅。前幾年，我們初次見面時，老師就已經使用 電腦軟體調校色彩，並用臺灣愛普生(Epson) 科技的投影機大畫面挑選作品、用大圖輸出機列印典 藏作品。從早期的部落格(Blog)到最近的專屬網站影像授權，皆使用最先進的營運模式推廣作品。 臺灣愛普生(Epson)科技也將於2012年初建構「攝影集分享與輸出服務」的平台 (www.photii. com) 。許老師將是「名人攝影館」的第一位館主，共同為攝影產業的發展盡一分心力。許老師 說：「『Photii』幫您的作品找到一個家；讓愛好者永久典藏。」我們也期望透過這個平台，得以 讓更多攝影同好，共同來推廣這個屬於我們的「家」。
無論是Photii還是臺灣這個家，都是許老師守護的對象。這位「光影魔術師」也將繼續循著下一道 光，為他發聲，書寫著他的下一封情書。
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Composed in Light and Shadow – A Love Letter to Taiwan
Sure A. Lee, President, Epson Taiwan Authors encapsulate life experiences in words; painters use brushstrokes to voice their loves, hatreds, passions and follies. It is thus not surprising that photographers like Jean Dieuzaide perceive photography not as historical anomaly but as the physical manifestation of ephemeral moments in time. It is the intensity of their passions, romanticism and determination that set photographers apart. Hsu Jau-pang is a particularly exceptional example. His passions for Taiwan have burned bright ever since he began taking pictures thirty years ago in 1978. Jau-pang has invested his emotive being and precious years of life to capturing Taiwan’s myriad splendorous facets on film. Whether exploring high mountain ridges or forest-cloaked valley streams, he has remained singularly focused on capturing beautiful moments. The innumerable kilometers clocked by his trusty RV bear silent witness to his similarly innumerable adventures across the island. His photographic collection is a microcosm of Taiwan itself, and his pictures embrace a rainbow of subjects from traditional industries and distinctive architecture to natural scenery, people and native flora and fauna. Jau-pang breathes into each image a life of its own. They are precious because he was there … they pull at our heartstrings because they tangibly reflect their author’s passions. Passionate, romantic and determined, Jau-pang has preserved for us 30 years’ worth of ephemeral light and shadow and written a one-of-a-kind love letter to Taiwan.
Jau-pang Hsu’s Taiwan Tapestry 2012 illustrates wonderfully how Hsu Jau-pang sees with his heart and explains with his soul to portray elegantly the essential vitality in everyday scenes. His perceptiveness has opened my eyes to everyday life’s vitality and warmth. Human warmth conquers indifference’s chill and stokes the warm embers present in even the most mundane of things. Jau-pang shows us that Taiwan’s resilience, geniality, vigor, traditions and compassion have not just weathered the onslaught of capitalist pragmatism, but continue to thrive, with roots generously nourished by society’s grassroots. This is the realization achieved by Jau-pang’s artistic integration of body and soul. He’s given me - someone who has spent his life of nearly sixty years on Taiwan - a wholly new perspective and appreciation for my home. Many are familiar with Jau-pang’s passion for photography. I further appreciate his sense of humor,
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which can fill a room easily with smiles and laughter. His network of friends ensures that he always has a place to stay anywhere his travels may take him. He is full of vigor and warmth and an unabashed extrovert. He’s experienced the length and breadth of Taiwan’s scenic wonder and tasted just about every local culinary delicacy available. The slightest inspiration or invitation is all it takes to coax him into a road trip. His artistic heart keeps him enamored with Taiwan’s verdant tapestry and the Pacific Ocean’s expansive embrace. Jau-pang experiences Taiwan’s unique warmth and brilliance with a pure heart and finely tuned senses. With such an easygoing and carefree approach to life, it would not be going too far to say that Jau-pang has optimized his six senses to the perfection of existence. Jau-pang has also been a pioneer in terms of camera equipment. He was already a proficient user of image processing software when we first met a number of years ago. He uses a high resolution Epson projector to select photos for archiving and a high quality wide-format printer to print out the photographs he wants to display. Beginning in early 2012, Epson will launch the all new Photii online photo sharing and printing service platform (www.photii.com). Hsu Jau-pang has graciously agreed to serve as the first administrator for the site’s professional photography section and help us continue exploring new niches for the photography business. He’s said that the Photii website gives photographs a much needed home … a permanent place for photographers to store and retrieve their photographic works. We look forward to many photographers and photography enthusiasts making the Photii platform their home in cyberspace. Hsu Jau-pang keeps an invaluable vigil over both Taiwan and Photii. This magician of light and shadow continues to follow the light … giving it a voice and preparing to compose his next “love letter”.
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一趟不孤單的文化紀實之旅
眭澔平
做為一位臺灣文化紀錄者，過去，我一直獨自的跑著。
後來，不知道從什麼時候開始，好幾次，在臺灣的原住民慶典、廟會活動、傳統祭典，我都會看到 一個身影，個頭不高，皮膚黝黑，眼睛炯炯有神，穿著T恤、短褲，俐落地扛著相機、腳架，穿梭 在活動場合之間。我那時還不知情，這幾次的不期而遇，因緣際會地開啟了我和釗滂在臺灣文化紀 實的旅程上，這段相知相惜的情誼。
從事臺灣文化傳統的影像紀錄，與其說是一種工作，倒不如說是一種情感的表現，是我們在面對快 速的時間流逝，盡其可能用手邊的一切，留住島上所有可貴的文化資產。釗滂用攝影捕捉每個動人 的瞬間，我用影片承載時間遊走的痕跡。臺灣，有著各種面貌的千嬌百媚，一次的紀錄不足以呈現 她所有的風華，我們長期駐點經營，一年多次深入同一景點，耗費心力與體力，竭盡所能的捕捉眼 前剎那，我們用生命呼應臺灣這塊土地的每一個呼吸、每一次脈搏，與這塊土地共鳴共奏，一個相 互認同的時刻，一個動人的時分。
我們會一起相約，南奔北走，穿越臺灣的高山峻嶺，在休旅車上，度過無數個疲倦的夜；或是，事 先毫不知情，卻不約而同出現在同一個文化祭典，無論是臺灣百年國慶記錄、鄒族戰神祭典或是臺 南蜈蚣陣，雙方友誼的手，伸出了援助，一次次辛苦的文化紀行才得以完成。相處久了，和釗滂之 間，有種無以名狀的信任與默契，逐漸成形。
跟釗滂相處過的人都知道，他為人質樸坦率，樂於和他人分享。他的攝影作品有著他的性格，給我 一種誠懇。這次，他要推出記錄臺灣30年的攝影精華《許釗滂—人．文．貳零壹貳》，也是出自 一顆分享的心。臺灣所有的美麗，封存在底片只是暫時，影像的傳承才能成就永恆。
那些就在生活周遭，不遙遠，卻因為過於熟悉而被忽視的一景一物，其實是動人的。不經意捕捉到 的素人笑靨，是這塊土地上流淌的活力，註記著臺灣的朝氣。一張張人物的勾勒，無論是老人的愁
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容滿面，或是孩子的天真無邪，這些曾經熟悉的面孔，喚起心中記憶的鐘擺，時間刻畫著存在的痕 跡。一段段在臺灣發生的故事，無論是俯拾即是的美麗，或是感人肺腑的真誠，是一張張釗滂影像 中的動人畫面，就在你我之間。
我一直佩服釗滂捕捉瞬間動感的能力，每當他看到一景一物，總是可以信手拈來，瞬間抓到畫面的 人文意境。或許，因為這片土地的意象已經深植於他的心中，因此，無論何時何地，他都可以找到 契合的頻率與角度，和這塊土地深切的對話。
在生活中，釗滂是個幽默風趣的人。他的開朗，他的健談，也讓他的朋友遍及全臺，他可以和素昧 平生的陌生人閒談兩句，聊開了，人家請他進家門喝茶吃飯，繼續聊天說地話家常。玉鈴就常常開 玩笑說：「給他一個碗，憑他的口才，還有討飯吃的功力，走遍臺灣不用擔心他會餓肚子。」
這是釗滂的真、釗滂的執著、釗滂的開朗與活力。
因為釗滂，這些年，一直深入在地記錄臺灣文化傳統的我，不孤單。
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A Welcome Companion on the Road to Documenting Taiwan’s Cultural Heritage
Hao-ping Hsu I spent much of my career as a commentator on Taiwan’s cultural heritage working alone. I can’t quite remember now just how long ago it was that I began noticing a face repeatedly showing up at the indigenous, religious and folk festivals I was attending. It wasn’t long before I began looking out for this stranger – short of build, with a deep-tanned complexion and fire in his eyes. He’d almost invariably show up wearing his trademark t-shirt and shorts and hauling a camera and tripod to and fro among the crowds. It was fate and a few chance meetings that finally brought us together. It was the start of Jau-pang and my shared journey into Taiwan culture and a friendship that has blossomed and grown ever more brilliant with time. Much more than simply a job, creating a visual record of Taiwan's cultural traditions has inspired our passions and awakened our deepest emotions. Anxious about its rapid disappearance and loss to posterity, we responded with an all-out effort to record and document this island's precious cultural heritage. Jau-pang’s artistic eye has created an extensive and poignant still-image record, while I’ve recorded in video all of our extensive travels and discoveries. One visit alone cannot possibly do justice to any of Taiwan's myriad enchantments. Therefore, this long-term project involved extended stays at numerous locations. We've returned multiple times to many places to capture life's sumptuous ebb and flow across time and through the calendar. We have invested ourselves fully in order to experience every breath, every heartbeat of this great land. We have moved in time to its rhythms. It has been a journey of mutual affirmation ... a journey of the heart. We’ve seen Taiwan’s width and breadth together and traversed its high mountains numerous times. Countless nights have seen us after an exhausting day of work sleeping in my spartan minivan parked on a vacant roadside. While we are separately attracted to cultural events such as the national centenary celebrations in 2010, the Tsou Mayasvi War Ritual and Tainan’s Wugong Martial Array, we’ve benefitted greatly from mutual friendship and support. It has proven essential to completing our individual missions to experience and record for posterity Taiwan’s profound cultural heritage. So many shared experiences have engendered an implicit trust that is as rare as it is precious.
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Those familiar with Jau-pang know him as unembellished, candid and perennially ready to share his thoughts and experiences. His photographs reflect his inner character, and I recognize in them his innate sincerity. Fed by his passion for sharing, Jau-pang’s new book, Jau-pang Hsu’s Taiwan
Tapestry 2012 , admirably condenses his three decades of earnest effort spent photographing Taiwan’s cultural soul. His photographs, portraying images still not far removed from our everyday life, are nonetheless both striking and unquestionably moving. Smiles inadvertently captured on film playfully hint at the energy of our land – a vitality that still defines Taiwan. Lines of hardship etched into an old man’s face, the look of innocence in a child’s eyes … all are familiar triggers to deeper memories and emotions rooted in our individual experiences. Whether visually beautiful or sincerely moving, every one of Jau-pang’s images reaches deep into the soul to strike a very human chord. I truly admire Jau-pang’s ability to capture the moment. His keen eye helps him confidently and invariably get just the right shot. Perhaps it is because the spirit of this land truly does live inside of him. Maybe it is this that helps him seemingly be always in tune with his surroundings … be at the right place and time to witness and communicate with consummate skill our shared cultural heritage. Jau-pang has a great sense of humor. He is open-minded, a wonderful conversationalist and enjoys friendships with people all over Taiwan. I’ve seen him make fast friends of strangers after only a few minutes’ chat. He’s a natural conversationalist who can strike up easily with just about anyone. His wife Yu-ling once joked that his gregariousness nature left her in no doubt that, with just an empty bowl in hand, her husband could travel the length and breadth of Taiwan and never want for food or drink. This is Jau-pang’s essence, his personal effort … his open-minded and dynamic spirit. Jau-pang’s companionship, friendship and support have enriched tremendously my own ongoing effort to record and document Taiwan’s cultural heritage.
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給默默在臺灣用影像紮根三十年的人，掌聲鼓勵
采泥國際文化事業有限公司總經理 林清汶
我出生在臺南北門海邊的小村莊—三寮灣，映照在北門潟湖的夕陽餘暉，是以前小學放學回家的 背景。我總愛騎著鐵馬，追著自己的影子跑。經過一塊塊格狀的鹽田，一顆顆結晶鹽堆疊成的白色 金字塔，總在太陽底下閃閃發亮。小時候，我總覺得家鄉有著鑽石礦。而當成群的黑腹燕鷗帶來冬 天的消息，就是一年又即將劃上休止符的時刻。
本來，我以為這些青春年少只是我腦海裡的往事回憶。直到有一天，我在滂哥的影像看到一座座白 色金字塔，閃耀著熟悉的光芒。一群群黑腹燕鷗的矯捷身影，在空中不斷變換隊形，合力演出一首 首協奏曲。當下，我好像又回到北門，好像又聽到了浪潮與燕鷗相互呼應的和聲。
認識了滂哥，看了更多他的攝影作品，我不僅看到我的年少，那是在打跑笑鬧中，無拘無束的天真 無邪；我也看到我的中年，那是關注孩子的神情，或是奮力為事業打拼的身影；或許也預言了我的 老年，這具與歲月搏鬥的身軀依然留存開朗暢懷的笑，於天地之間的昂然自得。一張張的照片，黑 白或彩色，細數了臺灣人的一生。彈指之間，滂哥透過光影，和時光接上了線，我們得以在過往中 尋找回憶，也和當下產生共鳴。
過去那個騎鐵馬小子長大了。我帶著源於臺灣的純樸情感，以及追求真、善、美的精神，和臺灣優 秀的藝術工作者一起合作，希冀為臺灣的美學紮根貢獻一份心力。當臺灣媒體版面充斥著政商名流 的八卦與緋聞，狗仔的鎂光燈始終投向羶色腥，我更關切的其實是在地默默耕耘的草根精神，不求 回報地奉獻自己畢生的精力，紀錄這塊土地的汗水與淚滴。尤其，臺灣的藝術工作者為了自己的家 鄉而奉獻，為了傳承臺灣的美麗而努力，和自己命運一次次的搏鬥，這樣的故事，總是熱血而令人 慷慨激昂。滂哥尤是其中的翹楚。在他的人文景象中，烙印著他的關懷與情感。當本土成為一種圖 騰，愛臺灣儼然成為神聖的象徵，在地忠實30年的紀錄，與歲月拔河，他從未放手。燃燒的熱與 血，付出的汗與淚，造就他的攝影功力是出神入化的境界；走遍臺灣，朋友也遍及臺灣，他愛台灣 的熱情，勝過任何人。
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我和滂哥認識有一段很長的時間，做為一位攝影美學愛好者，我是他最忠實的粉絲；身為一個企業 主，我對於能夠提供一個藝術平台，讓更多人欣賞滂哥如光影魔術師般的攝影技法，還有臺灣人 文的溫潤質樸，深感榮幸。「許釗滂—人．文．貳零壹貳」是一本完完全全屬於「臺灣」的作品 集，就是你我之間的故事，饒富情感感性，透過滂哥的光與影，我們可以感到驕傲，原來這是我們 的土地，我們的家，我們不是過客，而是這些美麗的見證者，也是實踐者。
攝影，是滂哥的舞台。
給滂哥的掌聲，我早已準備好了。
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Accolades for Jau-pang Hsu’s Three Decades of Devotion to Taiwan
Vincent Lin, President, Charming Art Corporation I come from the small village of Sanliaowan along the Beimen Coast near Tainan. The fading light of day along Beimen’s tidal flats is an image central to my memories of primary school. I reveled in riding my bike and playing tag with my elusive shadow. The daily journey home invariably took me past the area’s patchwork of salt fields and their snow-white mounds of sea salt glistening in the sunlight. My young mind had a sneaking suspicion that area salt farmers were actually mining diamonds. The annual arrival of whiskered tern flocks was a sure signal that the long summer had ended and winter would soon arrive – the endnote to another year in our small corner of the world. I’d long since come to feel those vivid memories to be the idyllic imaginings of a distant childhood. That was, until I discovered beautifully captured images of gleaming white salt pyramids and squadrons of whiskered terns in familiarly precise, fluidly rhythmic formation in a good friend’s photo collection. Jau-pang’s pictures opened the floodgates on a torrent of memories. I could almost hear the lapping waters of the Taiwan Strait and the shrill calls of those terns in flight. I’ve seen more of Jau-pang’s collection as our friendship has grown. His pictures have not only resurrected countless memories of a happy and carefree childhood by the sea, they’ve shown me reflections of my growth into adulthood and the professional world. Perhaps his photos also hint at what lies in wait for me in the coming autumn of life. I am particularly taken by his images of senior citizens, smiling contentedly at time’s relentless passage through knowing, wizened eyes, deep-set in faces wrinkled and worn by the years. Each photograph, whether in color or black and white, tells a story of life on Taiwan. With a deft shutter click, Jau-pang preserves ephemeral combinations of light and shadow. He has given us the means to rediscover and enjoy our memories again. The boy on the bike has since grown up. It is with the purest of intentions and a desire to pursue beauty’s inherent truth that I began my association with this outstanding homegrown artist. I look to do my part in nourishing and strengthening Taiwan’s aesthetic foundations. This era, dominated by news of rumors, scandals and rampant consumerism and reporters chasing the latest sordid scoop, has made me value even more the inspired fortitude and vision of those working in the shadows and often without compensation to enliven communities and enrich society. They are the true reporters, witnesses to this land’s sweat and tears. The creative works of Taiwan’s artists enrich their
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hometown, their region and nation. Driven to share Taiwan’s beauty with future generations, they invest everything. Such stories fill me with pride. Jau-pang is one of these outstanding individuals. His photographs effervesce with passion and warmth for Taiwan and its people. Jau-pang’s artistic treatment of “everyday” Taiwan has infused Taiwan and its people with mythic dignity. Through three decades of photographs and the difficult demands of this consuming passion, Jau-pang has never let up. His passions and relentless dedication have made his photography truly second to none. Having explored nearly every corner of Taiwan and taken numerous friends along for the ride, his love for this island, his humanity and his conduct are beyond reproach. Jau-pang and I have been friends for many years. My passions for the aesthetics of photography have made me one of Jau-pang’s staunchest fans. As a businessman, I am honored to be able to provide a platform that will hopefully bring Jau-pang’s photographic “magic” and the innate warmth of Taiwan’s human landscape to a much wider audience. Jau-pang Hsu’s Taiwan Tapestry 2012 directs the aesthetic spotlight on Taiwan alone and narrates the story of “us”. Jau-pang’s images weave a stirring storyline in which we can all be proud. Taiwan, we find, belongs to us all. It is our home. We are not passersby, but, rather, witnesses and creators of beauty. Photography is Jau-pang’s medium. Please give Jau-pang a richly deserved round of applause. I’ve been waiting for this for a long time.
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【攝影是一門生活的藝術】
許釗滂
攝影是一門生活的藝術。藝術的內涵，在於透過技巧刻畫、感情投入，真實展現美的面貌。攝影即 是藝術的昇華，除了技術的不斷修練、構圖的精心設計以外，還需要一顆真誠的心、將對人事物良 善的意念，藉由客觀的審視，轉化為普羅大眾腦海裏最深刻的意境。身為攝影藝術家，我著墨於色 調、質感與光比的新思維，追求傳統與現代的內在交融與外在合璧，激勵自己不斷地精進藝術的層 次，也提升在攝影領域裏對真善美的體會。
攝影是生活的時光機，我從小在臺灣東海岸的漁村小鎮長大，在純樸的環境中體驗生活，當漁民艱 辛的與命運搏鬥，以智慧力抗大海、用經驗征服環境的過程裏，我了解到 「生活是嚴峻的、生命 是頑強的」。這種被惡劣環境所激發的頑強生命力，驅使我透過攝影，歌詠出基層人民對生存永不 放棄希望的禮讚。將生活的點滴刻劃成一幅幅真實傳達意念的作品，希望在未來的百年甚至千年， 當人們欣賞攝影藝術之美時，也能提醒人們在當時生活困頓的艱難環境中，大地母親無私的給予、 回饋，進而產生心靈之弦的共鳴，以此自醒－用更謙卑的態度來面對大自然的付出。
攝影是一種瞬間的美學，瞬間產生於必然中的偶然。而按下快門的瞬間，剎那即是永恆，則是偶然 中的必然。我捕捉影像瞬間的偶然，生成攝影美學的必然。於是，每每執起相機，體現著世間萬物 的雄渾、厚重、博大而深沉，這一切的一切，舉目所及往往讓我激動不己。立於天地之間，俯瞰世 間萬物，在頃刻的當下，我的相機伴著我，願獨覽所有的大千風華，成撫慰眾人的心靈圖畫。
人生的學習是一條長遠的路，我的攝影之路，並非坦途。過去我曾經徬惶不知道未來的方向何在。 當我偶然拿起相機那一刻，內心一股熊熊的熱情不停翻攪，有一個強大的力量牽引我，我狂喜、激 動不己，我知道走上攝影之路是我畢生的夢想與職志。我要用一輩子的時間去了解一件最單純的事 情，這也是我人生唯一的資產，就像在跑人生馬拉松，不到生命最後不知結果。
我常與學生分享，攝影藝術的路途遙遠又寂寞，要能耐得住考驗。風吹、日曬、雨淋，拼颱風、逞 暴雨，都是家常便飯，只為了拍出一張令自己滿意的作品。在這一本《許釗滂—人．文．貳零壹
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貳》中，收錄長久以來我與生活的這塊土地，耗費心血、搏出真感情的親身體驗，一張一張保留下 來，忠實而完整地呈現臺灣人文之美。
攝影之路行走至今，我不再為「拍什麼」而煩惱，不再為「為什麼而拍」而苦惱，我不再為「怎麼 拍」而憂愁，因為「謙卑」與「惜福」早已開啟我的心靈視野，「感恩」與「奉獻」早已內化到我 的個人情感之中。攝影家的個人思想情懷以及對於大自然造化之感受乃是經年累月醞釀而成。當我 的內心情感與大自然共鳴合奏時，以心靈掌鏡，靈感紛紛湧現，大自然俯拾即是，皆成為鏡頭下 的良辰美景。拍攝臺灣近30年的時間，相機腳架陪著我，征服高山，眺望大海，流過無數的汗水 與淚水，體驗無數的困苦與艱辛，我的每一件攝影作品蘊含著我對臺灣的情感與感動，還有我最誠 摯的愛。攝影是一件怡神、怡心、怡身的功課，好的攝影作品要讓觀賞者能細細咀嚼、回味再三、 神清氣爽。我用心拍攝，作品之中有愛有淚有苦澀也有甜蜜，如果沒有長期深入，真實體察與誠摯 純真的愛，是難以辦到的。儘管藝術的語言是無國界的，唯有長期深入的體驗和領略，以真誠的愛 心，才能完成觸動人心的作品，引領人們進入生命裏最美的殿堂。
於是，我與相機許下一個今生約定，要把臺灣的感動片刻一一收納入鏡，以底片紀錄臺灣永恆的山 水，高唱臺灣的生命禮讚，繚繞直到天際。
我願以《許釗滂—人．文．貳零壹貳》這本書，與您分享寶島臺灣的人文關懷及對大自然造化的 感恩之心，讓您也能從中感受到我為臺灣攝影搏下生命的真情真意，並邀請您一起為臺灣付出關 懷，共創臺灣永恆的扉頁。
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[ Photography and the Art of Living ]
Jau-pang Hsu Photography and the “art of living” are intimately entwined. A combination of practiced technique and inspiration, photography has the precious ability to impart physical form to enigmatic beauty. It is a highly refined form of artistic expression. Apart from technique and an artistic eye, photographers must maintain a candid innocence - treating subjects objectively to create striking images that resonate genuinely with audiences. I am a photographer devoted to realizing and extending the possibilities of color, texture and light. I work for the harmonious integration of the essence and form of traditional and modern styles to enhance my own artistic accomplishments and more fully appreciate photography’s fundamental aesthetic merits. Photography is a portal into the past. I grew up in a small fishing village on Taiwan’s East Coast. The simplicity of village life, the way the community fought for and valued life, their daily struggles against the elements … all provided invaluable lessons on nature’s cruel realities and life’s stubborn persistence. It was precisely this struggle of life against its pitiless environment that led me to pick up a camera in the first place. My photographs would be my gift - a memorial to the pluck and persistence of the common man. I’ve worked to give each image inherent meaning, and hope that centuries from now their perspective on Mother Earth’s selfless generosity amidst hardship will continue to inspire soulful reflection. My ideals help remind me to approach nature always with reverence and respect. Photography embodies the aesthetics of the moment - the beauty and uniqueness bundled into everyday reality. A click of the shutter freezes the moment to give permanence to the ephemeral. I’ve made a career of weaving life’s ephemeral moments into the photographic arts. The camera lens makes me super-sensitive to the majesty, importance and manifold nature of our world and its creatures. Everything is cause for celebration and touches my heart. At the intersection of heaven and earth, I am a camera-wielding observer of precious moments. A solitary traveler across life’s spectacular landscape, I hope my images touch countless hearts. True learning takes a lifetime to achieve, and my photographer’s has been far from smooth. Trepidations about the future, however, dissipated almost as soon as I picked up my first camera. The passion in my soul drew me in ever deeper until I knew I had to make photography my inspired vocation as well as my avocation. I have dedicated my life to understanding something really quite
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simple. It is my entire world, although, like everything still in progress, the ending to my story has yet to unfold. As I am fond of telling my students, photography is a long and lonely journey that demands bucket loads of patience and stamina. Gusting winds, torrid heat and bone-chilling rains are often the basic price of admission for catching just one “perfect” shot. Jau-pang Hsu’s Taiwan Tapestry 2012 distills the essence of my lifelong relationship with Taiwan. Each image reflects with honesty and perfection its awe-inspiring beauty and distinctive culture. I’ve long stopped concerning myself with the hows, whats and whys of photography. I have been doing this long enough to appreciate the value of humility and good providence. Being grateful and giving of myself are now second nature. A photographer’s emotive intuition and personal appreciation of the natural world come only after years of experience. When I share an emotional wavelength with my surroundings, I perceive the beauty of nature in whatever direction I point my lens. My camera and its accouterments have been constant companions these past three decades, sharing my innumerable journeys across the length and breadth of this land. It has been a deeply emotional experience replete with joys, sorrows, hardships and hard-earned victories. Every image encapsulates my devotion and passions for my home. Photography is a labor of love … an inspiration for the heart, body and soul. Every photograph should inspire closer examination, welcome revisits and leave a viewer fulfilled and satisfied. My hard earned images capture every flavor in the emotional spectrum. Such emotional depth and honesty reflects years of impassioned investment. While art may be a universal language, honest experience and dedication remain the only real way to produce works that touch the heart and beckon viewers to welcome their full aesthetic embrace. I long ago made a pact with my camera to record Taiwan’s most memorable moments together … to capture on film Taiwan’s breathtaking scenery and rich tapestry of life.
In Jau-pang Hsu’s Taiwan Tapestry 2012 , I am proud to share my love for Taiwan’s distinctive culture and the utter awe that I continue to feel for her natural wonders. I hope the photographs and words within inspire similar feelings in you as well. I welcome you to share your life and love as well with Taiwan … to ensure together Taiwan’s eternal legacy.
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【編輯後記】
杜綺文
這是許老師和他的臺灣人文，他們相約在橫亙臺灣的公路上，寄情於人世間的談笑風生。他們感情 好，這趟旅程要到天荒地老。本來，我只是執著一支路過的筆，卻在一個時空交錯下，也轉身變成 公路上的旅人。
我從來沒有想過我可以和臺灣這麼近。跟著老師的休旅車，一趟外拍的行程就是橫跨臺灣三四個縣 市。大學的時候，環島是每年暑假最期待的行程，卻也都成為錯過的風景。後來出了社會，生活慢 慢被工作填滿而不自知。剎那間忘記了花蓮的山，墾丁的海，宜蘭的搶孤和臺南的燒王船，從來都 沒有變心的等在那裡，只是我們善於遺忘。後來，跟著老師外拍久了，發現從臺北到高雄，只有兩 個字的距離，叫做「出發」。我們需要的，只是拾起行動的勇氣與動力。
臺灣的人情如一酌溫醇的酒，不是強烈的在體內發酵，而是舒緩的暖入心房。這暖，如同冬陽那和 煦的一抹微笑，悠悠淺淺，是不會灼傷人的熱情。或許，我們總是容易忽略眼前的一切，有時候不 是不懂珍惜，而是因為太過熟悉，容易習以為常。影像流轉蘊藏的驚奇，除了視覺美學所帶來的愉 悅之外，或許就是讓我們在熟悉的事物中找到嶄新的看法。
這不僅是一本攝影集，也是用視覺美學的方式，一次紀錄臺灣的在地生活集。在過程中，一切看似 熟悉，卻交織著陌生，我們以為的瞭解，其實隱藏著未知。所以，從我們熟悉的場景開始，一起探 索未知的部分。如果這一切可以讓你和這塊熟悉的土地重新找到一個連結，一點信仰或力量，那 麼，過去那些失眠的夜，也會微笑入眠。
在這趟旅程中，我們是一群熱情又瘋狂的旅客，那些燃燒的精力、時間、健康甚至是女人寶貴的青 春呀，是對於臺灣這片土地的真誠回饋，就像我們在這一趟趟外拍的旅程中所感受到的一樣。
這本攝影集完成的同時，我也完成了夢想已久的環島之旅。對我而言，最大的收穫莫過於心中的臺 灣圖像，不再只是地理課本上的圖片與文字，而是，一步步行旅，用我的雙腳走，張開眼睛看，張
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開耳朵聽，聽臺灣說，聽臺灣自己告訴我。
這就好像是我和臺灣的第一次邂逅。
我也還在那公路上，還是那旅人。
謝謝一路走來始終支持我們的熱血與瘋狂的你們：一樣熱血的攝影同好，熱心慷慨的企業前 輩，熱情友善的親朋好友，許老師的死忠粉絲與學生們，還有，永遠體諒包容的最親愛家人 們，因為你們，這一切才成為可能 —
這本攝影集，還有我們都熱愛的臺灣
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[ Editorial Postscript ]
Audrey Tu Chi-wen This is the story of Jau-pang Hsu and his Taiwan. They first met on one of those roads that meander from west to east across the island’s mountainous interior and proceeded together to weave a story of adventure and joy. They are a natural pair, and their itinerary is a never-ending journey. Originally just asked to write some passing thoughts, I was instead drawn into their vortex and transformed into a fellow traveler. I’d never in my wildest imaginings thought I would ever get so up close and personal with Taiwan. One photo shoot with Jau-pang invariably involves a journey spanning three or more counties. As a university student, summertime trips around Taiwan were eagerly anticipated and enjoyed … but, looking back, I never really stopped to appreciate the scenery. After graduation, work engulfed much of my attention and time. Hualien’s mountains, the sea off Kenting, Yilan’s ghost festival and Tainan’s boat burning festival … While all waited patiently, it was I who had turned away from them. It was only later on, when I had already joined Jau-pang on numerous trips, that I realized that any place on Taiwan was just two short words away. “Let’s go!” was all the encouragement I needed to put my normal life on hold and hit the road to another adventure. Taiwan is like a good bottle of wine. It goes down smooth and warms the heart. Taiwan’s warmth is like the smile of sunshine in winter – familiar and unforgettable. It is likely true that the beauty closest to us is most easily overlooked. Sometimes, it’s not necessarily that we don’t value what we have, but rather that what we have is so familiar … so easy to accept as commonplace. Apart from aesthetic pleasure, photographs offer the potential for viewers to make unexpected discoveries in everyday things. More than a collection of photographs, this book is an aesthetic feast for the eyes that offers an expansive look into life on Taiwan. I can assure you that everything within will look familiar and strange. That in which we believe ourselves familiar invariably hides uncertainty. Jau-pang’s photographs start with the familiar to explore the unknown, giving viewers an opportunity to see Taiwan anew. It is our sincerest hope that if we can link you up once again with this supposedly familiar land, inspire a bit of faith or inspiration, we can finally put to peaceful sleep those many sleepless nights. We join this journey as passionate, zany travelers - energies, time, health and precious youth invested
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enthusiastically in appreciation of our island home. It is what we’ve experienced on our many photo shoots. This has been my first experience working with Jau-pang. In completing this compilation of inspired photographic works, I accomplished a longstanding dream of my own – circling the entire island. The vivid memories of all the places I visited are what I treasure most. No longer are these places simply text and pictures in a geography textbook. They are lived experiences, explored on my own two feet and interpreted through my own eyes and ears. I’ve listened to the voices of Taiwan, and she has shared herself with me. I’ve never been closer to Taiwan. I’m still the wide-eyed girl hiking that country road; I’m the traveler.
I want to express my deepest appreciation to fellow photography enthusiasts, those who have been my mentors and teachers, my many warm and giving friends, Jau-pang’s loyal fans and students, and my perennially supportive and accepting family. You have made possible this photography book and our shared deep and growing relationship with Taiwan.
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臺 灣 趣 味 [ Taiwan Flavors ] P.08-09
鹿港老街，彰化 Old Street in Lugang, Changhua County 彰化 Changhua County 24 mm F/2.8 f11 s1/125 ISO400
P.12
北埔，新竹 Beipu, Hsinchu County 70-300 mm F/4.5-5.6 f5 s1/1600
P.14-15
蘇澳港，宜蘭 Su-Ao Harbor, Yilan County
P.16-17
頭前溪，新竹 Touqian Stream, Hsinchu County
EF70-200mm F/2.8L USM f2.8 s1/800 ISO400 17-35mm F2.8 f8 s1/25 ISO200
臺 灣 即 景 [ Taiwan Scenes ] P.20
成功漁港，臺東 Chenggong Fishing Harbor, Taitung County 24-70 mm F/2.8 f10 s1/50 ISO100
P.21
成功漁港，臺東 Chenggong Fishing Harbor, Taitung County 24-105 mm F/4 f13 s1/4 ISO400
P.22-23
成功漁港，臺東 Chenggong Fishing Harbor, Taitung County
P.26-27
日月潭，南投 Sun Moon Lake, Nantou County
P.28-29
墾丁，關山 Kenting, Guanshan
P.30-31
墾丁，關山 Kenting, Guanshan
EF16-35mm F/2.8L II USM f14 s1/60 ISO400
︻拍攝地點與攝影數據︼
70-200 mm F/2.8 f6.3 s1/40 ISO100 P.11
24-70 mm F2.8 f14 s1/60 ISO200 250mm F5.6 f8.5 s1/60 ISO100 70-200mm F2.8 f11 s1/60 ISO100 P.33
三仙臺，臺東 Sanxiantai, Taitung County 70-200 mm F/2.8 f8 s1/60 ISO100
P.34
西湖，苗栗 Xihu, Miaoli County 24-105mm F/4 f7.1 s1/400 ISO200
P.35
白河，臺南 Baihe, Tainan County 400mm F/2.8 f3.2 s1/2000 ISO200
P.36-37
芳苑，彰化 Fangyuan, Changhua County
P.38-39
海岸工業區，彰化 Coastal Industrial Park, Changhua County
24-70 mm F/2.8 f7.1 s1/250 ISO100 24-70mm F/2.8 f16 s1/60 ISO200 P.40
新港，嘉義 Xingang, Chiayi County 70-300 mm F/4.5-5.6 f5 s1/200 ISO400
P.43
寶山，新竹 Baoshan, Hsinchu County 24-70 mm F/2.8 f5 s1/125 ISO400
P.44
寶山，新竹 Baoshan, Hsinchu County 24-70 mm F/2.8 f5 s1/250 ISO320
P.45
寶山，新竹 Baoshan, Hsinchu County 24-70 mm F/2.8 f5 s1/500 ISO320
P.46-47
寶山，新竹 Baoshan, Hsinchu County
P.48-49
寶山，新竹 Baoshan, Hsinchu County
24-70 mm F/2.8 f5 s1/80 ISO200 24-70 mm F/2.8 f5 s1/160 ISO320 P.50
武界，南投 Wujie, Nantou County 70-200 mm F/2.8 f5.6 s1/125 ISO100
P.53
新光，新竹 Xinguang, Hsinchu County 70-200 mm F/2.8 f5.6 s1/125 ISO100
P.54-55
十分車站，新北市 Shifen Train Station, New Taipei City
P.56-57
集集火車站，南投 Jiji Train Station, Nantou County
EF24-105mm F/4L IS USM f6.3 s1/60 ISO400 EF24-105mm F/4L IS USM f13 s1/20 ISO100 P.59
九份，新北市 Jiufen, New Taipei City 24-70mm F/2.8 f6.3 s1/40 ISO50
238
Location and other photo data
臺 灣 廟 宇 [ Taiwan Temple ] P.62-63
北港朝天宮，雲林 Chaotian Temple, Beigang, Yunlin County
P.64-65
鹿耳門天后宮，臺南 Matsu Temple, Luermen, Tainan County
70-200 mm F2.8 f6.3 s1/15 ISO100 80-200 mm F4 f8 s1/25 ISO100 P.67
鹿耳門天后宮，臺南 Matsu Temple, Luermen, Tainan County 16-35 mm F2.8 s1/50 ISO100
P.68
義民廟，新竹 I-Min Temple, Hsinchu County 70-300 mm F/4.5-5.6 f5.6 s1/30 ISO100
P.69
義民廟，新竹 I-Min Temple, Hsinchu County 24-70 mm F/2.8 f3.2 s1/100 ISO200
P.71
鹿耳門天后宮，臺南 Matsu Temple, Luermen, Tainan County 80-200 mm F4 f5.6 s1/500 ISO100
P.73
義民廟，新竹 I-Min Temple, Hsinchu County 70-300 mm F/4.5-5.6 f6.3 s1/500 ISO200
臺 灣 女 性 [ Taiwan Women ] P.77
鹿港天后宮，彰化 Matsu Temple, Lugang, Changhua County
P.78-79
鹿港天后宮，彰化 Matsu Temple, Lugang, Changhua County
75-300mm F/4.5-5.6 f5.3 s1/45 ISO800 EF70-200mm F/2.8L USM f7.1 s1/30 ISO125 P.81
北港，嘉義 Beigang, Chiayi County 75-300mm F/4.5-5.6 f5.6 s1/125 ISO200
P.82
義民廟，新竹 I-Min Temple, Hsinchu County
P.84-85
恆春，屏東 Hengchun, Pingtung County
70-200 mm F4 f5.6 s1/250 ISO50 EF24-105mm F/4L IS f5 s1/80 ISO50 P.87
竹北，新竹 Nikon D4 85mm F1.8 f2.8 s1/400 ISO100
親 子 [ Family ] P.92
三棧溪，花蓮 Sanzhan Stream, Hualien County EF24-105mm F/4L IS f10 s1/60 ISO100
P.93
秀林，花蓮 Xiulin, Hualien County
P.94-95
秀林，花蓮 Xiulin, Hualien County
24-105 mm F4 f9 s1/50 ISO100 EF17-35mm F2.8L USM f10 s1/80 ISO100 P.96
義民廟，新竹 I-Min Temple, Hsinchu County 18-35mm F3.5-4.5 f6.7 s1/90 ISO100
P.97
義民廟，新竹 I-Min Temple, Hsinchu County
P.100
北港，嘉義 Beigang, Chiayi County
P.101
北港，嘉義 Beigang, Chiayi County
P.102-103
北港，嘉義 Beigang, Chiayi County
P.104
鹿港天后宮，彰化 Matsu Temple, Lugang, Changhua County
P.105
鹿港天后宮，彰化 Matsu Temple, Lugang, Changhua County
P.106-107
新埔，新竹 Xinpu, Hsinchu County
18-35mm F3.5-4.5 f6.7 s1/30 ISO100 EF70-200mm F2.8L f4 s1/30 ISO200 EF70-200mm F2.8L f3.2 s1/80 ISO200 EF70-200mm F2.8L f4 s1/80 ISO200 EF70-200mm F2.8L f5.6 s1/60 ISO400 EF70-200mm F2.8L f2.8 s1/1000 ISO400 24-70 mm F2.8 f2.8 s1/60 IS400 EV -2
原 住 民 之 文 面 譜 學 [ Indigenous Facial Tattoos ] P.112
賽德克族，花蓮 Ethnic Seediq, Hualien County 24-70 mm F2.8 L IS f3.5 s1/100 ISO400
239
P.113
泰雅族，苗栗泰安 Ethnic Atayal, Tai-An, Miaoli County
P.114-115
賽德克族，花蓮 Ethnic Seediq, Hualien County
P.116
泰雅族，苗栗泰安 Ethnic Atayal, Tai-An, Miaoli County
P.117
泰雅族，苗栗泰安 Ethnic Atayal, Tai-An, Miaoli County
P.118
排灣族，臺東金崙 Ethnic Paiwan, Jinlun, Taitung
P.119
賽德克族，南投霧社 Ethnic Seediq, Wushe, Nantou County
P.120-121
泰雅族，苗栗泰安 Ethnic Atayal, Tai-An, Miaoli County
P.123
賽德克族，南投霧社 Ethnic Seediq, Wushe, Nantou County
EF100-400mm F4.5-5.6L IS USM f67.1 s1/125 ISO200 EF24-105mm F4L IS USM f7.1 s1/60 ISO400 EF100-400mm f4.5-5.6L IS USM f7.1 s1/200 ISO400 EF100-400mm F4.5-5.6L IS USM f7.1 s1/125 ISO400 EF100-400mm F/4.5-5.6L IS USM f6.3 s1/80 ISO400 EF24-105mm F/4L IS USM f7.1 s1/60 ISO400 EF100-400mm F4.5-5.6L IS USM f5.6 s1/160 ISO400 EF100-400mm F/4.5-5.6L IS USM f7.1 s1/80 ISO400
古 厝 [ Traditional Mansion Homes ] P.126 P.127 P.128-129 P.130 P.131 P.132 P.133 P.135 P.137 P.138-139 P.140 P.141 P.143 P.144-145 P.146 P.148-149 P.150-151 P.153 P.154 P.156 P.159
240
芳苑，彰化 Fangyuan, Changhua County 18-55 mm F/3 f3.5 s1/160 ISO100 劉氏宗祠，新竹新埔 Ancestral Hall of Liu Family, Xinpu, Hsinchu County Canon EOS 7D EF24-105mm F/4L IS USM f4.5 1/40sec 關廟，臺南 Guanmiao, Tainan County 70-200 mm F/2.8 f8 s1/30 ISO400 關廟，臺南 Guanmiao, Tainan County 70-200 mm F/2.8 f8 s1/30 ISO400 關廟，臺南 Guanmiao, Tainan County 24-70 mm F/2.8 f5.6 s1/100 ISO400 佳里，臺南 Jiali, Tainan County 24-70 mm F/2.8 f5.6 s1/25 ISO400 芳苑，彰化 Fangyuan, Changhua County 24-70 mm F2.8 f2.8 s1/30 ISO640 新埔，新竹 Xinpu, Hsinchu County 24-70 mm F2.8 f4.5 s1/125 ISO400 竹北，新竹 Zhubei, Hsinchu County 24-70 mm F2.8 f8 s1/30 ISO400 西螺戲院，雲林 Xiluo Theater, Yunlin County EF24-105mm F4L IS USM f5.6 s1/25 ISO400 西螺戲院，雲林 Xiluo Theater, Yunlin County EF24-105mm f4L IS USM f8 s1/30 ISO400 西螺戲院，雲林 Xiluo Theater, Yunlin County EF80-200mm F4 f8 s1/60 ISO400 西螺戲院，雲林 Xiluo Theater, Yunlin County EF24-105mm F4L IS USM f4 s1/20 ISO400 西螺戲院，雲林 Xiluo Theater, Yunlin County Canon EOS-1Ds Mark III EF24-105mm F/4L IS USM f6.3 s1/40 問禮堂，新竹竹北 Wenli Hall, Zhubei, Hsinchu County EF14mm F2.8L USM f10 s1/50 問禮堂，新竹竹北 Wenli Hall, Zhubei, Hsinchu County EF14mm F2.8L USM f18 s1/5 ISO100 問禮堂，新竹竹北 Wenli Hall, Zhubei, Hsinchu County EF24-105mm F4L IS USM f20 s1/13 問禮堂，新竹竹北 Wenli Hall, Zhubei, Hsinchu County EF24-105mm F4L IS USM f22 s1/25 問禮堂，新竹竹北 Wenli Hall, Zhubei, Hsinchu County EF14mm F2.8L USM f20 s1/50 北埔，新竹 Beipu, Hsinchu County 24-70 mm F2.8 f2.8 s1/400 ISO100 北埔，新竹 Beipu, Hsinchu County 24-70 mm F2.8 f3.2 s1/1000 ISO100
P.160-161 P.162 P.165 P.167 P.169
北埔，新竹 Beipu, Hsinchu County 24-85 mm F4.0-5.6 f5 s1/60 ISO400 北埔，新竹 Beipu, Hsinchu County 24-85 mm F4.0-5.6 f5.6 s1/25 ISO100 北埔，新竹 Beipu, Hsinchu County 24-85 mm F4.0-5.6 f5.6 s1/800 ISO200 北埔，新竹 Beipu, Hsinchu County 24-70 mm F2.8 f9.0 s1/40 ISO1000 北埔，新竹 Beipu, Hsinchu County 24-70 mm F2.8 f9 s1/8 ISO1000
老 人 [ The Elderly ] P.172-173 P.174 P.176 P.177 P.178 P.179 P.180-181 P.183 [1] P.183 [2] P.185 P.186-187 P.188 P.189 P.190-191 P.193 P.194-195 P.196 P.198 P.199 P.200-201 P.202-203 P.204-205 P.206-207
鹿港，彰化 Lugang, Changhua County 24-105 mm F4 f8 s1/30 ISO200 芳苑，彰化 Fangyuan, Changhua County EF70-200mm F2.8L f5 s1/40 ISO100 竹北，新竹 Zhubei, Hsinchu County EF70-200mm F2.8L f5 s1/100 ISO800 竹北，新竹 Zhubei, Hsinchu County EF70-200mm F2.8L f5.6 s1/50 ISO400 布袋，嘉義 Budai, Chiayi County 24-70 mm F2.8 f5 EV-0.3 s1/60 ISO50 芳苑，彰化 Fangyuan, Changhua County 24-70 mm F2.8 f5.6 EV-1.0 s1/200 ISO50 嘉義 Chiayi County 24-70 mm F/2.8 f8 s1/60 ISO200 鹿港，彰化 Lugang, Changhua County 24-70 mm F/2.8 f16 s1/40 ISO200 鹿港，彰化 Lugang, Changhua County 24-70 mm F/2.8 f11 s1/50 ISO200 鹿港，彰化 Lugang, Changhua County 24-70 mm F/2.8 f5.6 s1/320 ISO200 竹北，新竹 Zhubei, Hsinchu County 55mm F2.8 f10 s1/80 ISO100 北埔，新竹 Beipu, Hsinchu County 70-300 mm F4.5-5.6 f6.3 s1/250 ISO200 成功漁港，臺東 Fishing Harbor, Taitung County 24-70 mm F2.8 f3.2 s1/250 ISO100 嘉義 Chiayi County 24-70mm F2.8 f4.5 s1/250 ISO200 北埔，新竹 Beipu, Hsinchu County 350mm F5.6 f8 s1/60 ISO100 竹北，新竹 Zhubei, Hsinchu County EF70-200mm F/2.8L f5.6 s1/60 ISO400 竹北，新竹 Zhubei, Hsinchu County 24-70 mm F2.8 f5.6 s1/60 ISO400 義民廟，新竹 I-Min Temple, Hsinchu County EF70-200mm F2.8L f4.5 s1/640 ISO200 城隍廟，新竹 Chenghuang Temple, Hsinchu County 24-70 mm F/2.8 f8 s1/25 ISO100 六甲，臺南 Liujia, Tainan County 80-200mm F4 f5.6 s1/320 ISO100 峨眉，新竹 Emei, Hsinchu County 24-105 mm F4 f6.3 s1/60 ISO400 加津林溪，臺東 Jiajinlin Stream, Taitung County Canon EOS 7D EF24-105mm F/4L IS USM f6.3 s1/60 臺東 Taitung 24-105 mm F4 f4.5 s1/30 ISO200
241
許釗滂 － 人．文．貳零壹貳 作者
許釗滂
文字
杜綺文
總編輯
林清汶
執行編輯
杜綺文
美術設計
Fritz Lee
翻譯
Jeff Miller
出版發行
采泥國際文化事業有限公司 23585 新北市中和區建康路160號11樓 TEL (02)2221-9969 FAX (02)2226-4622 http://www.charmingart.com.tw
總經銷
創智文化有限公司 23674 新北市土城區忠承路89號6樓 TEL (02)2268-3489 FAX (02)2269-6560
劃撥帳號
5001551
戶名
采泥國際文化事業有限公司
定價
新台幣 799元
初版
2012年5月
版權所有
翻印必究
本書如有缺陷、破損、裝訂錯誤，請寄回本公司更換
Jau-pang Hsu’s Taiwan Tapestry 2012 Author
Jau-pang Hsu
Writer
Audrey Tu Chi-wen
Chief Editor
Vincent Lin
Executive Editor
Audrey Tu Chi-wen
Designer
Fritz Lee
Translator
Jeff Miller
Pulisher
Charming Art International Corporation 11F., No.160, Jiankang Rd., Chung-Ho Dist., New Taipei City 23585, Taiwan TEL (02)2221-9969 FAX (02)2226-4622 http://www.charmingart.com.tw
Distributor
Creative Agency Corporation 6F., No.89, Zhongcheng Rd., Tucheng
Dist., New Taipei City 23674, Taiwan TEL (02)2268-3489 FAX (02)2269-6560 Account Number
5001551
Account Name
Charming Art International Corporation
Price
TWD 799
First Print
May, 2012
Copyrighted material. All rights reserved Incomplete or damaged copies will be replaced upon return to the publisher. 許釗滂 : 人.文.貳零壹貳 / 許釗滂作. -- 初版. -- 新北市 : 采泥國際文化, 2012.05 240 面 ;20x29 公分 ISBN 978-986-81662-6-4(平裝) 1.攝影集 957.6
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