陳澄波彩筆江河 CHEN Cheng-Po "The Origin of Taiwan Art" by Liang Gallery

CHEN Cheng-Po

“The Origin of Taiwan Art ”

Liang Ga ller y 20th A n n i ver s ar y

「尊彩」20‧精彩20問

余彥良：做一個被需要且有影響力的畫廊，是一份長期的志業文／鄭乃銘 CANS藝術雜誌總編輯

L i ang Galler y ’s Twent i e t h A n n ive rsar y Q &A

1993年5月，余彥良在台北市內湖成立尊彩藝術中心。2012年5月，余彥良的「尊彩」還是在內湖。只是，20年前僻靜極簡的畫廊空間，此刻已經是建地500坪的畫廊旗艦店。 20年，是生命跨入成年的一個重大指標。 20年，對一家畫廊來講，卻是見證自己眼光的最好刻度。余彥良在「尊彩」的歷史進程中，寫下的不單單只是台灣畫廊成長歷程，而是昭驗出作

小時候的余彥良（尊彩藝術中心負責人）

為一個畫廊的負責人，可以從現實淬礪中；既沒喪失開朗個性，也未曾惶惑過自己的選擇。他更從台灣前輩美術家的藝術品格中，

什麼？

學習到堅持做對的事；是重要的，創造社會

余：我20歲的時候，除了唸書以外，就是

共同利益的必要；才會有個人的獲得。他也

想追求一些信仰的力量。那個時候正是70

從現今當代藝術流變中，養自信、育謙遜、

年代，台灣在那個時間正是種種新舊交

知感恩、懂給予，這樣的個性，深深影響著

替、人文信仰特別興盛的時期。我在那個

畫廊工作團隊的倫理，也使得台灣沉寂已久

時候，內心就是堅信深山必定有著奇人軼

的台灣前輩美術家，再一次受到環境的極度

事，而且我從小就喜歡讀些文學經典或道

重視與再度重新被詮釋。

家信念的書籍，很多觀念都在那個時間點

20年的時間，可以證明很多事，也可以證明自己的位置到底如何。

鄭：你20歲的時候，想的是什麼？幹的是

聚集過來。我本來就很喜歡看書，但又不像一般人看就看了。我每次讀一本書就會從裡面產生許多問題，然後我就拚了命要

「尊彩」走過20年，不僅證明自己越來越

去找到作者來問個明白，那個時候沒有電

被這個環境需要，也同時讓余彥良越來越發

腦、沒有Google，但很奇怪那個時候的書

現心中有一大片清涼地，更樂於與人分享。

往往都會有留著與作者聯繫的方式，我還

Lia ng Ga l l er y 20th Anniver s a r y

當時成長的環境確實差異很大。那個時候我們唸書，很單純；也不是為了以後畢業要賺錢而去選擇一個比較貼合社會潮流的科系。因此，除了唸書；也允許作夢，但是你知道嗎！允許作夢的基本前提是在於，你必須要懂得知識的重要。我一直很喜歡前輩藝術家的作品，真實來講是，因為我在他們的作品身上，也看到為人處事的風格，他們總會有一股很好的性格厚度，毫不遮掩的就擺在作品裡面，那是因為他們對自己所選擇的志業有信仰，現在，我普遍無法從環境裡的藝術品感受到這股信仰、這股力量。我想，這個環境已經不是當初我執意著迷的環境。如果作為 1996年展售趙無極（向杜甫致敬）大作於尊彩藝術中心

真找到那些作者，甚至還跑到人家家門口去等人。我現在回想起來，後來做了畫廊編《藏寶圖》；內容往往都會有很多從藝術作品延伸出來的文學、音樂、戲劇、旅遊….等等訊息，我總會一定找到與作品有關或訊息相關當事人問個清楚與親自提供文字內容，的確與我成長階段經驗有絕對關係。我一直覺得，自己很有長輩緣，從事畫廊工作，也經常與長輩接近，應該也

一位藝術家沒有人文的厚度，那麼又如何能夠讓藝術能成為長久呢？這也就是你問我，我會想到復興中華文化這個感覺起來有點不合乎現代節奏、但卻又能表彰我心裡的一句話。鄭：2010年「尊彩」遷移新址，套句台灣畫廊界的話說『突然，大家都重新又認識了「尊彩」』！也有人說『…現在，不得不認識「尊彩」…』！今天，你能否回想；那個時候的成績表現，你滿意嗎？

是與年輕時的經驗有關。我總是喜歡問問題、聽人家講話，問問題；更也不是瞎矇

早期畫廊舉凡展務、打雜、粉刷、搬運等工作，余彥良都親自參與打理

胡扯，我總是會準備好功課，很誠心的去尋求解惑，長輩也往往對我的來意有好感，更願意說話給我聽。我想，做畫廊之後，會選擇前輩藝術家來作為推薦主軸，與這個因緣是脫離不了關係。鄭：20歲的「尊彩」，想的又是什麼？想要做的又是什麼？余：復興中華文化！哈哈哈….。你問，我腦子很直接就這樣想呀！你聽我講。我剛剛不是跟你提到20歲時候自己的經驗嗎？這幾年我很清楚感覺出，現在的環境與我

Liang Ga ller y 20th A n n i ver s ar y

余：是有些許的滿意。我花了一年的時間去談這個空間，這段過程的艱困外人很難想像，但當我看到本來在裡面的游泳池被填平，我心裡真有難言的充實感。一開始，對於這建築要被拿來做畫廊，管委會有人贊成也有人反對，光是溝通就近半年，終於可以了；裝潢卻足足搞了近八個月，時間的耗費非常驚人。但開幕之後，才是真正困難的開始。我特別想到唸書的時候，受到老師一段話的影響至深。他 L i ang Galler y ’s Twent i e t h A n n ive rsar y Q &A

說，如果你把做的事情當作一項職業，那你並不會從中產生成就感，可是如果你把它當作是一項事業，你則會從裡面感受到

《藏寶圖參》展覽期間與陳前民先生（陳澄波二公子）合影

創造多數人的利益，自己才能擁有真利益，因為你如只懂得創造個人的利益，那

步，接下來；你要做什麼呢」？我非常感

勢必就會引起周遭的反彈。就好像當皇

動他講的這句話。我覺得，新館開幕讓我

帝，假如只是上朝、下朝，那就是一份工

更有信心往前走，有很大力量是來自這些

作，但有人做皇帝卻懂得體恤民情、創造

人出於真正的關心，所給予的溫暖加持，

更符合百姓的利益，那就是把當皇帝這件

讓我格外珍惜。這些人讓我深切感受到，

事當作事業來經營，也就能得到百姓的愛

我有了比過去更巨大的力量時，就更應該

戴。當我有了500坪的畫廊空間，我當然沒

去創造群眾之利；也只有群眾有了利，我

有像過去只是管理一個小空間來得輕鬆。

自己才有利的存在。就像也有人會在那個

可是，當年老師講的這段話，此時格外令

時間跟我說，你做這個展應該是美術館做

我引以為鑑。我最記得新館開幕展的時

的…。是啊！這話也是、也不是。美術館

候，很多藏家都來，給了我很大的鼓勵。

當然有美術館的角色和功能，可是如果在

有天，馬維建先生來，逗留了很久；跟我

現階段美術館功能未必如此彰顯的時候，

聊天時說：「小余，你都做到了這樣的地

私人畫廊有能力去做，難道說私人畫廊所能達到的社會分享力量就不足美術館了

展售朱銘《成功之門》大型木雕作品

嗎？我們或許都很習慣以金錢的價值來衡量成功的地位，我不是說賺錢不對，但除了錢，畫廊的展覽能夠達到的社會分享，這其實也就是所謂大眾的利。難道，不是這樣嗎？

鄭：兩個問題，可以一起回答。一、從 2010年到現在，你的畫廊幾乎可說是為台灣前輩藝術家作品帶來新的生機。我一直很想問你，你是如何找到台灣前輩藝術家

Lia ng Ga l l er y 20th Anniver s a r y

的當代切入點？二、對你來講，從前輩藝術家的藝術身上學習到什麼？余：態度！對藝術的態度！這態度也就是一份信仰。而謙和，才有大氣。有個故事，我未曾跟人提過。那個時候新空間確定、進入裝潢階段的時候，我就去接陳重光(陳澄波的長子)先生來看，當然那個時候就是個工地，但是陳重光非常仔細的左看右看，也很關心地問了我很多事情。我那個時候心裡很簡單，我覺得自己要有個新開始，我很看重這個長輩對我的意見。而我之所以看重，又是因為我從陳澄波的藝術、還有家族對待陳澄波藝術的尊重態

《藏寶圖肆》展覽期間與陳重光先生（陳澄波長子）合影

度，都讓我感受到彷若宗教般的虔敬。後

對時代控訴，卻是對時代發揮一種極大化

來，陳重光就很嚴肅跟我說：「如果是這

的慈悲，我常會這樣想，如果沒有外在的

樣，那你開幕展一定要展出那件〈我的家

某種刺激，我們又何嘗知道自己內在的慈

庭〉」。我當時簡直不知道該如何形容自

悲是否能夠具備有厚度呢？所以，我們只

己內心的激動！我當然想呀！這件作品是

是在欣賞畫嗎？我的答案是，不止！真的

陳澄波的代表作之一，也是他們陳家的傳

不止！

家寶，只是我根本連想都不敢想能夠借展！可是，陳重光卻自己提出來，而且就好像我也是他們家族的一員…！有件事情說來巧合，但也許能解釋我為何與陳澄波家族特別投緣的原因。我的生日是3月25日美術節，你還記得陳澄波在嘉義過世的日期嗎？1947年3月25日！20年的畫廊經

鄭：歷史，其實一直都在那裏，根本就沒有遠離。我們以台灣前輩藝術家來做為舉例，他們始終是存在這個環境裡，是否有什麼樣的特質是你過去忽略；但現在卻看到的呢？

營，我受到陳重光的關注與照顧也最多，

余：記不記楊三郎作品展的時候，你曾經

或許冥冥中都有些難以解釋的定數。而一

跟我說，楊老師的作品怎麼跟在美術館看

旦有了這件作品，陳澄波的展覽就變得更

的不同呢？其實不只你一個人講同樣的

完整。因為有了一個更完整的空間舞台，

話。你是因為曾經到過楊三郎美術館很多

陳澄波的家屬更願意讓作品在合適的舞台

次，清楚什麼作品在那個地方，當然就會

與社會見面，這是一份多麼無私的公眾利

很快感覺前後印象有何不同。不過，我從

益。因為陳重光的信賴，更讓我要爭氣。

新館開幕展到楊三郎作品展，很明確感覺

而陳重光謙和的作風，同時也相對顯現出

出一個適當的展覽空間，給了我更大的精

前輩藝術家每每會留在作品裡的大氣，這

神能量，讓我更有信心能去做前輩藝術家

都是一種相互影響，也是我心裡所謂的厚

的作品。我的意思是，以前大家或許空間

度。前輩藝術家的作品，總是會累積著環

都是極為近似，但現在環境改變我們對空

境所交付的經歷，這些經歷並非是建立在

間的要求與看法，相對之下，同樣一件作

Liang Ga ller y 20th A n n i ver s ar y

品在前後不同環境的差異底下，就會出現非常不同能被解讀的韻味，你甚至因此會發現過去所未曾發現原本就存在於作品當中的精神細節。事實上，作品都是一樣，差別的是，環境變了，我們對待自己的感情，也變了。

L i ang Galler y ’s Twent i e t h A n n ive rsar y Q &A

展售朱銘大師（單鞭下勢）大型木雕作品

尊彩藝術中心內湖瑞光路新館裝潢期間，陳重光先生（陳澄波長子）到工地參訪與鼓勵

鄭：你曾經告訴我『從來不覺得自己是從

鄭：因為空間的機能性變大，相對也使得

「現代」要轉「當代」。因為，我所經營

你加入更豐富視野的新世代藝術家展覽。

的是不同時代背景下的當代藝術』。那

你是如何來選擇這些藝術家的呢？

麼，我想問你；當時的當代與現在的當

余：我常透過藝術家的作品，讀出這位藝

代，你覺得差異點在哪裡？

術家是否對藝術有無尊敬態度，這個態度

余：以前環境沒有那麼好，藝術家總不免

往往是能顯現出藝術家對待藝術的邏輯

會在作品顯現出那份生活的困窘和艱辛，

力、秩序感。簡單來講，我喜歡的藝術家

可是你卻能從中發現藝術家不單單只是因

是應該具有多方面的感受力。你回想一

為興趣在創作，作品當中更隱含著教育；

下，古今中外優秀的藝術家都有相當深厚

一份精神的教育在裏頭，那也就是一份對

的人文素養，因為有豐厚的人文素養，就

選擇的堅持，而不是對生活的指控。可

會使得作品與人格產生更多的精神廣度，

是，現在大家普遍都較為富裕，很多東西

而不是只一昧在視覺上去贏取注意。我也

都顯得如此易得，就是因為易得，也就不

感覺得出，現在不少藝術家心都靜不下

怕失去，既然不怕失去，就很容易改變心

來，心一旦無法靜下來，作品就會投射出

志。可是，藝術；不就是應該要堅持嗎？

焦躁的浮動性格，然後你會發現這樣的藝

不就是要與時間相抗衡的嗎？如果我們說

術家經常花很多工夫在不斷解釋自己的作

過去前輩藝術家是用心於每天生活，而無

品。我其實不是很喜歡過度去解釋作品。

視於生活艱困所帶來的阻擾，而能讓生活

因為，好的作品是很容易與人產生對話

都能有它的意義，那麼，現在的藝術家能

性。而藝術最迷人的地方，就在於自我解

夠嗎？有時候，我都會這麼的想著….。

讀得到自己的感動。

Lia ng Ga l l er y 20th Anniver s a r y

鄭：你向來都很習慣與前輩藝術家或藝術家家屬往來，與新世代藝術家相處，有沒有一些情態是你未曾想到過的呢？余：年輕藝術家或許有些人的態度不OK，但因為不Ok，也才能讓我發揮與試探自己的寬度和耐性，言談中也能互相交流，讓這個世代的藝術家去了解他們所不足的地方。

鄭：你對新世代藝術家的經營，是否也有一些比較成熟的計劃了呢？

尊彩瑞光路新館開幕大展（璀璨世紀）與陳澄波家族合影

余：計劃，當然是有，可是我會比較關心的是，畫廊如何在藝術與現實的差異當

鄭：兩個問題，還是可以一起回答。一、

中，找到或創造更大的公約數。我們現在

2012年，我很明顯感覺得出來「尊彩」並

也投入不少心神在推薦新世代藝術家，但

不想只是停留在原本的位置。談談你的

我則發覺，推廣當代藝術的過程，不能一

「精彩--尊彩」的未來經營想法。二、你在

昧只是去談藝術，而得考慮藝術進入空間

2010年的新址開幕首展當中，成功地重新

之後，它是與人發生關係的，那麼這與人

詮釋陳澄波與廖繼春，更帶動台灣美術館

發生關係的同時，是否也能被感受到作品

重新檢省前輩藝術家的研究展。你自己是

的想法呢？我也曾經遭遇過藝術家講的與

否有特別的想法，在未來會以更超然的角

作品出來之後，很難做出相對應的關照。

色讓「尊彩」的展覽，不只是發生在同一

而且很多藝術家或許都沒有意識到，藏家

個地方呢？

要的其實都是相對單純；而不是那麼喜歡必須不斷口頭演繹的藝術。所以，在規劃

余：我最感到開心的一件事，就是在於當

新世代藝術家展覽的時候，我們還是希望

藏家從你的畫廊購買了一件藝術品，而心

能夠讓作品與現實的認知當中，找出閱讀

靈與生活都喜悅至極。我當然很高興我們

的自我新樂趣。另外，我們對新世代藝術

所做的事情，也能引起社會的注意，這也

家也相對尊重，這個尊重是不會太過問藝

就是我很希望能夠達到做事的影響性。我

術本質的創作問題；但我們卻很樂於與藝

很坦白地說，我從陳重光那裏，得到自己

術家共同去面對藝術本質以外的一些配套

要更努力也要爭氣；從楊三郎的作品展當

問題，用意無非是希望藝術家能更專注於

中，我得到了做事更有信心，這些都是讓

自己的創作。另外，我們也不是很贊同藝

我感受到，做一件事情不要只在意個人利

術家的創作好像是為了完成某種建案才去

益，而是要有追求眾人共同利益的同理

進行，假設創作變成就好像是去完成建

性，因此不管以後展覽是在「尊彩」或參

案，那相對作品的本身就喪失更多被閱讀

與其他案子，我都希望其所產生的影響是

的空間。

有它的擴充性、社會性。

Liang Ga ller y 20th A n n i ver s ar y

L i ang Galler y ’s Twent i e t h A n n ive rsar y Q &A

陳重光與陳前民先生

鄭：20 年，你曾經害怕過失敗嗎？余：如果你做一件事情的時候，很明白是因何而起、會產生怎樣結果，其實也就不會感到害怕。以我現在來講，我確實比起過去更有信心，有了自信，自然就不懼，但並這不表示不憂。現在畫廊的空間那麼大，你說沒有壓力是不可能，而且也不是每樁事都一定順遂，這就好像說同樣樹種在同樣森林，也不見得每棵樹長得都一樣壯碩，受光面不同，自然就會產生生長條件不同，也就會造就不同的生長。但是仔細去想，人會失敗，不也都是個性使然

團體裡面，就會有人是屬於慷慨赴義的特質，但也一定會有人在面對大家都不願從容就死時；出現一個人選擇從容而無所畏懼。因此，你不能因為一個人性格當中某個地方與你不同，就全然否決這個人。這就好像我們對人因為有判斷，自然就影響到對他的藝術也有所判斷，進而產生對作品觀視的落差。問題是，假設作品是好的，那不就對藝術是不公平的嗎？一個人，絕不可能受到眾人都按讚，但你對自己所堅持的志向，取決於自己的自信，那是不容挑動的。

嗎？鄭：「尊彩」一直有著相當好的畫廊倫鄭：好。那我再追問另外一個問題。20 年，你一定遭遇過被誤解，你又是如何來面對的呢？

理，在我所觀察的兩岸畫廊當中，畫廊倫理基本上都是操作在負責人本身所具備的正向特質身上。你認為，一個好的畫廊應該具備怎樣的特質？

余：我講個與同仁開會時，曾經講給大家

聽的話來回答這個問題。一個團體當中，

余：為什麼我的工作人員看起來都很喜

一定會發生誰對誰有意見、誰對誰不喜

悅，原因出在熱忱。我在應徵新進員工的

歡，這是很平常的事。可是我就跟同仁

時候，當然也會希望對方條件越好越棒。

說，團體當中每個人都有自己應當受到重

但我後來發現，是不是藝術本科或多高學

視的特質，例如，我們都會認為慷慨赴義

歷都還不是挺關鍵的因素，重要的是在於

是很簡單的，但如果你要一個人從容就

熱忱。我有一位新進的員工本來是在醫院

死，恐怕就不會有太多人會願意。可是，

服務，是位相當優秀的醫療師，可是她卻

Lia ng Ga l l er y 20th Anniver s a r y

陳立栢（陳澄波長孫）與陳前民先生（陳澄波二公子）於尊彩藝術中心

陳重光先生與尊彩藝術中心負責人余彥良

跑來應徵，她說「我發現，現在很多人到

務，能夠與藏家建立革命般感情但大的環

醫院求診，但是病患一多，醫師平均分配

節也在於此。我常會覺得，作為一家畫廊

給每位病患的時間就會相對減少，只是很

不只有要對藝術家負責，也更要對藏家負

多人到醫院，並不只是因為病痛，更有心

責，你必須讓藏家對畫廊的未來是有期望

理的病痛，問題是醫師只能在很短時間診

與信賴，這不單單只是畫廊所推薦的藝術

斷出身體的病痛，卻根本無法解決病人心

品罷了。因此，我們樂於開發新進的藏

理的病痛。我就想，是不是有什麼工作是

家，也同時看重資深藏家的想法，這都成

能帶給人在精神上更大的富足？藝術，很

為我們更勤於把服務做到位最大動力。

顯然是個方向」。她的這段話令我相當感動，而她現在也是畫廊非常好的一位員工。

鄭：同樣道理，你覺得現在的藝術形式又有怎樣的不同呢？余：說真的，我倒不會那麼覺得藝術形式

鄭：「尊彩」長期以來始終與台灣本地資深藏家有著相當深厚情誼，只是現在因為環境充滿更多的變數，藏家對藝術的態度也自然有所改變或修正。作為一位資深的畫廊負責人，你覺得現階段的藏家較諸過往最大不同點是在…？

不同有何問題，反倒更關心藝術家是否能夠認同畫廊，這是比較重要的。再說，以新世代藝術家來講，培養一位藝術家至少要五年才能夠算成熟，這段期間有太多畫廊要更仔細對待藝術家的地方，好像在養個小孩似地…。

余：環境不同，當然也就會產生不同的收藏家性格和習慣。只是，20年的經驗下來，我們的確有跟著畫廊一起成長的20年

鄭：你會做其他地區的藝術家嗎？

資深藏家，他們從最早時開始買畫，到現

余：這個問題也是很多人都跟我問過的。

在也都能買陳澄波、楊三郎，可見藏家的

我其實一點都沒有不要做其他地區藝術家

經濟力與鑑賞能力都與時俱進。我們到現

的念頭！可是，我給自己一個很大宗旨，

在為止，都還是非常重視對藏家的售後服

那就是一定要將畫廊的主題塑造鮮明之

Liang Ga ller y 20th A n n i ver s ar y

L i ang Galler y ’s Twent i e t h A n n ive rsar y Q &A

陳前民、余彥良及陳重光先生在《璀璨世紀》展覽後晚宴中合影

後，在下個階段才會更有可能容納更大視

全船的人亦都噤聲也不鼓勵。船上一位和

野。只是，立足本土；的確是我很大理

尚不忍地要求說：就調個頭吧！他看起好

想。如果能夠將台灣本土的豐富美術更推

像有不得不趕上這渡船的理由….。幾經求

進廣泛層面，讓大家能夠更懂得本土美術

情，船伕於是把船調轉回頭，將大將軍給

的精奧在哪裡，這確實也是非常重大的希

接上船。令人傻眼的是，大將軍一站穩之

望工程。

後，毫無來由的就伸手甩了和尚一耳光，就像連珠炮似地不斷指著和尚咆哮指責，

鄭：以台灣前輩藝術家來講，還有誰是你渴望能夠有機會規劃出展覽的呢？余：真的很多，每個前輩藝術家我都希望能夠規劃展覽！陳澄波的展覽之所以能成功，最主要是因為家屬有非常好向心力，家屬間的意見也能夠有效整合，再加上家屬對藝術抱持相同的高度，所以能夠讓展覽在很順遂的環境下成功運轉。做前輩藝術家的展覽，家屬的意見，是事情能否順利重要的關鍵。

全船的人都教這個舉止給嚇傻，竟然沒有一個人出面相挺。一直等到將軍也罵到舌乾，才有人把剛剛主張船應該調轉回去接將軍的事情說出來。當然，大將軍羞愧無地自容。但和尚則自始至終都沒有回過嘴。有人於是就忍不住問和尚，為何將軍在痛罵的過程都不反駁呢？和尚很安靜地說「我心中有一大片的清涼地，想來將軍心中是沒有的。我想，我就分點清涼地給他，亦無妨」。年輕時候讀到這則故事，令我印象極深，一直到現在，常常會成為我處事的準則。你知道，當大將軍不分青

鄭：20年，你經歷過很多環境變化，如果

紅皂白痛罵和尚的時候，無疑也是為自己

我問說，你個人認為這個藝術環境最欠缺

造更多口業，無疑也曝露自己更多性格上

的是什麼？你的答案是…

的缺失在眾人面前。你問這個問題時，我

余：我講個故事給你聽。有次，一個大將

旋即想起這則故事。我心中也有一大片清

軍氣急敗壞趕到渡船口時，渡船已緩緩駛

涼地，那麼分一點給別人，又有何妨呢？

遠，只見大將軍站在渡口不斷大聲吆喝要

不知，這個故事有沒有回答你的提問！

渡船駛回頭來載他，聲音急切、態度更是焦慮。但江河之中調轉回頭是有點困難，

Lia ng Ga l l er y 20th Anniver s a r y

Lia ng Ga ller y 20th A n n i ver s ar y

Liang Gallery’s Twentieth Anniversary Q&A

Yu En-Liang: To create a gallery that is influential and needed is a lifelong endeavor Cheng Nai-Ming

L i ang Galler y ’s Twent i e t h A n n ive rsar y Q &A

that the world was full of extraordinary hermits and fantastic tales of exploits. I am an avid reader by nature. But, where I differ from most people is, when I finish each book, I find myself wrought with even more questions. I would spare no effort trying to contact the authors with my questions. If an author had a known address, I would write letters. I’ve even waited outside an author’s home for answers. Now that I think about those days, I am reminded of my work on the art gallery pamphlet, Treasure Map. In it, the content often includes articles and information on many extensions of the fine arts, such as literature, music, theatre, and traveling. I would seek out each contributing author and confirm their input in person. This peculiar persistence of mine has greatly influenced my personal development. I’ve always had good luck in meeting helpful elders. Just from operating an art gallery I have many opportunities to converse with elders. Perhaps it is due to experiences during my youth that I love to ask questions and be a good listener. In these conversations, I always prepare to ask informed questions. In return, elders have always been willing to respond favorably and reply. My choice of featuring many senior artists at my art gallery has a lot to do with this. Cheng: With Liang Gallery now celebrating its twentieth anniversary, what do you want to do now? Yu: To restore Chinese culture, of course! HaHaHa... You asked and that was the first thing that came to my mind. Listen, do you recall how I was recounting my experiences until the age of twenty? It has become increasingly apparent to me in recent years, that the environment now differs greatly than the one I was growing up in. Back in the day, we would just study at school. It was simple. All we needed to do was graduate from a discipline that conformed to societal trends, and then move on to get a job and make some money. Therefore, apart from studying, we were afforded the luxury to dream. But, do you know? In order to have the option of dreaming, it requires one to know the importance of knowledge. I’ve always liked the works of senior artists because I could detect a strong and unconcealed expression of their strong personal character. It is laid right out there in their works - their strong conviction in the craft they have chosen to dedicate their entire lives. Right now, it is difficult for me to find similar purity and sheer strength in spiritual depth in the multitude of works by younger artists. I began to tell myself that the current environment for the fine arts is no longer the one that drew my passion when I first stepped into the field. If an artist cannot believe in their own works, how can they, along with the fine arts community, hope to have any sense of longevity? This is why, “to restore Chinese culture” was the first thing that came to mind when I answered your question earlier. It may be a dated phrase, but it is the only phrase that concisely expresses what I feel.

Lia ng Ga l l er y 20th Anniver s a r y

與北美館典藏組組長林育淳女士合影

Cheng: Liang Gallery relocated in 2010. The hubub in the art gallery community in Taiwan is now, “Suddenly, we’ve all been introduced to the new “Liang Gallery.” They have also been saying, “...Now, we all must be acquainted with Liang Gallery”. Can you recount that moment today? Are you satisfied with your accomplishments? Yu: Yes, I am somewhat satisfied. I spent a whole year negotiating for this new space. I’ve had more difficulties in this process than anyone not involved can imagine. When I saw the swimming pool getting filled, I was filled with an indescribable sense of fulfillment. In the beginning, when my proposal to convert the building in question into an art gallery, there was dissent amongst the

building’s management committee. Some were for and others were against the venture. It took

six months of communication just to reach a consensus and finally receive approval to proceed. Renovation took another eight months. We were all quite astounded at how much time it took. The real challenge came after the opening day. During this difficult time, I thought of something a professor said from my student days. “If you approach your task as if it was your job, you will not gain a sense of achievement. But, if you consider the task as your career, you will quickly

see that creating value for those you work with is the only way to create any value at all. Because if you only look out for your own gains, then you will be surrounded by dissent from the

people you work with. It is like being an emperor - some emperors attend court like it’s a routine, like it’s a job. However, the really great emperors attend court like its his career. He listens to the people and gains their love and support. When I finally had my own 500 square-meter

gallery, I found myself bearing much heavier responsibilities than when I just had a smaller space. But, during the first days of the new gallery, I did not heed my old professor’s words. I

remembered one day shortly after the opening, many collectors came to visit and congratulate

me. On that day, Mr. Ma Wei-Jien visited and stayed for a long time. We were chatting, and he said to me, “Hey Yu, you’ve accomplished so much, thus far. What are you going to do next?” I

felt very grateful for his words. I thought the new grand opening gave me the confidence to to carry on. Such cherished encouragement and genuine care from others goes a long way. This

experience empowered me, and I knew then that my strength comes from people. Therefore, I

had to strive to benefit other people. As I benefit other people, I benefit myself. Around the same

time, somebody else told me, “You know Yu...this exhibition should have been at a museum, not a gallery.”... Well, that person had a valid point, but it wasn’t necessarily applicable. Museums have their own characteristics and functions. But, I feel that, in this day and age, it is no longer

necessary to differentiate between the functions of a museums and private art galleries. What can be provided by museums can now be provided by private art galleries as well. It is not as

though private art galleries are inferior in any way to the museum in their ability to offer access to the fine arts to the general public. Maybe we are all used to using monetary value as a

measurement of success, I am not saying profiteering is bad, but, apart from money, art gallery exhibitions can also be avenues for social sharing. This function can be used for public benefit. Has everybody forgotten?

Liang Ga ller y 20th A n n i ver s ar y

Cheng: From 2010 onwards, your gallery has brought new life to senior artists in Taiwan. I’ve always wanted to ask you, why did you come to use senior artists of Taiwan as subjects for your exhibitions?

Yu: Their attitude. Their attitude regarding art. Their attitude is also their belief.

L i ang Galler y ’s Twent i e t h A n n ive rsar y Q &A

法拉利貴賓鑑賞日尊彩藝術中心貴賓之夜

楊三郎回顧展期間楊星朗先生(楊三郎長子)與尊彩藝術中心負責人余彥良合影

Cheng: In your view, what have you learned from the senior artists of Taiwan? Yu: Their sense of modesty and their sincere demeanor. I have a story that I’ve never told anyone before. During that time, when plans for my new gallery had just been approved and renovation began, Chen Chung-Kuang (Chen Cheng-Po’s eldest son) came to visit. Of course, the place was little more than a construction site at the time. However, Chen Chung-Kuang still examined the place carefully, looking left and right, and happily asking me many questions. I felt that my path was very simple and clear at the time - it was a new beginning. I valued what advice this senior of the arts had to offer. I valued his advice because of his father’s accomplishments

as an artist, as well as my family’s reverence of him. This reverence over Chen’s work is similar to a religious devotion. Later on, Chen Chung-Kuang said in a serious tone to me, “If you’d like,

you could exhibit the painting, My Family.” I was shocked. I could not find the words to describe my happiness! Of course I wanted that! That was one of the signature works of Chen Cheng-Po - an heirloom treasure of the Chen family.

I would never have dared to ask.

Yet Chen

Chung-Kuang himself offered to let me exhibit it, like I was a member of their family...! Another coincidence is the matter of how I became so close to the Chen family. My birthday is March 25, which is Taiwan’s Day of the Arts. You may be aware of the date of Chen Cheng-Po’s passing in Chia Yi? March 25th of 1947! In my twenty years managing an art gallery, I have had the most help from Chen Chung-Kuang. Perhaps it has all been decided by destiny. With the addition of the painting, My Family, my Chen Cheng-Po exhibition would be complete. Also, because there was finally a proper exhibition space, the Chen family was more willing to allow Chen Cheng-Po’s works to be shown to the public in a more auspicious setting. This was such a grand display of selfless sharing. Chen Chung-Kuang’s trust instilled in me an immeasurable amount of confidence and conviction. And, at the same time, Chen Chung-Kuang’s modesty shows how the

spirit of the senior artists lives on through their works. This was a mutual exchange of influence - it is what I call “spiritual depth.” The works of senior artists always bear a residual experience that transcends eras. These experiences are not there to admonish the crimes of each era. Instead, they are there to console and grant clemency. I often think that, if there is no external stimulation, how would we know the limits of our own inherent clemency? Do we all possess spiritual depth? Therefore, are we only browsing artwork? Nay! Nay I say!

Lia ng Ga l l er y 20th Anniver s a r y

楊星朗（楊三郎長子）、楊啟明先生（楊三郎長孫）、尊彩藝術中心負責人余彥良合影於楊三郎美術館

Cheng: History has always been there and it has never distanced itself from us. From the standpoint of the senior artists of Taiwan, they have always been in that environment. Are there any special elements that you previously neglected, but, are just seeing now for the first time? Yu: Do you remember Yang San-Lang’s exhibition, where you asked me, “Why do Yang’s works look so different than when they were exhibited in the museum?” In fact, you were not the only one who asked me that. You have seen Yang’s works exhibited in many different museums. You

know which ones are exhibited where. And, because of this, you can quickly see the effect of having the same works exhibited in a different setting. However, when I exhibited Yang’s works

at my new art gallery, I immediately felt that the new exhibition setting, a proper one, gave new

energy to the works. It instilled confidence in my ability to properly showcase these priceless works by senior artists. I mean that museums are too homogeneous. Currently, though, we have changed our views and demands regarding exhibition spaces. Conversely, the same works may

be interpreted in very different ways in different exhibition spaces. You may even discover

something you’ve never seen before. The fact is, while the works remain the same, the differences in exhibition spaces may change the way we feel towards each work.

Cheng: You told me once that, in your gallery curating, you’ve never made the transition from modern to contemporary art because what you curate was are all considered contemporary art at the time of its inception. So, I ask of you, what differences do you see between the contemporary art of the current and previous eras? Yu: I think, in general, times were tougher in previous generations. In those works, you see more depictions of struggles with destitution. You also get the feeling that, for these artists, their works were not just a hobby or creative outlet. They instilled lessons into their works and a sense of

perseverance towards the choices they’ve made. They did not create to admonish certain lifestyles. Now, everybody has become more affluent. Many things come rather easily, and,

because they do, people are less concerned about loss. When loss is easily weathered, people are less inclined to persevere, and art needs perseverance and a full commitment. Art is a

struggle against time, it is everyday life. And, art must continue through austerity and against all odds. That was the way of the senior artists in previous generations. But, can the artists of this current generation do the same? This is what I wonder sometimes...

Cheng: Due to the expanded spatial varieties of the new gallery, you are now equipped to showcase a broader range of artworks from up and coming generations of new artists. What is the criterion you use to select artists and works for new exhibitions?

Liang Ga ller y 20th A n n i ver s ar y

Yu: I often attempt to read from artworks whether the artists possess a sense of respect for art, such as the logic in which the author has towards art - a sense of order. Simply said, most artists I like display a high sense of artistic sensibility. Think about all the great artists throughout history. They were all extraordinarily well-cultured, and this is strongly conveyed in their works. It is the essence of their well-cultured characters: invisible techniques that compel your attention when viewing their works. I also feel that many artists of the current generation are quite restless and anxious. You will see them expending great effort to constantly reinterpret their works. The truth is, I don’t really like excessively analyzed and interpreted works. This is because I feel that a good piece of artwork should spark dialogue, and that the most fascinating aspect of art is one that interprets how a particular piece moves someone.

L i ang Galler y ’s Twent i e t h A n n ive rsar y Q &A

攝於北美館（行過江南-陳澄波）展覽

余彥良與林宏信作品合影

Cheng: I know you are quite accustomed to communicating with senior artists and their families. In contrast, when you communicate with artists from the current generation, do you have any issues that you’ve never considered before? Yu: Some young artists may be lacking in social and communicative skills. But, I consider this a challenge for my own tolerance and patience. When I communicate with them, I try to make the process go both ways so that they may understand what they are lacking. Cheng: Do you have more matured plans in better understanding and managing younger artists from this generation?

Yu: A plan. Yes. However, I am more concerned over how a gallery finds the greatest common factor in relation to artistic idealism and reality. We have spared no effort in introducing and recommending new contemporary artists. However, I have realized that, in this promotional process, you cannot simply talk about art. You must consider the fact that when an artwork is installed in a space, it immediately begins a relationship with people - the viewers. Then, you must consider, is it inspiring the intended relationship? A common issue I see is that many artworks in an exhibition never achieve their intended effects. Many artists fail to realize that curators prefer straightforward exhibitions that do not require much explanation or guidance from the staff. Therefore, when organizing an exhibition for new generation artists, we still hope to find a new, self-reading sense of fun. In addition, we are relatively respectful of new generation artists. This respect restrains us from asking too much about creative issues stemming from the nature of art. However, we are still very happy to work together with artists in facing some matching issues not related to the nature of art. The intention behind this is nothing more than the hope that artists are able to pay attention to their own works. In addition, we do not really view the works of artists as just cases that need to be completed. Assuming that works are just cases causes the work itself to lose much more of its readable space.

Lia ng Ga l l er y 20th Anniver s a r y

Cheng: I can sense that Liang Gallery will not be content being caught stagnant in the same place in 2012. What are your future plans? Yu: I am the happiest when a collector buys a piece from my art gallery. When this happens, I am happy in both spirit and life. Cheng: In the opening exhibition of Liang Gallery’s new location in 2010, you successfully

curated a revolutionary interpretation of Chen Cheng-Po and Liao Chi-Chun, and began the movement of reviving attention on forgotten senior Taiwanese artists. Do you have any more innovations in the works? Will there be more of these exceptional Liang Gallery exhibitions in other locations? Yu: Of course, I am happy with what we have done, and am grateful for society’s attention. The

event’s success has provided me an extra drive ever since. Frankly, what I got from Chen

Chung-Kuang is the sense that I must be more assiduous. And, what I got from Yang San-Lang is the confidence to continue to do what I do best. These are valuable lessons in being selfless,

and in seeking benefits not for oneself, but for the whole of society and everyone involved in the

process. From there on, it is my goal to curate exhibitions with a sense of expandability and sociability, whether at Liang Gallery or other places.

Cheng: Over the past twenty years, have you ever feared failing? Yu: When you are charged with a task, and you know why it must be done and how it will

conclude, you really have nothing to fear. Considering my situation now, yes I am more confident now than in the past. And, with confidence, I naturally have nothing to fear. But this does not

mean that I have nothing to worry about, especially considering how I am now in charge of a much larger gallery. It is impossible that I have nothing to worry about. Things don’t always work out smoothly. It’s like how no two trees in the same forest are alike depending on their exposure to sunlight, nutrients and other differing conditions - some trees just won’t be as stout. If you think about it, isn’t failure a natural part of a person’s life?

Cheng: Ok, another question. Over the past twenty years, you must have come across some situations where you were misunderstood. How did you resolve those situations? Yu: (Omitted) Let me tell you about this topic we discussed at a meeting with my colleagues. In an organization comprised of individuals, it is inevitable that a dissension and conflict of personalities arises. So, I told my colleagues that, in an organizational group, everybody has a tendency to stand by their personal beliefs. Of course, any individual of the group can always carry an ultimatum, forcing an unrelenting do-or-die choice onto the rest of the group. We may think that this is the easy way out, but, it actually isn’t. You will see many are actually reluctant

to go that way. However, often in a group, one or more individuals will choose to do things this way. Conversely, there will also be others that will respond in a calmly manner without fear of

the intended consequences. Therefore, you cannot judge a person when that person chooses to make an ultimatum. This is similar to our tendencies to judge an artist’s work with bias based on

how we assess the artist’s character. Yet, the question persists: if the artwork is actually good, are we being unfair to the artist and the artwork? An individual should not be swayed by whether

everybody clicks “like” or not. When you are sure of what you want to do, and the confidence rises from within yourself, then you will be indomitable in your chosen intent.

Liang Ga ller y 20th A n n i ver s ar y

余彥良與不二良作品合影

Cheng: Liang Gallery has always displayed exemplary ethics. From what I have observed L i ang Galler y ’s Twent i e t h A n n ive rs ar y Q &A

of galleries on both sides of the strait, whether a gallery conducts itself in an ethical manner relies heavily on the beliefs and character of its owner. What are the qualities you think an ethical gallery owner should have? Yu: The reason why my staff seems so content is because they are genuinely passionate about their work. When I conducted interviews for new staff, I had once hoped for high qualifications. But, then, I found that art is not a profession. It only matters that there is passion in what we do. I once had a new hire who had previously worked in a hospital. She was a very capable doctor. I was quite surprised when she came to me for a job interview. She said, “I found out that many patients who seek medical care at hospitals need not only treatment for their physical symptoms, but also moral support or some counseling. Unfortunately, as the number of patients rises, the amount of time a doctor can dedicate to a single patient is diminished. I wondered what line of work I could go into that would bring an abundance of spiritual fulfillment to people? It became apparent that art is the correct direction.” Her story moved me, and now she is one of my most capable staff members. Cheng:

For a long time, Liang Gallery has been a collaborator and friend of local

Taiwanese collectors. Yet, we are facing a rapidly changing art collection environment. The outlook of local Taiwanese collectors may be changing or shifting. As a seasoned gallery owner and manager, what differences do you see in collectors today as opposed to those of the past? Yu: Different environments produce collectors of different characters and habits. Over the past twenty years, I have met and maintained long term relationships with many collectors whom have bought and collected with us all these years. Since their first purchases with us, many collectors have expanded their acumen and financial capacity extensively. Those same collectors are now buying works by Chen Cheng-Po and Yang San-Lang. One thing we value even today is our commitment to after-sales service and relationship building with our collectors. We feel that they are our responsibility. Managing an art gallery is not just about servicing and assisting artists, but also being responsible to the collectors. You must establish trust with them, and make them feel they can count on you. This is not just about making recommendations for an artwork, but, also about helping a collector find suitable interests. Cheng: Similarly, how do you feel about the current development in new art mediums? Yu: To tell you the truth, I don’t think the medium of art is an issue of any great concern. Conversely, I am more concerned with whether an artist is willing to cooperate with a gallery. This is more important. Furthermore, for artists of the current generation, a minimum of at least

Lia ng Ga l l er y 20th Anniver s a r y

five years of cultivation is required. And, during this time, the gallery must cater to the artist. It is almost like raising a child... Cheng: Will you be showcasing artists from other regions? Yu: I have been asked that by many others. I actually have nothing against showcasing artists from other regions! However, I’ve given myself a mission statement - firstly, I shall strive to develop a unique theme for my art gallery and, only when this goal is met, can I begin to expand to other endeavors. It just happened that I began my focus on Taiwan. By all means, promotion of Taiwan art is no small task. I still have much to accomplish if I were to realize my goal of exhibiting the many wonderful complexities of local Taiwan art to the world. Cheng: In terms of senior Taiwanese artists, are there any others you would like to showcase? Yu: Yes, there are too many to list. If possible, I would like to exhibit them all! The success of the Chen Cheng-Po exhibition was partly due to the eager participation of the Chen family. As they were quite knowledgeable in art, the Chen family proved invaluable in providing helpful advice.

I feel that the help and collaboration of the families of senior artists are the most

important factors that determine whether an exhibition will be successful. Cheng: Over the past twenty years, you have experienced many changes to the general environment. If I were to ask, what do you personally think is most lacking in the current artistic environment or ecosystem, how would you respond? Yu: Do you recall the literary work, Biographical Collection of Eminent Monks? Let me tell you a story excerpt from it. One time, there was this revered general who came to a river crossing. In a most foul mood, he watches the river barge drift away from the shore. The general roared anxiously, demanding that the river barge turn back for him. Unfortunately, it was quite a difficult task to turn the barge around in midstream. Everyone on the barge remained quiet, except for one monk. He said, “Let’s just turn back; the general seems to be in an urgent bind.” Giving into the monk’s passionate appeal, the oarsman began to turn the barge around, and when it finally

reached the shore, the general quickly boarded. Suddenly, to everyone's surprise, the general began viciously slapping and berating the monk. This action shocked everyone on board. But, again, everyone remained silent, and no one dared to do anything. Finally, the general’s anger subsided, and somebody explained to the general how it was the monk who appealed for the barge to return to shore. Naturally, the general immediately began to be wrought with regret. Throughout the ordeal, the monk never spoke up or tried to defend himself. Finally, one of the bystanders asked the monk, curiously, why he didn’t say anything to the general. The monk replied “There is a vast oasis in my heart that is tranquil and calm. I believed that the general does not have this in his heart. What harm can come if I shared a small part of this oasis with him?” This story influenced me profoundly in my youth, and has since guided my conduct in life. It has persisted to this day. You know, when the general began abusing and berating the monk, he was committing the sins of insult and slander. He also made a fool of himself in front of others. When you asked me this question, I immediately thought of this story. I, too, have a vast oasis of tranquility. It does not cost anything to share parts of it with others, so why shouldn’t I? I don’t know if I’ve answered your question with this story!

尊彩貳拾週年大事記 Gallery Events

Lian g Ga ller y 20th An n i ver s ar y

1994

內湖成功路

尊彩藝術中心負責人余彥良攝於1993年

尊彩藝術中心開幕

尊彩藝術中心負責人余彥良與陳菁螢合影於箱根

Opening of Liang Gallery

迎向94年度推薦展

「柔得尊位，大中而上下應之。」曾為設立畫廊名稱思考許久，隨

Welcome 1994 Promotional Exhibition

「地山謙」的意境，才擷取此段篆辭，合成「尊彩」二字，正謂「謙尊

尊彩藝術中心以「迎向94年度推薦展」為標題，導引出多位帶領潮

之光，卑而不可踰，君子之終也」。自己也很喜歡《易經》裡的一個卦

流，獨樹一格的藝術創作者，企圖挖出藏在深海之中的藝術寶藏，讓人

爻─「地山謙」，若你能詳加觀察解釋，即能知曉「尊彩畫廊」為何設

窺探內容的多元，令人著迷及讚歎。這幾位藝術家正屬於大海中的一

置於內湖的原因了。新館開幕，展望未來，以此做為本中心的定位與方

群，不屬於任何流派，無傳統包袱的機械美感，各具個人風格。

向，今將以文化傳承為由，為藝術活動盡己薄力，並持之以恆。

With the exhibition, Welcome 1994 Promotional Exhibition, Liang Gallery

“Gentleness has the place of honour, is grandly central, and above and

promoted a few artists with unique styles that lay outside of the

below respond to it.” This phrase from the Yì Jing was originally used to

mainstream. This was Liang’s attempt to discover art treasures hidden in

come up with the name for Liang Gallery. From the imagery of Yi Jing’s

the depths of the sea and introduce their amazing content, which drew

Hexagram 15, Within the Earth, a Mountain (Modesty), the essence was

much praise and a sense of fascination. These artists truly stand apart

captured through the suitable characters: “Zun Cai” (Honour Color; Liang

and do not belong to any school of art. Their works are of an individual

Gallery’s Chinese name). These two characters refer to the following:

style and, as a result, do not have a sense of mechanical beauty to them,

Modesty that is honored spreads radiance. Modesty that is lowly cannot

which is often the case with works that are burdened by tradition.

be ignored. This is the end attained by the superior man. I am very fond of the Yi Jing Hexagram: Within the Earth, a Mountain. Those who know its meaning will also know why Liang Gallery is situated in Neihu. To welcome the year 1994, booklets that explained the gallery’s position and

direction were printed. With perseverance, Liang Gallery’s mission is to pass-down cultural heritage by committing its efforts to art-related activities.

賴哲祥個展

內湖金湖路

Lai Tse-Hsiang 1961年生於宜蘭羅東，國立藝專雕塑科第一名畢業，藝專時曾參加第38屆全省美展及第10屆全國美展雕塑類競賽，均為第一名。並應邀 1994年畫廊博覽會文宣

余彥良與張義雄老師合影

發現藏在海裡的 Discovering Hidden Treasures in the Sea 尊彩藝術中心將彭楨，鍾桂英，潘朝森，金芬華，梅琳，賴哲祥等

參加省展（40年回顧展）於歷史博物館。 1989年赴西班牙馬德里大學藝術學院就讀，並於1992年取得藝術碩士學位，在校連續三年獲得學院獎學金。回國後應邀聯展於亞洲藝術中心（台灣菁英雕塑展），並於1994和1996年於尊彩藝術中心舉行個人

多位各具風格的優秀藝術家集結起來，陸續在94年舉辦個展，適逢博

雕塑首展與第二次雕塑個展。

覽會盛宴，藉此機會向大眾推薦，相信在藝術的廣大深海中能獲得真正

Born 1961 in Luodong, Yilan County, Lai graduated first in his class from the sculpture department at National Arts School. While studying there, he participated in the 38th Provincial Art Exhibition and in the sculpture category at the 10th National Art Competition. He was awarded first prize for both. He was also invited to the 40 Year Retrospective at the National Museum of History.

的至寶，讓它成為您最完美的典藏。 Liang Gallery gathered the styles of outstanding artists, such as Peng Zhen, Zhong Gui-Ying, Pan Chao-Sen, Jin Fen-Hua, Mei Lin, and Lai Tse-Hsiang, and held grand solo exhibitions for them, successively throughout 1994. Through this opportunity, it provided recommendations to the public, holding onto the belief that receiving a true treasure from the vast sea of art only adds to a perfect collection.

In 1989, he left Taiwan to study at the Art Academy of the Universidad Complutense de Madrid in Spain. There, he received a full scholarship for three consecutive years and was awarded a MFA degree in 1992. After returning to Taiwan, he was invited to feature his works at the Asia Art Centre’s Taiwanese Elite Sculptors exhibition. He held his first two solo exhibitions at Liang Gallery in 1994 and 1996, respectively.

Lia ng Ga l l er y 20th Anniver s a r y

1996 展翅三週年—楊三郎逝世一週年紀念展

金芬華—自在世界

Three Flying Years

Fen-Hwa King- A Carefree World

尊彩藝術中心在成立三週年後，也是楊老師過世的隔年，舉辦楊三郎逝世一週年紀念展，以緬懷這位台灣偉大藝術家的隕落。楊三郎一生堅持自己的信念，確定追求的目標，用畫筆認真的創作，使每一階段都成為一種經驗的積累，積累出豐沛的果實，也因為他的出現，使台灣的畫壇更鮮活有力。

對金芬華而言，藝術成為一種自在且自主的顯現，日常感覺的概念裡，金芬華就如一隻慵懶的貓，靜或躍間，很不經意表現出自在且深沉的敏銳度，這種敏銳恰巧利用在她那畫布美學的領域中，有尾魚似的在畫布間游盪，內心愉悅忙碌的她，正記錄著生活體驗，幻想與情感結合的事態。

Throughout his life, Yang San-Lang stayed true to his beliefs and kept his

To Fen-Hwa King, art is a free and autonomous way of expression. Like

eyes on his goals. With his brush, he constantly created art so that each

a lazy cat being still or pouncing, King conveys everyday perceptions with

stage became an accumulation of experience and yielded the fruits of

a sense of ease and a deep sensibility. This sensibility perfectly suits the

life. He injected himself into the Taiwan art world with an immense

aesthetics of her canvasses. Like a fish swimming from scene to scene,

amount of energy.

she records her daily experiences, an amalgam of emotions and

The third anniversary of Liang Gallery also happened one year after Yang

imagination tinged with a pleasantly diligent mood.

passed away. Therefore, the gallery decided to hold a retrospective on the first anniversary of Yang’s death, and honor the passing of a great Taiwanese artist.

趙無極油畫版畫特展 Special Exhibition of Zao Wou-Ki Prints and Oil Paintings 1995年，尊彩開始接觸大量的華人作品，其中以趙無極油畫、版畫作品最為豐富，也經營林風眠、朱德群、潘玉良、朱沅芷、武德淳等大師的油彩、雕塑作品。以當時華人抽象藝術尚未普及的環境而言，尊彩

賴哲祥雕塑個展 Lai Tse-Hsiang 常與「賴哲祥」談及藝術創作，作品時而細緻成圓弧，偶有陵角的

已然洞燭先機。

垂直，形成作品靈魂的脈絡，不知是他那學成歸國的一雙巧手，或是他

In July 1995, Liang Gallery was able to gather a large amount of Zao’s

與雕塑的磁場早已形成了交集，令人驚訝與神奇。

prints from Parisian art dealers and collectors, including the very

Frequent discussions about art with Lai allowed me to discover his persevering and attentive spirit. he injects bronze to form a simple coat that features both delicately round and sharp perpendicular angles, shaping the spirit of the artwork. It seems to be endowed with the succinct briskness of a breath that gives life to a cold body, filling its veins with warm blood. Maybe he is able to do this because his skilled hands have learned their trade so well in Spain. Or perhaps, he has long found and tuned himself to the wavelengths of sculpture. No matter how, he never ceases to amaze.

important piece, “Hommage à Tou-Fou”, for a special exhibition of Zao’s oil paintings and prints.

This simultaneously took place at our main

gallery and the 3rd floor of the Greater Taipei Huacheng Club.

Lian g Ga ller y 20th An n i ver s ar y

李美慧個展

華人矚目的華人

Lee Mei-Whei Solo Exhibition

Chinese Art that Grabs Chinese Eyes

自然界裡，有許多的單純之美，賦於畫家語言中的真情流露，感知

從徐悲鴻、林風眠，到潘玉良、常玉，以及趙無極與朱德群等長期

中總把握了人與審美觀念的協調和觀賞者尋求靈感、客觀深邃的意義。

居留法國的畫家，他們的作品包括了寫實，後期印象，表現派傾向，抒

李美慧清新的風格，能將心靈的污塵洗滌，再注入對這「世界」本質上

情抽象風格的一系列發展過程。可貴的是他們在創作油畫時，皆能自然

與主觀性傾向於「單純」的圖形來淨化現今種種變色異象的社會，我們

地溶進了東方藝術的精神與特點，這種民族性不是狹義的，而是經過現

必須敞開內心深處的善念給予相容，期待展覽中，能從她的彩筆中，尋

代精神的過濾，能普遍地得到中西方華人的欣賞共鳴。他們探索藝術和

求你我「生活世界」裡的真情、單純與美。

實踐作品的態度，值得華人矚目。

Lee’s artist vocabulary is shaped by the many simple beauties of the

The styles of works by Xu Bei-Hong, Lin Feng-Mian, Pan Yu-Liang,

natural world. Drawing upon the artist’s sincerity, her perceptions present

Chang Yu, Zao Wou-Ki, Chu Teh-Chun and other artists who have

a harmonious aesthetic that provides the inspirations viewers seeks with

resided in France span the developments of realism, post-impressionism,

an objective and deep sense of meaning. The freshness of Lee’s style

expressionism and lyrical abstraction. The commendable thing about

cleanses the heart and injects it with simple forms.

these artists is that, while they work in oil, they naturally incorporate

She uses it to

subjectively depict the essence of the world, purifying the many strange

Eastern elements and characteristics.

phenomena we see in today’s society. We need to open up our innermost

ethnic flavor, their works have been filtered through the spirit of

Rather than evoke a narrow

goodness to build acceptance and tolerance. We look forward to

modernism, and are able to be appreciated by both eastern and western

rediscovering the pure, simple and beautiful emotions of the world we live

audiences. Their attitudes toward artistic exploration and implementation

in through her artwork in this exhibition.

are worthy for Chinese people to pay attention.

延續「華人矚目的華人」特展之後，尊彩藝術中心從巴黎畫商與台灣收藏家手中集結大量趙無極油畫、版畫作品舉辦大規模個展，這在當時的私人畫廊裡是一項創舉。而其中最引人矚目的作品就是趙無極重要時期的經典畫作「向杜甫致敬」。此次的藝術盛會，讓當時的收藏界開起蒐藏華人經典作品之鑰。 Liang Gallery was able to gather a large amount of Zao’s prints from Parisian art dealers and collectors, including the very important piece, “Hommage à Tou-Fou”, for a special exhibition of Zao’s oil paintings and prints. This simultaneously took place at our main gallery and the 3rd

詹錦川油畫展 Oil Paintings by Chan Chin-Chuan 詹錦川的畫反映了他的性格，不管人物、景致、靜物，在純靜的色調、詩般美感的意境中，都流露出一般沈靜的氣質，畫中的安靜不是死寂，孤獨不是冷漠，而是一份生活的選擇。 In his portraits, scenery or nature morte, Chan’s work reflects his character. His quiet palette and poetic settings exude an air of silence. Yet, his silence is not dead nor is his solitude cold. It is a choice of life.

floor of the Greater Taipei Huacheng Club.

Lia ng Ga l l er y 20th Anniver s a r y

陳澄波與陳碧女紀念畫展 Memorial Exhibition for Chen Cheng-Po and Chen Bih-Neu 在一次偶然的機會中，拜訪陳澄波家屬的過程裡，意外地發現陳澄波的次女陳碧女女士的油畫作品，她的創作內涵遠超過她的實際年齡，

趙無極向杜甫致敬

穩重灑脫中又不失無邪天真，父女兩人對藝術生命的期許均抱持無限的

Zao Wou-Ki- Hommage à Tou-Fou ↑向杜甫致敬 1956年油彩、畫布 195×130cm Zao’s Hommage à Tou-Fou 1956 Oil on canvas 195×130cm

熱情，創作時所包涵的藝術性與思想性，常能引人深深入畫，讓人感受其隱含的深沈情感和偉大胸懷。從兩人作畫筆觸的相類似，即可發現其包含的情感至深，及個性皆為剛烈，難怪當時有報章評論陳氏父女的作

佳士得 HK45,460,000 2008年秋拍此幅作品由尊彩藝術中心於1996年期間售出

品，而道出「虎父與虎女」的口號，實為貼切。

Sold for HK$45,460,000 at Christie’s 2008 Autumn Sale The painting was sold by Liang Gallery in 1996.

Chen Cheng-Po is a painter who holds an important place in the art history of

趙無極的《向杜甫致敬》，1953年中國社會進行「超英趕美」的各

personal limitations and environmental obstacles. Through hard work, he

項改革運動，傳統文化的角色在當中發生改變，留法居於異鄉的趙無極於當時做了這件作品，他把中國古代的象形文字與金文轉化成畫作中神

Taiwan. His optimistic and steadfast personality allowed him to overcome shaped an artistic career that belonged purely to himself. Chen’s paintings of natural scenery revealed a broad sense of mind, as well as his love for Taiwan and its natural scenery. When I met his surviving family through a

秘的抽象符號，雖運用油彩為材，但畫作中的肌理與線條、設色掩蓋不

chance encounter, I was surprised to find oil paintings created by Chen’s

住筆墨與東方書畫的韻味，整體傳遞出磅礡的氣魄與內斂凝聚的情感。

second daughter, Chen Bih-Neu. The subject matter of her works exceeded

除了如題表達對杜甫之敬意外，或也抒發了他對國家人事時局變遷、中

her age, but the prudent yet unrestrained paintings still retained a sense of

國傳統文化的感受。

innocence and naivety. It was apparent that father and daughter both shared a limitless passion for living life in pursuit of art. The work exudes an artistic

In 1953, many reforms were taking place under the slogan of “overtaking the Anglophones.” The role of traditional culture had begun to change. It was before this backdrop that Zao, who lived abroad in France, created this piece. He used ancient Chinese hieroglyphs and bronze inscriptions as mysterious abstract symbols.

Although he used oil paint for his

quality and thoughtfulness that draws one into the image, and engulfs them with profound emotions and a great sense of magnanimity. The brushstrokes of the two are similar, revealing deep inner feelings and staunch personalities. It is no wonder that a news headline for a review regarding Chen Cheng-Po and Chen Bih-Neu was titled, “Like Father, Like Daughter.”

material, the colors, lines and textures of his paintings retain the flavors of Eastern painting and calligraphy. They convey a majestic vision along with restrained, condensed emotions as a whole. Apart from expressing reverence for Tou Fou as the title suggests, the work is also infused with his sentiments regarding political and cultural changes that were taking place in his homeland.

Lian g Ga ller y 20th An n i ver s ar y

1999 台灣前輩畫家的藏寶圖－壹

台灣前輩畫家的藏寶圖－貳

Treasure Map I Painting Album

Treasure Map II Painting Album

「台灣前輩畫家的藏寶圖」即是台灣的文化財產與寶藏，希望能讓

尊彩以台灣前輩畫家的作品，與EMI唱片公司古典部合作出版《名畫

讀者感受台灣文化藝術的美，與認同前輩畫家的時代背景與意義。何謂

與音樂》CD，因不滿足於僅以畫作表面欣賞內涵，試圖從畫面喚起觀

台灣藝術寶藏，即是尋求台灣遺留的文化資產與藝術的根。台灣前輩畫

者視覺形象的聯想，更加深刻地去感受畫中蘊藏的聲音，嘗試去「聽

家即是寶藏，他們為台灣留下了最原始的地域色彩，在異族統治的時代

畫」，這是一項新的組合，盼能為台灣前輩畫家的藝術創作，注入一股

背景和特殊地理條件下，創造出生彩異色的藝術內涵，也確立當時台灣

新的活力與形象。綜觀台灣美術史，前輩畫家的這段時期是非常重要

的繪畫概念。優異的前輩美術家值得大家重視。前輩畫家的辛勤努力精

的，由於受到時代與地域的影響，呈現豐富而多采的面貌，實屬難得。

神，是為後學者的楷模，而藝術薪火的接續，更是整理研究前輩藝術結

然而，對台灣前輩美術史的整理工作，亟需有新的突破與嘗試，並尋求

晶的成果。

詮釋台灣前輩畫家的歷史定位，與建立未來可能性的發展空間。

What is considered the treasure of Taiwan art? It is actually the search

Looking at the art history of Taiwan,

for Taiwan’s heritage, such as its cultural assets and artistic roots. The senior painters of Taiwan are such treasures since they left behind the most original, local colors.

Living in colonial times amidst unique

geographical conditions, these artists created vivid and exotic artistic

content, as well as defined the paradigms of painting for their era. Outstanding senior artists are worthy of our attention. The spirit of hard work imbued by these artists has since become an example for later

generations of artists to follow. The continuation of art’s eternal flame directly depends on the collection and study of the works by these preceding artists.

Therefore, the treasure map left behind by these

senior painters of Taiwan is a valuable cultural asset and treasure for the

country. It is our hope that the reader can sense the beauty of Taiwan’s art and culture, as well as recognize the historical background and significance of its senior painters.

姚謙為藏寶圖系列圖錄帶來音樂與畫作結合的新亮點

it is apparent that senior painters held an important role during this particular period. Due to historical

and geographical influences, their ability to produce rich and vivid appearances was rare.

Yet, the

history compiled regarding senior Taiwanese artists is in dire need of new breakthroughs and approaches. It also needs to define the position of senior painters in the art history of Taiwan and establish possibilities for future development.

Based on the works of senior Taiwanese

painters, Liang Gallery collaborated with EMI Classics to produce the

CD, Paintings and Music. Not satisfied to appreciate a painting’s content through its surface, this is Liang Gallery’s attempt to awaken visual

associations and express the sound of a painting - a way to “listen to a painting.” This is a new combination that can ignite interest in the works by senior Taiwanese painters and give them a renewed image. 與EMI唱片公司合作古典音樂

Lia ng Ga l l er y 20th Anniver s a r y

呂璞石特展在台灣前輩畫家當中，呂璞

郭柏川精選展

Lu Pu-Shi

Kuo Po-Chuan Special Exhibition

石算是「現代藝術」的先

驅，其藝術創作的面貌，早已呈現出抽象繪畫

1942年郭柏川應聘為

的精神，將「理性」的科學與「感性」的藝

私立京華藝術專科學校

術，融合在畫境之中，傳世作品極為稀少，要

教授與訓導主任，除了

探討台灣美術的發展，他的作品必須被提出來

藉重他的繪畫專長外，

研究及討論。

最重要的是他的辦學本

Lu could be regarded as a pioneer of contemporary art among the

領足以整頓校風。尊彩

senior artists of Taiwan.

His art displayed an early spirit of

藝術中心經由這次特展

abstraction as he combined the rationality of science with the

展出他在北京時期的重

emotions of art. He left very few works behind. However, these two

要畫作。

pieces cannot be left out of any comprehensive discussion or research regarding Taiwanese art history.

林俊慧

觀賞林俊慧的畫，畫中對大自

Lin Jiunn-Huey 然的描繪表達出寧靜的語彙，

洪瑞麟典藏展（童養媳） Child Bride- Hong Rui-Lin

以靜態的方式，闡述山與水的和諧存在，像是聆聽

「所謂希臘式的剛毅悲劇，是指人生充滿著

奏鳴曲般的純靜、悠揚。林俊慧對大自然的氣候變

荊棘，短暫而可悲。但必須以堅苦卓越的精

化作了多種描繪，既是真實，又有想像，對於自然

神，開拓生命的衢路。儘管經歷艱難，仍不

中的綠色，越是觀察，越是發現它變化無窮，當然

致淪入悲觀的頹境。在飽嘗人世苦痛之中，

就有「豐草綠縟而爭茂」的領略感受。他說：「現

積健為雄，且持雄奇悲壯的氣概，馳騁人

實景象中的自然是人間的美，傳達自心靈中無法掌握的影像是一種內心的

世。如此以藝術的心情，征服可懼的事物，

真。」畫家在畫他的生活周遭、環境，是在畫他自己的生活，「綠」即是

陶鎔美感，截成樂趣，而引人入於高超的意

他內心裡的真實生活，也是人間最美且最需要的。

境。」這是洪瑞麟很早以前從尼采的書本上錄下的一段話，也可作為他早年畫此幅台灣

The art of Lin Jiunn-Huey is filled with the quiet vocabulary of nature, representing the harmonious existence of mountain and water in stillness. It is as pleasant and pure as a sonata. Lin’s description of nature is various - real and imaginative at the same time. The color green in nature, in particular, is one where the more you observe it, the more varieties you will find. And, it is hard not to feel that they are all competing for attention. In his words, “the nature in reality is the beauty of the human world, it conveys the true images of the heart that are hard to grasp.” The artist depicts his surroundings, his environments, and, in fact, his life. “Green” is his inner reality, it is also the most beautiful...something the world needs most.

社會景象「童養媳」的最佳註解。 “When one speaks of the resoluteness of a Greek tragedy, he refers to the trying journey of life, its shortness and its sadness. Yet we must carry on with an enduring and excelling spirit, uncovering the various paths of life, so that even when faced with difficulties, we may escape the dispirited state of pessimism. The painful experiences of life make us stronger, thus we can strut the world with the solemn strength of a hero. When applied to art, we can overcome fear, elevate our aesthetics and turn it into pleasure, thus entering the highest realms of the mind.” This is a section Hong quoted from

陳德旺典藏展

Nietzsche, which also serves as the best description of his Child

Chen Te-Wang

Bride, which depicts early Taiwanese society.

陳德旺常在重複的題目中，立體架構出一種生命多

洪瑞麟典藏展（50年代的左營）

思維的證據。陳德旺說：「畫得完全像西畫，也是不行，畢竟西方現在也走不通了，轉向東方學習，你全部跟他走，還是死路一條，何況，我們是黑頭髮、黃皮膚，要把黑髮染成金髮，那太簡單了，也沒什麼意

Hong Rui-ling’s Paintings of Zuoying and the Area in the 50’s 洪瑞麟1938年7月從日本留學回來，9月就到倪蔣懷經營的瑞芳煤礦工作，直到1964 年受聘為國立藝專兼任教授，1972年自煤

思。要想了解西方傳統，已經是一個很龐大的問題了，再加進中國的傳統，

礦礦場退休，漫漫三十多年，都與昏暗的礦

問題更大了。」

場為伍。年表裡找不出他何年去過高雄左

「藝術，主要是個人的表現，表現你的個性，你的想法，你的生活環境，與

營，但是我們還是發現了幾幅他的左營畫

流行無關。」

作，如1945年所作的《左營的回憶》、

Within a repeated subject, the three dimensional structure represents

1958年的《左營風光》數張，和1974年的

proof for a multitude of life visions.

《左營風光》等。

“It doesn’t work if we make the work look too western either. After all, the

West has also hit a dead end now. But, if you turn around to learn from and follow the East completely, that won’t work either. Besides, with our

In July 1938, Hong returned from his studies in Japan, and started work at Ni Chiang-huai’s coal mine in September. In 1964, he was

black hair and yellow skin, it would be too easy to bleach our hair blond.

employed as a part time professor at National Arts School. He retired

is a huge problem in itself. If you add eastern elements to the equation

years in the darkness of the mines. There were no records of him

But, that wouldn’t be much fun. Trying to understand western traditions

from working at the mine in 1972, after having spent a long thirty

the problem becomes even bigger.”

visiting Zuoying. Nevertheless, we found several works of his that

your environment; it has nothing to do with fashion.” - Chen Te-Wang

Zuoying series( 1958), Scenes of Zuoying (1974), and more.

“Art is mostly a personal expression of your character, your thoughts, and

depict the area, such as Memories of Zuoying (1945), Scenes of

Lian g Ga ller y 20th A n n i ver s ar y

台灣前輩畫家的藏寶圖－參

台灣美術史上的重要時刻

Treasure Map III Painting Album

Important Events in Taiwanese Art History

曾經有人說過：「藝術的成立有著必須的社會因素，由於社會價值

尊彩藝術中心應中國文化部，中國文化學會的邀請，提供陳澄波、

的差距，在一個環境具有意義的活動，在另一個環境卻可能顯得莫名其

廖繼春、洪瑞麟、廖德政等四位台灣前輩藝術家的作品，前往北京中國

妙。」落實本土的美術教育，是為了能讓每個人更深切了解自己所生長

美術館參加「二十世紀中國油畫展」。

的土地，本土文化藝術的再加強，便能感受現在社會所缺少的精神。失去的再也回不來，只能憑記憶圖文找尋。當國外盛行的觀念藝術，在台灣蔚為風潮時，需對之研究討論，找出國內藝術所缺乏或不及之處，再

中國油畫學會：「這次展覽將是一次具有歷史性、學術性、前瞻性的大展，將作為中國油畫的世紀性盛會而載入中國當代文化發展的史冊」。

加以融合，才能創造出「舊繪影，心（新）思維」的理念。在台灣前輩畫家的作品中，有著充滿鄉土關愛的本土民俗所特有的精神面貌，勾勒

這是一個艱辛坎坷的歷程，貫串了整個百年的歷史、耗盡了五代畫

在台灣這片土地生長的人們，純樸、可敬的一面。把這些題材編入《藏

家的心血。第一代中國油畫家的探索與成就、恰好是對西方藝術歷代的

寶圖》中，寄予無窮的希望給未來的欣賞者，盼能喚醒現階段都市叢林

精華，從古典寫實主義到轉折期的印象派、直到現代藝術諸流派形成序

裡的一絲親切。

列的引進與創造。他們各自的心靈之音，織成多聲部的合唱、共同奏響了中國油畫光輝悲壯歷程的第一樂章。

Someone once stated that: “The establishment of art is reliant on certain Due to differences in social values, an activity that is

在多元互補的藝術格局中，尋求東方與西方、古典與現代的融會，

meaningful in one context might be viewed as baffling in another.” The

理性與感性、科學與藝術的契合，創造具有時代精神、地方色彩、個性

practice of localized art education is to help people better understand their

特徵的中國油畫，這是當今畫家們的共同心願與追求，其實這也是符合

social factors.

motherland, enhance local art and culture, and foster a spirit that is currently lacking in society. What is lost will remain lost, and can only be explored through memories.

After it was introduced into Taiwan and

became a local trend, conceptual art had to be supplemented with research and discussion to find areas that were lacking in Taiwan. Only through additional considerations could it infuse concepts of “feelings (new)” present into old paintings. Within the works of senior Taiwanese painters, there is a pervading rustic sentiment that is common to the spirit of local folk

世界藝術向後現代發展和走向綜合的大趨勢。這種與世界藝術潮流保持基本同步的格局與節奏，是中國油畫正常發展的表現，也是油畫取得更大成果的基礎。它已經奏出了偉大新時期的第三樂章，必將在二十一世紀譜出更新更美的華彩樂段。 20世紀中國油畫展組織委員會 2000年7月

culture, and which reveals the simple, yet respectable characteristics of Taiwan’s residents. Including these themes within Treasure Map passes of kindness within the urban settings of today. 牆上作品展出的是《台灣美術全集—陳澄波》封面作品『嘉義公園』

尊彩藝術中心為展覽件數最多的私人單位

down a limitless hope to future generation of viewers, and awakens a sense

Lia ng Ga l l er y 20th Anniver s a r y

2001 林俊慧—季節物語 Liang Gallery was invited by the Ministry of Culture of the People’s Republic of China and the Chinese Cultural Association to feature works

of four senior Taiwanese artists - Chen Cheng-Po, Liao Chi-Chun, Hong Rui-Lin and Liao Te-Chen for the “20th Century Chinese Oil Painting Exhibition” at the National Art Museum of China in Beijing.

The China Oil Painting Society stated that, “This will be a great,

forward-looking exhibition of a historical and academic importance. It will be recorded in the development of Chinese contemporary culture as the event of the century.”

It has been a hard and difficult journey through the hundred years of

history, and has exhausted the minds of five generation of artists. The explorations and achievements of the first generation of Chinese oil painters correspond to the essence of western art history - from Classic

Realism to Impressionism, all the way to the various genres of today. The voices of their hearts are weaved into a chorus, which echoes the first glorious chapter in the history of Chinese oil painting.

Finding the crossover between East and West, classic and modern,

Lin Jiunn-Huey 林俊慧在這次新作展中，整個作品的主題精神全都環繞在「二十四節氣」中。中國四季裡的節氣，充份說盡中國人對大自然長年觀察所累積的生活智慧，它甚至充滿著諸多生活的映像在其間。可是，字意中的二十四節氣，當然很容易來作文字的拆解，轉換到畫面則不見得是容易表現的畫境，稍微處理不好，就有可能流於一種過度受役於字面的視訊。因此，如何將字面變成畫面，則已經成為林俊慧在挑戰這次創作主題的首要項目。 The entire oeuvre of this exhibition of Lin’s new work concentrates on the 24 solar terms of the Chinese Lunar Calendar. These seasonal markings

on the Chinese calendar fully convey the wisdom that the Chinese have accumulated through observations of nature over a long period of time.

They are even filled with images of daily life. Obviously, it would be easy to dissect their literary meanings, but transferring them into images is less evident. If you are not careful, the images become enslaved to the

words. Therefore, the greatest challenge Lin faced in this project was how to transform words into imagery.

sense and sensibility, and science and art within the complementing

pluralism of art, Chinese oil paintings represent the spirit of the times, local flavors and personal characters that artists today strive for. In fact, it corresponds with the general direction of the global art world, which moves towards post-modernism.

Synchronous with the trends of the international art world shows that Chinese oil painting follows the normal track of development. This forms the basis from which oil painting can achieve an even higher level of

success. So far, it has reached the third movement, and will surely present us with more new and exciting chapters in the 21st Century.

July 2000, the organization committee of the 20th Century Chinese Oil Painting Exhibition

北京中國美術館展覽會場

台灣的山青水秀 Delicate Landscapes

相信我們的目標，和美術館是一致的。

「自其擔任館長以來，深覺館內台灣前輩藝術家早期作品典藏的不足，因此去年和今年都將此一項目作為重點的典藏方向。北美館三館，將以藝術家的精品專室為主，大方向是台灣源流，早期台灣美術為主」。北美館<林曼麗> 「土法煉鋼，使盡力道，全力以赴，收遍台灣美術史大師巨作是省美館的典藏方向，在位一日就必須為收盡台灣名畫盡心盡力」。省美館<倪再沁> 「典藏台灣美術史標的作品是高美館以後生之姿進行的方向」。高美館<黃才郎>

We believe that our goal is the same as that of the Museum. Man-Li Lin, Taipei Fine Arts Museum “Since my appointment as director, I’ve always felt that the Museum’s collection of senior Taiwanese artists was somewhat lacking. Therefore, I had set this as one of my primary goals for both last year and this year. The third gallery of the Taipei Fine Arts Museum will be placing emphasis on these artists, tracking the sources of early Taiwanese art.” Tsai-Chin Ni, National Taiwan Museum of Fine Arts “I will exhaust all means and whatever archaic methods necessary to collect the work of Taiwan masters. As long as I remain in this position, this will be the direction of the Museum’s collection.” Tsai-Lang Huang, Kaohsiung Museum of Fine Arts ”As an up and coming Museum, collecting representative Taiwanese artwork is our priority.”

Lian g Ga ller y 20th A n n i ver s ar y

2004 陳澄波之上海風華 Graceful Shanghai by Chen Cheng-Po 陳澄波於台灣前輩藝術家當中，有一項特殊的際遇，就是他的上海經驗。上海經驗造就了他放膽油畫風格：卻在二二八事件中背負「中國通」的使命，使得一名單純的藝術家因政治而冤死。之前，陳澄波已經參與多項政治活動。日本戰敗後，有不少台籍菁英認為是藝文氣象及個人前途的轉機，但事實不然，陳澄波是美術界唯一悲劇下的犧牲者，通

典藏前輩瑰寶，就從尊彩開始 Collecting the Treasures of Senior Artists Begins with Liang Gallery 這兩年我們推出了許多令人驚艷的精品珍藏展，包括前輩，華人，當代，雕塑等大展，另規劃藏家系統收藏的項目，使收藏家得以將藝術珍品規納於個人傳世或基金會或公私立美術館當中所典藏。推薦優秀頂

常悲劇人物都有一顆熱情的心腸，我們好奇的是，陳澄波有上海經驗，他那一份熱情是在哪裡？是國際都市上海的衝擊，或是脫出學院派的離經叛道？是上海方興未艾的左翼活動，抑或是響應國民黨的革命感情？這些問題都值得在此展覽中所探究。 What sets Chen Cheng-Po apart from other senior Taiwanese artists is his Shanghai experience. It shaped the bold style of his oil paintings, but also burdened him with the name of “China hands” during the 228

尖的藝術精品，是我們這個階段所不斷努力的目標，因此也打出了『典

incidents, ultimately resulting in the death of a simple artist mired in

藏前輩瑰寶，就從尊彩開始』的亮麗口號。

political complications. Chen has participated in many political activities

Over recent years, a stunning boutique collection exhibition series, which

even before that.

included works by senior artists, Chinese artists, contemporary artists,

considered it a change of tide in terms of cultural affairs and personal

sculptors, and more, was developed. Additionally, it planned to create a

outlooks. However, this did not turn out to be the case. Chen, however,

system that kept track of collection items, enabling collectors to place

was the only victim in the art world.

their art collection in their name at a trust, foundation, or public or private

Tragic figures are often passionate one. Given his Shanghai experience,

When Japan lost the war, many Taiwanese elites

museum. To promote outstanding masterpieces of art is our mission for

we wonder where Chen’s passion lay. Was it the impact of Shanghai as

our current stage. And, because of this, we have created the brilliant

an international metropolis, or was it a rebellion against the academia?

slogan: The collection of timeless masterpieces starts at Liang Gallery.

Was it the bustling left-wing activities in Shanghai, or a revolutionary spirit in response to the KMT? 西湖 1930年油彩、畫布 8F

Lia ng Ga l l er y 20th Anniver s a r y

陳前民（陳澄波之二公子）接受CANS總編輯鄭乃銘訪問

尊彩的後花園－內湖金湖路二館開幕 Liang Gallery’s Backyard Garden

The content of our Treasure Map painting albums have always been complemented with music that evokes the viewer’s visual imagination through association and reaches deeper into the meaning behind the work. In effect, one can “listen” to the painting. We hope that such a

一直以來，藏寶圖系列畫冊的內容都會加入音樂來豐富畫作本身的

combination will bring a new energy to the image, which is why we

內涵，從畫面裡喚起觀看者視覺形象的聯想，以更深刻地去感受畫中蘊

designated our new space as our backyard garden. We hope that the

藏的聲音，嘗試的「聽畫」，這樣的組合盼能為作品注入一股新的活力與形象。文化是累積的，寶藏亦是累積的。社會文化發展到一定的階段，就會有代表此一文化階段的美術產生，前輩畫家本身的努力經營，使本土

combination of art and music will provide our visitors with an even better space to appreciate art. Culture is an accumulation, and so are treasures. When culture and society develops to a certain degree, an artistic body that represents that stage will emerge. The hard work of the senior artists bestowed local society with the ability to create and appreciate art. Their greatest

有了藝術欣賞與創作的能力，他們最大的功勞便是奠定了西洋美術在本

achievement is building the basis for Western art in Taiwan, giving us a

地發展的基礎，而有如此好的開端，加上畫廊不斷的構思創新舉辦展覽

head-start. That, and the gallery’s efforts in developing new concepts for

來推廣，才能相得益彰，也才能為本土前輩畫家再創新高。

Taiwan masters to reach a new height.

exhibitions and promotions created a synergy that allows the works of

Lian g Ga ller y 20th An n i ver s ar y

2006 李梅樹—肆福臨門 Li Mei-Shu - Four Lucks Knocking on the Door 此次李梅樹「肆福臨門」特展，是將四幅李氏的經典大作第一次集結展出在大家的面前。其中《看畫冊的少女》、《憩之女》、《裸婦》更是第二屆台展，第八屆台灣美術展覽會，第四回台陽展出品的重要畫作。李梅樹作品中透露著對台灣土地與人情情感的深刻觀察，使他的繪畫

陳澄波作品集—藏寶圖肆

創作在第一代畫家中，獨具個人風格與開創性。他的畫風雖受西方自然主

Treasure Map IV Painting Album

義的風格影響，但他將自然主義中追求自然外貌以及探討內在精神，成功

陳重光先生（陳澄波長子）與其家族，在第四本藏寶圖的畫冊編輯當中，傾全力的支持與鼓勵，而使得這本畫冊，成為陳澄波的專屬專輯，也因此受到各界的重視與推崇。多數畫作經過清洗與修復，第一次在國人的面前展示，多幅未曾面世的精彩作品齊聚一堂，讓尊彩藝術中心倍感光榮之外，也因此次陳澄波個展的難度與內容之齊全，使得尊彩奠定在海內外經營陳澄波畫作的正確公正性與權威性。

地融入在他的作品中，讓人深刻感受到李梅樹作品中對生命的活力、鄉土的熱愛。 For the special exhibition, Four Lucks Knocking on the Door, four of Li’s classics will be showcased together for the first. These works include the

Girl Look at Painting Album, Resting Woman, and Naked Woman, which

were important works that were shown respectively at the second and eighth Taiwan Exhibitions, as well as the Yang Tai Exhibition.

這本藏寶圖四-陳澄波專輯的出版，內容已經為海內外拍賣公司與畫

Li Mei-Shu’s works reveal the artist’s deep observations regarding

廊業者所認定的陳澄波畫作中最重要的參考用書之一。

Taiwan’s locales and humanistic feelings. Li was indeed a pioneer with a

Many thanks go to Chen Cheng-Po’s son, Chen Chung-Kuang, and his

were influenced by a Western style, Li successfully combined his practice

family for their support and encouragement in creating the Treasure Map IV Painting Album, and turning it into an album for a solo exhibition for

Chen. Many of the paintings were cleaned and restored, and displayed again to the public for the first time. Liang Gallery felt extremely proud to showcase so many works that had never been debuted in public before under its roof.

By hosting such a complex and comprehensive solo

exhibition of Chen’s works, Liang Gallery cemented its reputation both

locally and internationally as a credible and authoritative source for paintings by Chen Cheng-Po.

This album, Treasure Map IV , which

exclusively features Chen’s works, has become an important reference used by auction houses all over the world for identifying and appraising Chen Cheng-Po’s paintings.

陳重光先生陳澄波之長子

(

到尊彩翻閱校對藏寶圖肆畫冊

)

unique style amongst first generation of painters. Although his works

of naturalism with that of art to capture a natural beauty and explore an inner spirituality. From his works, one can sense the artist’s passion for life’s vitality and his love for his native land.

Lia ng Ga l l er y 20th Anniver s a r y

朱銘老師與師母余彥良攝

行訪朱銘老師 A Visit with Master Ju Ming 2007年至2008年期間，尊彩以收藏和拍賣的方式，珍藏朱銘老師重要且經典的大型作品，帶動當時作品交易的熱潮。拜訪朱銘大師，領悟對藝術的真，對藝術與人生的減法，對靈性的探索與提升。朱銘老師將一生奉獻給藝術，從鄉間出發，立足台灣，遠征歐美，到至今享譽全球。而且他常說：改變，我一直在改變。他一直追求突破，捨棄精巧的技法，追求擺脫寫實而神采不減的境界。太極系列，是在他善於運用木的本質，以木的紋路與肌理，揮灑自如，使雕塑出的太極功夫形象，變成強有力而富動感與氣勢。 This visit with Master Ju Ming was a means to comprehend the truth behind art and life, the deduction of art and life, as well as spiritual exploration and enlightenment. Master Ju has dedicated his entire life to art. With humble rustic beginnings, he gained a foothold in Taiwan and conquered the West, earning him a reputation of his own. He often said, “Changing... I am always changing.”

此作品為朱銘1976年最早時期的大型太極系列木雕作品《功夫—單鞭下勢》楠木 165X91X74cm

He constantly seeks new

breakthroughs. By abandoning delicate carving techniques in favor of creating art, he attempts to discard realism without losing essence. The Taichi Series is created through Ju’s aptness in manipulating the

properties of wood. Utilizing wood’s natural patterns and textures, he effortlessly transforms wood into Taichi poses that are dynamic and full of momentum. Between 2007 and 2008, Liang Gallery has collected Ju Ming’s most important and representative large-scale works by purchasing them or bidding for them at auctions. This has driven a surge in interest in his works. 朱銘老師余彥良攝

Lian g Ga ller y 20th A n n i ver s ar y

2008 朱銘大師創作大型紅豆杉之作品《單鞭下勢》

朱銘—太極系列 Ju-Ming - Taichi Series 「太極系列」的作品是朱銘將自己探究的結果融入造形中的產物，意圖透過有形的身體形象掌握動態的本質。朱銘曾道：「我的木刻藝術一直在追尋一種『人與自然溝通』的路，…我發現『太極拳』與我的藝術精神有相同相通的本質。所以，現在，我刻『太極拳』，我打『太極

三立電視公司典藏朱銘大師精品

拳』，亦就是想通過它，去達成『人與自然結合』的完美表現。」朱銘

Sanlih E-Television Inc. Collects Masterpiece by Master Ju Ming

將人們所熟知的太極拳套以既具象又抽象的造型語言作微妙轉換，憑藉

國際藝術雕刻大師朱銘所創作出目前唯一最大型的「單鞭下勢」木雕作品，經由尊彩藝術中心的規劃洽談，在2007年由三立電視公司所典藏，目前作品放置於三立電視台一樓大廳。 Sanlih E-Television Inc. negotiated through Liang Gallery to acquire,

Single Whip, Master Ju Ming’s largest sculpture work to date. The work was included into its collection in 2007, and is currently on display in Sanlih’s lobby.

著自己的經驗、閱歷和判斷加以藝術處理，找尋新的空間架構。太極系列是朱銘雕刻語言成熟和藝術風格成形的一個重要標誌。太極拳可以說是人與自然結合的最好例子，運用人的身體四肢、五官、血液，呼吸等來接觸和模倣宇宙的自然現象，表面上是模倣動物、植物、空氣三種自然要素。因為他們的存在就是一種最自然的狀態，等於是自然的一部份，太極拳就是藉由模倣它們，來幫助人回到自然的原位。朱銘打太極、刻太極，就是希望能夠找尋到自然界裡合諧、互相的聯繫，向自然學習和諧之理，他自太極拳的演練中體悟天人合一的境界，透過自己藝術的本質達到人與自然結合最完好的呈現。

朱銘《單鞭下勢》大型木雕作品搬運至三立電視公司的過程

The Taichi series is created by Ju Ming in an attempt to infuse the outcomes of his personal explorations into the plastic arts. Through tangible human forms, he captures the essence of movement. Ju once said that, “My wood carvings are a pursuit of ‘a communication between nature and humanity...’ I found out that Taichi and my creative approach share something in common on an intrinsic level. As a result, I now carve Taichi sculptures and practice Taichi the martial art. By doing so, I want to create a perfect expression that echoes ‘the communication between nature and humanity.’”

Relying on his

experience, knowledge, and judgment, Ju uses figurative yet abstract visual language to transform familiar Taichi poses into new spatial constructs. The Taichi series is an important milestone in Ju’s career as it marks the maturation of his artistic language and style. The practice of the Taichi martial art can be considered the best example of a merging between mankind and nature. Using the body, senses, and respiratory system, poses are made that mimic the universe and natural phenomena.

In terms of expression, it

attempts to echo three natural elements: animals, plants, and air. These are reflected because their existence in itself comprises the ultimate form of nature. They are a part of nature. By mimicking them, the practice of Taichi helps people return to nature. Ju practices Taichi as well as carves it to achieve a state of harmony and coexistence with nature. By practicing Taichi, Ju experiences the state of mind when the body merges with the heavens. Through his own artist language, he then expresses this perfect harmony between man and nature.

尊彩藝術中心負責人余彥良於拍賣會中，以新台幣4,277萬元的落槌成交價購買朱銘小型(54×36×34cm)木雕作品《單鞭下勢》，創當時朱銘大師木雕作品拍賣新紀錄，也帶動當時一股收藏朱銘大師太極作品的熱潮。

Lia ng Ga l l er y 20th Anniver s a r y

陳重光先生在尊彩瑞光路新館裝潢期間到工地參觀與鼓勵

尊彩藝術中心搬遷內湖瑞光路新館 Liang Gallery Relocates to New Address in Neihu 現今尊彩是一座很簡俐現代感而且有舒適廣闊的新空間，能為藝術家設想多元性創作的展覽方式，也想帶給藝術創作者與觀賞者很舒適的心靈安定感，讓大家都深刻感受到美的充實與舒適空間所帶來的精神能量；尋求一個安定的空間，平靜藝術工作者內心的空間，讓他們安穩無慮的創作，從真誠的環境當中，創造出光明正面雋永恆長的藝術品，進而把美感影響到社會，散發至人群的內心思想裡提昇藝術義涵，人心也才能歸還平靜，生活自然順遂和諧。而我對藝術的熱忱，對應管理諸己的心，也把這樣的管理回饋給藝術工作者與優秀的收藏群，達到真正充實而有光輝的藝術層面與氛圍，這正是我想達成的事業目標，也一直不斷在進行著。尊彩開創了不同的新局面，唯有籌劃這規格似美術館級的展覽，才能顯現出我們對新時代的意圖與傳遞新舊美學的責任，這是一種榮耀的使命感。為使今後展覽更趨多元化，除了前輩藝術家外，我們也會發掘更多當代的藝術新秀，無論是攝影、錄像或裝置，都能進入尊彩寬闊的新空間與新景象內，積極推薦給普羅大眾，實質籌辦更多精緻優秀的展覽，讓觀賞者對這些傑出的藝術家做全面性的了解其精神內涵與對時代的前瞻貢獻，我們試圖成為一座摩登現代化的藝術城堡，這就是我下一個十八年的經營目標，也是理想，更為我所經營的工作增添藝術深度與刺激我所辦展的多元方向，更希望也能成為台灣美術史上經典永恆的世紀璀璨。

Today’s Liang Gallery is a slick modern space that is airy and comfortable. It provides a variety of possibilities for artists to show their work, as it allows artists and visitors alike to find comfort and peace of mind.

In this way,

everyone who enters the space can absorb the spiritual energy that a good space and great art brings to them. We seek to create a stable and carefree

space that allows artists to work with a peace of mind. A supportive

environment that nurtures gives rise to a positive and long lasting art. In turn, beauty is brought to society, elevating the minds of the general public. Only in

this way can the human mind return to peace and life, and find its natural flow again. My passion for collection directly corresponds to my introspection, and I

return my gains to the outstanding artists and collectors we work with. This allows me to establish a truly fulfilling level of brilliance, which is a target I

constantly strive to achieve. Liang Gallery has opened new possibilities in the

art world. Only by curating museum standard exhibitions can we communicate our purpose to this new era and achieve our goal of conveying connecting the old and the new. It is a duty we take great pride in.

To make our future

exhibitions even more diverse, we reach beyond the works of Taiwanese

masters and extend our scope to include many contemporary young artists, regardless of their discipline. Whether it be video, film, or installation art, all can

be shown at Liang Gallery’s vast exhibition space and encompassed in its new image. By doing so, we bring fine and excellent exhibitions to the general public

and let the audience familiarize themselves with the works of these outstanding artists, allowing them to appreciate the essence of their works and their

forward-looking contributions to our times. Our goal for the next eighteen years

is to become a sanctuary for modern art. I hope to bring even more depth and excitement to this business through our management, and to become a gem in Taiwan’s artistic history.

Lian g Ga ller y 20th An n i ver s ar y

璀璨世紀－陳澄波與廖繼春雙個展 Dazzling Through A History－Chen Chen-Po & Liao Chi-Chun Art Treasures Exhibit 陳澄波與廖繼春，同一世代，一起求學，前後獲得帝展殊榮的不朽傳

Shanghai Windmill, Chang-Jung Girls School, and New Building

承，一同熱心為台灣美術運動奮鬥的一世情誼，共同奏出經典永恆的璀

Landscapes all feature the same grassy area surrounded by low rooms

璨世紀。

and trees, and the same curved stretches of trail. Yet, at the center of the image, the mother and child exude a different sense of silence and ease.

本展為尊彩藝術中心瑞光新館開幕特展，展出廖繼春與陳澄波不同時

And, in Self-Portrait, Chen presents a deep and thoughtful expression

期的重要作品；在陳澄波的「上海風車」、「長榮女中」、「新樓風

that reveals the determination of self-confidence and persistence in art.

景」中，同樣的矮房與樹木圍繞出的草地，同樣彎曲的小徑綿延，母子

In Spring Scene in the Garden, Liao Chi-Chun successfully finds a perfect equilibrium point in a fusion between subjective colors and compositions

身影位於畫面中央，卻有不同的寧靜恬逸。而「自畫像」中的陳澄波深

that lean toward abstract expressive tendencies. In the heartfelt colors of

沈而若有所思，顯露出自信與堅持創作的毅力。「我的家庭」中，觀賞

Pink Venice and Blue Venice, pink and ultramarine are used to depict the

者與陳澄波的家人共享小小的圓桌，溫暖的燈光下，桌上簡單擺設的物

excitement and noise of Venice. These works have been considered to

件清楚地說明家裡每位成員的興趣及個性。雖然一家人親密地湊在一塊

be ones that stand at the apex of Taiwan art history.

兒，但透露出些許不安定感，外來的威脅與大環境的動盪隱伏於其背

At the opening ceremony, Chen’s eldest son, Chen Chung-Kuang

後。廖繼春在「花園春景」中成功地在主觀色彩與趨於抽象表現的結構

father. As a result, the hometown feelings exuded by the works of Chen

融合下找到完美的平衡點。在「粉紅威尼斯」、「藍色威尼斯」中隨心

moved viewers even more deeply.

賦彩，將粉紅和群青把威尼斯的熱鬧、喧嘩用彩筆描繪，被視為台灣美術史上的登峰造極之作。陳澄波的長子陳重光更親自導覽，對父親的真摯情感表露無遺，而陳澄波畫作所散發出的故鄉情更感動了所有前來觀賞的民眾。

Chen Cheng-Po and Liao Chi-Chun came from the same generation and studied at school together. After both were immortalized by winning at the Imperial Exhibition, they struggled passionately to build Taiwan’s art movement. Together, they played a classical and timeless song across a bright century. This is a special exhibition that commemorated Liang Gallery’s new branch at Ruiguan Rd, and showcased the important works of Chen Cheng-Po and Liao Chi-Chun across different time periods. Chen’s

personally guided attendees and fully revealed the sincere feelings of his

Lia ng Ga l l er y 20th Anniver s a r y

活動花絮 Activity Highlights

Lian g Ga ller y 20th An n i ver s ar y

2011 Mar~May

聚賢迎春—十位當代藝術家聯展

心境之航—張翠容 Mirror of the Heart - Chang Tsui-Jung 從傳統水墨到現代性的繪畫構成，在接受西方文化洗禮後，張翠容跳脫早期傳統的寫生模式，在具象的基礎上，大量使用象徵性的動、植物圖像，表達對世俗現象的觀感，和牽動內心的情感，擬人化的形象、樣態、帶領觀者進入一個想像性的自由空間，由此可看出她更加深入而

Celebrating Spring Together - Joint Exhibition of the Works of Ten Contemporary Artists 「聚賢迎春—十位當代藝術家聯展」，集結吳耿禎、席時斌、張恩

慈、林岱璇、黃頤勝、林宏信、林俊慧、金芬華、徐薇蕙、王建揚等十位在藝壇有出色表現的中青生代藝術家，作品類型豐富，包含繪畫、攝影、雕塑、剪紙、縫繡等，呈現充滿生機和活力的藝術表現。

內斂的演繹方式。在超現實的現代風格畫作中，依舊能看出張翠容帶點東方水墨渲染的細膩筆法，奮力蛻變的東西合璧交融，一幅幅建構成有系統的「主題性套繪」，也能讓人見識到充沛的創作能量，如此「發乎情、寓於意」的形意兩全，顯示張翠容的藝術創作之路，又往前邁向了一個新的里程

新世代藝術家徐薇蕙、林岱璇以特殊的材料創作，展現大膽的創意

與想像。徐薇蕙使用面膜為媒材，以女性個人的生活經驗，直指女性內心對外貌潛藏的焦慮和矛盾，同時探討時間與生命議題；林岱璇的鉛線雕塑，則是利用焊接的方式，在將真實物件轉變為立體圖像的製作過程中，除了捕捉日常小物所散發的美好，也表達一個物件與人的關係。

碑。

吳耿禎、張恩慈、席時斌等新銳，以深刻的當代思維注入個人創作

中，形成新內涵的文化再生。曾前往中國陝北學習剪紙的吳耿禎，將台灣與中國的歷史作比較反省，進而強調自我認同價值，並將剪紙的民間技藝轉換為當代藝術的語彙；張恩慈以童話系列為主題進行縫繡創作，乍看甜美無瑕的故事角色，藉由針線穿刺於畫布的觸感以及不規則線頭，暗暗透露出女性在社會中的壓抑，有可被多元閱讀的趣味；專長以複合媒材製作空間雕塑的席時斌，利用日常物象的基本構造，透過結構

From traditional ink painting to contemporary art, Chang Tsui-Jung makes a departure from the early traditions of sketching after accepting

／解構的雙重手法，創作隱性奇詭的形體與空間。

the baptism of Western culture. Based on figurative forms, she uses

林俊慧、金芬華、黃頤勝、林宏信等人則以精湛的油畫創作，演繹

symbolic imagery of plants and animals extensively to convey

富隱喻的象徵精神與意象。林俊慧的繪畫富含音樂性與哲學省思，呈現

perceptions

secular

phenomenon

and

stir

inner

emotions.

Anthropomorphic imagery and conditions draw viewers into an imaginary

毫無紛爭嘈雜的幽雅柏拉圖之地；金芬華作品的陰性柔美與樸素無華，

and unrestrained space. Through this approach, one sees her conduct

表現東方簡潔純淨的唯心美學；黃頤勝以生活中能觸及的圖像，創造溫

an even more in-depth and restrained interpretation.

馨安逸的烏托邦，一個看似合理但絕非真實的幻想樂園；林宏信將平面

In her contemporary surrealist paintings, Chang still brings a hint of the

符號與寫實人物並置，兩者的衝突使畫面呈現一種詭譎的安定感，與適

delicate brushwork common to Eastern ink and brush renderings,

度的敘事性。

blending objects that are struggling to transform.

Each painting

comprises a “themed set of paintings” that is regulated by a system, and allows people to experience an abundant creative energy.

The

co-existence of form and meaning “comes from the heart and stems from the will,” signifying that Chang’s creative works are ready to hit yet another milestone.

在美、法、日、台屢獲佳績的王建揚，也將會在此展發表〈宅〉系列攝影的最新力作，以及榮獲第二屆Geisai Taiwan金獎的〈Toys〉油畫系列。

Lia ng Ga l l er y 20th Anniver s a r y

姚謙與陳菁螢合影

In March, Liang Gallery will host, “Celebrating Spring Together - Joint Exhibition of the Works of Ten Contemporary Artists,” which gathers the works of ten up and coming young artists who are becoming increasingly prominent in the art scene: Jam Wu, Hsi Shih-Pin, Chang En-Tzu, Lin Dai-Shiue, Huang Yi-Sheng, Lin Hung-Hsin, Lin Jun-Hui, Jin Fen-Hua, Hsu Wei-Hui, Wang Chien-Yang. Spanning fields such as

余彥良與黃子佼合影

appropriate narrative. Furthermore, Wang Chien-Yang, whose works generated much attention in the U.S., France, Japan, and Taiwan, will debut his newest photography series, “House,” and his Geisai Taiwan winning oil painting series, “Toys,” at this exhibition.

painting, photography, sculpting, paper-cutting, and embroidery, their rich works

After the calm of winter, spring has finally arrived. With spring’s rain, everything

radiate a vigor and vitality deeply infused within their artistic expression.

comes back to life again. And, for this joyous season, Liang Gallery will bring you a

Hailing from a new generation of artists, Hsu Wei-Hui and Lin Dai-Shiue both utilize

feast of visual delights.

unique materials for their works to present a bold imagination and creation. Hsu draws from her personal life experiences as a woman, and uses masks to bring to light the inner anxiety and turmoil that women hold about their outward appearances, as well as explores the topic of time and life. Lin’s wire sculptures utilize welding

韓國男子團體Super Junior到訪參觀

methods to change real objects into the production of three-dimensional images. In addition to capturing the beauty exuded by everyday objects, they also express a relationship between objects and people. Jam Wu, Chang En-Tzu, and Hsi Shih-Pin are cutting-edge artists who inject deep, modern thoughts into personal works, forming the cultural regeneration of new content. Having learned paper-cutting in Northern China, Wu conducts a reflective comparison between the histories of Taiwan and China, emphasizing the value of self-identity.

He converts folk methods of paper-cutting into the vocabulary of

contemporary art. Chang uses fairy tales as the theme to his embroidery works. At first glance, his works seem to tell sweet, timeless tales. However, the sensation of the needle puncturing into the canvas and irregular threads make a subtle commentary about the repression of women in society. The different readings are interesting.

With his expertise in using mixed media to produce space for his

sculptures, Hsi takes the basic structures of everyday objects, and creates forms and spaces that have a hidden strangeness about them through the dual methods of construction/deconstruction. Artists Lin Jun-Hui, Jin Fen-Hua, Huang Yi-Sheng, and Lin Hung-Hsin create exquisite oil paintings filled with rich, symbolic imagery. Lin’s paintings are imbued with musical and philosophical reflections, presenting a tranquil and elegant Platoistic landscape. The feminine softness and minimalistic style of Jin’s works expresses the pureness and simplicity of Eastern aesthetic ideals.

Huang uses

tangible images in daily life to create a cozy utopia that seems logical, yet is actually an unreal imagined paradise. Lin places graphic symbols together with realistic characters. The conflict between the two reveals an eerie sense of serenity and

Lian g Ga ller y 20th An n i ver s ar y

楊星朗、余彥良與陳菁螢合影

楊星朗（楊三郎獨子）與尊彩藝術中心負責人余彥良合影

楊三郎回顧展 The Retrospective Exhibition of Yang San-Lang 籌備多時，由尊彩藝術中心主辦、楊三郎美術館協辦的楊三郎回顧展，將

With the sponsorship of Yang San-Lang Art Museum and after a long period of

楊三郎畢生創作的作品，完整呈現，尤其多件美術館的鎮館大畫首度離館展

preparation, Liang Gallery hosted The Retrospective Exhibition of Yang

出，觀者莫不驚歎，媒體更喻此展為「藝術破冰大展」！除了畫作之外，還

San-Lang, which comprehensively showcased the life-long works of Yang San-Lang. In particular, many large paintings were being displayed outside of

有楊三郎的寫生素描、旅法日記、繪畫物品…等，多件極具歷史意義的文物

the museum for the first time, causing viewers to marvel and the media to

展出。

portray the event as an “art ice-breaking exhibition.”

「精於色，還於色」，是楊三郎的畫作藝境標的，在他所經營的畫面中，像千層般地堆砌，像萬片般地塗抹，但是那堆砌、那塗抹令人毫無壓力，毫無負重地欣喜接近而心曠神怡呢！他讓畫筆無盡的揮灑，圖寫出自已完滿意

In addition to his

paintings, Yang’s sketches, journal of his travels through France, painting items, and other relics of great historical significance were displayed. Skilled in colors and return to colors (Jing Yu Se, Hai Yu Se) is the underlying theme of Yang’s paintings. The image he operates is piled like thousands of

境的「色筆」與「筆色」，是其每天的必定修行執著工作，更是其一生必備

melaleuca, and smeared like tens of thousands of fragments. However, that

生息的執意抉擇，故其畫作張張皆是其用盡心志挑戰之筆，亦是其跳越限界

piling and smearing is joyful and relaxing in its approach, and does not give

奮力之戰。故有人謂道，楊三郎的畫作，是其人生彩繪戰場，確是有其真理

people any pressure or burden.

存在。

He lets the paint brush sway endlessly,

sketching the “color brush” and “brush color” of his perfect dream realm. This is the necessary duty of a dedicated practitioner, and, even more, a life that one must live when insisting on a choice.

So, each of the paintings are

exhaustive efforts that face the challenges of the brush and battle across different realms. With this, some people say that Yang’s paintings are a painted battlefield of life. Indeed, there is some truth to this.

楊星朗（楊三郎獨子）、楊啟明（楊三郎孫子）與余彥良合影

↑ 義大利手工精典千萬名琴法吉歐利（Fazioli）F308

由尊彩藝術中心典藏

Lia ng Ga l l er y 20th Anniver s a r y

楊三郎回顧展精裝畫冊 Yang San-Lang Retrospective Exhibition Deluxe Album 本畫冊共收錄270張楊三郎的經典畫作，另有三篇文獻，讓您認識您所不知道的楊三郎：尊彩藝術中心負責人余彥良先生撰文《楊三郎的文化現象》；知名藝術雜誌總編輯鄭乃銘先生，特別對楊星朗先生（楊三郎之子）作的專訪；以及楊啟明先生（楊三郎之孫）回憶其祖父之文《潮水》。 This album features 270 classics by Yang San-Lang, and three revealing essays about Yang, including The Cultural Phenomenon of Yang San-Lang by Liang Gallery’s person in charge, Yu En-Liang; an interview of Yang Shing-Lang (Yang San-Lang’s son) conducted by renowned art publication editor-in-chief, Cheng Nai-Ming; and Tide by Yang Chi-Ming (Yang San-Lang’s grandson), which pays tribute to his late grandfather.

Lian g Ga ller y 20th A n n i ver s ar y

Happy Travel in Taiwan 在1895年之前，台灣的文化仍處於混沌未開之境，當時的藝術純為宗教祭祀而存在，繪畫、雕塑只見於廟宇、佛堂內的雕樑畫棟、宗教神像。隨著日治時期近代化運動的推行，「美術」（Fine Art）的觀念第一次傳入台灣，「為藝術而藝術」（Art for Art’s Sake）的概念，在對藝術有天份的人心中萌芽，開始尋找視覺美感價值的獨立性。以12位台灣知名的前輩畫家為主體，包括陳澄波、廖繼春、李梅樹、藍蔭鼎、顏水龍、楊三郎、李石樵、張萬傳、劉啓祥、陳德旺、洪瑞麟、廖德政，藉由他們美學的眼光重新觀看、重新瞭解自己的家鄉。他們筆下的台灣風情，不單傳達昔日的田園風光與風土之美，也捕捉記錄了當時台灣現代化的過程。

2011 Nov

台灣嬉遊記— 12位台灣前輩藝術家的百年旅行圖像

花開自在—金芬華個展 Blooming at Ease－Fen-Hwa King’s Solo Exhibition 金芬華並非超現實，她的畫作更像是一種獨白，一人分飾多樣花朵

於畫布上的演出，借喻映照出她的自我。她的畫作發展亦跟隨著她的生命經驗，只是文字並不能完全表達她的想法，因此選擇不語不寫的她，優雅純淨的畫面，儘管女人味十足，還是帶有一絲神秘。此次於尊彩展出的新作，與之前的面向不同。水的存在儼然已消失，取而代之的是強烈的光與清晰的輪廓線，原本包覆金芬華的水，願委身流連其中的池中空間，看起來不像是乾涸，更像是人間消失，原本還看得到的漂浮重力，也還給了宇宙，更明亮的畫面，更多的細節，更加立體的表現，即便是相同的元素與物件，她的轉變，比以往更犀利。以往虛實的景象，都還有具體的視覺經驗可循，現在看到的作品，更不在觀者的既有經驗之中，獨創一格的花與方格，粹鍊出最精辟的張力對比。

Before 1895, Taiwan’s culture was still a closed, chaotic realm. At that time, art existed solely for religious purposes. Paintings and sculptures could only be seen richly ornamenting temples and the insides of their halls, and depicted religious figures. With the modernization movement of the Japanese Colonial Period, the concept of Fine Art was introduced to Taiwan for the first time. Soon, the idea of “art for art’s sake” sprouted in the hearts of people with an innate talent for art, and they began searching for the independence of a visual aesthetic value.

King Fen-Hwa is not a Surrealist painter. Her paintings are more like a soliloquy in which one person plays the role of a variety of flowers on the canvas - this alludes to a reflection of her inner self. Her paintings are developed in accordance with her life experiences. The only thing is texts cannot fully express her thoughts. As a result, she chooses not to use language or words, and instead expresses herself through elegant and pure images that are very feminine and tinged with a hint of mystery. The new works exhibited by Liang Gallery feature a different direction

Drawing upon the aesthetic visions of twelve renowned Taiwanese

than previous ones by King. The presence of water seems to have

painters, including Chen Cheng-Po, Liao Chi-Chun, Li Mei-Su, Lan

disappeared, replaced by strong light and clear contours. The water

Yin-Ding, Yen Shui-Long, Yang San-Lang, Li Shih-Chiao, Chang

originally covering King seems to have willingly committed themselves to

Wan-Chuan, Liu Chih-Hsiang, Chen De-Wang, Hong Rui-Ling, and Liao

the pool spaces. They do not look they are dried up. It is more like the

Te-Cheng, their idea of home is re-envisioned to gain a new

world has disappeared. The floating gravity that was originally visible

understanding.

has been returned to the universe, resulting in a brighter picture with

It not only conveys the endemic beauty of old, rural

scenery, but also captures and records the process of modernization

more details and an increased three-dimensional effect.

occurring in Taiwan at that time.

similar elements and objects, her transformations are sharper than

Even with

before. With her actual and fictional scenes in past works, there are still specific visual experiences that can be followed. The works viewed now are even pulled further from the viewer’s experiences. With an original style consisting of flowers and grids, a most brilliant contrast of tensions 謝里法老師到尊彩參訪

is chained together.

Lia ng Ga l l er y 20th Anniver s a r y

2012 Feb.

如果是小王子—七位新銳藝術家聯展 Le Petit Prince

流光剪影—台灣人物誌 STORIES of the BIG ERA

集結不二良、王建文、李宜亞、吳嘉綺、胡朝聰、高雅婷、葉仁焜等七

位風格清新的新生代藝術家，各自以敘事的手法，演繹聖艾修伯里的文學

人物畫作不論是自畫像、肖像、群像，除了能傳達藝術家平時關注的對象、投射個人的情感，它的特色在於更能凝聚時代意識，呈現當下的社會文化現象，透露時勢的轉變與脈動。它用自身在歷史裡說故事，描繪記載每個時代的臉譜，傳誦每個時代的精神。「流光剪影—台灣人物誌」一展，網羅陳澄波、廖繼春、李梅樹、顏水龍、楊三郎、李石

鉅作「小王子」，描繪小王子對友誼、愛情、冒險等美好事物的堅持和其溫柔的心！重現不同世代和小王子接觸的美好記憶。不二良No2good的創作充滿幽默及繽紛色調，帶著街頭風格，傳遞出

令人開心的氛圍。居住於巴黎的藝術家王建文，作品澄澈純真，瀰漫著歐

樵、張萬傳、洪瑞麟、蕭如松等台灣重要前輩藝術家的人物畫近廿餘

洲優雅的色調。榮獲2012 GEISAI#3「銀獎」的李宜亞，用繪畫技巧展現

幅。深具地方色彩的題材導向觀點，也透露面對現代化、經歷殖民帝國

如同曝光過度的模糊相片，充滿戲劇張力。吳嘉綺的作品之中，常見虛擬

統治的過程中，台灣的文化意識與人文思想。開幕酒會則由長年投入台

童話與真實生活連結，如同小王子簡單又富有哲理對話之中，反而能更巧

灣美術史研究的李欽賢老師親臨導覽。

妙地反映現實的人生百態。胡朝聰擷取旅程中邊緣輪廓，讓觀者在試圖理解的過程中也帶出自我的體驗。高雅婷利用鮮豔的色彩，隱匿著豐沛的情

Regardless of self, figure, or group, portraits project the personal feelings of artists and convey certain objects that usually capture their attention. However, even more so, the unique characteristic

感描繪出她遊走於大自然、城市間的細膩觀察。葉仁焜則刻意追尋容易被人遺忘的角落，試圖表現出時間在建築上留下的隱隱溫度。

portraits lies in their ability to condense the consciousness of an era,

Seven fresh styles of a new generation of artists - No 2 good, Wang

presenting the social and cultural phenomena of that time, and

Chien-Wen, Lee Yi-Ya, Wu Chia-Chi, Hu Chau-Tsung, Kao Ya-Ting, Yeh

revealing changes and pulsations of its trends.

Using their own

Jen-Kun - each take on a narrative approach to interpret the literary

history to tell a story, portraits depict and record the facial

masterpiece, The Little Prince, by Antoine de Saint-Exupéry. Depicting

appearances of each era, as well as pass down their spirit. The

the gentle heart of the little prince and his insistence on friendship, love,

exhibition, STORIES of the BIG ERA, brings together more than

adventure, and other wonderful things, they invoke the warm memories

twenty portraits by important senior artists of Taiwan, such as Chen

of different generations when they were touched by the tale of the little

Cheng-Po, Liao Chi-Chun, Li Mei-Shu, Yen Shui-Long, Yang

prince.

San-Lang, Li Shih-Chiao, Chang Wan-Chuan, Hong Rui-Lin, and

The works of No2good are filled with humor and a colorful tone, bringing

Hsiao Ju-Sung.

street styles that exude a joyful atmosphere. The works of Wang

With theme-oriented perspectives imbued with cultural

Chien-Wen, who lives in Paris, feature a pure clarity and an elegant

consciousness and humanistic ideas of Taiwan as it faced colonial

European tone. Awarded the Silver Medal at 2012 GEISAI #3 , Lee Yi-Ya

rule and modernization. The opening reception will be personally led

uses painting techniques to show muddled pictures that are similar to

deeply

local

colors,

these

works

also

reveal

the

by Professor Li Chin-Hsien, who has dedicated many years of his life to studying Taiwan art history.

overexposed photos. They are filled with a dramatic tension. In works by Wu Chia-Chi, there is often a link between fairy tales and real life that provides life with a narrative, much like how the simple, yet rich philosophical dialogue in The Little Prince, can even more cleverly reflect the vicissitudes of life. Hu Chau-Tsung captures the edge contours of a journey onto the canvas, allowing viewers to attempt to understand the process as well as bring about a personal experience.

Using bright

colors and an interspersed juxtaposition of figurative images, Kao Ya-Ting hides rich emotions and describes delicate observations while travelling through natural and urban scenery. Yeh Jeh-Kun deliberately pursues

easily

forgotten

corners,

attempting

express

faint

temperatures left behind. ↓李欽賢老師

Lian g Ga ller y 20th A n n i ver s ar y

法拉利躍馬—尊彩獲邀展出 Ferrari Taipei 101 Auto Show with Liang Gallery 臺灣蒙地拿公司結合車界兩大品牌「Ferrari 法拉利」及「Maserati 瑪莎拉蒂」，在台北101北方廣場斥資千萬，打造頂級鑑賞空間，舉辦為期四日、兩年一度的新車大展！尊彩藝術中心獲邀為車展增添藝文氣息，推薦目前在藝壇及精品時尚圈備受矚目的年輕藝術家席時斌的作品，共襄盛舉。展出利用不同材質拼裝、拆解的《菱光乍現》、利用馬的意象和肌肉骨骼演化而成的《馬之戲劇》、純粹線形的幾何語法的《小水》雕塑結構，創造了一個精巧和華麗的氛圍，驚艷全場！ Modena Motori Taiwan Co. Ltd. features the two major car brands, Ferrari and Maserati. It has spent tens of millions of dollars renovating its branch in the north plaza of Taipei 101 to create a top of the line showroom, where it will organize a four-day biennial exhibition of new cars! Liang Gallery has been invited to add an artistic atmosphere, and it has recommended that the works of Hsi Shih-Pin, a young artist who has been receiving much attention in both the art and boutique fashion circles, be added to the event. These works include Ling Guang Zha Shian, which exhibits an assembly and disassembly of different materials; Horse Drama, which utilizes the imagery of a horse and evolves its musculoskeletal structure; and the sculpture structured, Small Water, which features a purely linear geometric grammar. All these help to create an elaborate and gorgeous atmosphere that stun the entire audience!

Lia ng Ga l l er y 20th Anniver s a r y

The Delightful Color of Spring 「喜形於色」聯展，展出五位藝術家包括王建揚、林宏信、吳耿禎、黃頤勝、許常郁等人的作品，以繽紛的色彩、多樣的創作媒材，敘述在不同城市的生活，記錄當下心情的微小感動。王建揚於2011年以「一克拉的夢想—當代美學展」大獲好評，媒體邀約不斷，本次將帶來〈宅〉系列的作品。林宏信用極寫實的技法，將「晃遊者」中的角色帶到更多彩的〈對話框〉系列，透過獨特的層疊透色，細膩地探討人與城市的關係。吳耿禎的剪紙作品於2010年獲LV徵

2007~2012

喜形於色—五位藝術家聯展

故事，用喜愛的動物作為故事主角，創造一個溫暖安逸的祕境。主要活動在法國巴黎的許常郁，總是企圖追尋那不可再現的記憶，不論是森林、草原、動物，都成為那記憶場景中的符號，色彩筆觸毫不矯作，作品中充滿布列塔尼的寧靜與神祕。 The joint exhibition, The Delightful Color of Spring, showcases the works of five artists, including Wang Chien-Yang, Lin Hung-Hsin, Jam Wu, Huang Yi-Sheng, and Hsu Chang-Yu. With fun colors and a variety of creative media, they describe lives in different cities, recording the small touching moments of current moods. Mr. Wang receive great acclaim and endless solicitation by the media at One Carat Dream - Contemporary Art Exhibition. For this exhibition, he brings his The House series of works. Lin Hung-Hsin uses hyper-realistic

2007 Chen Cheng-Po Treasure Map Calendar

內容收錄13幅陳澄波經典油畫作品，以高品質印刷製作，還原畫作之原貌風采。 Includes thirteen classic oil works by Chen Cheng-Po. These reproductions are high-quality color prints that capture the value of the original paintings.

2008 後花園的藏寶圖

2009 豐收

2008 Treasure Map of the Backyard Garden

2009 Harvest

以韓國當代藝術家尹秉洛的大型水果畫作為題，增添尊彩

件首獎後便受到國際矚目，2011年CHANEL邀請他以山茶花做一系列創作，此次「喜形於色」將展出最新創作。黃頤勝以湛藍天空開啟一段

2007 陳澄波藏寶圖年曆

精彩年曆

2008年與2009年兩年的豐收成果。 Large fruit paintings by Korean contemporary artist, Yoon Byung-Rock, represent the prosperous years that Liang Gallery enjoyed in 2008 and 2009.

2010 藏寶圖—芝蘭增喜色˙松鶴慶恆春

techniques and takes on the role of a “Wanderer” to bring out colors in

2010 Treasure Map

his Dialogue Box series. Through unique cascading colors, it delicately

以旅美藝術家林明弘的創作為封面，凸顯尊彩多樣變化的藝術

explores the relationship between people and cities. After receiving first

風貌。

prize in Louis Vuitton’s Art Works Collection in 2010, Jam Wu’s

paper-cutting artworks began to garner international attention. In 2011,

Works by U.S. based artist, Lin Ming-Hung, highlight the diversity of Liang Gallery’s art collection.

Chanel invited him to create a series centered on camellia. For The Delightful Color of Spring, he will present his latest creations.

2011 璀璨世紀

Huang Yi-Sheng often opens up a story with a blue sky, and uses

Dazzling Through A History

animals he loves as the main characters. He creates warm and cozy

以陳澄波與廖繼春為專題畫作所製作出版

hideaways that always bring many surprises to the viewer. Spending

的年曆，廣為大眾喜愛珍藏。

most of her time in Paris, Hsu Chang-Yu always attempts to search for

Featuring paintings by Chen Cheng-Po and Liao Chi-Chun, this popular calendar is widely treasured and collected.

memories that cannot be reproduced. Whether it be forests, grasslands, or animals, they all become symbols for a remembered scene.

His

colors and brushstrokes speak of a careless grace as he fills his works with the quiet and mystery of Bretagne. 尊彩藝術中心美麗專業的優秀團隊

2012 楊三郎—恰逢盛世豬如象˙新春喜慶魚化龍 2012 Yang San-Lang

以楊三郎26幅經典畫作為主軸推出2012年年曆，推崇楊氏迷人高貴的風采。 A calendar for the year 2012 that showcases the elegance of 26 classics by Yang San-Lang.

Lian g Ga ller y 20th Anni ver s ar y

高雄市立美術館切切故鄉情—陳澄波紀念展

台北市立美術館行過江南—陳澄波藝術探索歷程

Nostalgia in the Vast Universe: Commemorative Exhibition of Chen Cheng-Po

Journey Through Jiangnan: A Pivotal Moment in Chen Cheng-Po’s Artistic Quest

陳澄波文化基金會與中央、地方政府合作，規劃製作陳澄波音樂劇，透過音樂劇的形式來演譯陳澄波傳奇的一生，並於高美館同步推出「切

贊助公私立單位

切故鄉情：陳澄波紀念展」跨領域展現陳澄波傾其生命與熱情，執著於藝術的追求及對社會的關懷。而總件數多達263件，質與量的規模均屬罕見，其中約有六成的作品未曾曝光；尊彩藝術中心榮幸地能受邀共同參與、贊助這項藝文界的盛事，協助更完整地、有系統地保存及展示這些文化資產，也賦予更多教育意義。

Working with central and local governments, the Chen Cheng-Po Cultural Foundation planned and produced A Musical: Chen Cheng Po’s Life, in which Chen’s legendary life was translated through the form of musical theater. At the same time, the foundation helped organize the interdisciplinary exhibition, Nostalgia in the Vast Universe: Commemorative Exhibition of Chen Cheng-Po, at Kaohsiung Museum of Fine Arts to present Chen’s life and passion, as well as his dedication to the pursuit of art and care about social issues. The qualitative and quantitative scale of the approximately 263 works exhibited had rarely been seen before. About 60% of the works had never even been made available to the public previously. Liang Gallery was honored to participate and sponsor this landmark event for the artistic community, and assist in making it more comprehensive. Indeed, the systematic preservation and exhibition of these cultural assets imbued an even greater educational significance.

「在東京時期，陳澄波的筆法還是略顯拘謹、甚至帶有緊張的感覺，去上海當了老師後才慢慢放開來，筆法和構圖多了自由度。」──林育淳陳澄波從台灣、日本、中國等地的旅居經驗中，累積了豐富的藝術創作體悟與能量。特別是1929年自東京美術學校西畫研究科畢業後，到達上海藝術專科學校、昌明藝術專科學校任教，開啟融合中國古風、尋求東方精神新體現的藝術探索。北美館策展人林育淳表示，陳澄波特別喜愛畫家倪雲林和八大山人，無論在淡彩速寫的人像或樹木山石的線條與造型，都可見到傳統水墨的影響，《清流》、《太湖別墅》和《西湖春色》等為代表作，上海時期堪稱是畫風變化的重要轉捩點。尊彩藝術中心也榮幸受邀作品參與這次展覽，共同探討陳澄波在中國江南地區活動的藝術概貌。 During his time in Tokyo, Chen Cheng-Po’s brushstrokes were still slightly stiff, and even carried a sense of tension about them. It was only after he went to Shanghai and became a teacher did his brushwork and compositions gain a greater degree of freedom. --- Lin Yu-Chun Living in Taiwan, Japan, and China, Chen Cheng-Po accumulated a wealth of understanding regarding artistic creation and energy. After he graduated from the Western painting program at Tokyo School of Fine Arts in 1929, Chen he took a teaching position at the Shanghai College of Fine Arts and the Changming School of Art. It was during this time that he particularly began to integrate old Chinese styles into his work in an effort to discover new ways to express the essence of the East. Curator of Taipei Fine Arts Museum, Lin Yu-Chu, stated that Chen had been particularly fond of the painters, Ni Yun-Lin and Ba Da Shan-Ren. Whether in his pastel portraits or the lines and shapes of his trees and rocks, the influence of traditional ink and brush painting can be seen, such as in representative works, Clear Flow, Villa by Lake Tai, and West Lake in Spring. His period in Shanghai marked an important turning point for his painting style. Liang Gallery is honored to participate in this exhibition and explore Chen’s artistic development as he lived and worked in China’s Jiangnan region.

Lia ng Ga l l er y 20th Anniver s a r y

創價學會艷陽下的陳澄波

Donation Ceremony of Chen Cheng-Po’s Works and Announcement of First Volume Release of Chen Cheng-Po Corpus

Under the Searing Sun: A Solo Exhibition by Chen Cheng-Po

2011~12

台北市立美術館新書發表陳澄波全集—第三卷淡彩速寫

馬英九總統、台北市長郝龍斌出席陳澄波畫作捐贈北美館儀式。並以

由台灣創價學會與陳澄波文化基金會主辦的「豔陽下的陳澄波」展，

「澄源正本、波瀾壯闊」八個字推崇陳澄波一生成就，並希望把他愛鄉

於故宮對面的「至善藝文中心」展出。經東京富士美術館指導，一樓大

愛土、愛藝術的精神傳達到社會各個階層，各個角落。北美館目前已經

廳呈現三○年代陳澄波故鄉嘉義的街景，路邊還特別設置了電線桿的氛

有陳澄波在東京求學、上海、回台灣後的3幅代表畫，分別是《夏日街

圍，讓人彷佛置身陳澄波畫中的場景。而最受矚目的是，創作於一九三

景》、《蘇州》、《新樓》，而這次陳澄波文化基金會捐贈給北美館的

八年曾參展第一屆「府展」的《古廟》，經修復後首度現身。而其他畫

2幅油彩作品─《戴面具裸女》和靜物畫《紅與白》，成功大學歷史系

作和文物，則以「土地之愛」及「人文之愛」兩大主題，呈現陳澄波的

教授蕭瓊瑞表示，這兩幅作品充分地表現出陳澄波現代主義，甚至是超

創作精華。尊彩藝術中心也以協助者的角色，借展作品參與展覽，盼能

現實主義畫風特色。其中《戴面具裸女》繪畫風格顯示陳澄波受到梵

將陳澄波畫作相繼在高雄市立美術館及台北市立美術館巡展的熱潮延

谷、賽尚影響，具有超現實主義的風格。除畫作捐贈外，同時在典禮中

續，滲透到每一個角落。

發表「陳澄波全集第三卷．淡彩速寫」，該卷書為全集出版計畫中的首

Under the Searing Sun: A Solo Exhibition by Chen Cheng-Po organized by

本發佈。陳澄波全集共18卷，將完整收錄陳澄波的相關文件史料與畫作

Taiwan Soka Association and Chen Cheng-Po Cultural Foundation was hosted

圖檔等，尊彩藝術中心也站在承先啟後的位置，協助基金會完成這項重

at the Zhi Shan Arts and Culture Center located across from the National

要計畫。預計2014年陳澄波120歲冥誕時出版完成。 President Ma Ying-Jeou and Taipei City Mayor Hao Long-Bin both attended the ceremony in which Chen Cheng-Po’s paintings were donated to the Taipei Fine Arts Museum.

Eight Chinese characters, “cheng yuan zheng ben, bo lan

zhuang kuo (the original source is the most magnificent),” were written to commemorate Chen’s lifetime of achievements, in the hopes that his love for his homeland and art is conveyed at every level and every corner. Taipei Fine Arts Museum already had in its collection three paintings, Street of Summer, Suzhou, and New Building, which Chen painted while studying in Tokyo, living

in Shanghai, and after returning to Taiwan, respectively. And, this time, the Chen Cheng-Po Cultural Foundation donated two oil paintings - Nude Woman Wearing a Mask and the still-life painting, Red and White. Professor Hsiao

Palace Museum. Under the auspices of Tokyo Fuji Art Museum, the first floor

lobby is decorated in the streetscape style of Chen Cheng-Po’s hometown

Chiayi during the 30s. The highlight of the exhibition is the work, Old Temple, which had been included in the First Government-of-General Exhibition in

1938. This marks the first time that this painting has been shown to the public

since its restoration. Other paintings and artifacts related to Chen’s creative

career are presented under the themes, “Love for the Land” and “Love for the Humanities.” For this exhibition, Liang Gallery took on a facilitator’s role by lending artworks and exhibition space, in the hopes that Chen Cheng-Po’s

paintings will continue to be shown successively in a touring exhibition at the

Kaohsiung Museum of Fine Arts and Taipei Fine Arts Museum and seep into every corner.

Chong-Ray of National Cheng Kung University’s Department of History stated that these two paintings fully demonstrate Chen’s modernism, and even styles

characteristic of surrealism. The style of the painting, Nude Woman Wearing a

Mask, reveals the influences of Van Gogh and Cezanne in its surrealistic sense. In addition to the donation of the paintings, the release of Chen Cheng-Po Corpus Volume 3 - Watercolor Sketch, the first release of an eighteen-volume publication about Chen Cheng-Po, was also announced at the ceremony. The complete series will document relevant historical documents, paintings, drawings, and more. With its emphasis on continuing the achievements of predecessors, Liang Gallery offers its assistance to the foundation in

completing this important project. It is expected that the publication will be completed in 2014, the year of Chen Chen-Po’s 120th anniversary.

馬英九總統親臨會場

余彥良與蕭瓊瑞教授合影

余彥良與《藝術家》創辦人何政廣先生合影

高美館謝佩霓館長精彩生動的導覽

贊助公私立單位

Lian g Ga ller y 20th Ann i ver s ar y

尊彩藝術中心瑞光路現址三層樓外觀佔地600坪

尊彩藝術中心獲CANS藝術新聞雜誌評選

2011亞洲當代藝術最佳畫廊 CANS Names Liang Gallery the Best Contemporary Gallery in Asia for 2011 台北尊彩藝術中心的出線，贏在

自己畫廊的思想與格調。這些林林總

切掌握在既有現代藝術經營基礎範疇

楊三郎在繪畫上的功力，有了一個重

於掌舵的畫廊主持人余彥良，並沒有

總的意見反映，多少也說明年度最佳

上，並將觸角延伸至當代藝術。只不

新認識楊三郎藝術的機會。而學術

因他所選擇的經營內容是本土資深藝

畫廊的舉薦與最後的出線充滿著評委

過對比現在眾多畫廊都將經營內容落

界、美術館界、收藏界、觀眾所給予

術家作品；就忽略掉能從中梳理出新

諸多要求及對畫廊的期許。

定中國或東北亞、東南亞當代藝術家

「尊彩」的巨大掌聲排山倒海而來，

視野的企圖。同時他也塑立台灣畫廊

最後的決選，衝破終點的最高票

身上，余彥良反而更篤定把未來推展

讓余彥良打破私人畫廊展覽慣例，取

既能站在時間之上，更可開啟新紀

是台北尊彩藝術中心。原因在這家資

內容放在台灣現當代藝術，頗有為台

得楊家家屬的首肯，正式宣告展覽展

元、探觸新高度的標竿。

深畫廊展現高度企圖心，絲毫不受限

灣現當代藝術做好傳承的工程。這樣

期順延一個月。

2011年的年度最佳畫廊選項當

於自己原初的經營性格是在台灣前輩

的經營主軸，確實完全超脫時下許多

事實上，「尊彩」在去年還有一

中，競爭依舊是踴躍。北京的偏鋒藝

藝術家，以更具有當代思維的眼光重

畫廊一窩蜂鎖定共同籌碼的舉措，也

項專題展是相當精細而具可觀性，那

術中心、星空間、北京佩斯，台北的

新詮釋前輩藝術家作品，不僅讓已知

為台灣資深畫廊的新時代翻至特殊的

就是12月所推出的【流光剪影—台

耿畫廊、尊彩藝術中心、亞洲藝術中

的群眾打開新的欣賞視野；也吸引未

一頁。

灣人物誌】。這個展覽同樣是以台灣

心、新時代畫廊；甚至寶勝畫廊，都

知的觀眾走入前輩藝術家的深耕殿

「尊彩」在2011年整體表現，亮

資深藝術家為班底，可是不論是經典

在第一輪名單中被提名、被討論。但

堂。評委們更一致認為，「尊彩」掌

點是落在6月份推出的【楊三郎回顧

作品或者難得曝光的私房畫，盡是吸

年度最佳畫廊取決的重點在於，畫廊

控台灣前輩藝術家的展務素質非常整

展】，這個籌備經時的展覽；簡直是

眼球之作，錯過欣賞的觀眾著實可

所提現出來的視野與對未來的影響

齊，並不會因為是年度重點大展或較

繼開館【璀璨世紀—陳澄波與廖繼春

惜。

性，而不是只考量單一個展的表現。

輕鬆的主題性展覽規劃就有所差別，

雙個展】後，將台灣前輩藝術家的藝

余彥良因為對台灣前輩藝術家作

在評核的過程中，評委提出；2011

作品的要求與展覽題旨的設計都能做

術推到另一被關注的高峰。楊三郎，

品知之甚詳，掌控展覽的素質自然嚴

年雖然小型畫廊創設比率增多，可是

得十分到位，更首度讓人見識到從藝

台灣美術圈耳熟能詳的名字，但余彥

謹且有條理，這是奠定「尊彩」成為

這樣的畫廊幾乎都很難引人注目，或

術家的畫品到人品；得以在精神相互

良花費精神去跟楊家家屬溝通、協

目前詮釋台灣前輩藝術家的最佳畫廊

許都能各自表述在畫廊主持人品味

印證。

商，將根本不可能從楊三郎美術館

主要契機。當他從現代到當代藝術的

「搬」出來的傳家寶畫作，首度有了

經營，還是很固執保留前輩藝術家強

移地展出的機會。在確認展覽及展品

調的「手工」精神。在新世代台灣藝

上，但一整年展覽卻沒有幾個能夠特別引起注意，可見，這樣的畫廊在商

尊彩藝術中心設置已過了19個年頭。

業策略運籌中，缺乏完整的概念。另

19年，對於余彥良來說，不但見

之後，余彥良採取當代藝術普遍選擇

術家的舉薦上，都不是那種快熟型的

外，也有評委指出，在拍賣公司與城

證台灣畫廊走過興衰，也見識到有多

的策略性宣傳作業，細分出不同的角

創作表現。對余彥良來說，「尊彩」

市藝術博覽會主宰當代藝術生態機制

少畫廊因為經營問題；中場喊停或提

度，鋪天蓋地以時代的視野來談這位

在第18年始定調自己在畫廊歷史的

下，能夠脫穎而出的畫廊，恰巧都指

早離場，只是這樣的局面只會教育這

台灣老畫家。這個策略因為啟動時間

表現性格，因為時間給了空間的無限

向資本雄厚的畫廊身上。值得省思的

位前中年期的畫廊主持人，更審慎面

精算得很清楚，在展期前段、中段與

性，自然也使得他對於當代藝術的經

是，固然當代藝術在去年市場表現不

對自己的理想，也同時更準確修正自

後段密集曝光，大大拉抬展覽受到的

營眼光並不採取一蹴可成的計量方

佳，但兩岸三地畫廊在2011年在當

己的畫廊性格。「尊彩」是在2010

矚目程度，無疑也為「尊彩」在台灣

式。如此的精神主軸，一如余彥良的

代化著力則愈見分明。問題就出在，

年12月遷至台北市內湖瑞光路的新

資深畫廊以推展本土前輩藝術家為主

性格；也一如「尊彩」給人的觀感。

年輕當代畫廊因為沒有經營上的包

館，這也是繼「耿畫廊」之後，在內

的同業中，從此躍居成為一線主流位

(文 / 鄭乃銘)

袱，操作起來頗為順暢，但資深畫廊

湖所開設的第二家畫廊旗艦店。由於

置。最奇特的是，這些經典的楊三郎

屢屢在碰觸當代議題，都停留在別人

新館空間高挑、明亮、寬敞，促使余

巨幅油畫，在「尊彩」的場地好像被

已經開發出來的當代名牌上，而不見

彥良在重新制定「尊彩」方向，更深

施予了魔法，每張畫都讓人愈加讚嘆

Lia ng Ga l l er y 20th Anniver s a r y

余彥良與陳菁螢合影

尊彩藝術中心二樓採自然光挑高場景

The key to Liang Gallery’s success lies in the leadership of its owner, Mr. Yu Yen-Liang. Under

contemporary artists from China, Northeast Asia, and Southeast Asian, Yu sees the contemporary

his guidance, it did not lose sight of a new perspective due to his decision to mainly focus on

art of Taiwan as the key to his gallery’s future, and has actively involved himself with passing

collecting works by senior Taiwanese artists. Instead, he established a Taiwanese gallery that

Taiwanese contemporary art down to the next generation. This kind of management focus stands

stands the test of time, even as it embraces a new era and sets new benchmarks.

apart from the uniform trend of most galleries, and marks the beginning of a new chapter in the

To be named the best gallery of 2011, the competition is fierce. The first galleries to be nominated

history of established galleries in Taiwan.

and mentioned included Beijing’s Pian Feng Art Center, Star Gallery, and Pace Beijing; Taipei’s

The highlight of Liang Gallery in 2011 was the June exhibition, The Retrospective Exhibition of

Tina Keng Gallery, Liang Gallery, Asia Art Center, and New Age Art Gallery; and even X-Power

Yang San-Lang, which had required much preparation time beforehand. Following the opening of

Gallery. However, the main criteria for judgment were based on a gallery’s perspective and its

Dazzling Through A History－Chen Chen-Po & Liao Chi-Chun Art Treasures Exhibit, the art of

future impact, rather than on a single successful exhibition. During the assessment process, the

senior Taiwanese artists were elevated to new heights of attention. Yang San-Lang is a familiar

review panel stated that, throughout 2011, many small-scale galleries had sprung up. Yet, few of

name amongst the art circles of Taiwan. However, Yu Yen-Liang made the effort to talk and

them managed to capture much public attention. Some might have been able to adequately

negotiate with Yang’s surviving family members. In the end, he accomplished the impossible by

convey their artistic tastes, but few stood out as extraordinary. It was quite apparent that most of

earning the opportunity to “move” the family heirloom paintings from the Yang San-Lang Art

these galleries lacked a comprehensive business strategy. Furthermore, a panel member pointed

Museum to be exhibited for the first time at another site.

out that galleries that are able to stand out in a contemporary art scene dominated by auction houses and city art expositions are mostly those with ample amounts of funding. It is worth taking note that contemporary art did not perform well in the art market even though galleries in China, Taiwan, Hong Kong, and Macao all increased their emphasis on contemporary art.

Young

galleries might be able to operate smoothly since they are not burdened by complex management structures. But, when established galleries come across issues regarding contemporary art, they are inclined to just use the style and thoughts of others, and do not bother coming up with their own. These opinions come to highlight the demanding standards and numerous expectations that the panels hold in determining who wins the title of Best Gallery of the Year.

After confirming the exhibition and its works, Yu used promotional strategies generally chosen for contemporary art and divided the works into different perspectives to comprehensively discuss this old Taiwanese painter through the vision of that era. Because this strategy launches a clear actuarial calculation of time, the intensive exposure of the beginning, middle, and final stages of the exhibition greatly raised the level of attention that the exhibition received. Undoubtedly, it also helped Liang Gallery promote local senior artists amongst Taiwan’s most well-known galleries, and, since then, they have leapt into an important part of the mainstream. Most peculiarly, the huge oil paintings by Yang San-Lang seemed to have been endowed with some magic at the site of Liang Gallery, and each painting began to invoke even more praise for Yang’s achievements

At the end, Taipei’s Liang Gallery achieved a breakthrough by being named Best Gallery of the

with this new opportunity to understand him. The tremendous applause given to Liang Gallery by

Year. The reason is that the established gallery exhibits high ambitions, while limiting itself to its

the worlds of academia, art galleries, collectors, and viewers was intense. With the approval of

original mission of promoting senior Taiwanese artists.

the Yang family, Yu had indeed made a breakthrough in gallery exhibition practices. Shortly after,

It uses an even-more contemporary

perspective to interpret the works by senior artists, which fosters a new appreciation for art between itself and the audience.

Through this approach, the unknowing audience is also

introduced into this shrine that cultivates and houses the works of senior artists. The panel unanimously affirmed that Liang Gallery curated the works by senior artists in a very consistent fashion, and that the themes for major annual exhibitions and those for more casual shows did not seem to differ. Additionally, the defining of artwork standards and exhibition themes was always very appropriate. It also marked the first time that the artistic as well as the complementing personal qualities of artists were revealed to the public. Liang Gallery has been operating for more than nineteen years.

it was officially announced that the exhibition period would be extended for one more month. Liang Gallery had held a thematic exhibition that was very finely organized and worthy of viewing last year - the Stories of the Big Era exhibition that was launched in December and also based on senior Taiwanese artists. However, whether it is classical works or private paintings that were rarely made public, they all grabbed the attention of viewers. It is truly a pity for those missed this wonderful opportunity. Because Yu is very well versed in the works of senior Taiwanese artists, his control of the exhibition quality is naturally rigorous and methodical. This attitude opens the opportunity for Liang Gallery to becoming the most outstanding gallery in its current interpretation of senior

Over the course of these years, Yu Yen-Liang has witnessed the rise and fall of many galleries in

Taiwanese artists.

Taiwan, and observed how many galleries went out of business due to mismanagement. For Yu,

retaining the spirit of “by hand” emphasized by senior artists.

these lessons were cause for extra caution when executing his ideals, and made this relatively

Taiwanese artists are not those who create art through an instant manner. To Yu, Liang Gallery

young owner carefully steer and adjust the direction of his gallery every step of the way. In

only began to set the tone and character of its performance in gallery history in its eighteenth

December 2010, Liang Gallery moved to its new home at Ruiguang Road in Taipei’s Neihu district,

year. Because time provides an unlimited space, it naturally makes his vision regarding the

making it the second gallery after Tina Keng Gallery to relocate its flagship gallery to Neihu. The

business of contemporary art as something that cannot be measured overnight. The main driving

new location’s high ceilings, ample lighting, and wide spaces were factors that influenced Yu

force behind this spirit is Yu’s character, which is also the perception that Liang Gallery invokes

when setting the gallery’s new direction: build upon foundations of modern art to expand into the

amongst people.

realm of contemporary art. Contrary to most galleries that place a great emphasis on

Even when managing modern and contemporary art, he still insists on Recommended new generation

By: Cheng Nai-Ming

Lian g Ga ller y 20th An n i ver s ar y

台灣工銀堤頂之星—藝術私塾˙名家開講

香港海港城，台灣藝術文化交流之旅

Art Private School, A Discussion by Masters

Journey of Art and Culture Exchanges Between the Harbor City of Hong Kong and Taiwan

尊彩總經理陳菁螢女士，受台灣工銀教育基金會邀請，參加「藝術

九龍倉集團為了激發中學生創意及推廣藝術發展，特別舉辦「九龍

私塾．名家開講」活動，與熱愛藝術的年輕藝術家面對面，分享策展及

倉全港中學生繪畫比賽」，全港所有全日制中學生約1800件作品中，

行銷實務經驗，整合產學資源，以協助藝術新秀在藝術的路上走得更加

評選出來的冠、亞、季軍及優選的18位得獎者，前來尊彩藝術中心參

順利，反應相當熱烈，逾百人參加！

觀。這些未來的小畫家們愉悅地討論、認真地觀賞著現場所展示當代藝

Ms. Claudia Chen, the general manager of Liang Gallery, received an invitation from IBT Education Foundation to participate in the event, Private Art School, A Discussion by Masters.

There, she met with

術家的作品，藝術的概念、創作想法及傳遞的情感似乎不需語言、不需翻譯，藉著作品拉近了台、港兩地創作者的距離。 To stimulate the creativity of secondary school students and promote their

passionate young artists, and shared her curating and marketing

artistic development, The Wharf (Holdings) Limited specially organized The

experiences with them. Integrating industry-academic resources, she

Wharf Hong Kong Secondary School Art Competition.

guided young artists new to the path of art.

selected out of nearly 1,800 pieces submitted by full-time secondary school

With over a hundred

attendees, the response was very enthusiastic!

With their works

students throughout Hong Kong, the eighteen winners and runner-ups came to visit Liang Gallery.

These painters of the future joyfully held discussions

while intently viewing the works by contemporary artists on display at the site. As the distance between Taiwan and Hong Kong artists were drawn closer, there seemed to be no need for language or translation to convey artistic 尊彩藝術中心總經理陳菁螢女士

concepts, creative ideas, and emotions.

Lia ng Ga l l er y 20th Anniver s a r y

2012

尊彩20周年．雙特展

In May, Liang Gallery will celebrate its twentieth anniversary! An

彩筆江河—陳澄波飛行熱氣球—台灣當代藝術展

abundance of sweet achievements and memories are embraced as

Liang Gallery Twentieth Anniversary Double Special Exhibitions

history.

The Origin of Taiwan Art - Chen Cheng-Po Exploring with a Balloon - Taiwan Contemporary Art Exhibition

another milestone is joyfully reached. Liang Gallery is committed to the mission of establishing Taiwan’s art To meet the remarkable significance of this particular

moment, it will hold a grand exhibition, The Origin of Taiwan Art Chen Cheng-Po, in the high-ceiling thematic pavilion on the second floor. Chen Cheng-Po (1895~1947) was not just the first Taiwanese painter to be selected for the Japanese Imperial Exhibition, but also

尊彩藝術中心在五月即將滿20歲了！懷抱豐盈甘甜的成果和回憶，與您喜悅地躍進另一個里程碑！以建立台灣美術史定位為使命的尊彩，為了迎接這意義非凡的一刻，於挑高的二樓主題館盛大展出「彩筆江河—陳澄波」大展。陳澄波（1895∼1947）不單是第一位入選日本帝展的台灣畫家，更是台灣近代美術發展的先驅，他在1935年完成的《淡水夕照》，2006年在香港

a pioneer in the development of contemporary art in Taiwan. In 1935, he completed the painting, Tamsui Sunset, which, in 2006, received international acclaim after being sold at an auction in Hong Kong for TWD 220 million!

To commemorate Liang Gallery’s twentieth

anniversary, this exhibition marks the first time that this rare masterpiece will be featured at a private gallery as a grand finale.

的拍賣場以新台幣2.2億天價賣出，聞名全球！此作第一次展出於私人

Liang Gallery lays a solid foundation for the works of Taiwanese

畫廊，將於尊彩20周年慶中曝光，堪稱難得的壓軸鉅作。

senior artists to enter into contemporary standards. By continuing classics, it also fosters the cultivation of Taiwan contemporary art, as

尊彩為台灣前輩藝術家的經營打下良好的根基，進而與當代接軌，在

well as bridges the generation gap that has always concerned the

延續經典的同時，也支持培養台灣當代藝術，彌合台灣美術界一直潛藏

Taiwan art community.

的代溝隱憂。20週年慶的另一特展是位於一樓的「飛行熱氣球—台灣

exhibition, Exploring with a Balloon - Taiwan Contemporary Art

當代藝術展」，邀請了20位代理藝術家共襄盛舉，而熱氣球勇敢探

Exhibition, will be located on the first floor, and invites twenty artists

險、熱情積極、陽光活力的象徵，正是尊彩一路走來的信念。

that Liang Gallery actively manages to join the festivities. A hot air

尊彩20週年慶，邀請您來一起與我們慶祝歡度，共同聆聽台灣美術「經典大師」與「當代新銳」的相互對話！

The other twentieth anniversary special

balloon symbolizes courageous exploration, passion, and a sunny vitality - these happen to be the convictions that Liang Gallery has held onto for all these years. Please join us as we celebrate Liang Gallery’s twentieth anniversary by listening to the dialogue between the classical masters and contemporary innovations of Taiwan art!

陳澄波嘉義中央噴水池 1933 油彩、畫布 50F

尊彩貳拾年

關於陳澄坡 About Chen Cheng-Po

Liang Ga ller y 20th A n n i ver s ar y

提升台灣美術能見度文／李欽賢

一、蠕動的山河再出發李欽賢資深台灣史作家、藝評家

最擅於描繪近代文明場景，喜歡路上觀察

的紅瓦屋脊，不僅有層次的質感，更富筆

的油畫家陳澄波，一開始學畫就到嘉義北

觸的律動。群屋層層構疊的合奏中，特意

回歸線碑現場，練習寫生。後來他用油彩

留下一條路徑，行走的人群像音符般躍

畫嘉義街景，不是電線桿林立，就是鋼筋

動。

水泥樓房的現代建築，這些都是新文明的 Enh anc i ng t h e Vis ib i li t y of Taiwan Art

產物，也說明了陳澄波對近代都市新景觀

陳澄波的思古幽情，不期然出現悸動的畫境，或許有時代背景和時空的契合吧！

的敏感。此作的完成年代，正是「台陽美展」開啟饒富興味的是陳澄波的淡水系列油畫，大都是一九三五年之後的幾年內創作的。一向追逐城市新地標的陳澄波，突然急轉紅磚古厝，當然是這個煙波浩渺，崗陵起伏的山城老鎮，讓陳澄波深深著迷，非但發現歷史層疊建築群的魅力，進而意外譜出老台灣潛藏的生命力，終於為台灣美術史

台灣美術運動高潮的一九三五年。台陽美展會場在台北，從徵件、審查到佈展，會員都需要聚集台北。台陽美展的靈魂人物是楊三郎，會員們討論與住宿的地點也都設在楊三郎位於永和的別墅。楊三郎對淡水的熟稔，是因為他曾經在一九二六年到一九二九年之間，曾經在淡水擁有一間畫

留下不朽的傑作。傑作中的傑作是《淡水夕照》，五年前創下台灣油畫家拍賣市場價格的新高，達二億一千萬台幣。這幅畫己多年未公開面世，尊彩藝術中心煞費苦心奔走，終於獲得收藏家的完全信賴，即將在今年五月尊彩創業二十週年的大展中推出，作為壓軸鉅作。《淡水夕照》俯瞰老淡水，最能留住歷史距離而引發鄉愁。戲劇化組曲的聚落構成，勾出了山河蠕動的張力，陳澄波筆下

淡水夕照 1935 油彩、畫布 50F

Lia ng Ga l l er y 20th Anniver s a r y

嘉義噴水池 1933 油彩、畫布 50F

室，深知淡水是台北風景線的最後堡壘，

陽展，並利用空檔前往淡水寫生。當他面對寧

不僅交通方便，而且有山、有水、有教

靜的、沒落中的河口群屋，憶起梵谷在南法畫

堂、有洋樓、也有閩式聚落，居高臨下視

《奧維教堂》，深得畫中屋脊捲曲，地面扭動

野寬廣，古鎮風情盡收眼底，宛若台灣西

的感召，地牛的洪荒神話加上梵谷的大膽變

洋畫家心目中的後花園。

造，凝出陳澄波的激情運筆，狂熱地投注到

陳澄波也利用台陽美展開幕參展的機會北

《淡水夕照》。

上，與畫友結伴赴淡水寫生。陳澄波創作

畫出蠕動的台灣山河，似乎是陳澄波冥冥之中

淡水系列之前，只有上海時期畫過江南水

的預言，台灣又將遭逢遽變，不幸預感成真，

鄉之外，極少描繪台灣的山河，那是因為

二二八事件無情，逼他血濺台灣大地。陳澄波

嘉義的街市觀察尚在積極進行中。但是淡

的生命史與藝術觀，一幅畫、一則故事的豐富

水奇遇的驚豔，令他胸悸筆顫，筆下山河

內涵，帶出了研究台灣美術的在地觀點。

震盪，屋脊反翹，誠屬《淡水夕照》最撼動人心的力道。另一個巧合點是一九三五年四月二十一日，即第一回台陽美展的前一個月，台中附近發生台灣觀測史上規模最大地震，死亡人數達三千餘人，房屋倒塌無數，山線鐵路全毀，台日美術界也發起義賣賑災活動。驚魂甫定後陳澄波才北上協助籌辦台

展場中另有一幅50F大作，是陳澄波的《嘉義中央噴水池》，這一年（1933），陳澄波剛從上海返台，新都市計劃開闢出中央噴水池圓環，作為交通的緩衝中心，因是嘉義新都心的廣場，行人多，商販必至。值得注意的是，陳澄波將市井生活融入近代街景的特殊觀照，為台灣美術史注入本地特有的熱帶氣氛和民間性的元素。

Liang Ga ller y 20th A n n i ver s ar y

Enhanc i ng t he Vi si b i li t y of Tai w an A rt

嘉義公園 1937 油彩、畫布 20F

公園也是近代都市的新概念，屬喧囂都會

的年代。尊彩將如何開疆闢土，如何立定

中的綠州。同時展出的陳澄波《嘉義公

永續經營的礎石？尊彩剛起步時，有幾檔

園》，被陳澄波處理得極富浪漫幻化，全

是推出有實力，卻知名度不高的中青輩畫

畫充滿歡愉喜悅，畫中飛揚的筆觸，牽動

家個展，風格另類，不落俗套，而且都是

出一片喜樂，枝葉亦隨之起舞，反映出歡

默默的、誠懇的創作型藝術家，如李美

呼的舞台效果。

慧、金芬華、林俊慧、賴哲祥等等。

蠕動的山河再出發，意味著台灣文化力與

尊彩在起跑點上，就與一般炒作型的畫廊

經濟力已重新定位，這時候就端看文化界

區隔開來，「默默的」、「誠懇的」走自

包括民間畫廊怎麼運作了。

己的路，可見尊彩一開始即策劃為「默默的」、「誠懇的」藝術家辦展，就經營者或創作人的精神理念來說，早就有了默

二、「藏寶圖」的伏流，浮現台灣美術

契，尤以誠懇的態度畫作尊彩的商業倫理，完全取得收藏家的信任。其後幾年，畫廊業呈現成長下滑，拍賣公

一九九二年尊彩藝術中心成立，於一九九

司異軍突起，搶盡老畫家曝光的鋒頭，反

三年正式開幕，座落於內湖成功路四段商

而畫廊已不再是前輩畫家的灘頭堡。可是

圈，是內湖地區第一家畫廊。尊彩的誕生

尊彩卻逆向操作，一九九八年起逐年擘畫

正處在畫市狂飆，卻時而偶聞大畫廊破產

「藏寶圖」系列展覽，在市場上持續流

Lia ng Ga l l er y 20th Anniver s a r y

通陳澄波、郭柏川、廖繼春、李梅樹、顏

尊彩旨在推廣台灣美術的意向不變，倒是

水龍、陳植棋、楊三郎、李石樵、張萬

達成尊彩藝術中心的事業目標－－以廣闊

傳、劉啟祥、陳德旺、洪瑞麟、張義雄、

的空間傳遞藝術家最真的情感，第一檔大

廖德政、金潤作、蕭如松、李澤藩、陳進

展即行推出「璀璨世紀－－陳澄波與廖繼

等前輩畫家們未曾面世的作品，並連續出

春雙個展」，幾乎網羅兩位大師的代表

版「藏寶圖」畫集，有計畫地彙整這些美

作，無論是場地或內容，均足以直追美術

術全集畫上有，卻不易見到真蹟的作品。

館的規模，達到學術性企劃的層級。翌

進入二〇〇〇年代，尊彩持續策辦「藏寶

年，第二檔的「楊三郎回顧展」，簡直是

圖」畫展，其所堅持的信念有三點：一、

將「楊三郎美術館」的館藏全數搬過來。

提出台灣文化財的認知，方是收藏價值的

以美術館的空間規格，有可能再寫楊三郎

基本概念。二、尋求歷史定位，是畫廊展

藝術的詮釋新頁。

出的使命。三、親近本土美術力促了解自己的土地。

新館新氣象，從「藏寶圖」上綱至台灣美術的能見度，竟是民間力量單打獨鬥的成

籠罩在畫廊業不景氣的艱困環境中，尊彩猶競競業業不唱高調，依然「默默的」、「誠懇的」以敬愛台灣前輩畫家之心，於二〇〇五年于尊彩內湖金龍路新館，舉辦

果，尊彩能有如此替代公部門之大手筆，全賴籌備過程中的可信度，這也是誠信畫廊的倫理，尊彩辦到了！

陳澄波作品的「藏寶圖」展。主持人余彥

台灣美術能見度的視域，尊彩也要把台灣

良同時立下心願，期許有朝一日能以更大

當代藝術推出去，它的空間優勢，正好是

空間與規模來推動台灣美術家大展。尊彩

「當代」與「前輩」相互對話的沙龍。台

能在畫廊業低潮的景況下，「藏寶圖」仍

灣美術界一直潛藏著代溝的隱憂，有待尊

浮出畫壇視線，實踐台灣美術史的民眾教

彩來彌合。所以尊彩也不吝釋出挑高的空

育，尊彩的付出確實盡心盡力。

間，多樓層的優點和偌大的地板面積，予裝置藝術展現新生代的爆發力。

三、尊彩雄飛，與當代接軌堅持理想度過十八年悠悠歲月的尊彩藝術中心，余彥良與前輩畫家家屬建立了互動

去年，締造國際精品愛馬仕全台櫥窗設計的年輕藝術家席時斌，他的馬造形組合雕塑，或不同材質構成的船形、鳥形等高掛

和互信，完全是基於經營者的赤忱之心，

式裝置藝術，目前已是尊彩新空間的主

和經營手法遵循真理與單純，余彥良愈來

力。

愈肯定自己投入這個行業，經常懷抱喜

此外，新生代創作的攝影與油畫，童趣、

悅、享受和感動的心情面對工作。十八年

天真、幻象，完全有別於傳統油畫的主

之後終於綻放出生命中最豐碩的果實，也

題。當代藝術的創意，即是未來存世的經

是再增添生命光輝的，是二〇一〇年尊彩

典，尊彩已踏進此一區塊發掘新人才。

進軍至朝氣蓬勃的內湖科學園區，擁有新穎、寬廣的大空間。尊彩瑞光路新館像一座現代都市的心靈城堡，在四周企業大樓林立，台灣產業能量匯聚的摩登大街上，尊彩提供市廛紅塵中的一方淨土，讓人們從台灣美術精華中洗滌心靈。 57

Liang Ga ller y 20th A n n i ver s ar y

Enhancing the Visibility of Taiwan Art Article／Li Chin-Hsien

Li Chin-Hsien Writer of fine art history of Taiwan / Art critic

I. Starting Again from the Creeping Mountains and Rivers A master at depicting scenes of modern civilization, the oil painter, Chen Cheng-Po, enjoys conducting observations wherever he goes. When he first began to learn painting, he travelled to the Monument of Tropic of Cancer in Chiayi to practice sketching. Later, he used oil paint to capture Chiayi’s streetscapes, whether its groups of telephone poles or the modern architecture

Enh anc i ng t h e Vis ib i li t y of Taiwan Art

of its reinforced concrete buildings. These are all products of a new civilization, revealing Chen’s sensitivity towards modern urban landscapes.

What is most interesting is that the paintings comprising Chen’s Tamsui series were mostly created in the few years after 1935. Having always pursued new city landmarks, Chen suddenly began a foray into portraying red brick traditional houses. Of course, the vast expanse of misty, roiling waters, and the old mountain villages deeply fascinated Chen. He not only discovered the charm of cascading groups of buildings that have appeared throughout history, but also unintentionally revealed the hidden vitality of old Taiwan. As a result, an immortal masterpiece was finally left behind for Taiwan’s art history.

This

masterpiece of masterpieces was named, Tamsui Sunset. Five years ago, it sold for TWD 210 million, setting a new high in the auction market price for a work by an oil painter from Taiwan. This painting had not been publicly available for many years. But, after much painstaking effort, Liang Gallery has finally been able to earn the complete confidence of the collector, and will reveal this masterpiece as a grand finale to celebrate its 20th Anniversary in May this year. Providing an overlooking view of Tamsui, Tamsui Sunset is able to retain a historical distance to trigger a sense of nostalgia. Composed in the form of a theatrical suite, the settlement below draws out the creeping tension of the mountains and river. The red-tiled roofs not only reveal levels of texture, but, also, the rhythm of Chen’s brushstrokes. Amidst the stacked ensemble of buildings, a path is intentionally inserted where groups of people that seem like vibrant music notes walk along it. Brimming with exquisite feelings, Chen’s recollections are unexpectedly materialized into a throbbing, picturesque scene. Perhaps, the background of the era fits the time and space! The year this work was completed was the same in which Tai-Yang Art Exhibition launched a climax in Taiwan’s art movement: 1935. The exhibition hall for Tai-Yang Art Exhibition was in

Lia ng Ga l l er y 20th Anniver s a r y

Taipei. For the collection, review, and exhibition, all the members had to gather in Taipei. Yang San-Lang comprised the heart and soul of Tai-Yang Art Exhibition, and the members stayed and held discussions at Yang’s villa in the Yonghe district. Yang was familiar with Tamsui because he had previously owned a studio there from 1926 to 1929. He knew deeply that Tamsui was the last remaining bastion for viewing the Taipei skyline.

Not only was transportation there

convenient, but there was also mountains, water, churches, western-style houses, and even a Fujianese settlement.

Additionally, Tamsui offered a commanding visual perspective that

covered a broad expanse, and a panoramic view of an ancient town. It was indeed a backyard garden in the hearts and mind of Taiwan’s Western-style painters. Travelling north to participate in the opening of Tai-Yang Art Exhibition, Chen used the opportunity to go to Tamsui and sketch it with some friends. Before Chen created the Tamsui

Sunset at Tamsui 1935 Oil on canvas 50F

series, he rarely depicted mountains and rivers, with the exception of his painting of the Yangtze River Delta during his period in Shanghai.

That was because he had been very active in

observing the downtown streets of Chiayi. However, his encounter with Tamsui shook him to his core, causing his chest to palpitate and his brush to flutter. He painted curved rooftops amidst the stunning mountains and rivers of Tamsui Sunset, all which come together and stir up innermost feelings. Another coincidence occurred on April 21, 1935, a month before the opening of the first Tai-Yang Art Exhibition. Near Taichung, the largest earthquake ever recorded in Taiwan’s history struck and killed over 3,000 people. Countless homes had collapsed and the railway through the mountains had been completely destroyed. The Taiwan and Japanese art communities launched charity events to raise money for relief efforts. After recovering from the initial shock, Chen travelled north to help organize Tai-Yang Art Exhibition, and used his free time to go and sketch Tamsui. Facing the groups of houses in the quiet and falling estuary, he thought of Van Gogh’s painting of The Church at Auvers in southern France. He recollected the curves rising above the roof and the beckoning of the twisting ground. Adding Van Gogh’s bold alterations to the prehistoric myth of ox, Chen condenses his passionate pen movements and fanatically infuses them into Tamsui Sunset. Painting the creeping mountains and rivers of Taiwan seems to be Chen’s act of foretelling a prophecy in an invisible world. Taiwan was once again hit by rapid change, and an unfortunate premonition came true. The brutality of the 228 Incident forced his blood to be spilled onto the Taiwan earth. Chen’s life and artistic perspective, a painting, and the rich content of its story bring out a local perspective to study Taiwan art. At the exhibition, there is another 50F masterpiece - Chen’s Central Fountain in Chiayi Park. For that year (1933), Chen had just return to Taiwan from Shanghai. A new urban plan had called for the construction of a circular Central Fountain to act as a buffer center for traffic. Because it was located at the Chiayi City Center plaza, there were a lot of pedestrians and vendors in the area. It is worth noting that Chen infused the life of the marketplace into unique reflections on modern streetscapes. He injected the tropical atmosphere and folk elements endemic to the locale into Taiwan art history. Parks are the new concepts of modern cities that provide a green oasis amidst the urban hustle and bustle. Also on display, Chiayi Park is made into a romantic fantasy by Chen. Through flying brushstrokes, the entire image is filled with joyful and happy feelings. Branches and leaves of trees dance along, mirroring the effect of a cheering audience.

Liang Ga ller y 20th A n n i ver s ar y

Starting again from creeping mountains and rivers alludes to the current repositioning of Taiwan’s cultural and economic power.

At this time, it is all about seeing how cultural

communities, including art galleries, operate.

II. Taiwan Art Emerges on the Underground Stream of a Treasure Map Established in 1992, Liang Gallery officially opened in 1993. Located in Neihu’s commercial

district at Section 4 of Cheng Kung Rd, it is the first art gallery in the Neihu District. Liang Gallery The Central Fountain in Chiayi 1933 Oil on canvas 50F

was born right in the midst of a boom in the art market, yet it was still a period when even major

galleries were going bankrupt. How did Liang Gallery break new ground? How did it set the foundation for a sustainable business? When Liang Gallery first started, it had a few cases that were promising, yet mostly consisted of solo exhibitions of mid-younger generation of artists that were not very well known.

Their alternative styles were unconventional, and the artists

themselves were quiet and sincere creative personalities. These artists included, Li Mei-Hui, Kin Fen-Hwa, Lin Jiunn-Huey, and Lai Tse Hsiang.

At the very start, Liang Gallery distanced itself from speculative galleries.

It “silently” and

“sincerely” walked its own path. It can be seen that Liang Gallery planned at the start to organize exhibitions for “silent” and “sincere” artists. Regarding the spiritual philosophy for the business

operators and artists, there had already long been a tacit agreement: drawing upon a sincere

attitude to shape the business ethics of Liang Gallery and to earn the complete trust of collectors. In the years that followed, the gallery showed a decline in growth. The sudden emergence of auction houses usurped the exposure in the spotlight from old painters. Galleries no longer

became the beachhead for senior painters. However, Liang Gallery managed to reverse its

operations. Every year since 1998, it arranged the Treasure Map series of exhibitions. In the market, it continued to flow works that had previously been unavailable, such as those by Chen

Cheng-Po, Kuo Po-Chan, Liao Chi-Chun, Li Mei-Su, Yen Shui-Long, Chen Chih-Chi, Yang San-Lang, Li Shih-Chiao, Chang Wan-Chuan, Liu Chih-Hsiang, Chen Te-Wang, Hong Rui-Ling,

Chang Yi-Shiung, Liao Te-Cheng, Chin Jun-Tso, Hsiao Ju-Sung, Li Tse-Fan, Chen Chin, and

others. Additionally, it continuously publishes Treasure Map, which compiles these paintings that are not easily accessible for viewing.

Entering the twenty-first century, Liang Gallery continues to curate the painting exhibition,

Treasure Map, according to three strictly held beliefs. First, raising the awareness of Taiwan cultural properties is the basic concept behind a collections’ value. Second, the gallery’s mission is to seek a spot in history. And, third, getting to know local art promotes stronger understanding of your own land and roots.

Enveloped in a difficult environment for the art gallery industry, Liang Gallery works hard and refuses to talk big, relying on “silence” and “sincerity” to respect and pay tribute to Taiwan senior

artists. In 2005, Liang Gallery opened its new branch on Jinlong Road in Neihu, and organized a Treasure Map exhibition to showcase Chen Cheng-Po’s works. During the exhibition, the host,

Yu Yen-Liang, set the aspiration and hope that Liang Gallery could one day obtain an even bigger

space and scale to conduct major exhibitions to promote Taiwan artists. Amidst a dipping art gallery industry, Liang Gallery has been able to attract the art world’s attention with its Treasure Map, as well as implement a public education regarding Taiwan art history. Indeed, Liang Gallery has put much time and effort into its endeavors.

Lia ng Ga l l er y 20th Anniver s a r y

III. Launching Liang Gallery into a Contemporary Practice Adhering to ideals over a long eighteen year period, Liang Gallery along with Yu Yen-Liang and the families of senior artists generated much interaction and a sense of mutual trust built entirely on the passionate hearts of the operators, as well as the truth and simplicity of their business practices. With increasing confidence, Yu has invested in this industry, often embracing joy, enjoyment, and touching feelings to face his work. And, after eighteen years, the most fruitful blooming period finally hit, which also added to the glory of life: in 2010, Liang Gallery moved into a new, expansive space in vibrant Neihu Science Park. Surrounded by a forest of commercial buildings, the new gallery at Rueiguang Rd. stands like a spiritual castle amidst a modern city. On an avenue that gathers Taiwan’s industrial energies, Liang Gallery provides a pure oasis within the hustle and bustle of a city, allowing people to cleanse their souls through the essence of Taiwan art.

Chiayi Park 1937 Oil on canvas 20F

Liang Gallery’s commitment to promoting Taiwan art has remained the same over the years, which has, in turn, helped it to achieve a business objective - - to convey the truest emotions of artists through a large space. The first major exhibition launched there was Dazzling Through A History－Chen Chen-Po & Liao Chi-Chun Art Treasures Exhibit, which showcased the representative works of these two masters.

Regardless of site or content, it was able to

sufficiently capture the scale of a museum, and achieve a level of academic planning. For the following year, The Retrospective Exhibition of Yang San-Lang basically placed the entire collection of Yang San Lang Art Museum on display. With the spatial specifications of a museum, it was possible to interpret a new page for Yang San Lang’s art. The fresh atmosphere of the new gallery, Treasure Map, and online to increase the visibility of Taiwan art - these are actually the results of the fighting efforts of regular civilians. Liang Gallery was able to substitute the generosity of the public sector all thanks to the credibility established throughout the preparatory process. Liang Gallery has indeed found success by holding onto its strong sense of ethics! As it enhances the visibility of Taiwan art, Liang Gallery also hopes to promote Taiwan contemporary art.

Its superior space is indeed a salon where a mutual dialogue between

“contemporary” and “senior” takes place. Worries concerning a generation gap have always lurked within Taiwan’s art community, and this is something that Liang Gallery is eager to bridge. Therefore, Liang Gallery is not hesitant in showing its high-ceilings, as well as the benefits of its multiple floors and huge floor space, to spark the explosive energy of a new generation for the exhibition of installation art. Last year, Hsi Shih-Pin, the young artist who designed the windows for all the Taiwan branches of the international boutique store, Hermes, also contributed to the space.

His mounted

installation art works, such as a horse form that combines sculptures, or the boat and bird forms that are comprised of different materials, are currently the main driving forces behind the new gallery. Additionally, the photography and painting of new generations are childlike, innocent, and fantastical - completely different from the theme of traditional painting.

The creativity of

contemporary art will form the new classics of the future, and, Liang Gallery has already begun discovering fresh talents from this pool.

Lian g Ga ller y 20th A n n i ver s ar y

山海之城—陳澄波淡水系列文／蕭瓊瑞

蕭瓊瑞知名台灣美術史學者、現任國立成功大學歷史系教授

淡水系列是陳澄波(1895-1947)風景創作中的

此後清朝歷次修纂的府志、縣志、廳志，

一個重要構成，迄今可以掌握的相關作品，

卷首的形勢圖，也都可以見到這古名「滬

至少在十幅以上；其中多幅都可視為陳氏一

尾」的地區。但簡略的線條勾勒，旨在呈

生創作的經典之作，值得深入地探討與分

現地形方位，完全失去了山形水勢的風景

析。

意象。倒是康熙61年（1722），巡台御史

C i t y of M oun t ain s and Se as ─ Ch e n Ch eng-Po’s Tam su i Se ri es

■

對各地的山川、聚落、城市、官署、田淡水古名「滬尾」，最早出現在圖繪上，可推溯到十七世紀初期歐人在此爭衡鬥勝的時代。1629 年，也就是西班牙人佔領淡水的第二年，佔據台灣南部的荷蘭人，有心驅逐西班牙人，曾派員偵察淡水附近水域，並加以描繪。在這最早的圖繪中，西班牙人所蓋的聖多明哥城，清楚地雄據在淡水河的河口；不過可能由於測繪者無法深入內地，淡水河被畫成為一個港灣的形式，而沒有向內延伸的河道；又可能是基於同樣的限制，淡水河附近的村落、山形，都被有意無意的簡省。較詳細的淡水圖，在1654年被完成，此時，荷蘭人已佔有淡水。一張帶著淡彩的手繪地圖，清晰地描繪出三百多年前淡水河流域的山形、聚落（包括平埔族人與漢人）、耕地，及荷蘭人的公共建設；地圖上並附有編號，清楚地說明了各個圖繪的意義，淡水村落對岸的大觀音山，第一次清楚的被描繪並標示出來

黃叔璥奉呈皇帝御覽的「台灣番社圖」，

園、水陸防營、道路港灣，乃至番社習俗，均有圖文相參的生動呈現。「淡水社」位於「淡水城」邊，原住民持矛狩獵的情狀，及對岸高聳的觀音山，中隔寬闊的淡水河道，予人以相當豐富的想像。約二十餘年後的乾隆年間，另有滿籍巡台御史六十七，託畫工作成「番社采風圖」，其中「瞭望」乙圖，即以淡防廳原住民攀爬「望樓」、守望禾稻、以防奸宄盜禾的風俗為內容。畫中所繪望樓形式，及原住民高架式屋宇，至日治時期，仍可得見於日人所作番人舊慣調查紀錄之中。同治 10 年（1871）修成的《淡水廳志》附有「淡水八景圖」，其中，「滬口飛輪」首次以文人認知形式，賦予淡水一地較為具體的風光意象；這也是淡水開埠以來，以港口形式被描繪、認知的較早形式。

Lia ng Ga l l er y 20th Anniver s a r y

圖1 淡水 1934 油彩、畫布 6F

然而近代認知中的「淡水之美」，更明確

楊氏為人海派好客，促使日治時期多位畫

的建立與形塑，仍應以日治時期為起始。

家前往淡水作客畫畫。即使楊氏不住淡水

「滬尾」之名也在此時正式改為「淡

期間，畫家也經常結伴前往淡水寫生，並

水」。

留下諸多佳構，陳澄波即為其中一人。

1918年，日本大正7年，日籍膠彩畫家木

■

下靜涯（1889─1988）與友人前往印度研習佛畫，返日途中，路經台灣，因病滯

陳澄波目前可見最早一幅與淡水相關的作

留，為淡水風光所吸引，遂興長居之意；

品，係為1934年之作。這一年也就是陳澄

後並舉家遷居此地，時在大正12年

波因「一二八上海事件」，中日雙方交

（1923）間。木下居淡期間，曾與畫友組

惡，以「日僑」身份，被強行遣送回台，

成畫會，招募淡水地方有力人士入會，倡

結束在上海的教學生涯的第二年。這一年

導藝文風氣。1927年，並催生「台灣美術

也是他和畫友楊三郎(1907-1995)、李石樵

展覽會」（簡稱「台展」）成立，影響台

(1908-1995)等人創組台灣最大民間繪畫團

灣「新美術運動」甚鉅。

體「台陽美協」的一年；或許也正是發起

木下舉家定居淡水的三年後（1926），楊三郎(1907-1995)就讀日本關西美術學院二年級，利用暑假返台期間，四處寫生，

倡組「台陽美協」的關係，陳澄波多次北上台北，借住友人家，並抽空一起外出寫生。

尤其看中了淡水一地；因其家境富裕，乃

1934年的這幅作品，題名〔淡水〕(圖1)，

在此地尋得一間日本宿舍，充當畫室。

以臨江而建、高低起伏的房子為主體，

Lian g Ga ller y 20th A n n i ver s ar y

Ci t y of M ount ai ns and Seas ─ Chen Cheng- Po’s Tam sui Seri es

前有拾級而上的階梯，後方是因陽光反照

隨著 1934 年這幅〔淡水〕的展開，1935

而明亮耀眼的江面；遠處則收尾在平緩的

年是陳澄波淡水系列創作最豐富的一年。

觀音山影。近景左方是一棵枝幹伸展的喬

首先是題為〔淡水風景〕(圖2)的一幅，畫

木和掙長有力的草叢，平衡了左方的構

家下到河岸邊緣，採取一種平視深遠的畫

圖，也拉開了和江面的距離。這幅作品，

法，人站在河岸邊，臨江遠望，對岸草坪

色彩豐富、筆觸活潑有力，尤其房舍的暗

上活動的人影，清晰可見，觀音山脈作為

紅、深褐，似乎和土地就是一個整體，緊緊抓住地面，幾個白色的石灰牆面，則讓視覺有了提醒的作用，也巧妙地推出了空間的距離。兩支電線桿，矗立在一前一後、一高一低，少見的電線，俐落地橫過畫面。這幅 6F 大小的作品，充滿了光影的變化、地貌的起伏，既富含江邊水氣飽滿、空氣濕潤的感覺，又有一種恬靜、安

圖2 淡水風景 1935 油彩、畫布 8F

遠景；此岸的三棵大樹，一如框景的畫框，由畫幅右邊扶搖直上，達於天際，這是陳澄波作畫經常採用的構圖方式。和這三樹對稱的，是左側的一座房屋屋角，以及緊臨的棧道，可以通往稍遠的一間茅草屋頂的小屋，棧道上有行人，也有坐在棧道上臨江垂釣的釣客；江面兩岸，各有一艘小船，拉開了兩岸的距離。這件作品，色彩較為暗沈，顯示畫家的背後應有較高

和、不與人爭的親切氣息，映著江面，幾

的地形，這是一個位在背光區位、陰影籠

件衣服就晾在屋前的陽台上。綠色的樹

罩下的較低處，可以感受到涼風習習的夏

叢，參雜在屋舍的前後左右，色彩的變

日午后氣息，陽光就投射在較近對岸的江

化，豐富又具生命力。

面和平野上，也形成了全幅的視覺焦點。

Lia ng Ga l l er y 20th Anniver s a r y

同年，另有〔淡水高爾夫球場〕(圖3)一

前景的位置，遮掩著高聳的建築。加上左

作，以畫面中央一支遠方草地果嶺上的紅旗

下側的一株灌木，樹的黃、綠葉叢在紅磚

為中心，四周圍繞以各式林木。大小只有四

建築的襯托下，兩者相得益彰；葉片再用

號的畫幅，筆力強勁、波動有致，點、撇、

少許白色加以調和、提醒，天空則是偏向

擦、勾，一氣呵成；尤其前景中央的那棵灌

淺灰的色調。

木，樹葉是用接近畫圈圈的筆法表出，顏色從深綠、淺綠、黃、白到紅，適切地拉出與

另也是一件年代未詳的〔淡水樓房〕(圖

遠方果嶺之間的空間距離。

5)，也是4F大小的作品，在較為濃重的筆

同為4號大小而年代未詳的〔樓房〕(圖

法、色彩中，前方的欄杆，和畫幅中央綠

4)，畫的是淡水馬偕教堂，應也是這年的作

色牆面的樓房，都給人特別深刻的印象，

品。這座仿哥德式的西式建築，初建於

也顯示陳澄波對許多新事物的好奇與開放

1891年，位於當時「偕醫館」的鄰側，是

的態度。

著名加拿大傳教士馬偕博士的傳教所。 1932年由其子偕叡廉重建，以紅磚砌成，高聳的鐘樓成為淡水最鮮明的地標。陳澄波的這幅〔樓房〕，將鐘樓置於接近畫幅中

陳澄波的淡水系列，依尺幅大小，大概可分為兩類：一是4到8號的小型畫作，一是 30號或50號的大型創作。前者有許多是畫

央偏左的位置，教堂建築和結合中西樣式

在木板上，為的是現場寫生的方便，因此

的樓房分置兩側，既有前後景深，又成斜

這些作品，大多即席揮洒而成，率性自

線構圖；而一株枝幹崢嶸的喬木就直擺在

由、筆觸活潑，如前提：〔淡水〕〔淡水

圖3 淡水高爾夫球場 1935 油彩、畫布 23.5×33cm

Lian g Ga ller y 20th A n n i ver s ar y

風景〕〔樓房〕〔淡水樓房〕等，均屬此類。至於30號或50號的大型畫作，則都是先在現場以素描寫生，然後再回到畫室中 Ci t y of M ount ai ns and Seas ─ Chen Cheng- Po’s Tam sui Seri es

完成，由於經過多次修改，也就顯得苦心經營、嚴謹且細緻；這樣的作品，也就展現一種較具經典鉅構的氣勢。1935年就有 8號大小的〔淡水風景〕(圖6)同名另作。這幅作品，以淡水的聚落為主軸，描畫出屋宇櫛次鱗比的群落之美，最為特殊的，是畫家為了表現出地形的高低變化，尤其是緊臨坡崁的前方路面與後方聚落的落差，讓畫面顯得有一些不安定的感覺。不過相同主題的描繪，很快地就在同年的另圖4 樓房年代未詳油彩、木板 33.5×24cm

圖5 淡水樓房年代未詳油彩、木板 4F

一幅〔淡水〕(圖7)鉅作中，獲得了解決，且達到了高度的成就。這幅目前典藏於國立台灣美術館的〔淡水〕，已是該館的鎮館之寶之一。

Lia ng Ga l l er y 20th Anniver s a r y

這件作品，長91公分，寬116.5公分的巨

層紅樓之前。這些房子，不是西方那種機

幅創作，在看似紛亂的屋宇錯落中，呈顯

械幾何都市計劃下的規矩排列，而是一種

了一種高度穩定、嚴謹、巨大、內斂的恢

有機的、隨著山形水勢、你讓我閃的自然

宏氣度。這件作品採取的角度，也不同於

生成，看似橫七豎八、方向混雜的屋脊，

前揭諸作之容易尋得畫家觀看的立足點，

卻在這種自然生成而非人為計劃的情形

而是加大了俯瞰的角度，成為一種類似小

下，得到一種難以言喻的和諧。從構圖上

說中的全知觀點；畫家似乎是凌空而視的

看，前揭那個濃重瓦頂上的煙囪，幾成畫

仙人，我們已無法尋得他立足的定點，甚

面的中心。左右而觀，隱含著兩組半弧形

至遺忘了畫家的存在，一如文學中「無

的聚落構成；上下而觀，情形也是略同：

我」的境界，大地就如此這般、自然而然

左下由大而小的一組房子，到達那煙囟邊

地舖陳在這樣一個寬潤而似乎無邊無際的

的樹叢轉往右方這兩間較為濃重而大的屋

視域之中。淡水和觀音山隱藏到右後方的

頂，是一個下方的半圓；上方則依最左方

一個角落之中；但極清楚地，這種安排，

的屋頂順勢而下，再轉向右方的山稜線向

一方面顧及聚落本身緊密完整的構圖，二

上昇騰，仍是一個半圓。如果再換成另一

方面也推開了聚落與後方天空的距離；我

種視線的移動方式，視點由最前方的屋脊

們知道，淡江正由屋後蜿蜒而流，而前方

開始，左右游移，之後沿著街道上行，到

的街道，也由正中央那間有著煙囪、屋瓦

達煙囪後，視線可能往右方的觀音山巔消

較為深褐濃重的房子後方，曲行而上，應

失，也可能往左方最高的那間房子屋頂消

是可以到達右後方那間有著拱形廊柱的二

失。總之，在看似紛亂的屋宇中，畫家依

圖6 淡水風景 1935 油彩、畫布 30F

Lian g Ga ller y 20th An n i ver s ar y

Ci t y of M ount ai ns and Seas ─ Chen Cheng- Po’s Tam sui Seri es

圖7 淡水 1935 油彩、畫布 91×116.5cm

其直覺，將它放入一個幾近左右上下完全

的大街，再到遠方的江面。藝術家巧妙地

均衡穩定的構成之中。而紅綠的對比、山

表現了這種多層次變化的淡水空間特色。

水的併陳、土洋房舍的並置，一切看似矛

由於採取俯瞰的視角，那些具有傳統特色

盾的因素，都在一種歲月的磚紅色彩中，

的紅瓦屋頂，也就特別的凸顯，搭配明亮

得到完全的協調。陳澄波在這件〔淡水〕

的白色牆面，顯得精神奕奕。紅磚、紅

作品所呈現的，似乎也正是整個台灣人文

瓦，原本也就是土地提煉、燃燒後的一種

特色的一個微妙縮影：紛雜中的穩定。

成品，既是自然，也是人文。相對於淡水

同年(1935)，陳澄波又以另幅〔淡水風圖8 淡水風景 1935 參加台展第九回

景〕(圖8)，參加第九屆「台展」的「無鑑查」展出。可惜這件作品，目前原作佚失，只留下台展圖錄中的黑白圖像；不過，構圖幾乎相同的另幅〔淡水〕(圖9)，目前由私人收藏家所珍藏，應可作為理解

立)、又是沒落衰微的城市；既是山城、又是港口，顯然樣貌多元而人文豐美。不過，私人收藏的〔淡水〕，確切的創作年，還有待進一步確認，一說1935年，一說1937年。

〔淡水風景〕的重要參考。這幅〔淡

1936年，陳澄波又以兩件都是取材淡水的

水〕，回到山海各半的構圖，聚落位於畫

風景畫作，參加第十屆「台展」「無鑑

幅的左側，高低變化的地貌，因人立在較

查」的展出。這兩件作品，分別是〔曲

高的視點，而顯得層次分明：從左下方有

徑〕(圖10)和〔岡〕(後名〔淡水中學〕(圖

著護欄的道路，到坡崁下方緊臨的次高道

11)。

路，到更下方、蜿蜒於聚落間、人群往來

這樣一個既曾繁盛一世(五口通商、洋行林

Lia ng Ga l l er y 20th Anniver s a r y

當年10月中旬的《台灣新民報》，有相當

譬如，塗色彩時，遇青調子畫者便用青，

篇幅的「美術季──作家訪問記」，對陳

紅調子畫者便用紅，接著再處理明暗問

澄波這回的參展作品與心得，提出了報

題。其間存在的山川草木、人物、花鳥等

導。文中寫道：

配置疏密，便按個人喜好，循序適當地排

「陳澄波氏每年慣例必到淡水，今年也花

列，一般通例如此。

數月時間在此作畫並且分析、研究淡水風

正因為如此，若事先研究、吟味所畫場所

景。這回(台展)參展作品也是淡水風景，一

的時代精神，該地的特徵等，便具備作畫

如往昔準備好滔滔不絕地談論描寫風景的

的好條件，如果作畫上有所謂利器的話，

要點以及淡水風景。此回的淡水風景畫也

便是以此為出發點，動手作畫。因故本年

是這樣精心策劃後所描寫的。淡水風景中

的台展作也從這裡(淡水)取材。」(顏娟英

多歷經風霜，充滿古淡味的建築物，特別

《風景心境》)

在雨後或陰天的次日，空氣極潮濕的日

〔曲徑〕一作，構圖仍同於1935年的〔淡

子，屋宇及牆壁的顏色或樹木的青綠等，

水風景〕和〔淡水〕，只是視角稍為退後

分外好看云云，他如是漫長地說明淡水風

而壓低，凸顯了畫幅左前方彎曲的山徑，

景。此待有機會詳細說明，本文則介紹陳

遠方馬偕教堂的尖塔，也變得比較高聳，

氏本年台展創作的苦心談。

可惜也是原作佚失，只留黑白圖像。至於

動手作畫時第一個遇到的問題便是如何選

〔岡〕一作，更具備高度的人文象徵意

擇題材，接著其他應備條件自然能迎刃而

涵。

解。

圖9 淡水 1931 油彩、畫布 91×116.5cm

Lian g Ga ller y 20th A n n i ver s ar y

如果說淡水是台灣文化的一頂冠冕，在這

起，是和寮，其次是信寮、義寮、仁寮、

冠冕上最明亮的一顆明珠，便是淡水中

智寮……。

學。這座淡水人引以為傲的中學，前身即是馬偕博士設立的牛津學堂。百年來，她為台灣培養了無數優秀的人才，包括台灣的第一位博士、前台灣大學醫學院院長杜聰明醫師，及台灣的第一位民選總統李登輝先生。也是該校畢業的知名文學家鐘肇

圖10

政，在其自傳體的長篇小說《八角塔

曲徑 1936 參加台展第十回

下》，以深情的筆調如此寫道：

一座八角塔，大概有四層樓那麼高──這不算很高，但比起台北總督府那瘦而長的塔身，卻顯得格外沈著安靜。……學校位在高岡上──地名叫砲台埔──面臨淡江河口，西邊隔著淡水河是曲線優美的觀音

兒來形容它。我永遠也不會忘記當我第一

海、翠巒、綠茵、……。」

──一塊塊紅磚頭舖起來的。它在兩旁的無數棵榕樹挾持中蜿蜒伸展開去，直伸入虛無縹緲中……。那林蔭、碧草，彷彿深不可測。左邊每隔十幾公尺遠便有一幢形式各異的房子，那就是學寮。從第一幢數

眼前豁然開朗，校舍映現在前面。正中是

山，東是大屯、七星等火山群。藍天、碧

了校門，開始是寬約二公尺左右的紅磚路

岡 (後名『淡水中學』) 1936 油彩、畫布 90×116cm

網球場散布其中。然後，紅磚路一轉彎，

「我幾乎願意用『莊麗』這個最高級的詞

眼接觸到我即將置身其中的中學……。進

圖11

右邊則是修剪得很整齊的草地，籃球場、

陳澄波〔岡〕一作，描繪的正是這樣的一個景緻。雖然陳氏並未把淡江中學的內部呈現出來，但已把這座歷史悠久的學府週遭的氛圍，作了完美的呈現。淡江中學的八角塔位於整個畫面最崇高的地位，左方是起伏有緻的高岡坡地，民舍田地分散其間，田中有工作的農人，路上有持傘、擔

Lia ng Ga l l er y 20th Anniver s a r y

物、背小孩的行人，還有一位站在門口階

總之，不論淡水中學的八角塔，抑或淡水

梯上的婦女；右方坡地田埂上，則是幾隻

教堂的紅色塔樓，均是一種人文的象徵，

休憩、啄食的白鷺鷥。畫面有著一種扭

也是淡水在港埠商業之外，足以傲人的歷

曲、旋轉的活力，綠意盎然而多變、生活

史、文化的表徵。1936 年，又有一幅也是

平實而自足，而那遠方高處的淡水中學，

50F 的〔淡水河邊〕(圖 12)，整個淡水聚

更是平實生活中提升的精神力量與仰望的

落以一種包抄的構圖，圍住了淡水河的水

對象。

面，一株枯乾的巨木，橫伸出江面，全幅

在接受記者的訪問中，陳澄波如此描述自己創作〔岡〕的用心。他說：「面對的右方出現小高崗，左方山崗前面為農村，其間挾著蜿蜒有趣的田圃。背景為曾經引起問題的淡水中學校舍在最後，利用前景水田田埂的曲線，表現全畫的線條韻律感，斜行的道路斷前景與中景，並且利用道路的色彩增加前景明朗的快感。然後配置兩、三位點景人物，田圃的蜿蜒加上幾隻白鷺，全畫的精神中心便在於此，這是我努力的結晶。」(同前引出處)

色彩較為暗沈，有一種冬日黃昏的氣象。大抵上述所有山海併陳的淡水系列，都是一種聚落在左、江水在右的構圖。不過，一幅目前註記為1937年的〔淡水夕照〕 (圖 13)，則是唯一一幅構圖相反過來的作品，江面在左，而聚落在右，收藏界習稱為「右淡水」。由於畫家取景角度的改變，曾經作為遠景的大教堂，現在變成在前方，而淡水河河流的出口，也就成了畫幅的遠景，江水一路蜿蜒出海，給人更多的想像空間。

圖11 淡水河邊 1936 油彩、畫布 50F

Lian g Ga ller y 20th An n i ver s ar y

圖13 淡水夕照 1935 油彩、畫布 50F

Lia ng Ga l l er y 20th Anniver s a r y

淡水，這樣一個山海之城的歷史風華、人文景觀、自然風貌、時分變遷……，都在這樣的一幅作品中，獲得最佳的呈現。如果這件作品的標記時間無誤，這幅作品，也應該是陳澄波 1934 年至 1937 年間系列淡水之作的最後一幅。具有特殊的美術史意義。至於此幅，是否就是當年(1937) 陳澄波入選「光風會」的參展作品〔淡江風景〕？尚待查考。不過，這件作品長期由收藏家珍藏，鮮少有面世展覽的機會，此次，配合尊彩藝術中心二十週年慶，特別應允展出，分享藝壇同好，是對台灣美術研究關懷者的一項佳音，也是對尊彩藝術中心長期耕耘台灣本土畫家研究、推廣的一種肯定。

Lian g Ga ller y 20th A n n i ver s ar y

City of Mountains and Seas ─ Chen Cheng-Po’s Tamsui Series Article／Hsiao Chong-Ray

Hsiao Chong-Ray Senior expert of fine art history of Taiwan / Professor of History at National Cheng Kung University

The Tamsui series are some of Chen Cheng-Po (1895 - 1947) most important landscape works. To date, more than ten related paintings with known whereabouts exist. Among these paintings, many are considered to be the finest works Chen has created, making them worthwhile for discussion and study. The old name for Tamsui, “Huwei,” first appeared on maps that date back to the early 17th

C i t y of M oun t ain s and Se as ─ Ch e n Ch eng-Po’s Tam su i Se ri es

century, when Europeans battled for supremacy there. 1629 was the second year in which the Spanish occupied Tamsui.

The Dutch, who covered the southern portion of Taiwan, were

determined to expel the Spaniards. They conducted reconnaissance in the nearby waters of Tamsui and illustrated what they discovered. In these earliest illustrations, the city of San Domingo built by the Spaniards clearly stood at the estuary of the Tamsui River. However, it was probably because the surveyor was unable to penetrate the mainland that the Tamsui River was drawn into the form of a harbor without an inward extension of the river. Another possibility is that, based on the same limitations, the villages and mountain forms near Tamsui River were either intentionally or unintentionally simplified. More detailed illustrations of Tamsui River were completed in 1654. At that time, the Dutch had already taken over Tamsui. One particular light-colored hand-drawn map clearly depicted the mountain forms, villages (including those of the Pingpu Aborigines and Han Chinese), cultivated land, and Dutch public construction near the Tamsui River basin three hundred years ago. On the map, there was even a key that clearly explained the meanings behind each illustration. It was also the first time that Buddha Mountain across the river from Tamsui Village was clearly depicted and mapped. Afterwards, when the Qing Dynasty compiled the prefecture, county, and office gazetteer, their frontispiece map included the old location of Huwei. However, the maps’ simple outlines only detailed its topographic position, and did not capture the imagery of mountains and water. During Emperor Kangxi's reign of 61 years (1722), an Imperial Senior Government Official gave Emperor Kangxi Illustrations of Taiwan's Savage Villages, which provided detailed pictorial and narrative descriptions of Taiwan’s mountains, villages, cities, government offices, farmland, water and land garrisons, as well as its roads and harbours. Tamsui-sha, which was situated next to Tamsui fort, aborigines hunting with spears, Kuanyin Mountain on the opposite shore, and the broad Tamsui river itself were all depicted in great detail. During the subsequent twenty years of the Qianlong period, the Manchurian envoy, Liu Shiqi, surveyed the island of Taiwan,

Lia ng Ga l l er y 20th Anniver s a r y

which led to the creation of Fan She Cai Feng Tu (Illustrations of the Savage Folk). Among the illustrations was the image, Liao Wang (Vantage), which featured an aborigine climbing on to the Wang Lou (Watchtower) where he overlooked the harvest and guarded against thieves. Records of the watchtower and elevated aborigine housing were later found in survey accounts conducted by the Japanese during the colonial era. The Tamsui Subprefecture Gazetteer was created in 1871, ten years into the Tongzi period and a century after the Liu Shiqi era. Its frontispiece included the Dan Shui Ba Jing Tu (Eight Scenes of Tamsui). Among them was the drawing, Hu Kou Fei Lun (River Port), which was the first academic landscape rendering of Tamshui. It was one of the first accounts in which Tamsui was described and recognized as a port. The modern notion of “Tamsui beauty” has its roots from the Japanese colonial era. It was also

Image 1 Tamsui 1934 Oil on canvas 6F

during that time when Huwei was officially named as Tamsui. In 1918, Taisho 7, Japanese toyoga painter, Kinoshita Seigai (1889─1988), and his friends stopped at Taiwan en route to Japan from India where they had practiced Buddhist paintings. In 1923, Taisho 12, due to a friend’s illness as well as his growing affinity for Tamsui, he decided to prolong his stay and reside in Tamsui. During his stay in Taiwan, Kinoshita and his friends organized a painting association in which many powerful figures of the era joined. In 1927, he founded the Taiwan Art Exhibition (or Taiwan Exhibition), which greatly influenced Taiwan’s New Art Movement. In 1926, three years after Kinoshita settled in Tamsui, Yang San-Lang was in his second year at the Kansai Art Academy in Japan. During that year’s summer vacation, Yang returned to Taiwan and practiced sketching at Tamsui. Born into a wealthy family, he rented a Japanese dormitory in the area and used it as a studio. Because Yang was a sociable and hospitable person, many painters during the Japanese

Image 2 Tamsui Landscape 1935 Oil on canvas 8F

colonial era came to Tamsui to visit him as well as paint. Even when Yang was no longer living in Tamsui, many artists congregated in the area to paint its landscape. This led many talented artists, including Chen Cheng-Po, to arise. Chen Cheng-Po’s earliest painting related to Tamsui was one he created in 1934. Due to the January 28 Incident that led to a worsened Sino-Japanese relationship, Chen, who was considered an Overseas Japanese, was repatriated back to Taiwan. This abruptly ended his second year of teaching in Shanghai. That year, he, Yang San-Lang (1907-1955), and Lee Shih-Chiao (1908-1955) established the Tai Yang Association, the largest civilian painting organization in Taiwan. Maybe it was the formation of this entity that led Chen Cheng-Po to visit Taipei many times and sketch its scenery. This 1934 painting named Tamsui (image 1) featured the Tamsui River and houses of various heights along it. In the foreground, there are stairs that lead upward. In the background, the river glitters under the sunlight. The vanishing point is the tranquil silhouette of the Kuanyin Mountain. To the near left, there lie wild greenery and an arbor whose branches extend into the sky. This balances the composition to the right and creates a sense of distance from the river.

Image 3 Tamsui Golf Court 1935 Oil on canvas 4F

This work is defined by its vivid colors, and flamboyant and forceful brush strokes. The crimson, brown houses that are firmly placed on the earth look like they are one with the soil. A couple of white limestone walls refresh the visuals and add extra dimensions to the image. Cutting swiftly across the image, two telegraph poles are positioned to the front and back, making one seem taller than the other. This painting that is of size 6F has a wide range of shadow gradation and changes in its landscape elevation. It captures the rich, moist atmosphere of the shore-side, and

Lian g Ga ller y 20th A n n i ver s ar y

exudes a tranquil, peaceful, and friendly temperament. A few clothes are hung on a balcony and stand against the backdrop of the glittering river. The green forest extends along all sides of the houses, adding color variations and a sense of vitality. After revealing Tamsui in 1934, 1935 would be the year when Chen was most prolific in painting the scenery of Tamsui. For the work titled Tamsui Scenery (image 2), the artist captured scenery from a perspective gained by standing next to the river and gazing into the distance. On the other side of the river, silhouettes of people stand against the backdrop of the Kuanyin Mountains. Three large trees are set along the shore from where the artist’s field of view was obtained, making them seem like a picture frame. The tree extends from the right to reach the sky. This is a composition that Chen often uses in his paintings. Balancing the three trees on the left side are a building’s corner and a nearby plank road. The road leads to a small house with a straw roof that stands in the near distance, and people can be seen fishing along the road. Small boats are docked alongside each of the riverbanks, adding a notion of distance to the image. This work was created with a darker color palette, which indicates that the artist was Image 4 Building Unknown Oil on wood 33.5×24cm

standing at a lowered elevation and the sunlight was blocked from behind. These tones of color also allude to cool afternoon sensations that one feels near a river. The sun shines across the nearby riverbank and fields, and becomes the focal point of the composition. Created in the same year, Tamsui Golf Course (image 3) features a grassy field. In the distance amidst surrounding greenery, a red flag forms the image’s center. Even though the painting is only a size four, the brushstrokes are forceful; movements are consistent; and dots, flings, wipes, and hooks are coherent. Tree leaves are drawn in the forms of circles, from dark green, light green, yellow, white and then to red, adding a sense of distance. A size four painting as well, Building (image 4) features Tamsui’s Mackay Church. This work was probably completed the same year. This Western architecture that imitates Gothic styles was built in 1891 and was located near Mackay Hospital. It was a missionary created by a Canadian, Dr. Mackay. In 1932, Dr. Mackay’s son, George W. Mackay, rebuilt the building. The new brick building and its tall bell tower became the most prominent landmark in Tamsui. In this painting by Chen, Building, the tower was placed a bit off center to the left, while the church and its

Image 5 Tamsui Building Unknown Oil on wood 4F

Chinese/western wings were set on both sides. This formed a sense of depth as well as a slanted composition. A towering arbor stands tall in the foreground and in front of the tall buildings.

A shrub is present at the lower-left corner.

Its yellow bark and green leaves

complement the red bricks of the buildings. The leaves are colored with a hint of white to make them appear more harmonious and crisp. The sky is painted in a grayish tone. Tamsui Building (image 5) is another painting whose date of creation is unknown and also of size 4F. Painted with relatively heavy brushstrokes and colors, the railing in front and the center house with green walls leave a deep impression. They also reveals Chen’s curious and open attitude. Chen’s Tamsui series can be categorized by size: small works that are of size 4 to 8, and larger works that are of size 30 to 50. The former ones were often painted on wooden boards, which were more convenient when painting outdoors.

Most of these works were created with

improvised, whimsical, free, and lively strokes.

Such examples include: Tamsui, Tamsui

Scenery, Building, Tamsui Building, etc. The larger works that are of size 30 to 50 start off as live Image 6 Landscape at Tamsui 1935 Oil on canvas 30F

sketches conducted outdoors, which are then completed at a studio. Over the course of many revisions, they seem arduous to create with the amount of precision and details. These loftier works appear more as classics. A 1935 piece with the same title, Tamsui Scenery, was of size eight. This painting focuses on expressing the beauty of Tamsui’s surrounding settlements.

Lia ng Ga l l er y 20th Anniver s a r y

What stands out most is the artist’s intentional focus on the changes in elevation, such as the difference in elevation of a nearby road along a slope and that of the settlement. This lets the

image exude a sense of uncertainty. The work, Tamsui (image 7), which was created shortly

thereafter, also focused on this theme, but did not have this sense of uncertainty to it. Currently, this piece is part of the collection at National Taiwan Museum of Fine Arts, and is probably considered to be one of its most valuable treasures.

This work is 91 cm in height and 116.5 cm in width. Amidst the seeming chaos of the scattered buildings, there is a high degree of stability, precision, scale, and introspection. Unlike his

previous works, this piece is painted from a perspective that does not easily reveal the artist’s

location as he painted it. Rather, it magnifies an overlooking field of vision to create a kind of

omniscient point of view. It is as if the artist is a celestial being who looks down on the earth while floating in the sky. From the work, we cannot find its exact perspective and are made to forget

Image 7 Tamsui 1935 Oil on canvas 91×116.5cm

the artist’s presence. It is like the literary concept of “no-self.” The earth is just like that, and it extends naturally into a vast and boundless realm that stretches beyond one’s vision. Tamsui

and Kuanyin Mountain are hidden in the back of the right corner. It is obvious that this kind of approach was chosen to construct a dense and complete composition for the settlement itself, and to create a space between the settlement and the sky, which lies in the background. We

know that the Tamsui River is flowing behind the settlement. The street winds into the settlement and disappears behind a darker colored house with a chimney. It should reach the right rear side

where a two story building with arched pillars stands. These houses are not arranged in a geometric and mechanical western style. Rather, they are arranged in an organic way that flows along with the mountains and waters. It is an improvisation with nature. Amidst this natural

arrangement that is not premeditated, the seeming chaotic and messy roofs exude a harmony

that cannot be described with words. In terms of composition, the aforementioned house with a chimney forms the center of the painting.

Both on the right and left are settlements in a

semi-circular arrangement. From top to bottom, the composition is in agreement. The lower left

set of houses are arrange from large to small and pass by the greenery next to the chimney,

reaching the two darker buildings to the right. This forms the lower semi-circle. Aligned against

the roofs to the left, the top’s composition is comprised of a ridge that turns to the right and rises to the top. This is the other semi-circle. If it were a dynamic line of sight, then the perspective

Image 8 Tamsui Scenery 1935 9th Taiwan Exhibition

would start from the most front-lying rooftop. It would wiggle left and right along the streets to

reach the chimney. The line of sight might vanish behind the Kuanyin Mountain, which lies to the right. It might also disappear behind the tallest house that lies to the left. Anyhow, the artist uses

his instincts to create a composition that is vertically symmetrical against the seemingly messy

rooftops. The contrast between the red and green, the juxtaposition of mountain and river, and concatenation of Western and indigenous houses all seem like a contradiction. Yet, they gain

harmony amidst the aged red color of the red bricks. For the work, Tamsui, Chen presents a microcosm that epitomizes Taiwanese culture: stability amidst chaos.

In 1935, Chen also created another painting titled, Tamsui Scenery (image 8). With this piece,

he entered the Taiwan Exhibition as part of the “uncurated” exhibition. It is a pity that the original

has been lost, and only black and white photos of it were preserved. The composition is similar to Chen’s other work, Tamsui (image 9), which is currently part of a private collection. This

explains the importance of Tamsui Scenery as a reference. The work, Tamsui, uses Chen’s previous composition of a partial mountain and sea. Due to a higher line of sight, the settlement

is featured to the left, while the terrain, with its changes in elevation, appears more structured. From the lower left road, with its railing higher up the road next to a slope, it winds downward into the busy settlement and eventually ends up by the river in the distance. The artist cleverly

Image 9 Tamsui 1931 Oil on canvas 91×116.5cm

Lian g Ga ller y 20th A n n i ver s ar y

expresses the altering landscape that defines Tamsui. Because the painting is captured from an overlooking perspective, the traditional red rooftops become even more apparent. Together with the bright white walls, they appear as lively as ever. The red bricks and roof tiles were created from the soil, resembling nature as well as civilization. Tamsui was a prosperous city (Five Trading Ports, Western companies), but also a declining one at the same time.

It is a

mountainous town that also has a harbour. It features a diversity endowed with the beauty of the humanities. Nevertheless, the year the work, Tamsui, was created still has to be confirmed: some say it was 1935, while others declare it was 1937. In 1936, Chen created another two works that used Tamsui as its theme. They were submitted Image 10 Path 1936 10th Taiwan Exhibition

to the Tenth Taiwan Art Exhibition as “uncurated” works. These two works are Path (image 10) and Hill - later on named Tamsui Middle School (image 11). In mid-October that year, the Taiwanese newspaper, Taiwan New People Post, had a story titled, Art Column - Interview with the Artist, which featured Chen’s thoughts about his entry in the exhibition: “Chen Cheng-Po makes it a habit to visit Tamsui each year.

For this exhibition (Taiwan

Exhibition), he has spent many months there to analyze, study, and paint the scenery of Tamsui. For this year’s exhibition, his entry work also features Tamsui’s scenery. As before, he has

prepared endless discussions on painting landscapes, particularly Tamsui’s scenery. For this time, his Tamsui landscape paintings are created only after much careful deliberation. The scenery of Tamsui has weathered many storms, and the city itself is filled with buildings that exude ancient sentiments. Especially on the day after rain or overcast, when the air is humid, the color of houses, walls, and green trees are exceptionally good-looking. This is how the artist described the scenery of Tamsui. Later on, this column will include a dialog the newspaper had Image 11 Tamsui High School 1936 Oil on canvas 90×116cm

with Chen about the effort that went into creating his works. When painting, the first question that one must answer is what does one paint. Once this is answered, other conditions can readily be solved. For example, a painter uses green to paint green tones and red to paint red ones. Then, he or she has to tackle the matter of shadow and light effects. The mountains, lakes, human figures, flowers, and birds can be dispersed according to their own liking, and arranged appropriately. This is usually how it goes. Because of this, one must first observe carefully before taking action, and absorb the essence and subtle details of what is being captured. By doing so, one will gain favorable conditions when painting. If the painting is of a particular subject, then start by drawing that subject first. For this year’s Taiwan Exhibition, my subject matter is also derived from here (Tamsui). “ The composition of Path is similar to that of Chen’s 1935 works, Tamsui Scenery and Tamsui. They differ only in the fact that it uses a slightly lowered perspective taken from afar. This emphasizes the mountain paths to the front left of the paint and maks the Mackay Church tower appear taller. The work, Hill, embodies symbolic meanings that allude to the humanities. If Tamsui were the crown of Taiwan’s culture, then its shiniest diamond would be Tamsui Middle School, which is the pride of Tamsui. It former guise was Dr. Mackay’s Oxford College. Over the

past century, she fostered many talents for Taiwan, including some of Taiwan’s first doctorates former Dean of National Taiwan University School of Medicine, Dr. Chong-Ming, and Taiwan’s

first democratically elected president, Mr. Lee Teng-Hui. Famous writer, Chung Chao-Cheng, also graduated from this school and wrote the following about it in his novel, Ba Jiao Ta Xia (Octagonal Tower):

Lia ng Ga l l er y 20th Anniver s a r y

I am almost willing to use the classy words, “lofty beauty,” to describe it. I will never forget the first time I laid eyes on the middle school I was about to enroll in... When one sets foot in it, they will walk along two-meter-wide brick roads - laid brick by brick. Along both sides are countless banyan trees that extend and intertwine into the distance... This tree-line and greenery was unfathomable A couple of meters to the left stood buildings of many forms. Those were the study halls. Counting from the first building, the first building was he, and then came xin, yi, ren, zhi... To the right were basketball and tennis courts that lay amidst a neatly maintained lawn. Then, the brick road made a turn, and I walked right into the school building itself. In the middle was an octagonal tower that was about four stories, which was not very tall. However, compared to the tower of Taipei’s government house, its appearance was more

Image 12 Tamsui River 1936 Oil on canvas 50F

peaceful... The school was located on a hill - called Battery Port - that faced the Tamsui estuary. To the west of the river lay Kuanyin Mountain with its elegant contours. To the east were the volcanic mountains, Datun and Qi Xing. The sky was blue, ocean crisp, mountains green... Chen’s work, Hill, depicted a scenery that matched the aforementioned description. Although Chen did not capture the inner campus of Tamsui Middle School, he did perfectly present the surrounding atmosphere of this historic school. The octagonal tower was positioned at the most majestic location in the area. To the left lay undulating hills, with houses and farm scattered amongst them. Farmers can be seen working on the farm. Along the road were pedestrians

holding umbrellas, items, or a child on their back. A Woman stood by the stairs that led to the entrance. To the right were a couple of white egrets that were resting and feeding along the sloping ridge. The image embodies a sense of turning and rotating vitality. Its green imagery is varying, and its exudes a sense of self-sufficiency. Standing far away on a hill, Tamsui High School is a like spiritual beacon that has risen from a modest, meaningful life.

Image 13 Tamsui River 1937 Oil on canvas 20F

In interviews with reporters, Chen Cheng-Po described the effort he put into creating Hill. He stated that, “Facing the right, a few small hills appear. On the left, a village sits in front of a mountain. Amidst, interesting rice fields hang and wind throughout. Consisting of the once

problematic dormitory of Tamsui HIgh School, the background utilizes the curves of the ridges of the paddy field in the front, expressing a rhythm to the lines of the entire painting. The fore and mid-ground are cut off by oblique lines, and utilize the colors of the road to increase the clear

pleasures of the foreground. And, then configuring the people and objects in two or three point landscapes, a few egrets are added to the winding rice fields. The spiritual center of the entire painting can be located here, and is the crystallization of my efforts.” In short, whether in the octagonal tower of Tamsui High School or the red tower of Tamsui Church mentioned in the previous section, there lies a symbol of the humanities. In addition to its port business, Tamsui is infused with a proud history and culture. In 1936, there was another size 50F work, Tamsui Riverside (figure 12), which presented all of

Tamsui’s settlements with an enveloping composition that surrounds the waters of the Tamsui

River. A withered giant tree stretches horizontally out of the river. The colors of the entire piece are duller, invoking the climate of a winter evening. Most of the landscapes featured in the Tamsui series mentioned are all composed of a settlement to the left and river to the right. However, a painting that is currently marked at 1937, Tamsui

Lian g Ga ller y 20th An n i ver s ar y

Sunset (figure 13), is the only one whose composition is reversed: the river is to the left and the settlement to the right. In the collection world, it has become known as “right Tamsui.” With Ci t y of M ount ai ns and Seas ─ Chen Cheng- Po’s Tam sui Seri es

changes in the painter’s viewing perspectives, the cathedral that had previously sat in the distance has now been shifted to the forefront. And, the mouth at which the Tamsui River flows out is now in the distance and winds out to the sea, leaving much room for the imagination of viewers. Tamsui, this city of mountains and seas, has an elegant history, cultural landscape, and natural beauty, and undergoes much change over time... all this is captured within one painting, and presented in a remarkable fashion. If the date of creation for this work is indeed accurate, then it should be the last one in Chen’s 1934-1937 Tamsui series. It holds a unique significance in art history.

Whether this painting was the Tamsui Scenery work that Chen entered into the

Kouhuukai has yet to be examined. However, this work has been treasured by its collectors for a long period, and has rarely been available to be presented at exhibitions.

This time, to

celebrate Liang Gallery’s twentieth anniversary it will be specially presented and shared with art enthusiasts. This has been spectacular news for all those who study and care about Taiwan art history. Further, it has affirmed Liang Gallery’s long-term cultivation of the study and promotion of local Taiwanese artists.

Lia ng Ga l l er y 20th Anniver s a r y

蕭瓊瑞教授接受媒體採訪

Liang Ga ller y 20th A n n i ver s ar y

讓一切回歸藝術為陳澄波請命文／謝佩霓

謝佩霓高雄美術館館長

L et Eve r y t h i n g Re t ur n t o Art A P lea on Be h alf of C he n Ch e ng- Po

一向認為，陳澄波不容小覷。一旦把陳澄

（ 1 9 0 8 - 1 9 9 3 ）、張萬傳

波看小，其格局難免窄化限縮，而其定

（1909-2003）、鄭世璠（1915-2006）

位，便會趨於蓋棺論定。只需一番深思細

等人均在列，他們透過藝術創作的發表，

究，便能充分理解，放眼廿世紀華人藝術

催生了現代台灣美術的質變，更是應毋庸

圈的藝術群星，在亞洲追求美術現代化的

議。然則即便作為入室弟子，石川先生對

歷程中，親身參與過台灣、中土、西洋、

陳澄波的影響，與其說是風格傳承與技法

東洋的藝術圈的藝術先行者，已經寥寥無

傳授，毋寧說是作為他的精神導師。新近

幾，最後依然能夠突破走出自己的路，而

披露的陳澄波早期水彩畫作，明顯呈現淡

且可以從藝術、人文、社會發展諸多面向

薄、透明、強調細膩光影、色彩變化，非

剖析其貢獻，細數之下唯獨陳澄波一人。

常標準的英式水彩風格，陳澄波師事石川

1913年陳澄波入學台北公學校。當時的恩師石川欽一郎(1871-1945)，經由身教與言教，對日治時期台灣美術教育現代化的影響不可計量。其啟蒙指導所帶出的優秀子弟兵不計其數，倪蔣懷（ 1 8 9 4 - 1 9 4 3 ）、郭柏川（ 1 9 0 1 - 1 9 7 4 ）、廖繼春（ 1 9 0 2 - 1 9 7 6 ）、李梅樹（ 1 9 0 2 - 1 9 8 3 ）、王白淵（ 1 9 0 2 - 1 9 6 5 ）、藍蔭鼎（ 1 9 0 3 - 1 9 7 9 ）、陳植棋（ 1 9 0 6 - 1 9 3 1 ）、楊啟東（ 1 9 0 6 - 2 0 0 3 ）、李澤藩（ 1 9 0 7 - 1 9 8 9 ）、李石樵（ 1 9 0 8 - 1 9 9 5 ）、葉火城

欽一郎的痕跡可見一斑。但是相較於一樣受業於石川氏的倪蔣懷、藍蔭鼎、李澤藩等人，繼承乃師之風顯而易見並從一而終，檢索陳澄波成熟期的紙上作品倒是大異其趣，清楚見到他個人的本來面貌；上海時期的彩墨作品尤然，特色反而更接近法國水彩體系。不過，石川欽一郎的感召與支持之下，陳澄波除了在違逆岳家本意學商，轉而潛心追求藝術為畢生志業之外，陳澄波在人生與專業面臨重大抉擇的關鍵時刻，確實屢受石川先生鼓舞而確定志向。舉凡陳澄波毅然決然赴日進修、赴中發展，並且歸鄉以宏揚本土精神與特質，莫不是陳澄波正面回應石川先生教誨的種種具體作為。

Lia ng Ga l l er y 20th Anniver s a r y

儘管陳澄波公認是台灣美術家中最具台灣

後聽從石川欽一郎的分析，轉而接受王濟

特質的本土藝術家，儘管過去為了凸顯陳

遠（1893-1975）邀約，在完成日本學業

澄波作為台灣民族英雄的身影，避免觸及

後便於1929年赴滬任教。承繼唐山過台灣

此議題，但吾人實在也無須迴避陳澄波鑽

的漢人血液，故國山水風土民情，自然是

研華夏藝術、身體力行積極參與大陸藝壇

吸引其遷往內地發展的重要誘因，只是他

的這一段事實。畢竟相對於曾經轉赴內地

未嘗迷失，始終不忘本、永遠當自己。透

的台籍藝術家，論及陳澄波涉入的層次之

過與畫友一起旅行寫生，陳澄波深入江南

廣、任職的位階之高、參加組織的指標性

各地，遍覽精巧的園林山水，所見所得，

和投入活動的關鍵性，可謂無人能出其

返台後反映幻化作一片片公園景緻。歷代

右。特別值得標榜，有別於其他足履遍及

中原文人雅士寄情山水畫幅時，發揚了

內地的台灣前輩藝術家，陳澄波即使攜家

「賦比興」的敘事傳統，偏好琢磨畫中的

帶眷，亦有一展鴻圖的企圖心，但始終是

點景人物，化身鐘鼎山林的閒散度日的漁

懷抱開拓視野之心前往，但不以長治久

樵以自況。陳澄波不以江南逸秀雕琢的人

安、移民定居為前提。因此，陳澄波不像

造風景為投射，反而選擇了以背影、剪影

藝術家劉錦堂（1895-1937，後改名為王

方式，再現自在自為的畫中人，助其『安

悅之）、張秋海（1898-1988）等人，窮

住』於畫幅。只消留意觀察，不難發現他

極心力經營，甚至不惜改名換姓，執著立

的畫中人物，泰半以背影示人，想必是他

足大陸藝壇乃至亡故，與台灣緣淺。陳澄

始終寧可選擇與觀眾同一個角度觀看世

波則不然，固然他以一介台灣藝術人的身

界、參與場景。如果說中式繪畫傳統秉持

分，融入當地藝壇流變與時局變遷是事

的空間觀，獨到於西洋透視法則之外而自

實。雖然拜因緣巧合之賜，讓他以當事人

成體系的，莫過於夾平遠、高遠、深遠於

的身分，親炙了許多中國美術現代化重要

其一的空間感。若然，那麼證諸陳澄波的

歷史事件發生的現場，但陳澄波從未改初

構圖配置，不妨說他完全掌握了此一特質

衷；返鄉回歸故土服務，從來是陳澄波藝

與獲得了其中的精髓。

術遊歷與生命歷練的唯一目標。即使「東方畫會」的精神導師李仲生（1912-1984），縱使因緣際會地也參與過大陸、日本、台灣美術現代化的重要發

筆者主張，陳澄波的左翼精神與藝術實踐，也應當被多加重視且深入研究。今天不管他加入新華、昌明兩藝專的教學陣容，亦或《決瀾社》這個中國史上第一個

展，而且也和陳氏一樣參與過《決瀾社》（Storm, 1932-1935），最後以『抽象藝術的先驅』啟發後人，促使台灣美術在戰後走出特色路線，但其自我完成為先的人格特質、創作祕而不宣的藝術習癖，不免畫地自限有瓶頸，參與的廣度深度，恐難與陳氏相提並論。陳澄波長公子陳重光先生證實，他原先的計畫是遠征法國繼續習藝，因此遺物中有一部法語辭典，密密麻麻記滿了筆記，最

湖景水彩、紙本 10x15cm

Liang Ga ller y 20th A n n i ver s ar y

Let Ever y t hi ng Ret ur n t o A rt A Plea on Behalf of Chen Cheng- Po

裸女彩墨、紙本 1932.5.29

標榜前衛精神的藝術團體，左翼的環境、

澄波的生命即使曇花一現，也才不至於僅

同儕、理想，都深深地影響他的創作。比

只屬於台灣美術史的關鍵人物，進而成為

方說擁抱進步觀(譬如現代設施、建築、設

兩岸四地廿世紀中國美術現代化進程當

備入畫)、描繪社會底層的「下里巴人」、

中，最為特殊的藝術家，扮演的角色無可

透過組織社團辦理活動甚至發表宣言書抒

取代。因此筆者堅信，只要推動有道，大

發理想抱負等等，皆是革命精神之所在。

陸的美術史應當也必須記錄他一筆。

如果單純只是服膺日本精神，陳澄波理應

陳澄波做為一個在台灣本土與日本東土的

不至於從政，或者選擇一呼百諾地組織台

高等美術學府，受過完整美術學院教育的

陽美展會。《決瀾社》主要成員，亦即新

創作者，基本功不只扎實足以用來得心應

華、昌明藝專主力師資，之前也是「苔蒙

手，藝術流派與史觀肯定知之甚詳。所以

畫會」的會員，在三十年代整肅左派的右

他以「素人」般的藝術形式創作，不應視

派清算當中，鋃鐺入獄或罹難者不在少

為其才情有限，或許該視之為深思熟慮過

數。陳澄波在國共戰爭反左行動中倖免於

的有意識選擇。歷來談論華人藝術之於世

難，乃是拜身為日本殖民地台灣子民的身

界藝術的獨步性，咸以「文人畫」為最高

分，所以在上海一二八事件後難以久居，

境界。歷代文人底蘊深厚的創作者，即便

因此全家於1933年返台落地生根。他「海

走上仕途，卻不染官宦士大夫習氣，也不

派」而無畏無懼、勇往直前、「為人民服

從俗隨波逐流，而能不畏譏讒謗譽、不問

務」的企圖心與過度樂觀的天真，除開天

現世時局不容、不為虛名實利，甚至不求

性慷慨熱情使然，不啻也是十里洋場的感

文以載道，但求忠於人本中觀，為藝術而

染。只是政治大氛圍的風聲鶴唳，註定還

藝術。只是，一般而言，文人畫絕大多數

是讓陳澄波在劫難逃。不過如此一來，陳

係以脫俗、淡薄、假託、不食人間煙火的

Lia ng Ga l l er y 20th Anniver s a r y

出世姿態出現，偏偏陳澄波的藝術選擇反

過去較不為人知的裸女畫，尤其令人耳目

其道而行，堅持的是「大巧若拙」的拙趣

一新。無論是時空處於東京、上海或是彰

路線。於是看似笨拙草根，其實是直言無

化，以嫻熟筆墨、溫潤色澤完成的彩墨人

隱的爽直無矯飾，不做精心佈局的機巧與

物速寫，不僅可以體會到他與比如飛的熱

紋飾修飾的矯飾文氣，而是情溢乎辭地真

切投入，也可以看到自己特有的個性化美

情流露。這是台灣性格裡原生性的草根、

學品味。陳澄波筆下的裸女，不是海上畫

素樸和韌性使然，畢竟溫柔敦厚，也是台

派、月份牌裡標榜的仕女，粉雕玉琢、妖

灣藝術性的本色，只可惜近世隱微未獲彰

嬈時尚、煙視媚行，而是體態自然、充滿

顯。

盈盈生機、豐沛生殖力與生命韌度強悍的「大地母親」。

我們也實在不宜繼續將陳澄波囿限於風景畫的陳澄波。即使僅以計量客觀統計，陳

天綱、地理、人倫，都是藝術家無法迴避

澄波在人物畫、靜物畫上所下的工夫、產

的核心大哉問。陳澄波藝術裡闡釋的土地

量與產值，以等量齊觀視之應毋庸議。誠

倫理，無非是敬天、謝地、愛人的實質表

然，以其符合一般想像的嫻熟出色評比

現。鄉親土親人親，陳澄波一生的所有作

之，也許陳澄波在風景畫的造詣和成熟度

為，愛家為國為人昭然若揭。其中他作品

略勝一籌，但是其人物、動物與靜物等題

從地方色彩這一條脈絡的討論，筆者以為

材裡呈現的藝術性，絕對不相上下，實在

至今仍未到位。「南國色彩」的立論，縱

可以相提並論。他的靜物畫有別於其藝術

使有日本帝國主義殖民觀的意志力貫徹的

同僚所為的東洋風詮釋，可以看到他對

事實，邇來慘遭旁廢不加多提，但呼應南

「小物」充滿豐富情感，所以舉凡拖鞋、

島的自然景觀乃至於文化景觀的涵構關

炊具等不起眼的平凡物件，皆可入畫。他

係，其實自有其絕對的正當性。所謂南

靜物油彩、畫布 10F

Liang Ga ller y 20th A n n i ver s ar y

Let Ever y t hi ng Ret ur n t o A rt A Plea on Behalf of Chen Cheng- Po

高美館年度強檔「切切故鄉情—陳澄波紀念展」

國，若泛指亞熱帶的風土特色，那麼陳澄

身》在高雄上演的當天開展，而在1947年

波作品的設色、色彩計畫，便應當作再經

二二八事件屆滿65周年當日結束，象徵性

典不過的研究範例。

的呼籲陳澄波研究的政治意涵，可以暫時

最後是透過保存陳澄波創作原貌的角度，

告一段落。陳澄波的藝術何其特出，不僅

也要在此大聲疾呼，在進行修復陳氏作品

達到的自我完成的境界，也跨領域地連帶

時予以尊重，懇請藏家與修復師三思而後

成為啟發其他的藝術表現形式。何況他一

行，別再過度強化其色調的鮮明妍麗，務

生的行誼，豈只政治這項？此舉蘊涵的別

必避免濃塗厚抹保護漆(varnish)過度保

有用心，意在於提醒各界別再執著於政治

護，此舉只會褻瀆作品的本來面貌，甚且

史關鍵構下的台灣史；台灣美術史的斷

違逆原創精神。提出這點呼籲，可能引起

代，往往以政治事件為分水嶺，儘管其來

各界錯愕與群情譁然，畢竟陳澄波畫價屢

有自，關懷美術落入政治窠臼，卻可悲復

創天價又居高不下的情況下，擁有者、經

可憫。因之，若繼續過分強調他與白色恐

手者莫不奉為至寶善待，基於善良初衷格

怖的關連性，導致其探索陳澄波與呈現其

外用心整理呵護。然則，儘管陳澄波繪畫

藝術可觀處、可貴性被狎玩、漠視，豈不

的確用色活潑、筆觸酣暢而激越大膽，但

太可惜？也許深究台灣美術發展的本然，

流露的氣質卻質樸動人、厚重溫馨、拙趣

就該讓一切回歸藝術本質，美術史要擺脫

橫生，恐不容閃閃發光的厚重保護漆造成

政治先行、政治染指、政治宰制種種，也

單薄的反效果，讓畫趣稀釋，質感難免大

許就該從將解放陳澄波的悲情歷史包袱開

打折扣。當耕耘畫面的筆勢，掩挹於厚重

始。

的保護層或者過度修復所得的光鮮亮麗

誠然，若非二二八事變慘遭波及，釀成無

時，便可惜了陳澄波的畫作，那動人的溫

可逆轉回天的悲劇，陳澄波能夠安養天

度與魅力，不免沖消銳減。

年，也許會有更精進、更超越的作品出

當帶領高雄市立美術館底定陳澄波特展的

現，這點倒是無可彌補的遺憾與歷史悲

繁複構想，在檔期規劃上刻意暗下功夫。

劇。說翻案、平反未免太沉重，然而衷心

《切切故鄉情：陳澄波特展》，之所以選

竭誠請命，在著墨強調陳澄波做為二二八

擇在陳澄波紀念音樂劇《我是油彩的化

受難者數十年之後，請讓陳澄波與他的藝

Lia ng Ga l l er y 20th Anniver s a r y

術的一切，回歸到藝術的脈絡中詳實探討。否則陳澄波不僅會是二二八的受難者，終究會淪為台灣美術史的受難者！也許高美館去年拋玉引玉已收卓效，今年台北市立美術館、創價學會以及尊彩藝術中心從善如流，陸續推出以陳澄波為專題的大型特展，而國立台灣美術館，據悉也將在2015年安排陳澄波一百二十歲冥誕紀念展展出。從地方到中央、公民營機構、產官學界攜手同心，均是因為受陳澄波的藝術所啟發，更為其精神所感召。政治的脈絡，只是理解、凸顯陳澄波諸多貢獻的脈絡之ㄧ。探討陳澄波的線索俯拾即是，又何必執著於政治這部分太渲染關切？時序已然進入廿一世紀的第二個十年，看待

陳澄波音樂劇「我是油彩的化身」

這位十九世紀末出生的藝術奇葩，或許我們應該拉開視野，更寬廣高調的標榜其藝術，而不要固步自封，糟蹋了他鍾情執著一生的藝術成就。因為備受其庇蔭的我們，深知他卓爾不群的藝術是挖掘不盡的寶藏，明白陳澄波的影響，只會與日俱增 …。

Liang Ga ller y 20th A n n i ver s ar y

Let Everything Return to Art A Plea on Behalf of Chen Cheng-Po Article／Pei-ni Beatrice Hsieh

Pei-ni Beatrice Hsieh Director at Kaohsiung Museum of Fine Arts

It has always been said that Chen Cheng-Po should not be underestimated. When one does so, L et Eve r y t h i n g Re t ur n t o Art A P lea on Be h alf of C he n Ch e ng- Po

the perspective inevitably becomes narrow and limited, and the fixed position might not be able to lend view of a bigger picture. With just a bit of careful thought and study, one will be able to fully understand this famous artist of the Chinese art community during the twentieth century. As Asia sought to modernize its art, there were very few such pioneers who were actively involved in the art communities of Taiwan, Central China, the West, and Japan. Chen was able to break out of the norm and walk his own path, as well as provide significant contributions to the many facets of the arts, humanities and social development. He was indeed a unique exception. In 1913, Chen enrolled in public school at Taipei. Teaching through example and oral instruction, his mentor, Ishikawa Kin’ichiro (1871-1945), had an immeasurable impact on the modernization of Taiwan art education during the Japanese colonial period. This enlightened form of instruction brought out a number of outstanding artists, such as Ni Chiang-Huai (1894-1943), Kuo Po-Chuan (1901-1974), Liao Chi-Chun (1902-1976), Li Mei-Shu (1902-1983), Wang Bai-Yuan (1902-1965),

Lan Yin Ding (1903-1979), Chen Chih-Chi (1906-1931), Yang Chi-Tung (1906-2003), Li Tse-Fan (1907-1989), Li Shih-Chiao (1908-1995), Yeh Huo-Cheng (1908-1993), Chang Wan-Chuan

(1909-2002), and Zheng Shi-Pan (1915-2006). Through art, they brought a qualitative change to modern Taiwanese art that need not be discussed. Ishikawa did not bestow upon Chen his style or technique so much as he acted as his spiritual mentor. Newly revealed watercolor works by Chen during his earlier stages clearly show thin, transparent details that emphasize delicate light and shadow effects as well as changes in color. These are all indicative of a very standard English watercolor style, and from which traces of Ishikawa’s influence is evident. But, when compared to the works of fellow colleagues, such as Ni Chiang-Huai, Lan Yin Ding, and Li

Tse-Fan, who faithfully adhered to the style of their teachers, the works Chen produced during his more experienced stages are indeed a very different creature. One can clearly see the original appearance of his personal style.

In fact, the color ink works created during his

Shanghai period feature characteristics that are actually more similar to French watercolor compositions. However, with the inspiration and support of Ishikawa, Chen rejected pressure from his wife’s family to study business and, instead, devoted his entire life to the pursuit of art. During the critical moment of choosing his lifestyle and profession, Chen indeed affirmed his ambitions through Ishikawa’s encouragement. As a result, Chen resolutely went to Japan to pursue further studies, then to China to develop his abilities. Eventually, he returned home,

Lia ng Ga l l er y 20th Anniver s a r y

carrying a local spirit and character that had never been seen before.

Indeed, Ishikawas’

teachings positively manifested themselves in Chen’s behavior and choices throughout his life.

Since Chen had been widely recognized as the local artist with the strongest Taiwanese characteristics, and there were previous attempts to highlight Chen as a national hero, this

subject was avoided. However, the author does not really need to avoid the facts about Chen’s studies of Chinese art, as well as his active involvement in the art community of mainland China.

After all, as opposed to previous Taiwan artists who went to China, Chen’s wide level of involvement, high position, participation in organizations, and investment in key activities can be described as unmatched.

Particularly worth advertising is that, different from other senior

Taiwanese artists who went to the mainland, Chen he harbored ambitions for a glorious future. Even though he brought his entire family with him, he always embraced the drive to broaden his

horizons, but, never on the premise of long-term stability or immigration. As a result, Chen was unlike such artists as Liu Jin-Tang (1895-1937, later renamed to Wang Yueh-Chih) and Chang

Chiou-Hai (1898-1988), who put in poor efforts, even changing their names, to dedicate their entire lives to the mainland art community and forsake their ties with Taiwan. Of course, this was

「切切故鄉情」海報（圖為《西薈芳》）

not Chen’s case. He stubbornly stuck to the identity of a Taiwanese artist as he merged the flow

of the local art community with the changes in political situations. Although it was coincidence that led him to be directly involved in many important historical events related to the modernization of Chinese art, Chen never changed his mind about returning to serve his homeland.

This had always been the ultimate goal behind Chen’s artistic travels and life

experiences.

By chance, Li Chung-Shen (1912-1984), the spiritual mentor for Ton Fon Art

Group, was also involved in the important development of modernized art for China, Japan, and Taiwan. And, like Chen, he also participated in the Juelan Association (Storm, 1932-1935),

promoting the development of characteristic Taiwanese art after World War II and inspiring future generations as a “pioneer of abstract art.” However, with self-completion as a priority and a

tendency to holdback, he could not help but form a self-limiting bottleneck. As a result, the breadth and depth of his involvement were not on par with Chen’s.

Chen’s eldest son, Chen Chung-Kuang, confirmed that his father’s original plan was to continue

studying art in France. As a result, amongst Chen’s remaining belongings, there is a French dictionary with notes densely packed into each of the pages.

However, after listening to

Ishikawa’s analysis, Chen instead accepted Wang Ji-Yuan’s (1893-1975) invitation to go to

Shanghai to teach once he completed his studies in Japan in 1929. Having inherited the Han Chinese blood that had crossed from mainland China into Taiwan, Chen was naturally attracted to the landscape, people, and culture of the land of his ancestors, providing him with an

important incentive to move to and develop on the mainland. However, he never lost sight of who we was, and always remained true to himself. Chen travelled extensively throughout Jiangnan with his painter friends as they viewed and sketched its elaborate garden landscapes and anything else they came across. After returning to Taiwan, he reflected on his travels by

metamorphosing pieces of a park scenery. When ancient Chinese literati focused on painting landscapes, they invoked the narrative tradition of “fu bi xing.” Preferring to ponder about the

point figures in paintings, they incarnated the idle life of fishermen and woodcutters near forests and mountains. Chen avoided projecting the cut and polished man-made scenery of Jiangnan.

Instead, he chose background and silhouette methods to represent the naturally occurring

people in his paintings so that they “stayed peacefully” in the frame. One only needs to observe

to discover that more than half the human figures in his paintings are represented in the background. Presumably, he always preferred to see the world from the same perspective as

Liang Ga ller y 20th A n n i ver s ar y

viewers by participating in the scene. One could say that Chinese painting traditions uphold spatial concepts that treat width, height, and depth as one, making it stand apart from Western painting which adheres to practices in perspective. If so, then, considering the configuration of Let Ever y t hi ng Ret ur n t o A rt A Plea on Behalf of Chen Cheng- Po

Chen Cheng-Po’s composition, it may be said that he has completely mastered this trait and captured the essence within. The author argues that more attention and in-depth study should be focused on Chen’s leftist spirit and artistic practice. His joining of the two art college instruction teams of Xinhua and Changming, as well as the Juelan Association, the first art organization in Chinese history that advertised itself as carrying an avant-garde spirit, strongly suggest that leftist environments, peers, and ideals deeply influenced his works. For example, to embrace progressive thought (e.g., incorporating modern facilities, buildings, and equipment into paintings), he depicted the “popular art” of people from society’s lowest classes.

Through associations, he organized

activities, and even issued a manifesto to express ambitions.

At his heart, there lay a

revolutionary spirit. If he was purely adhering to a Japanese spirit, then Chen ought to not have just involved himself in politics, or selected to participate in the bustling organization of the Tai-yang Art Exhibition. As a main member of the Juelan Association, a teacher for Xinhua and Changming, and a previous member of the Taimeng Painting Association, Chen risked being imprisoned in the 1930s during the purge of leftists by right-wing forces. During the anti-leftist movement of the Chinese Civil War, Chen managed to avoid persecution thanks to his identity as a Taiwanese resident of the Japanese colony.

However, after the January 28 Incident in

Shanghai, he could not stay long. As a result, he moved his entire family back to Taiwan in 1933 to set down his roots. The fearlessness and courage of his “Shanghai-ness,” his ambitions to “serve the people,” and his overly optimistic naivette not only showed his open and generous enthusiasm, but also revealed much Western influence.

However, the paranoid political

atmosphere Chen returned to only destined him for doom. But, even if Chen’s life was short-lived, he has become known as a key figure in the art history of Taiwan, as well as the most exceptional artist of all four cross-strait regions in the modernization of Chinese art during the twentieth century. His role has been irreplaceable. As a result, the author firmly believes that, so as long as there is reason for its promotion, China’s art history should also be recorded.

As one who received a holistic art education from higher education institutes in Taiwan and Japan, Chen’s basic skills were solid, and he used them with confidence. This is recognized by

高美館年度強檔「切切故鄉情—陳澄波紀念展」展覽會場

Lia ng Ga l l er y 20th Anniver s a r y

左圖陳重光先生（陳澄波長子）與高雄市長陳菊右圖高美館館長謝佩霓與尊彩藝術中心負責人余彥良在台灣創價學會至善文化會館合影

various schools of art throughout art history. Therefore, his “amateur-like” artistic creations should not be seen as limitations to his aptitude. Rather, such a style is the result of a thoughtful and deliberate decision made by the artist. When discussing the “stand-alone” role Chinese art has in the art scenes of the world, Mandarin Paintings stand out as the most prominent. Over the centuries, scholars versed in the humanities have embarked on careers without taking on literati-courtier habits. Such scholars never indulge vulgar customs, conduct defamatory actions, question their eras, strive for fame, or use their writings as means to preach. Rather, they stay true to their principles and create art for art’s sake. However, generally speaking, most Mandarin

Paintings are vulgar, shallow, pretentious, and out-of-touch with reality. Yet, Chen’s works are just the opposite, and can be summarized with the phrase, “a man with great wisdom often seems slow-witted.” Seemingly clumsy grassroots are actually just frank approaches that do without pretense.

Without the cleverness of careful layouts or the pretentiousness of

ornamentation, he instead reveals true and sincere feelings. This is the native grassroots of Taiwanese character - simple and tenacious, but gentle and honest. These are all traits that comprise Taiwan’s artistic qualities as well. It is a pity, though, that modern esotericism has not been highlighted. We have indeed inappropriately limited Chen’s works to those of only landscape paintings. From an objective perspective, his efforts in painting human figures and still life works, as well as the quantity and quality of such works, cannot be disputed. Of course, Chen’s outstanding skill in creating landscape works has brought about much acclaim. And, in terms of attainment and maturity, these landscape works are indeed a notch above his other works. Nevertheless, the artistic qualities of his human figures, animal depictions, and still life works are on par with those of his landscape works. His still life paintings exude an Eastern style that makes them stand

apart from the works of other artists. Looking at Chen’s work, one can sense his affinity towards “small details.” He includes items such as slippers, cooking utensils, and other ordinary objects in his paintings. His relatively lesser known paintings of nude women are especially refreshing

to view. With Tokyo, Shanghai, or Changhua as the backdrop, figures in Chen’s works are

always painted with confident brush strokes and warm colors. From them, not only does one sense Chen’s over-the-top enthusiasm, but also his unique tastes for art. The nude women that

Chen painted were not those refined, fashionable, and cigarette-smoking ladies that were featured in the calendar art of old Shanghai. Rather, he captured the natural, vibrant, and maternal side of women that echoed the notion of “Mother Earth.”

Liang Ga ller y 20th A n n i ver s ar y

The heavens, earth, and ethics all inspire core questions that artists must face. The land ethics behind Chen’s works consist of nothing more than: worship the sky, appreciate the earth, and love the people. Throughout his life, Chen practiced compassion towards the society, land, and Let Ever y t hi ng Ret ur n t o A rt A Plea on Behalf of Chen Cheng- Po

individuals. It is abundantly clear that Chen was a family man who dedicated himself to his

country and its people. Using the context of local colors to form a discussion of his works is something that even the author to this day has considered not very well contextualized. Though infused with Japanese imperial and colonial sentiments that brought about much criticism, the work, Southern Colors,, echoes the relation between the nature and culture of a southern island. Its legitimacy cannot be ignored.

The word, “southern,” refers to the subtropics and its

landscapes. Chen’s choice and arrangement of colors makes this work an all-time classic, and a worthy case study in itself.

For the sake of preserving the originality of Chen’s paintings and out of respect for the artist’s original intentions, the author urges all art collectors and restorers to think twice before using

exaggerated colors and excessive varnish to restore Chen’s paintings. Such actions will only distort the works’ original look, and even betray their innate intentions. Saying this might cause

a shock and uproar amongst many. With the value of Chen’s works consistently rising, those in possession or handle of these works must take great care to protect them. Although Chen used

playful colors and jovial brush strokes, the temperament of his works are moving, heart-warming, and humble. A thick layer of glossy varnish will only play down such qualities by reducing depth

and diluting textures. These canvasses are like fields cultivated by the brush of the artist. It is a pity to apply a thick protective layer over Chen’s paintings, or over-restoring its luster. Doing so will only reduce its warmth and charm.

For the Chen Cheng-Po special exhibition at Kaohsiung Museum of Fine Arts, the author deliberately put extra effort into its planning. The exhibition, Nostalgia in the Vast Universe: Commemorative Exhibition of Chen Cheng-Po, opened on the same day when the musical about the artist, A Musical：CHEN Cheng-Po' life, debuted in Kaohsiung. The show ended on the day of the 65th anniversary of the 228 Incident, which took place in 1947. This symbolically echoed Chen’s interest in exploring political themes.

The uniqueness of Chen’s works lies in the

self-fulfillment that transcends disciplines and inspires other art forms. Did the noble deeds throughout Chen’s life only touch upon politics? This arraignment is full of intentions in that it serves as a reminder for all not to just see the history of Taiwan through the lens of politics. The

discontinuation of art lineages throughout Taiwan’s history were often brought about by political events. To have the long art history of Taiwan be mired in political stereotypes is sad and pitiful.

Therefore, by further playing on themes related to the White Terror is like ignoring and insulting

the magnanimity and values expressed by Chen in his artworks. Isn’t that a pity? Maybe the study of the development of art in Taiwan has to return to the original focus on artistic values. Only in this way can art history rid itself of prioritizing politics, or even being associated with politics.

Maybe this is the first step to liberate ourselves from the tragic history of Chen

Cheng-Po.

Without a doubt, the 228 Incident was an irreversible tragedy. If it wasn’t for that event, Chen may have lived to create even more sophisticated and stunning works.

It was indeed an

irreparable and regretful tragedy in history. Calling this a reversal of vindication is rather solemn,

yet is sincere and wholehearted. Here, it must be emphasized that, after decades since the artist’s passing during the 228 Incident, Chen and his works should only be seen from the context

of art alone. Otherwise, Chen would not only just be a victim of the 228 Incident, but also a victim of Taiwan’s art history!

Lia ng Ga l l er y 20th Anniver s a r y

高美館謝佩霓館長生動活潑的導覽介紹

Perhaps due to the seeds sown last year at Kaohsiung Museum of Fine Arts, Taipei Fine Arts Museum, Taiwan Soka Association, and Liang Gallery have successively curated large-scale special exhibitions featuring Chen’s artworks. Furthermore, National Taiwan Museum of Fine Arts will host a Chen Cheng-Po exhibition celebrating his 120th anniversary in 2015. Amongst local and central governments, private and public sectors, and government and academia, there is a consensus that is inspired by Chen’s artwork. It is a calling. A political context is only one of many perspectives that can be taken when trying to understand and highlight Chen and his contributions. If aspects of his life can be found everywhere, why dwell on the political aspects

alone? We are now living the second decade of the twenty-first century. So, when we look at these wonderful works of arts by nineteenth century artists, we should use a broader and more encompassing perspective. We should not rest on our laurels and ruin the artistic achievements accomplished by others over their lives. We who see can see this, and know from the depths of our hearts that Chen’s artistic accomplishments are invaluable treasures and that his influence will only increase over time...

油彩作品 Oil Paintings

Liang Ga ller y 20th A n n i ver s ar y

年表

CHEN Cheng-Po

“The Origin of Taiwan Art ”

生於嘉義，不久喪母生於嘉義，不久喪母 1895189518952月 2月

10月10月參加第1回台灣美術展覽會（簡稱「台展」，10月28日至11月6日）入選參加第1回台灣美術展覽會（簡稱「台展」，10月28日至11月6日）入選 12月12月與林玉山共同舉辦書畫展於嘉義公會堂娛樂部與林玉山共同舉辦書畫展於嘉義公會堂娛樂部

19071907 4月 4月嘉義公學校（現・嘉義市崇文國小）入學嘉義公學校（現・嘉義市崇文國小）入學 19001909 5月 5月父守愚逝世 1909 父守愚逝世

台南洋畫會「綠榕會」創立，與廖繼春等一起被聘為創作指導台南洋畫會「綠榕會」創立，與廖繼春等一起被聘為創作指導

1910

19131913 3月 3月嘉義公學校畢業嘉義公學校畢業 4月 4月台灣總督府國語學校公學師範部（現・臺北市立教育大學）入學，台灣總督府國語學校公學師範部（現・臺北市立教育大學）入學，接受石川欽一郎的指導，開啟學習西洋美術的熱情接受石川欽一郎的指導，開啟學習西洋美術的熱情

19171917 3月 3月台灣總督府國語學校公學師範部畢業台灣總督府國語學校公學師範部畢業就任嘉義公學校訓導就任嘉義公學校訓導 19181918 4月 4月與嘉義南門的名門張捷女士結婚與嘉義南門的名門張捷女士結婚 19191919 9月 9月長女紫薇出生長女紫薇出生轉任水堀頭公學校湖子內分校轉任水堀頭公學校湖子內分校 1920192019204月 4月 19241924 3月 3月依願退職依願退職 4月 4月東京美術學校圖畫師範科入學東京美術學校圖畫師範科入學次女碧女出生次女碧女出生

19281928 1月 1月 14日上台北，預定赴淡水和北投寫生；23日，返回東京 14日上台北，預定赴淡水和北投寫生；23日，返回東京 2月 2月第5回白日會展（4日至19日）入選第5回白日會展（4日至19日）入選 1930年協會第3回展（11日至26日） 1930年協會第3回展（11日至26日）第5回槐樹社展（2月19日至3月19日）入選第5回槐樹社展（2月19日至3月19日）入選 3月 3月光風會展（15日至30日）入選光風會展（15日至30日）入選 7月 7月個展於廈門旭瀛書院（24日至30日），40件（預定8月10日個展於廈門旭瀛書院（24日至30日），40件（預定8月10日自廈門經上海回東京，之後回台，9月1日至3日台南赤陽會展後，自廈門經上海回東京，之後回台，9月1日至3日台南赤陽會展後，前往台北）前往台北） 9月 9月福建省美術展覽會入選福建省美術展覽會入選七星畫壇第3回展（8日至11日）七星畫壇第3回展（8日至11日）前往台北，描寫萬華龍山寺（12日至28日）前往台北，描寫萬華龍山寺（12日至28日） 10月10月參加第2回台展（10月27日至11月6日）入選參加第2回台展（10月27日至11月6日）入選 11月11月《龍山寺》與黃土水的彫刻《釋迦出山》一起被陳列於寺內的會議室《龍山寺》與黃土水的彫刻《釋迦出山》一起被陳列於寺內的會議室前往東京；12月末回台前往東京；12月末回台 19291929 1月 1月第4回本鄉美術展（1日至30日；翌年改稱「春台展」）入選第4回本鄉美術展（1日至30日；翌年改稱「春台展」）入選 3月 3月第6回槐樹社展（3月16日至4月4日）入選第6回槐樹社展（3月16日至4月4日）入選東京美術學校研究所畢業東京美術學校研究所畢業 4月 4月擔任教育部主辦的第1回全國美術展覽會審查員並展出作品擔任教育部主辦的第1回全國美術展覽會審查員並展出作品 6月 6月西湖博覽會展出4件作品西湖博覽會展出4件作品 7月 7月轉任新華藝術大學西畫科主任轉任新華藝術大學西畫科主任 8月 8月參加「赤島社」的創立，第1回洋畫展（8月31日至9月3日），參加「赤島社」的創立，第1回洋畫展（8月31日至9月3日），展出3件作品展出3件作品 10月10月第10回帝展（10月16日至11月20日）入選第10回帝展（10月16日至11月20日）入選 11月11月參加第3回台展（16日至25日）入選參加第3回台展（16日至25日）入選

19251925 6月 6月第2回白日會展（6月21日至7月10日）入選第2回白日會展（6月21日至7月10日）入選 19261926 7月 7月第3回白日會展（3日至5日）入選第3回白日會展（3日至5日）入選 8月 8月與陳植棋等人創立「七星畫壇」，與陳植棋等人創立「七星畫壇」，第1回展覽於臺北博物館（28日至31日）第1回展覽於臺北博物館（28日至31日） 10月10月第7回帝國美術院展（帝展，10月16日至11月20日）入選第7回帝國美術院展（帝展，10月16日至11月20日）入選 12月12月長男重光出生長男重光出生

19301930 2月 2月第7回槐樹社展（2月26日至3月14日）入選第7回槐樹社展（2月26日至3月14日）入選 1930 3月 3月第2回聖德太子美術奉贊展（3月17日至4月14日）入選第2回聖德太子美術奉贊展（3月17日至4月14日）入選

19271927 2月 2月太平洋畫會第23回展（12日至27日）入選太平洋畫會第23回展（12日至27日）入選 3月 3月第8回中央美術展覽會（11日至31日）入選第8回中央美術展覽會（11日至31日）入選東京美術學校畢業，入同校研究所西洋畫科繼續學業東京美術學校畢業，入同校研究所西洋畫科繼續學業第4回槐樹社展（3月30日至4月14日）日選第4回槐樹社展（3月30日至4月14日）日選 4月 4月第4回白日會展（3日至15日）入選第4回白日會展（3日至15日）入選 6月 6月回台個展，展出61件作品（6月27日至6月30日於博物館展出，回台個展，展出61件作品（6月27日至6月30日於博物館展出， 7月8日至7月10日於嘉義公會堂展出） 7月8日至7月10日於嘉義公會堂展出） 9月 9月與廖繼春等人組成「赤陽洋畫會」，與廖繼春等人組成「赤陽洋畫會」，第1回展覽共20餘件作品，於台南公會堂展出（1日至3日）第1回展覽共20餘件作品，於台南公會堂展出（1日至3日）七星畫壇第2回展（3、4日）七星畫壇第2回展（3、4日） 10月10月第8回帝展（10月16日至11月20日）入選第8回帝展（10月16日至11月20日）入選

4月 5月 7月 8月

應王一亭之聘，兼任1930年春創立之昌明藝術專科學校就讀 4月應王一亭之聘，兼任1930年春創立之昌明藝術專科學校就讀第2回赤島社展（9日至11日）參展 5月第2回赤島社展（9日至11日）參展由上海回台 7月由上海回台接家人到上海 8月接家人到上海 75件作品於台中公會堂個展展出（16日至17日） 75件作品於台中公會堂個展展出（16日至17日）應上山滿之進前總督之囑，北赴東海岸奇里溪寫生應上山滿之進前總督之囑，北赴東海岸奇里溪寫生 9月 9月被任命為日本美術工藝的特別考察委員被任命為日本美術工藝的特別考察委員 10月10月任藝苑繪畫研究所（1928年創立至1934年閉校）名譽教授任藝苑繪畫研究所（1928年創立至1934年閉校）名譽教授參加第4回台展（10月25日至11月3日）入選參加第4回台展（10月25日至11月3日）入選

Lia ng Ga l l er y 20th Anniver s a r y

東京 1924年入學東京美術學校

上海 1929年任新華藝術大學西畫科主任

嘉義 1895年出生於嘉義

12月12月兼任昌明藝術專科學校師範科主任兼任昌明藝術專科學校師範科主任 19311931 3月 3月新華藝專的展覽會（新華畫展）出品新華藝專的展覽會（新華畫展）出品 4月 4月第3回赤島社展（3日至5日），5件出品第3回赤島社展（3日至5日），5件出品參加藝苑第2屆展覽會參加藝苑第2屆展覽會 10月10月參加第5回台展（10月25日至11月3日）入選參加第5回台展（10月25日至11月3日）入選 11月11月三女白梅出生三女白梅出生 19321932 1月 2月 6月 9月

參加第7回春台展（10日至30日）入選 1月參加第7回春台展（10日至30日）入選將家人從上海送回台灣 2月將家人從上海送回台灣由上海回台 6月由上海回台參加在上海梅園酒家舉行的「決瀾社」（1935年解散） 9月參加在上海梅園酒家舉行的「決瀾社」（1935年解散）第一次會規制定會議，並出品第1回展覽會（1932年10月）第一次會規制定會議，並出品第1回展覽會（1932年10月） 10月10月參加第6回台展（10月25日至11月3日）入選參加第6回台展（10月25日至11月3日）入選

19331933 5月 5月代表中華民國參加芝加哥博覽會（5月27日至11月12日）代表中華民國參加芝加哥博覽會（5月27日至11月12日） 6月 6月回台定居回台定居 10月10月參加第7回台展（10月25日至11月5日）入選參加第7回台展（10月25日至11月5日）入選 19341934 9月 9月為了帝展的出品，前往東京為了帝展的出品，前往東京 10月10月第15回帝展（10月25日至11月20日）入選第15回帝展（10月25日至11月20日）入選第8回台展（至11月4日）入選第8回台展（至11月4日）入選 11月11月參加在鐵道旅館舉辦的「台陽美術協會」成立大會參加在鐵道旅館舉辦的「台陽美術協會」成立大會 12月12月次男前民出生次男前民出生 19351935 2月 2月第22回光風會展（11日至27日）入選第22回光風會展（11日至27日）入選 5月 5月第1回台陽展（4日至12日）展出作品第1回台陽展（4日至12日）展出作品 10月10月參加第9回台展（10月26日至11月14日）參加第9回台展（10月26日至11月14日） 19361936 2月 2月參加台灣文藝連盟主辦的「綜合藝術を語るの會」參加台灣文藝連盟主辦的「綜合藝術を語るの會」 4月 4月第23回光風會展（4月24日至5月10日）入選第23回光風會展（4月24日至5月10日）入選第2回台陽展（4月26日至5月3日）展出作品第2回台陽展（4月26日至5月3日）展出作品 10月10月參加第10回台展（10月21日至11月3日；翌年，由於中日戰爭參加第10回台展（10月21日至11月3日；翌年，由於中日戰爭爆發而中止）爆發而中止）

19391939 2月 2月第26回光風會展（2月19日至3月5日）入選第26回光風會展（2月19日至3月5日）入選 4月 4月第5回台陽展（4月28日至5月1日）展出作品5件第5回台陽展（4月28日至5月1日）展出作品5件 10月10月參加第2回府展（10月28日至11月6日）入選參加第2回府展（10月28日至11月6日）入選

1940

19401940 2月 2月第27回光風會展（2月14日至3月3日）入選第27回光風會展（2月14日至3月3日）入選 3月 3月擔任「青辰美術協會」特別會員，負責指導嘉義的洋畫家擔任「青辰美術協會」特別會員，負責指導嘉義的洋畫家第1回展（8月29日至9月2日）第1回展（8月29日至9月2日） 4月 4月第6回台陽展（27日至30日）展出作品6件第6回台陽展（27日至30日）展出作品6件 10月10月參加第3回府展（10月26日至11月4日）入選參加第3回府展（10月26日至11月4日）入選 19411941 2月 2月第28回光風會展（2月14日至3月1日）入選第28回光風會展（2月14日至3月1日）入選 4月 4月第7回台陽展（26日至30日）展出作品4件第7回台陽展（26日至30日）展出作品4件 10月10月參加第4回府展（10月24日至11月5日）入選參加第4回府展（10月24日至11月5日）入選 19421942 2月 2月第29回光風會展（2月14日至3月1日）入選第29回光風會展（2月14日至3月1日）入選 4月 4月台陽展會員5人，舉行洋畫小品展（1日至21日，天馬茶房）台陽展會員5人，舉行洋畫小品展（1日至21日，天馬茶房）援助《台灣文學》雜誌的資金援助《台灣文學》雜誌的資金第8回台陽展（26日至30日）展出作品4件第8回台陽展（26日至30日）展出作品4件 10月10月參加第5回府展（19日至29日）入選參加第5回府展（19日至29日）入選 19431943 4月 4月第9回台陽展（4月28日至5月2日）展出作品6件第9回台陽展（4月28日至5月2日）展出作品6件 10月10月參加第6回府展（10月26日至11月4日；翌年中止）入選參加第6回府展（10月26日至11月4日；翌年中止）入選 19441944 4月 4月第10回台陽招待展（26日至30日）出品第10回台陽招待展（26日至30日）出品 19451945

擔任嘉義市各界歡迎國民政府籌備委員會副主任委員擔任嘉義市各界歡迎國民政府籌備委員會副主任委員就任嘉義市自治協會理事就任嘉義市自治協會理事

19461946 4月 4月就任嘉義市第1屆議會議員就任嘉義市第1屆議會議員 10月10月擔任第1屆台灣省美術展覽會（簡稱「省展」）審查員並出品作品擔任第1屆台灣省美術展覽會（簡稱「省展」）審查員並出品作品 19471947 3月 3月 3月25日因為「二二八事件」受難，在嘉義火車站前遭槍決 3月25日因為「二二八事件」受難，在嘉義火車站前遭槍決

19371937 2月 2月第24回光風會展（16日至28日）入選第24回光風會展（16日至28日）入選 4月 4月第3回台陽展出品（4月29日至5月3日）展出作品第3回台陽展出品（4月29日至5月3日）展出作品 19381938 2月 2月第25回光風會展（2月16日至3月6日）入選第25回光風會展（2月16日至3月6日）入選 4月 4月第4回台陽展（4月29日至5月2日）展出作品第4回台陽展（4月29日至5月2日）展出作品 10月10月參加第1回台灣總督府美術展覽會參加第1回台灣總督府美術展覽會（簡稱「府展」，10月21日至11月3日）入選（簡稱「府展」，10月21日至11月3日）入選

Liang Ga ller y 20th A n n i ver s ar y

CHEN Cheng-Po

“The Origin of Taiwan Art ”

Time lin e

1895 Feb. 1895 Chen Feb.Cheng-po Chen Cheng-po is born inisChiayi; born inChen’s Chiayi;mother Chen’sdies mother shortly dies shortly 1895

SelectedSelected for the 5th for Kaijusha the 5th Kaijusha Exhibition Exhibition (2.19-3.19) (2.19-3.19)

1900 1909 May. 1909Father May. Chen Father Shou-yu Chen Shou-yu dies dies

Chen Chen is into enrolled Chiayi into Public Chiayi Elementary(today’s Public Elementary(today’s Chia-yi Chung-Wen Chia-yi Chung-Wen Elementary) Elementary) 1907 Apr. 1907 Apr.is enrolled

1913 Mar. 1913 Chen Mar.graduates Chen graduates from Chiayi fromPublic ChiayiElementary Public Elementary

Mar. Selected Mar. Selected for the Kofukai for the Kofukai Exhibition Exhibition (15th-30th) (15th-30th)

Jul. 40Jul. works 40on works solo on exhibition solo exhibition at Xuying at College, Xuying College, Xiamen(Amoy)(28th-30th) Xiamen(Amoy)(28th-30th)

(plans to(plans returntotoreturn Tokyotofrom Tokyo Xiamen from Xiamen via Shanghai via Shanghai on Aug.10,returu on Aug.10,returu to Taiwan, to Taiwan,

participate participate in the Chih-Yang in the Chih-Yang Society Society Exhibition Exhibition in Tainan in between Tainan between Sep. 1-3Sep. and 1-3 thenand then

Taipei) to Taipei) Apr. Enrolled Apr. Enrolled into the Department into the Department of Normal of Education, Normal Education, Taiwan Governor-General’s Taiwan Governor-General’s travel totravel

NationalNational Language Language School (today’s School (today’s Taipei Municipal Taipei Municipal University University of Education); of Education); first exposure first exposure 1910

Sep. Selected Sep. Selected for the Fujian for theProvincial Fujian Provincial Art Exhibition Art Exhibition

3nd Chi-Hsiung 3nd Chi-Hsiung PaintingPainting Society Society Exhibition Exhibition (8th-11th) (8th-11th)

to and start to and of passion start of passion for Western for Western art underart the under tutelage the tutelage of Ishikawa of Ishikawa KinichiroKinichiro

Travels Travels to TaipeitotoTaipei paint to Longshan paint Longshan Temple Temple in Wanhua(12th-28th) in Wanhua(12th-28th)

1917 Mar. 1917 Graduates Mar. Graduates from thefrom Faculty the of Faculty Normal of Education, Normal Education, Taiwan Governor-General’s Taiwan Governor-General’s

Oct. Included Oct. Included in 2nd Taiwan in 2nd Art Taiwan Exhibition Art Exhibition (10.27-11.6) (10.27-11.6)

NationalNational Language Language School School

Hired asHired teacher as for teacher Student for Student Affairs atAffairs ChiayiatPublic ChiayiElementary Public Elementary

1918 Apr. 1918 Marries Apr. Chang MarriesChieh, Changdaughter Chieh, daughter of a distinguished of a distinguished family from family Nanmen, from Nanmen, Chiayi Chiayi

1919 Sep. 1919First Sep. daughter First daughter Tsu-wei Tsu-wei is born is born

Nov. Longshan Nov. Longshan Temple Temple is exhibited is exhibited inside the inside meeting the meeting room of room Longshan of Longshan

Temple Temple along with along Sakyamuni with Sakyamuni Buddha,Buddha, a sculpture a sculpture by Huang by Tu-shui Huang Tu-shui

Travels Travels to Tokyo; toreturns Tokyo; to returns Taiwan to at Taiwan the end at the of December end of December

1929 Jan. 1929Selected Jan. Selected for the 4th for Hongou the 4th Hongou Art Exhibition Art Exhibition

1920 Apr. 1920 Transferred Apr. Transferred to Huzinei to Campus Huzinei Campus of Shuikutou of Shuikutou Public Elementary Public Elementary 1920 1924 Mar. 1924 Quits Mar.position Quits position at Huzinei at Campus Huzinei Campus

(1st-30th; (1st-30th; renamedrenamed to Chun-tai to Chun-tai Exhibition Exhibition the following the following year) year)

Apr. Enrolled Apr. Enrolled into the Normal into the Education Normal Education Division Division in Painting, in Painting, Tokyo School TokyoofSchool Fine Arts of Fine Arts Second Second daughterdaughter Pi-nu is born Pi-nu is born

Mar. Selected Mar. Selected for the 6th for Kaijusha the 6th Kaijusha Exhibition Exhibition (3.16-4.4) (3.16-4.4)

Completes Completes graduategraduate studies studies at the Tokyo at theSchool Tokyo of School Fine Arts of Fine Arts

Apr. Serves Apr. as Serves juror as and juror participating and participating artist in artist the 1st in National the 1st National Art Exhibition Art Exhibition of of

the Republic the Republic of Chinaofheld China by held the Ministry by the Ministry of Education of Education

1925 Jun. 1925 Selected Jun. Selected for the 2nd for Hakujitsukai the 2nd Hakujitsukai Exhibition Exhibition (6.21-7.10) (6.21-7.10)

Jun. Exhibits Jun. Exhibits 4 works 4inworks the West in the Lake West Exposition Lake Exposition

1926 Jul. 1926Selected Jul. Selected for the 3rd forHakujitsukai the 3rd Hakujitsukai Exhibition Exhibition (3rd-15th) (3rd-15th)

Jul. Transfers Jul. Transfers position toposition serve as to serve Director as inDirector Western in painting,Xinhua Western painting,Xinhua UniversityUniversity of Fine Artof Fine Art

Aug. Founds Aug. Chi-Hsiung Founds Chi-Hsiung Painting Painting Society with Society Chen with Chih-chi Chen Chih-chi et al; et al;

1st exhibition 1st exhibition by the society by theheld society at the held Taipei at theMuseum Taipei Museum (28th-31st) (28th-31st)

Aug. Participates Aug. Participates in founding in founding of the Chih-Tao of the Chih-Tao Society;Society; exhibits exhibits 3 works 3atworks its 1stat its 1st

Oct. Selected Oct. Selected for the 7th forImperial the 7th Imperial Art Exhibition Art Exhibition of Japanof(10.16-11.20) Japan (10.16-11.20)

WesternWestern PaintingPainting Exhibition(8.31-9.3) Exhibition(8.31-9.3)

Dec. First Dec. sonFirst Chung-kuang son Chung-kuang is born is born

Oct. Selected Oct. Selected for the 10th for the Imperial 10th Imperial Art Exhibition Art Exhibition of Japanof(10.16-11.20) Japan (10.16-11.20)

1927 Feb. 1927 Selected Feb. Selected for the 23rd for the Taiheiyo 23rd Taiheiyo Painting Painting Society Exhibition Society Exhibition (12th-27th) (12th-27th)

Nov. Included Nov. Included in 3rd Taiwan in 3rd Art Taiwan Exhibition Art Exhibition (16th-25th (16th-25th ) )

Mar. Selected Mar. Selected for the 8th forCentral the 8th Art Central Exhibition Art Exhibition (11th-31st) (11th-31st)

1930Selected Feb. Selected for the 7th for Kaijusha the 7th Kaijusha Exhibition Exhibition (2.26-3.14) (2.26-3.14) Graduates Graduates from thefrom Tokyo theSchool Tokyoof School Fine Arts; of Fine continues Arts; continues with graduate with graduate studies studies 1930 Feb.

in the Western in the Western Painting Painting Division Division of the same of the school same school

SelectedSelected for the 4th forKaijusha the 4th Kaijusha Exhibition Exhibition (3.30-4.14) (3.30-4.14)

Apr. Selected Apr. Selected for the 4th forHakujitsukai the 4th Hakujitsukai Exhibition Exhibition (3rd-15th) (3rd-15th)

Mar. Selected Mar. Selected for the 2nd for Prince the 2ndShoutoku Prince Shoutoku Commemorative Commemorative Art Exhibition(3.17-4.14) Art Exhibition(3.17-4.14) 1930 Apr. Hired Apr. by Wang Hired by Yi-ting Wang asYi-ting p/t instructor as p/t instructor at Changming at Changming Art School(founded Art School(founded in Spring in Spring

Jun. Returns Jun. Returns to Taiwan to for Taiwan s solo forexhibition s solo exhibition and exhibits and exhibits 61 works 61(6.27-6.30 works (6.27-6.30 at a at a

museum, museum, 7.8-7.107.8-7.10 at the Chiayi at thePublic ChiayiHall) Public Hall)

Sep. Founds Sep. Founds the Chin-Yang the Chin-Yang WesternWestern PaintingPainting Society Society with Liao with Chi-chun Liao Chi-chun et al; et al;

presentspresents over 20 over works 20durning works durning its first exhibition its first exhibition at the Tainan at the Public TainanHall Public (1st-3rd) Hall (1st-3rd) 2nd Chi-Hsiung 2nd Chi-Hsiung PaintingPainting Society Society Exhibition Exhibition (3rd-4th)(3rd-4th)

Oct. Selected Oct. Selected for the 8th for Imperial the 8th Imperial Art Exhibition Art Exhibition of Japanof(10.16-11.20) Japan (10.16-11.20) SelectedSelected for the 1st for Taiwan the 1st Art Taiwan Exhibition Art Exhibition (10.28-11.6) (10.28-11.6)

Dec. Co-stages Dec. Co-stages a calligraphy a calligraphy and painting and painting exhibition exhibition with Lin with Yu-shan Lin Yu-shan at the at the

Entertainment Entertainment Department, Department, Chiayi Public ChiayiHall Public Hall

The Green TheBanyan Green Banyan Society,Society, Tainan’sTainan’s WesternWestern paintingpainting society, society, is founded; is founded; as a painting instructor along with Liao Chi-chun Chen is Chen hired is ashired a painting instructor along with Liao Chi-chun

1928Travels Jan. Travels Taipei for a planned trip in Danshui and 1928 Jan. to Taipeitofor a planned paintingpainting en pleinen airplein trip inairDanshui and Beitou, to returns to theon Tokyo Beitou, returns the Tokyo 23rd on 23rd

Feb. Selected for Hakujitsukai the 5rd Hakujitsukai Exhibition (4th-19th) Feb. Selected for the 5rd Exhibition (4th-19th) 3rd Society 1930 Exhibition (11th-26th) 3rd Society 1930 Exhibition (11th-26th)

1930)

May. Included May. Included in the 2nd in the Chih-Tao 2nd Chih-Tao Society Society Exhibition(9th-11th) Exhibition(9th-11th)

Jul. Returns Jul. Returns to Taiwan to from Taiwan Shanghai from Shanghai Aug. Moves Aug. family Movestofamily Shanghai to Shanghai

75 works 75on works solo on exhibition solo exhibition at the Taichung at the Taichung Public Hall(16th-17th) Public Hall(16th-17th)

Instructed Instructed by former byGovernor-General former Governor-General Kamiyama Kamiyama Mannoshin Mannoshin to paint to enpaint en

plein airplein at Qili airRiver at Qili onRiver Taiwan’s on Taiwan’s east coast east coast

Sep. Appointed Sep. Appointed as Special as Special Reviewer Reviewer for Japanese for Japanese Art and Art Craft and Craft Oct. Named Oct. Named Professor Professor EmeritusEmeritus for Yiyuan for Graduate Yiyuan Graduate School of School of

Painting(founded Painting(founded in 1928,inclosed 1928,down closed in down 1934)in 1934)

IncludedIncluded the 4th Taiwan the 4th Art Taiwan Exhibition Art Exhibition

Dec. as Serves as p/t Director, Department of Education, at Changming Art School Dec. Serves p/t Director, Department of Education, at Changming Art School

1931Exhibits Mar. Exhibits at Art Xinhua Art College Exhibition) 1931 Mar. work at work Xinhua College (Xinhua (Xinhua PaintingPainting Exhibition)

Apr. Exhibits in Chih-Tao the 3rd Chih-Tao Exhibition Apr. Exhibits 5 works 5inworks the 3rd Society Society Exhibition (3rd-5th)(3rd-5th) in the 2nd Exhibition Yiyuan Exhibition IncludedIncluded in the 2nd Yiyuan

Lia ng Ga l l er y 20th Anniver s a r y

Tokyo 1924 Enrolled into the Normal Education Division in Painting, Tokyo School of Fine Arts

Shanghai 1929 Serves as Director in Western painting, Xinhua University of Fine Art

Chiayi 1895 Born in Chiayi 1932 Returns to Taiqan from Shanghai

Oct. Included in the 5th Taiwan Art Exhibition (10.25-11.3)

Nov. Third daughter Bai-mei is born

1932 Jan. Included in the 7th Chun-Tai Exhibition (10th-30th)

(1-21st, Tianma Tea House) to raise funds for the magazine, Taiwan

Literature Exhibits 4 works at the 8th Tai-Yang Art Exhibition (26th-30th ) Oct. Participate in the fifth round of official exhibition (19th-29th)

Feb. Moves family from Shanghai back to Taiwan

1943 Apr. Exhibits 6 works at the 9th Tai-Yang Art Exhibition (4.28-5.2)

Sep. Attends first regulation-drafting meeting of Juelan Society (disbanded in

suspended the following year)

Jun. Returns to Taiwan from Shanghai

1935) at Plum Garden Restaurant, Shanghai and exhibits work in the society’s 1st

exhibition (Oct. 1932)

Oct. Included in the 6th Taiwan Viceroy Art Exhibition (10.26-11.4;

1944 Apr. Exhibits at the Tai-Yang Invitational Exhibition (26th-30th)

1945

Serves as Deputy Director, Chiayi Organizing Committee for

Oct. Included in the 6th Taiwan Art Exhibition (10.25-11.3)

Welcoming the Nationalist Government

Jun. Returns to become based in Taiwan

1946 Apr. Voted into office as Representative of 1st Chiayi Legislative Assembly

1933 May. Represents the Republic of China at the Chicago World’s Fair (5.27-11.12) Oct. Included in the 7th Taiwan Art Exhibition (10.25-11.5)

1934 Sep. Travels to Tokyo for the Imprial Art Exhibition of Japan

Oct. Selected for the 15th Imperial Art Exhibition of Japan(10.25-11.20)

Serves as Director, Chiayi Self-Governance Association

Oct. Appointed as juror and exhibits work in the 1st Taiwan Provincial Art Exhibition

1947 Mar. Embroiled in the 228 Incident and executed by shooting in front of Chiayi Train Station

Included in the 8th Taiwan Art Exhibition (-11.4)

Nov. Attends the founding ceremony of Tai-Yang Art Society at Railway Hotel

Dec. Second son Chien-min is born

1935 Feb. Selected for the 22nd Kofukai Exhibition (11th -27th )

May. Exhibits work at the 1st Tai-Yang Art Exhibition(4th-12th )

Oct. Included in the 9th Taiwan Art Exhibition (10.26-11.14)

1936 Feb. Attends Dialogue on the Arts organized by Taiwan Literature and Art

Alliance(“Taiwan Bungei Remmei”)

Apr. Selected for the 23rd Kofukai Exhibition (4.24-5.10)

Exhibits work in the 2nd Tai-Yang Art Exhibition(4.26-5.3)

Oct. Included in the 10th Taiwan Art Exhibition (10.21-11.3; suspended to the

Second Sino-Japanese War the following year)

1937 Feb. Selected for the 24th Kofukai Exhibition (16th-28th)

Apr. Exhibits in the 3rd Tai-Yang Art Exhibition (4.29-5.3)

1938 Feb. Selected for the 25th Kofukai Exhibition (2.16-3.6)

Apr. Exhibits work in the 4th Tai-Yang Art Exhibition (4.29-5.2)

Oct. Included in the 1st Taiwan Viceroy Art Exhibition (10.21-11.3)

1939 Feb. Selected for the 26th Kofukai Exhibition (2.19-3.5)

Apr. Exhibits 5 works in the 5th Tai-Yang Art Exhibition (4.28-5.1)

Oct. Included in the 2nd Taiwan Viceroy Art Exhibition (10.28-11.6)

1940

1940 Feb. Selected for the 27th Kofukai Exhibition (2.14-3.3)

Mar. Named Honorable Member of Qingchen Fine Art Association; tasked with

advising Western painters in Chiayi; 1st exhibition by the association (8.29-9.2) Apr. Exhibits 6 works at the 6th Tai-Yang Art Exhibition (4.27-4.30) Oct. Included in the 3rd Taiwan Viceroy Art Exhibition (10.26-11.4)

1941 Feb. Selected for the 28th Kofukai Exhibition (2.14-3.1)

Apr. Exhibits 4 works at the 7th Tai-Yang Art Exhibition(4.26-4.30)

Oct. Included in the 4th Taiwan Viceroy Art Exhibition (10.24-11.5)

1942 Feb. 29th Kofukai Exhibition (2.14-3.1)

Apr. 5 members of Taiyang Exhibition hold a small Western painting exhition

勤勞 Doing Housework 1928 油彩畫布 Oil on Canvas 2F

103

裸女倚窗 Nude Leaning Against a Window

油彩木板 Oil on Wood 33x24cm (4F)

112

陽台上的裸女 Nude on a Balcony 1928 油彩畫布 Oil on Canvas 10M

113

到了上海，陳澄波已升格為老師，雖然他在一九三〇、一九三二年左右畫的油畫裸婦，還是舉止笨拙、身材變形、輪廓粗黑、一點兒也不靈巧。但是一九三二年一大批在課堂上示範的水彩人體動態畫，卻表達出快速速寫、輕快酣暢、律動感十足、用色輕巧，表情豐富、造型幽默等特質，徹底將以往油畫裸女的種種缺點，例如造形不精確等，尋出一條巧妙的解決道路。當他不再

裸婦油彩畫布

那般執著立體、量感、明暗等西方傳統要求，而對線條、形體的開放，以及平面化有所認同與體悟時，這的確是一種水到渠成的抒發與解放，此時陳澄波光靠一些簡單及變形的色彩筆觸，就可即興營造裸體人物自由移動的趣味。出處：【雄師家庭美術館—陳澄波 P.96】

姿態 1932年 29x37cm 水彩、紙本

沉思 1926年絹、膠彩 126x111cm

114

裸女坐姿 Seated Nude 東京時期 Tokyo period 油彩畫布 Oil on Canvas 65x91cm (30M)

115

「描繪裸婦」（1933 年秋、台灣新民報）

自上海回來故鄉台灣的畫家陳澄波，於彰化

或許就能脫出目前現況而更臻於完美的境界。

街臨時畫室對採訪他的記者做了以下的感想。

作品嗎? 目前完成的有《松屯夕照》（十五號）《驟雨》之前（二十號）《公園》（十

暑假回台後，應英梧兄之好意，將其客廳作

五號）等三件作品。

為我的臨時畫室使用。因此誠如您所見，我每天

現在正在畫裸婦。這是此次回台的意外收

可隨心所欲地盡情創作。而我之所以不斷嘗試並

穫。台中的一名台灣女性自告奮勇地接下了模

極力想表現的是自然和物體形象的存在，這是第

特兒之職。證明台灣女性也對藝術有了覺醒與

一點。

贊同。

而投射於腦裡的影像，將反覆推敲與重新精煉後，捕捉其仍值得描寫的瞬間，這是第二點。第三點就是作品必須具有Something 。以上是我的作畫態度。還有就作畫風格而言，雖然我們所使用的材料是舶來品，但題材本身非東洋式不可。另外，世界文化的中心雖是位於莫斯科，我想我們也應盡一己微薄之力，將文化落實於東洋。即使在貫徹目標的中途不幸身亡，也有必要讓後世的人知道我們的想法。至於入選帝展的事，連我自己都覺得太早( 未成熟的狀態下) 成名而感到後悔不已。如能將學習階段延長些的話，

陳澄波於彰化楊英梧家中作畫模樣

116

側坐裸女 Seated Nude 1930 油彩畫布 Oil on Canvas 6F

117

http://emos.plurk.com/e22e1a4f4c066afe654d3b10260087d8_w48_h48.png

1926 素描

「裸女」此圖收錄於「20世紀中國油畫」圖錄中 P. 101，北京出版社出版

118

裸女 Seated Nude 1930 油彩畫布 Oil on Canvas 8P

119

「海邊三美」周璇唱著：「『何日君再來』的上海，是郁達夫和王映霞熱戀的上海，是舞台上梅蘭芳博士長袖翩翩顧盼流離的上海，是百樂門、仙樂斯夜夜不眠歌舞昇平的上海，是張愛玲、蘇青筆下客廳、閨閣、廚房、後陽台風情萬種的上海..........。」上海的十里洋場在陳澄波抵達的30年代初期，正值黃金繁華的時代。居高臨下遠眺繁忙上海的碼頭景色，焦距與聚光燈皆投射於圓環巨碑上之勝利女神銅雕造像。這座堪稱「上海第一碑」之歐戰紀念碑，建於1924年，豎立於外灘區安東路口。展開雙翅的勝利女神像，完全是西化的雕塑作風，足見上海的洋化。而圓環後面各式各樣之高樓林立，和街道上來來往往的人群，更加深都會忙碌的印象。陳澄波「印象的上海」，精準掌握住這個國際大都市的氛圍，而不在意造形的寫實性。因此，運筆大膽快速、不求細節，只為捕捉住剎那間風情萬種的上海。出處：【帝展油畫第一人---陳澄波創價藝文中心 P.22】

海邊水彩紙本 26.5x36.5cm

人體(二女人) 鉛筆、紙本 38 x29cm

海邊三美 1932年 26.5x36.5cm 水彩、紙本

120

海邊三美 Three Ladies on the Beach 1932 油彩畫布 Oil on Canvas 6F

121

文／李欽賢

文／陳澄波自述

此畫亦是描繪西湖斷橋，筆觸較「清流」

除了西湖，大湖、蘇

細緻，色調也較明亮。陳澄波運用了中國傳統

州等名勝，也是陳澄波與

水墨毛筆的表現方式，來呈現西湖柔美瑰麗的

畫友結伴寫生的好去處，

景色。

這個時期的畫作，大都融

斷橋是白堤上的第一橋，因白堤自孤山到

入許多傳統國畫的表現

此而斷，遂稱為「斷橋」。每當春雪未消，銀

法：如類似毛筆的揮灑、

白色的玉樹瓊林，是「斷橋殘雪」得名之因。

皴擦筆趣，或是以坡岸交

相傳白娘娘與小青在斷橋搭渡，結識了許仙，

疊，來推移空間構圖，或

而定情結綠，並在斷橋產子，為西湖譜下美麗

直接將元朝倪雲林的枯樹

動人的愛情故事。

造形搬到畫裡；總之無非是想營造一種深刻的「東方情趣」。「倪雲林運用線描使整個畫面生動，八大山人則不用線描，而表現偉大的擦筆技法。我近年的作品便受這兩人影響而發生大變化。我的畫面所要表現的，便是線條的動態，並以擦筆使整個畫面活潑起來。」

倪雲林（元代書畫家 1306-1374）《漁莊秋霽圖軸》

陳澄波西湖運河 1928年油彩畫布（台展第二回）

122

西湖 West Lake 1933 油彩畫布 Oil on Canvas 8F

123

西湖塔景 Tower of West Lake 油彩畫布 Oil on Canvas 60x76cm (20F)

124

梅園 Mey Blossom Garden 上海時期 Shanghai period 油彩畫布 Oil on Canvas 91x116.5cm (50F)

125

「和父親在一起的日子」文／陳重光家人小聚鉛筆紙本 28.7x37.5cm

爸爸去日本留學後，原本還想去法國，但是

們要走這途，媽媽因為跟爸爸吃很多苦，所以

他在臺北師範的老師石川欽一郎特別跟他說，去

從小就灌輸我們別走這條路，大概這樣我就沒

法國費用太高，到中國可學習將中國畫的技法用

有選這樣的路。二姊高中時代就府展入選，爸

在西畫上，又遇到王濟遠請他到上海新華藝專和

爸會指導她畫畫，但並不刻意培養她成為畫

藝苑繪畫研所，當時待遇也不是很好，過得去而

家。我們幾個兄弟姊妹，沒有一個人繼承爸爸

已。在上海，印象中我們租住人家二樓，也不是

衣缽。但是我們從小就看他的圖，對他的畫很

很寬闊，但是卻是家庭生活最幸福的時候。回臺

有感情，也比較了解他畫畫的內涵。我從小崇

灣後，爸爸到處去畫圖，很少在家，一年大概只

拜爸爸，我還是嬰兒時他就帝展入選，讀中學

有三個月的時間在家。他到臺中、臺北、臺南等

時他已是全臺灣有名的畫家，報紙上常寫，又

地寫生，有帝展時抱著圖畫上東京去參展、和老

有人寄信，信封上只寫「臺灣美術家陳澄波」

師討論畫畫技巧等。那時畫有人收藏，但是要靠

或「嘉義市陳澄波」就寄到了。他的知名度就

畫生活仍很困難。

是這麼高。中學時代同學來家裡玩，也都會找

我在國民學校時代，父親出外就常寫信回家

爸爸說話，他對青少年很好，容易打成一片。

給我。在師範學院期間，爸爸大概一個月寫一次

他平常作畫時，旁邊也都會有一些好奇的人圍

信。說的不外是要照顧自己，努力用功。

觀，不管老少，他都會問他們對畫的意見，很

爸爸很開明，我們的發展他都讓我們自己選擇，他自己走藝術的路很艱苦，所以並不強求我

我的家庭 1931年油彩、畫布 91x116.5cm

容易和人相處。爸爸其實不是對政治有興趣，是對公眾的事很熱心，喜歡幫助人。

126

上海港碼頭20年代老照片

上海路橋 Walk Bridge in Shanghai 1930 油彩畫布 Oil on Canvas 40F

127

林中閣 Pavilion in the Woods 油彩木板 Oil on Wood 3F

128

潭前山景 Mountain View in Front of a Pond 油彩畫布 Oil on Canvas 32x41cm (6F)

129

垂釣 Fishing 油彩木板 Oil on Wood 15.5x22.5cm (1F)

130

屋頂 Rooftop

油彩木板 Oil on Wood 23x33.2cm (4F)

131

洗衣 Doing the Washing 油彩畫布 Oil on Canvas 23.5x34cm (4F)

132

玉泉觀魚 Fishpond in Hangzhou Yuquan 1933 油彩畫布 Oil on Canvas 60.5x72.7cm (20F)

133

河邊山坡 Hill Next to a River 油彩紙本 Oil on Paper 23x31.5cm (4F)

134

五里湖 Wuli Lake 1932 油彩畫布 Oil on Canvas 91x116.5cm (50F)

135

古門 The Ancient Gate 油彩畫布 Oil on Canvas 31.3x24.3cm (3F)

136

山景 Mountain View 油彩畫布 Oil on Canvas 22x27cm (3F)

137

Lian g Ga ller y 20th A n n i ver s ar y

陳澄波！文／胡永芬

胡永芬獨立策展人、藝評人

C h en C he n g- Po!

從高雄市立美術館、到台北市立美術館的

陳澄波於1929年在東京美術學校畢業之

大展，到藝術家出版社與陳澄波家屬共同

後，因為是入選帝展第一位台籍畫家，獨

合作，總共將有十八冊的陳澄波大全集，

特的風格所顯現耀眼的天才也開始醞釀聲

再到尊彩藝術中心三十餘件精品展，在歷

名，因此畢業即接到曾經旅居東京的中國

史悲劇中冤死的台灣天才畫家陳澄波，殞

畫家王濟遠之邀，到王濟遠與友人在上海

墜五十五年之後，終於不再只是因為政治

共同創辦的新華藝專任教。陳澄波一方面

悲劇的壓抑、或加持，而是完全憑恃著他

在日本統治的時代下，長期有一種對於

在藝術創造上無可披靡的成就，而獲得了

「祖國」的嚮往情懷，另一方面台灣當時

全面的平反。

沒有什麼美術院校，對於充滿熱情想回來

陳澄波過去最為大眾所熟知的原因，在於

貢獻傳承的陳澄波而言沒有發揮之處，因

他是台灣美術史與大歷史交會的一個座標

此他接受了王濟遠的邀請，到上海去教學

型人物，他不只是在藝術風格上具有讓人

四年多，不但活躍於上海美術界，同時他

一眼可辨的、獨特的創造性，而且他以旺

仍以出品作品積極參與台灣、日本兩地的

盛的生命力與熱情的行動力去追求對大時

畫壇活動，一直到1932年上海的一二八事

代的參與，終於為之生，為之死，悲劇性

變之後隔年，為局勢所迫，陳澄波才不得

地嘎然而止他原本正邁向輝煌期的生命！

不遷回台灣，但他如何也沒想到，「祖

1946年，台灣光復之後隔一年，也是他死前的一年，陳澄波在他一篇題名（日據時

138

國」生涯四年餘的經驗，對他個人的生命在冥冥之中形成決定性的影響。

代台灣藝術之回顧）的文章中充滿熱情地

在高美館與尊彩展出的大幅作品〈西薈

寫下：

芳〉，就是他在上海最後一年的精彩作

「.....我不幸生於前清，而今能死於漢室，

品，裡面呈現了陳澄波構圖、造型、筆觸

實是我生平最感欣幸的事啊！」

等等各方面的特色。

心向漢室的陳澄波，當時哪裡能想到，這

整體畫面又是他標誌性、調皮有趣、為空

片丹心卻成了他生命最後、也最大的諷

氣創造了動能的上重下輕構圖，林列的商

刺。

招、指喻繁榮豐饒的街販、以及路上散行

Lia ng Ga l l er y 20th Anniver s a r y

西薈芳 1932 油彩、畫布 50F

著西式短裙、日式和服、跟中式旗袍，形

部份的時間都在台灣島內旅行創作，他是

色裊嬈的女子們，生動地勾畫了這舊上海

有野心的，他所有的野心都在藝術上，尊

知名的花叢綺窟之地輕爽而旖旎的日常風

彩此次展出的〈阿里山之春〉、〈淡水風

景。畫面中有兩坨明亮粉色圓乎乎的傘，

景〉、〈琳瑯山閣〉、〈淡水夕陽〉、

半掩兩朵女人花，以一氣呵成簡單的粗筆

〈新樓〉、〈新樓風景〉等等都是這段黃

觸把畫中物件畫成一坨一坨圓滿的造型，

金時期代表性的作品，或者自由狂放到了

也是陳澄波偏好的視覺趣味，傘與樹欉等

極至、充滿了既狂野又舒暢的生命力，或

植物，是他最常表現圓形視覺的題材，筆

者濃鬱飽和、豐茂華麗的色光閃耀，或者

觸簡練的圓傘，跟上方捲動著筆觸攪疊出

是粗筆以一種果決的自信與瀟灑、輕快率

色感豐富層次濃厚的葉欉相對照，陳澄波

性地抹掠過畫布……，這些特質不只形成

完全不為常法拘束的才能盡現，卻又渾然

畫面，而且騷動人心。

平實而毫不過度。

若是要以一句話統而言之陳澄波的才份，

性格熱情澎湃、活力四射的陳澄波，在日

正是筆鋒常帶感情，足以騷動人心！

本求學時與陳植棋等人創立「赤島社」，

直到1945年，台灣回歸祖國，陳澄波的興

一回到台灣來便又忙著與畫友們成立「台

奮與欣慰可以想見，他以畫家的身份參與

陽美術協會」。身為一個專業畫家，他大

了「歡迎國民政府籌備委員會」，因為他

139

Lian g Ga ller y 20th An n i ver s ar y

擅講北京語的「長才」，而被推選為副委

史，「陳澄波悲劇傳奇」，也開始在藝術

員長，同時擔任嘉義市自治協會理事，不

市場上產生發酵作用。

久被選為第一屆參議會的議員，正式申請 Chen Cheng- Po!

入國民黨，滿腔熱血，一片丹心，逐漸一步步走上從政報國之路，卻如何也未能得知的是，他所擁抱、迎向的祖國，對他而言卻是一條冥冥中的死亡之路。 1947年二二八事件爆發之後，嘉義市議會

80年代末，90年代初的台灣藝術市場，楊三郎、李石樵固然是領軍向前衝刺的兩名大將，但是真正屢創新猷的指標型作品，仍然是陳澄波、廖繼春出品，除了傳奇題材的「加料」，真正的支撐點，還是在他卓爾出群、天才耀目的藝術成就。

為了阻止殺戮、消弭事端，因此派出參議員陳澄波等人帶著慰問品到外省軍民退守的水上機場進行慰問、溝通，才剛進去就立刻被拘捕，一星期之後，3月25日，美術節當天，台灣光復回歸祖國懷抱兩年之後，陳澄波在嘉義火車站前被槍決，曝屍至翌日，陳澄波所言「死於漢室」的心願，竟成了最為諷刺的箴語。

謝里法以陳澄波的風格而稱他為「學院中的素人畫家」，但這並不是說陳澄波在學院訓練的基本功不地道，雖然他30歲才入學的年紀比較晚，但是在就讀東京美術學校師範科兩年後的1926年，他32歲時，就以〈嘉義街外〉一作入選日本第七屆帝展，這件美術史上知名的作品已散逸不知所蹤，這次尊彩藝術中心的陳澄波精品展

1947年陳澄波於二二八事件中亡歿，之後除了家族成員還盡力保存著他的作品之外，據說很多他當年熱情贈畫的朋友，都為了怕被株連，而毀掉了手上的作品，台灣藝壇上很長一段時間沒有人提起「陳澄波」其人、其藝，彷彿不曾存在一般，一直到30餘年之後的1979年，才有謝理法在當時的《雄獅美術》雜誌專文書寫陳澄波，但是對於他亡於二二八事件的歷史事實，當時的謝里法卻依然只能隱忍晦澀地如此寫道：

他獲獎隔年重新創作的同名作品。以當時的文獻紀錄，那一年的帝展是從2283件送件的西洋畫中，入選154件作品發表的，競爭劇烈，而陳澄波是台灣人中第一個油畫入選的（1919年黃土水首先以〈山童吹笛〉一作入選雕塑部門）。從〈嘉義街外〉一作我們可以很明顯的看出來，陳澄波的學院訓練把他教得很會畫「學院式」的作品，整幅畫的構圖呈現出規矩方正的學院作風，畫面結構穩定異常，簡直是可

「........五十二年的生命，在台灣被殖民的歷

以作為對於文藝復興以來一直非常重視的

史框架裡，只多出了最後的兩年。.....我寧

透視法當作教學範本的一件作品，所有在

願讓他有五十年的整數，成為淪落史中的

陳澄波其他作品中所慣見的搖晃構圖、捲

一位斷代畫家。為此，我只需一把尺便能

曲挑動的筆觸完全不見蹤影。

量出他在歷史中的身高。可惜，他多出了兩年……。」

140

中另一件15號尺幅的〈嘉義街外〉，則是

但是對照另一件這次也在尊彩藝術中心展出的，同樣是1926年的作品〈秋之博物

一直到80年代末台灣解嚴之後，對於陳澄

館〉，這件非以競賽參獎為目的的小品，

波其人、其事才開始有機會說清楚、講明

畫中既輕快又濃郁的色彩與筆觸，風的爽

白，對於他的藝術，也才有較普遍的研究

颯流動於空氣中，是完全可辨難以擬仿的

論述。壓抑了40年之後揭露於台灣美術

陳澄波式風格，由此可以證明，陳澄波所

Lia ng Ga l l er y 20th Anniver s a r y

有那些看起來「怪怪的」作品，都是出自

蘇富比拍賣出現，並且總是創下二十世紀

於他強烈的個性使然，而絕對不是因為畫

華人作品國際拍賣新高價的〈淡水〉與

不好、不會畫。

〈淡水夕陽〉兩件作品，都屬於他俯角鳥

陳澄波很早就展開了他奇異的風格語彙，

瞰、多點透視，精彩而且典型的作品。

譬如畫人體，身體部分他還畫的很是厚

〈淡水夕陽〉這次在尊彩藝術中心的展

實，但是畫到手腳部份就變得彷彿潦草稚

出，則是拍賣以來首次的現身。

扭，像是個不會畫的孩子所畫的，但是與

「淡水」在台灣早期一眾畫家中，幾乎是

飽滿的軀體相配，便顯出獨特奇趣難以或

人人都描繪過的題材，但因為有陳澄波，

忘的視覺風格，拍賣場最常出現的就是他

使得一干人等便顯得慘淡而面目模糊了。

紙上淡彩的裸女速寫，很多都有這樣的特

〈淡水夕陽〉又見陳澄波風格強烈的不平

徵；另外，譬如畫風景，他畫中經常出現

衡偏重構圖，左側的河道與天空連成一

違反西方傳統重視的構圖規則與透視法則

色，以筆觸掃動即使河天分明，佔據畫面

的做法，摻進一點中國式的多點透視，甚

三分之二幅員的街廓景觀，白牆紅瓦之間

或遠近相反的透視、或是非常不均衡的構

綠蔭蔓長，一條土徑街道斷續蜿蜒伸展而

圖比例等等，把風景搞得搖搖晃晃，充滿

去，倒是夾道的電線桿沒有一根被他忽略

動感，卻又奇怪的和諧異常，曾經在香港

了。

嘉義街外 1927 油彩、畫布 64×53cm

141

Lian g Ga ller y 20th An n i ver s ar y

筆硯強化了上重下輕的失衡構圖，也是陳

品，不只是以特別平緩且略顯拙趣的筆觸

澄波帶著怪界的扭趣，違反透視法的經典

仍然營造了祥和中的律動感、絕對風格化

畫面之一。

Chen Cheng- Po!

的構圖之外，有如珠寶般，既蘊籍而又華美閃耀的色彩，以上所有被統合一氣的天才，讓人激動。

秋之博物館 1926 油彩、畫布 6F

142

〈淡水夕陽〉作為陳澄波最為代表性的作

除此之外，新時代中出現公共性的新視覺似乎格外吸引陳澄波，像1927年第一屆台展他所出品的〈兒童樂園〉跟〈木材工

從陳澄波作品走筆的習慣可以看出，他在

廠〉，或是這次尊彩展出的〈慶祝日〉、

調色盤上慣於率性直覺的挑、混色彩，但

〈淡水高爾夫球場〉都是一般風景畫幾乎

直覺敏感與天才則讓他落筆於畫布上時，

不可見的題材，而他也將這些新的公共視

呈現了混色而形成的豐富層次，卻毫無混

覺處理成完全陳澄波式的畫面，為時代、

色的濁度。〈淡水夕陽〉中紅磚瓦、綠樹

也為藝術史留下無可替代的作品與史料。

叢、白牆壁、以及淡藍淺杏色的天光水影

可以做一個統計，陳澄波一定是台灣前輩

……，細看每一筆都摻著幾種說不清的微

畫家裡面將電線桿入畫最多的一位！前輩

妙色彩，但每個色面都是如此的清朗而飽

畫家在面對「電線桿」這樣一個視覺上一

和。於是，透過他的畫筆，陳澄波攻佔成

點也不美、傳統風景畫面中沒有、很破壞

為許多人腦海中惟一的淡水風景。

構圖的東西，最常見的處置方式有兩種：

另外一件他完成於1931年的名作〈我的家

其一，視而不見，在畫面上根本的排除

庭〉，畫面中央家人共同環繞著，幾乎是

之；其二，利用它的排列方式來強調透視

要向前翻倒一般的桌子，散於桌面的書信

的景深。而陳澄波卻似乎很喜歡這個東

Lia ng Ga l l er y 20th Anniver s a r y

西，最有意思的例子就是他1927年入選第

晚，都已經30歲，兩個孩子的父親了才入

八回帝展的名作〈夏日街景〉，他乾脆就

學，所以他過往在藝術上自我摸索留下的

把電線桿杵在畫面正中央，這真是一個大

痕跡已經根深蒂固，學院的「校正」只適

膽詭異、非常「破格」的構圖，但在這件

用於一時，不足以改變一個成年人的根

作品中，它卻產生了讓平淡的畫面立時個

本，因此可以看見，愈到往後，尤其是

性化、鮮活化起來的效果，這種出奇制勝

1929年陳澄波從東京美術學校西畫研究科

的才能，台灣前輩畫家中除了早夭的陳植

畢業之後，他的畫風愈趨放拓自由，有奔

棋，再也無人可與陳澄波相比擬。另一位

放的筆觸、濃鬱飽和的鄉土色感、極具敘

前輩畫家林玉山就曾經回憶說：「……莫

事性的畫面元素等等，都是陳澄波式一眼

怪東京美術學校西畫科的指導老師田邊至

可辦的風格。

先生，對於陳先生所交作業表示無法批改，曾說陳先生之繪畫，有他獨特之性格，只好讓他自由發展，不能勉強左右他云云。」足見陳澄波之怪，之怪得好，在當年就已經是早有口碑的了。陳澄波之所以受著學院訓練，在學院化的

陳澄波作為典例，無論是之前時代因素的壓抑，或是之後歷史悲劇型塑傳奇的發酵，走到最後，一位藝術家之所以能成為歷久彌新、彌堅的標的性人物，當喧嘩退散之後，益發的顯現：惟有藝術、惟有作品可以憑恃而已。

審查評獎系統中攀升，卻能夠走出他自己非學院式的風格，一方面當然是因為他強烈而鮮活的個性使然，另一方面則是因為他進入學院接觸嚴格西畫訓練的年紀比較

慶祝日 1946 油彩、畫布 20F

我的家庭 1931 油彩、畫布 91×116.5cm

143

Liang Ga ller y 20th A n n i ver s ar y

Chen Cheng-Po! Article／Hu Yung-Fen

Hu Yung-Fen Independent Curator / Art Critic

As the exhibitions staged by both of the Kaohsiung Museum of Fine Art and the Taipei Fine Art Museum, and the eighteen volumes of his oeuvre published by the Artist Publishing House with the assistance of his family, then a selection of his works exhibited by the Liang Gallery, the genius artist Chen Cheng-Po, killed in a political tumult fifty-five years ago, finally cleared his name by his achievement in art. The world began to know him through his talents instead of the tragedy upon him.

Li ang Galle r y 20t h A nnivers ar y

Chen Cheng-Po had been known as a figure standing at a historical point when the development of Taiwanese art encountered the grand history. All his life Chen Cheng-Po had pursued distinguishable style and unprecedented creation in his art. Meanwhile, he passionately and bravely devoted himself in the actions that he had believed might make a difference to his time. His faith killed him and terminated his brilliant art career. In 1946, one year after Taiwan was returned to China by Japan and one year before Chen’s death, he had published an article entitled “A Retrospective of Taiwanese Art during the Japanese Occupation”. He wrote wholeheartedly, “... I was unfortunately born in the late Ching Dynasty but fortunately I will be passing away in the rule of Han people. It is the most honorable thing for me.” Strongly identifying himself as a Chinese, his death became the most painful irony in the history. Chen Cheng-Po graduated from the Tokyo Bijutsu Gakko(Tokyo School of Fine Arts) in 1929 and was the first Taiwanese painter selected by the Imperial Art Exhibition. His talents and outstanding artwork also began to be recognized since this time. In the same year, Chinese artist Wang Yuan-Jin engaged him to teach in the Xinhwa School of Art in Shanghai he had founded with friends. Growing up under the Japanese colonial regime, Chen had longed to return to his “Motherland” all his life, and considering there was few art schools in Taiwan, he accepted Wang’s offer. During the more than four years of teaching in Shanghai, Chen Cheng-Po was very active and became quite well-known by the art community in Shanghai. He also restlessly participated in art events in Taiwan and Japan. When the “January 29 Incident” erupted 1931 and resulted in military conflicts between China and Japan, Chen had no choice but returning to Taiwan the next year. At that time Chen had no idea that the four years he had stayed in China would decide his fate later.

144

Lia ng Ga l l er y 20th Anniver s a r y

The large oil painting “West Huifang” was a masterpiece Chen Cheng-Po had completed in the last year he stayed in Shanghai. “Brothel Hsihuifan” had been exhibited in the Kaohsiung Museum of Fine Art, and Liang Gallery exhibits it again. The composition, features and brush strokes make this painting very impressive. The painting is an intriguing overlook. Business signs and street stalls suggested the scene is at a quite busy street. Women with western style short skirts, traditional Japanese Kimonos or Chinese Jipaos lively constitute the daily streetscape in this famous place of debauchery in Shanghai. From the two bright parasols partly covering up two assumably glamorous women we see the typical fashion of Chen: thriving vegetation decorated by round and bright elements, and the straightforward strokes of the parasols contrast with the several layers of curling brushes of the tree leaves on the top. The artist broke away from convention, he drew freely but never went wild. Chen Cheng-Po was a passionate person, his energy radiated. In Japan he founded Red Island Association with friend Chen Chih-Chi. Once he returned to Taiwan, he founded Taiyang Fine Art Association. Chen spent a lot of time traveling in the island and drew, and his ambition in art can be seen from his works presented by the Liang Gallery this time. They are “Spring in Ali

West Huifang 1932 Oil on canvas 50F

Mountain”, “Landscape in Tamshui”, “Linglan Pavilion”, “Sunset in Tamshui”, “New Building”, and “New Building Scenery”. They were all created about the same time, the golden age of Chen’s career. Their compositions were free, untamed and dynamic. And their colors are thick, saturated, shining and luscious. These works demonstrate the determination and self-confidence of their creator. The buoyancy in these paintings stirs the minds of the audience. Chen Cheng-Po’s art and affection still stir our minds even today! When Taiwan was returned to China in 1945, Chen Cheng-Po was excited. He joined the Preparatory Committee for Welcoming the Republic Government” as an artist, also because of his fluent Mandarin. He was voted to be the vice-chairman of the Committee. About the same time Chen was the director of Chiayi City’s Municipality, and later he was elected to be the city councilor of the first city council. Chen Cheng-Po also applied to be a member of the Nationalist Party(Kuomingtan, KMT). He had been ready to devote his loyalty to his beloeved country. He had never expected that his love to his nation had paved the way toward his death. When the February 28 Incident exploded in 1947, Chiayi City Council assigned Chen Cheng-Po to communicate with the soldiers and people who had receded to Taiwan from China. He brought some presents to express the goodwill of the Chiayi City Council in order to put an end to the clashes. Nevertheless, as soon as Chen stepped into the Shueishang Airport, he was detained. One week later, on March 25th, the Day of Fine Art, Chen Cheng-Po was executed in front of the Chiayi Railway Station. His body had been exposed in public to the next day. Chen’s will to die

Outside of a Chiayi Street 1927 Oil on canvas 15F

under the Han Rule became the most horrifying prophecy of his ill fate. Chen’s family tried their best to save his artworks, but fearing being involved, many of his friends

destroyed his works. For a long time, the name Chen Cheng-Po hadn’t been mentioned; it seemed this person and his art had never existed. Not until more than three decades later, in 1979, art historian and critic Hsieh Li-Fa published an essay on the Lion Art Monthly and mentioned Chen for the first time, although obscurely, “... he had only two years of his fifty-two-year life after the colonization of Taiwan... but I wished he had had lived only fifty years and perished among all other artists we now study as artists belonging to certain periods of time. Unfortunately, for the two years, I have to deﬁne his historical status with an entirely different approach....” 145

Lian g Ga ller y 20th An n i ver s ar y

Not until to the late 80s, after the abolishment of Martial Law, the stories about Chen Cheng-Po began to be revealed and passed on. Studies and discussions about him and his art finally emerged. Being oppressed for forty years, the true history of Taiwanese fine art and Chen’s legacy began to be excavated, and the value of his art started to ferment in the art market. In the late 80s and early 90s, prices of paintings by Yang San-Lang and Lee Shih-Chiao were first pushed up by interested buyers, and paintings by Chen Cheng-Po and Liao Chi-Chun were those broke the records of auction prices all the time. In addition to his legendary past, Chen’s unusual accomplishment during his brief life made his art extremely valuable. Museum in Autumn 1926 Oil on canvas 6F

Based on Chen’s style, Hsieh Li-Fa called him a “self-made artist in academia”. Not that Chen’s art education was not complete but he did not take academic training until he had turned thirty-year old. Two years after he entered the teachers college of the Tokyo School of Art, 1926, when Chen was thirty-two years old, his work “Outside the Streets of Chiayi” was selected by the 7th Imperial Art Exhibition. This well-known painting had been missing, and the 53x65cm oil painting “Outside the Streets of Chiayi” we see today was the artist’s remake the next year. According to the archives, there were only 154 paintings out of the 2,283 submissions selected by the 1926 Imperial Art Exhibition, and Chen’s work was the first selected oil painting by Taiwanese artist(Huang Tu-Shuei’s sculpture “Mountain Boy Playing Flute” had been selected in

1919). Chen’s academic training can be seen from the composition of “Outside the Streets of

Chiayi”: regular and steady. It can be compared to the model works for perspective since European Renaissance. It is also a contrast to the shifting spatial arrangement and curly brush strokes Chen expressed in other works. “Museum in Autumn” was also created in 1926. Without the intention to submit it for any art competition, this small piece of oil painting demonstrates thick colors with brisk strokes. Even the refreshing gusts of breeze can be felt. It’s the typical but inimitable style of Chen Cheng-Po. The unusual, even deemed as “eccentric” works of Chen were not because he did not take enough academic education, but because of his carefree personality. Chen Cheng-Po started his idiosyncratic style very early. He liked to draw stout human bodies, and he depicted limbs in a rough, childish manner, like he did not know how to handle it. But the voluptuous flesh with carelessly drawn arms and legs constitute Chen’s unforgettable style and unusual interests. Chen’s water color sketches of nudes that most often traded or auctioned are examples. Chen’s landscapes are often against the perspective emphasized in western art, he sometimes mixed the multi-point perspective of ancient Chinese painting. The reversed spatial depth and extremely unbalanced portions make the landscape seem to shake; on the other hand, they constitute a fantastic harmony in the momentum. Examples are “Tamsui” and “Sunset at Tamsui” , these two paintings had broken the price records of Chinese artworks in the auctions held by HK Sotheby’s. Both works are marvelous bird-views and multi-point perspectives. “Sunset at Tamsui” is exhibited here for the first time after the historical auction. Danshui had been sketched by almost every artist during the early days. But Chen Cheng-Po’s

works shadowed the art of everyone else. In “Sunset at Tamsui” the extremely unbalanced

composition is seen again. On the left of the canvas the river melts into the blue sky, but the artist had brushed clear the water and the air. The town and buildings occupying two third of the canvas, green vines sprawl over white walls and red bricks. A dirt path winds through the small town, and the artist never ignored to depict any power post along the path.

146

Lia ng Ga l l er y 20th Anniver s a r y

“Sunset at Tamsui” is one of Chen’s most well-known works. The strokes are calm, even a little awkward, but they create an idiosyncratic style from harmonic rhymes. Even today the artist’s talents are still like jewelry, carrying out precious elements and shining, and never fails to touch the audience.

From Chen’s habitual brushing one can see that he liked to mix paints on his palette by his

instinct, which led him to produce rich layers of colors on the canvas without blurring them. The red bricks, green shrubs, white walls and the woven light-blue water and almond-colored sky in

“Sunset in Danshui” all carry out intriguing colors, saturated and clear. Through the artist’s brushes, this masterpiece has become the only memory of the sunset in Danshui.

“My Family” accomplished in 1931 represents the family members sitting around a table. On the

plane the table seems to overturn. Letters, books, ink stone among other stationary on the table

once again constitute an unbalanced composition of heavy top and light bottom. This work is also a classical project of Chen Cheng-Po’s eccentric style.

Public spaces and new events also caught Chen’s attention. The “Playground” and “Lumber Factory” he had exhibited during the first Taiwan Art Exhibition in 1927, and the “Celebration

Day of Celebration 1946 Oil on canvas 20F

Day” and “Danshui Golf Course” the Liang Gallery exhibits this time depict themes few other

artists could have picked. They are the most precious legacy of certain times the artist had left us. If we conduct an investigation, we might find that, among all the Taiwanese artists, Chen had drawn the greatest number of power posts! To landscape artists of his time, power posts destroyed the scenes, and they usually either erased them from the real scene or made use of

them to outline the spatial depth. Chen Cheng-Po seemed to like power posts very much. In the

“Summer Streetscape”, a project selected by the 8th Imperial Art Exhibition in Tokyo in 1927, he

put a power post in the center of the painting. This is another masterpiece of the artist’s

audacious experiment. The seemingly plain composition of this painting has become lively because of the unusual arrangement. Among all the artists of Chen’s time, only Chen Chih-Chi

who died early, was comparable to Chen’s approaches. Artist Lin Yu-Shan once commented, “... No wonder Mr. Tanabe Itaru from the Tokyo School of Art couldn’t give scores to Chen Cheng-Po’s homework. He said Chen was a very different character, he’d better give him

My Family 1931 Oil on canvas 91×116.5cm

freedom for his own exploration and avoid to disturb his spontaneous development.” Obviously Chen’s eccentricity in art had reputation long time ago.

Being trained in academia and recognized through academic system, Chen Cheng-Po

nevertheless worked out his own style that was contrary to academic. It was because of his strong and passionate personality, also because he did not take strict training of western style

drawing until he had turned thirty-year old and a father of two. What he had accumulated through his own exploration had already rooted in his mind, to him the formal education was nothing but

a slight adjustment of his career. After Chen graduated from the Department of Western Painting

from the Tokyo School of Art in 1929, his themes became even broader and style freer. The unrestrained passion of the artist was carried out by his galloping strokes and saturated colors, and the rustic and narrative elements were Chen’s indistinct gesture that even today one can recognize it at the first sight.

Chen Cheng-Po has become a model figure because of the political oppression of his time and

the historic tragedy that finally has been disclosed over all these years. Today, after all the noises of political disputes finally dispersed, we find the artist’s legacy is still fresh. His integrity sustains because of his art.

147

「西薈芳」 1932年的「西薈芳」，為嘉義知名的酒樓，就如同位在北投的東薈芳旅店相同，為日據時期商旅們所聚集聯誼的地方，而後改為長春診所。這件作品可以看出陳澄波如何將一株古老的大樹和整個城市完美的結合在一起，陽光照射下的土地因為樹蔭的覆蓋而顯得溫馨涼爽，讓我們能感受到深切的故鄉情，而販賣著水果商品的小店以及來來往往的行人，身著日式和服或是洋裝，讓這個西薈芳的酒店增添熱鬧和溫馨；招牌邊的窗戶，也可以見到聚集的群眾，描繪此商業及社交重要的場所，正可見台灣在日據時期逐漸走入工商業社會的型態。樹影前的土地上方突兀地出現雨遮的造型，正是陳澄波作品中獨有的、用寫實的景致打破刻意美化的西方習慣，呈現本土的特色、讓人為之動容。

切切故鄉情海報（西薈芳）

陳澄波街頭台展第八回

西薈芳素描

148

西薈芳 West Huifang 1932 油彩畫布 Oil on Canvas 117x91cm (50F)

149

日月潭的四手網

文／白雪蘭

此作以典型農家景物為描寫對象，紅磚合院建築外的埤池，有人用魚網撈魚水邊也有撐傘遮楊垂鈞的人物，生動的點景人物，劃破寫景為主的畫面。全幅視點中心停在圓弧線的埤池邊線，而非地平線。樹木草堆躍動的筆觸，予人不安定騷動的感覺，正也是陳澄波作品的特色之一。台灣農家局部

150

台灣農家 Taiwan Farmhouse 1932 油彩畫布 Oil on Canvas 10F

151

「台北總督府」總督府於1912年6月1日正式開工，1915年

1：2：3：2：1的節奏和粗面砌築基座與柱式

變成為政治權力的「圖騰」，全國軍民領導中心

6月主體大致完成並舉行上棟典禮，經過幾年施

主出入口，混合成了令人震撼的視覺效果。而

的「象徵」，從往昔的文字記錄；『殖民統治權

工後，終於在1919年（大正8年）3月告竣，總

整棟建築物中充滿廊柱、山牆、拱廊及圓拱

威的象徵』、『國家形象』、『軍國主義的陽

工程費達281萬日圓。隨後，這棟當時全台灣最

窗，堪稱日治時期台灣的代表性建築。

剛』、『日本國旗圖騰』、『華麗、精緻、簡

高建築物就一直是台灣總督統治台灣的明顯雄偉

總督府廳舍之興建，共舉辦兩次公開競圖

潔、典雅、莊嚴』等……形容詞的描述，甚至

地標。也因此，在二戰期間，這棟建築物成為美

的設計比賽。西元一九O六年（明治三十九

『形式源流應歸於德國風格』、『文藝復興巴洛

軍轟炸台灣的主要目標物之一。雖然日本軍方將

年）舉辦第一次競圖比賽，評審委員團由總督

克式』的不同解讀，更讓人對它的「身世」感到

總督府百般偽裝及防範，最後還是在1945年戰

府土木局聘請日本的辰野金吾、中村遠太郎、

好奇，因此藉著對形式語言的分析去建構它的

爭末期的台北大空襲，遭到美軍轟炸命中，並導

塚本靖、伊東忠太、妻木賴黃及總督府營繕課

「譜系」，讓它驗明「正身」。

致部分建築物損失。戰後台灣省行政長官公署將

課長長野村一郎來擔任的。於西元一九O七年

其建築改名為「介壽館」（總統府前的凱達格蘭

（明治四十年）時舉辦第二次競圖比賽，並加

大道舊名亦稱「介壽路」）並著手重修，直至

請鐵道部金井技師參加鋼骨結構之評審，限定

1948年底才恢復舊觀。此外，該館常與蔣介石

參賽者資格為日本帝國領土內的建築家。

肖像搭配，成為新台幣正反兩面之圖像。

總統府這座日本殖民時期（1895－

隨著1949年中華民國政府遷往臺北，12月9

1945）所建造的地標性建築物，隨著日本軍

日行政院院會決議：總統府及行政院設址於介壽

國主義的擴張，在台灣這塊土地生根，搖身一

館辦公，此建築物成為中華民國總統府。期間， 1949年－1957年短暫期間內，中華民國總統府與行政院合署辦公，另外，該建築物的本來「介壽館」門首銜牌直至2006年3月25日才由民進黨陳水扁政府正式取下，正式更換為「總統府」。雖經整修，總統府建築仍保持「文藝復興巴洛克式」的莊嚴和簡潔霸氣，共分為五層樓，主體平面呈現「日」字型。正面寬約140公尺、側面寬約85公尺，中央塔高60公尺，總佔地為2100 坪，建築物的中央塔、角塔、衛塔等大片立面的

台灣總督府

152

總督府 Governor’s Mansion 油彩木板 Oil on Wood 24x33cm (4F)

153

「展望諸羅城」文／蕭瓊瑞教授

這件作品創作於 1 9 3 4 年，以一種居高臨下的角度來取景、描繪嘉義市郊，在兩棵林木之間我們看見山腳下遼闊的風景，包括馬路、電線杆、整個田野、聚落、甚至在畫面盡頭正冒著煙的高大煙囪。而作為畫面近景的兩棵樹一高一矮，右邊高聳的樹木向上生長，如羽毛般散開的枝葉，以近乎於黑色的暗綠跳躍至鮮明的黃色，表現出樹葉間的光影變化，左邊較矮的樹叢，也可以看見不同彩度的黃甚至白色，來表現陽光的強弱。初看會以為是西方的表現主義、或野獸派的手法，但仔細觀察後可以發現，這正是陳澄波融合中國水墨擦筆技法的獨特迷人之處。

展望諸羅城高美館展覽現場

154

展望諸羅城 Looking Towards Chiayi 1934 油彩畫布 Oil on Canvas 73x91cm (30F)

155

江文也「阿里山歌聲」的嗓音，相隔近八十年後，如今聽來依舊迷

《阿里山的歌聲》

人。江文也一開始其實是以聲樂家的身分，

作品多次榮獲日本、德國及義大利的國際音樂作

揚名日本，不過這首台灣舞曲，卻奠定了江

曲大獎，後因滯留大陸，作品被禁絕了40年，直

文也在亞洲的音樂地位。四歲和父母遷居廈

到近年才重見天日。

門，13歲到日本求學，24歲那年，他回到台

1. 阿里山的歌聲 (1)出草 Beheading

灣，採集各地的民俗音樂，創作了這首「台

2. 阿里山的歌聲 (2)山歌 Mountaineer’ s Song

灣舞曲」，沒想到因此成了首位站上國際舞

3. 阿里山的歌聲 (3)豐收 Rich Harvest

台的台灣音樂家。之後，江文也又以原住民

4. 阿里山的歌聲 (4)月夜（日月潭）

音樂創作了這首「生番之歌」，在瑞士、法

A Moonlit Night (Sun-Moon Lake)

國、紐約演出，這也是台灣原住民音樂首度

5. 阿里山的歌聲 (5)酒宴 Banquet

登上國際舞台。江文也一生曲折，七七事變後，日軍佔領北京，江文也受邀赴北京師範大學教聲樂和作曲，不過日軍戰敗後，江文也的身分也備受質疑。但1957年，江文也在中國的反右運動中，因為台灣人的敏感身分，被畫為右派，下放勞改，從教授變成圖書館員，這過程中，江文也還創作了「汨羅沈流」，藉屈原明志來比喻他自身的遭遇，歷經長達20多年門爭打壓的文革，1978年雖然獲得了平反，但身體也大不如前，晚年貧 1935年管絃樂《盆頌主題交響曲》獲日本

病交迫之際，江文卻還寫出了交響樂曲「阿

全國第三屆音樂比賽作曲祖第三名；1936年管

里山的歌聲」。但這首阿里山的歌聲還沒完

絃樂曲《台灣舞曲》在德國柏林舉辦的第11屆

成，江文也卻因為腦血栓，病逝北京，一生

奧林匹克運動會的文藝競賽中獲得二等獎，並

有如交響樂章，起起伏伏。

榮獲大指揮家溫格納爾銀牌獎，這是江文也在

由於江文也大半生在中國渡過，因此過去

世界的成名作品。

戒嚴時期，他的名字在台灣不曾被提及。後

江文也出生台灣、日本成長，但最後卻病

輩研究者認為，江文也一生都在尋找認同，

死於北京，一生坎坷，最近海峽兩岸都有紀念

要做出屬於自己民族的音樂，儘管一生走

活動，要來懷念這位音樂家、傳奇的一生。這

來、坎坷無比，但卻為兩岸華人，留下了無

是江文也年輕時在東京演唱的原始錄音，渾厚

數的經典作品。

太魯閣峽谷入口

156

阿里山之春 Spring of Ali Mountain 1935 油彩畫布 Oil on Canvas 60M

157

台灣高爾夫俱樂部 ( 老淡水球場 ) 球洞數︰ 18 (洞) 面積/長度︰ 55公頃 / 6950碼標準桿數 : 72桿

158

淡水高爾夫球場 Tamsui Golf Court 1935 油彩木板 Oil on Wood 23.5x33.5cm (4F)

159

「八卦山遠眺」彰化於明鄭時代就已形成聚落，原名半線，清雍正元年（1723年）設縣治，取「顯彰皇化」之意而改名彰化，成為中部地方政治、文化的重鎮。1921年縱貫鐵路海岸線通車，成為南北交通的重要樞紐後，愈見繁榮。

從八卦山眺望彰化市街（攝於1928年）

160

八卦山遠眺 View of Bagua Mountain 1934 油彩畫布 Oil on Canvas 45.5x53cm (10F)

161

「台南孔廟」朱色建築的台南孔廟是全台灣最早的孔廟，建於明永曆19年(1665年)，是目前台灣歷史最悠久，建築群最壯觀的孔廟，莊嚴宏偉，列屬一級古蹟。左學是以明倫堂為主的建築群，右廟則以大成殿為中心。其綠蔭和紅瓦建築群所洋溢的東方色彩，成為陳澄波所想描繪的台南風景之一，紅綠對比，將民俗色彩與庭前綠蔭連成一片，充分表達台南孔廟閩南式建築，典雅莊嚴的寧靜氛圍。

廖繼春台南孔廟（文昌閣） 1959 油彩畫布 8F

162

鄭世璠歷日府展第五回

台南孔廟 Tainan Confucian Temple 油彩畫布 Oil on Canvas 8F

163

「鹿港老街」鹿港原名鹿仔港，明鄭時是平埔族巴布薩族的聚集地，當時稱為馬芝遴社。福建興化人最先移入鹿港，於康熙23年（1684年）建興化媽祖廟﹔而後泉州、漳州人亦陸續前來，初期住在今鹿港東北角，因地勢太低，才遷到今天的鹿港。乾隆49年（1784年），劉永福奏請開鹿港為新港，改名鹿港，成為台灣與大陸貨物的最佳轉運站。乾隆50年（1785年）以後，中部各港均為泥沙所淤積，鹿港扼南北之中點站，地理重要，而有「一府二鹿三艋舺」之稱。直到中日戰爭爆發，與大陸之間的貿易無法繼續，鹿港乃形同廢港。昔日為防盜賊，街道上多蓋屋頂，入夜後關閉每條街門，形成堡壘般，而有「鹿港不見天」的特殊景致，但後來逐漸遭拆除，照片上的景象今天已看不到了。

鹿港舊照

164

鹿港老街 Lu Kang's Old Streets 1933 油彩畫布 Oil on Canvas 8F

165

鹿港民俗文物館，位於鹿港大街的後巷（彰化縣鹿港鎮中山路152號），前身為台灣五大家族之鹿港辜家之舊居。興建於大正元年（1912 年），大正8年（1919年）完工。民國62年（1973年），辜氏家族捐獻此棟洋樓而成立了民俗文物館，館內收集了許多鹿港當地文物，內容包括清代至民國初年共計六千餘件的民生用品。一樓展有：文獻圖片、服裝配飾、戲曲樂器、宗教禮儀用品；二樓則有：辜氏臥房、會議大廳、貴賓接待大廳、閨女臥房、餐飲器皿及書畫文獻資料。另有一棟百年歷史之傳統閩式建築「古風樓」。

166

鹿港辜家 Koo's Family Old House in Lu Kang 1933 油彩畫布 Oil on Canvas 8F

167

「嘉義中央噴水池」《嘉義中央噴水池》作於1933年，這一年

為經濟的發展，帶動當地藝術人文的蓬勃發

會的山水奧妙，並真誠地傳達了土地與人民之間

陳澄波回到台灣故鄉，雖因畫友的相繼離世、戰

展，1918年林玉山隨陳澄波學習寫生及水

深厚的情感與相依。

爭陰霾等打擊而曾有短暫的沉潛落寞，但也就在

彩，而後1926年陳澄波入選帝展，隔年林玉

種種情感和體會轉化為作品中的深度內涵。

此時，畫家到台灣各地遊歷創作，開啟了「嘉義

山入選首回台展，嘉義出身的藝術家們在畫壇

就這個角度來說，陳澄波那種看似粗獷、激越的

時期」一系列的創作，並許下了「以大自然就是

漸露頭角，同時嘉義也成為了台灣地方畫會組

筆觸，正是畫家對景物人事深刻關懷、融入強烈

我的畫室」的豪情狀語。陳澄波這段時間在風景

織最密集的都市。1938年首次府展，台灣日

情感的表現，是一種超乎「繪畫表面」的人文精

畫的表現及詮釋上，尤其強調刻劃台灣本土純真

日新報遂以「嘉義乃畫都，入選者占二成」作

神展現。當時很多畫家都致力於油畫技法的鑽

自然的風貌，承續了畫家在東京和上海兩段豐富

為標題，顯示當時嘉義在藝術文化領域上的高

研，卻不一定能表現出人文層面和情感精神的追

的生活歷練和藝術探索後，陳澄波的藝術創作進

度蓬勃發展，為台灣藝壇開啟了輝煌的一頁。

求，陳澄波筆下的景物卻處處融情入景，如張義

入了另一個嶄新、壯闊的成熟時期。

陳澄波的《嘉義中央噴水池》在所有以嘉

雄觀察陳澄波晝樹時的疑問：「當時看到的大樹

一系列的嘉義風景作品早已為陳澄波東京留

義為題材的作品中，對都市景觀和人文情懷有

樹葉明明是直，為什麼這位畫家畫成橫的」，這

學時期，在畫壇上嶄露頭角。首先1926年以

著特別深刻和豐富的描繪。嘉義市亦名桃城，

便自於藝術家對畫面情感的融入，把彎彎的林木

《嘉義街外》一畫入選第七回日本帝展；翌年，

以其古城形如桃而名，當時桃子尖端部分，在

描繪得好像向觀賞者親切地招手，要把他們都迎

畫家又以描寫台灣嘉義風光的《夏日街景》入選

今中央噴水圓環一帶，市民慣稱「桃仔尾」，

入歡樂的中心。陳澄波筆下的視覺元素，成為了

第八回帝展，同年，又創作了《嘉義街外》，以

1930年代已然是嘉義市景與文化情感上十分

嘉義風光歡愉和煦的象徵，展現了畫家的澎湃情

家鄉嘉義風景為題接連入畫，足見畫家對台灣，

特殊的地標。

感與人文關懷。

又特別是故鄉－嘉義的濃厚情感。當時陳澄波以大時代下的陳澄波

油畫作品入選帝展，成為台灣畫家之第一人，更有意義的是畫家以台灣景崢嶸畫壇，入選日本內

陳澄波描繪風景畫，總是到戶外寫生，並常

地具有最高指導標準的官展，對剛起步的台灣藝

在同一風景點反覆作畫的習慣，摹寫相同的風

術界，有很大的啟發及導引作用。從此之後，陳

景，在創作過程便能更深入細緻感受每一地方的

澄波在持續摹寫嘉義風景的過程中，又逐步在他

地域特色。而對人文色彩的重視，促使陳澄波的

熟悉的中國、日本和西方藝術精神上的整合，企圖將油畫作為他表達個人豪情壯志的記錄。

1946年第一屆台灣省美展，前排右起分別為郭雪湖、楊三郎、陳進，後排右起為陳澄波、顏水龍

陳澄波繪畫中的人文景觀陳澄波的風景畫中對文化及人的關注，來自於他對藝術落實於社會的期待，他的畫面中 30年代嘉義市中央噴水池圓環旁的風景，圖中大樓為建

以人和鄉土文化為中心的繪畫觀念，及所具有

於1910年的嘉義郵政局

的理想特質，皆證明了他對人的關懷，我們在

（圖片來源：《嘉義寫真》嘉義市政府文化局台灣）

他的風景畫中，幾乎無法將視線拉開人物、環境景觀所形成的焦點和重心，在此幅《淡水夕

嘉義的地標意義和文化象徵

照》中，我們透過陳澄波的眼和筆，看到的是

嘉義市是嘉南平原上最早發展的貿易型都

他對家園、土地、人民深遠無盡的愛與期盼以

市，更是至台灣最早的「三鐵共構」(縱貫鐵

及邢份源自於中國人內心深處的真摯與熱情、

路、糖鐵、林鐵)之都，加上鄰近的阿里山木材

那份再次踏上袒國領土的驕傲與感動。透過陳

產業的興盛，工商貿易十分發達，新的交通設施

澄波的創作，我們看到的是中國現代繪畫開始

和都市規劃加上外來人口的湧入，讓嘉義快速繁

認真凝視自己生活的環境與天地，揚棄了刻板

30年代嘉義市中央噴水池圓環旁的風景

榮了起來，當時有「台灣第一華都」之稱。也因

傳統山水花鳥繪畫的模式，重現當下眼前所體

（圖片來源：《嘉義寫真》嘉義市政府文化局）

168

風景畫能真切地觸發人心。陳澄波出生於台灣，

國所注意」，在二十世紀初亞洲各國邁向現代

描繪故鄉的景致固然有豐富的台灣人文特色，但

化的過程中．由於東西方文化間的差異性，西

他前沒有把風景寫生、地方風情侷限於一時一

方藝術的現代性並不是藝術發展的唯一道路。

地。自上海任教開始，他已經意識到中國風景油

傑出的藝術家總是能借鑒古今中外，在截長補

畫的創造性更新和確立，有賴於「寫生」概念的

短的同時，創造出其特有的社會意義和貢獻。

發展，以「觀察」、「感受」來重現自然景象和

陳澄波以一種寬廣的視野看待「本土」，不只

自我感情，再融合印象派注重光影、色彩的處

限於故鄉台灣，也包括他所苦心鑽研的中國傳

理，從而感受各地的風光趣味，創作出真正反映

統繪畫、西方現代主義和日本風格，其深度和

當地風土和情韻的佳作。

廣度也突出於時人，深具融會亞洲文化精粹的

此外，陳澄波的風景畫亦深刻反映了那時代

時代意義。

下的精神風貌。畫作刻畫了現代發展與市民生陳澄波街頭 1934 油彩畫布

活。不僅描繪嘉義風光，並著重捕捉「當時」的生活經驗，甚至融入如電線桿等杜會現代化的元素，從而將市鎮的現代化帶入筆下，見證時代的

顯了噴水池空地，橙黃色明豔亮麗的色調，仿佛

轉變與變革，也是對當時大時代「地方繪畫語

呈現出一個被光線突顯的戲劇舞台。舞台上，畫

言」藝術風潮的回應和解答。陳澄波雖在思考與

家又細心地佈置著寬大圓弧的噴水池、常見的陳

筆法上融入了中國傳統的影響，但畫面卻是藉景

澄波式「親子相隨」人物、具豐富生活感的小市

觀反映出現代化市容的變革，已然跳脫文人畫只

民商店、推著路邊攤的小販夫、人力車夫等，畫

求虛靜與恬淡的空疏意境。因此在藝術表現層次

面鋪陳得充滿故事性和敘述風格。各種點景人物

上，可說陳澄波已超越了同時代的畫家，即使到

自在地遊樂，享受著明媚和煦的夏日陽光，畫面

了1935年，人文特色的描寫也還未成為藝壇主

上一段段的生活小故事隱現其中。若我們仔細分

流，能有意識、準確地表現風景「人文色彩」，

陳澄波嘉義市中心 1934 油彩畫布

析，這些點景人物的佈置又有一種視線導引的結構性作用，背著觀賞者走向畫面中心，好像呼引

陳澄波是當時油畫的第一人。嘉義中央噴水池的劇場張力和結構安置

觀眾一同前去。他們之中，由在空曠前景的三人

《嘉義中央噴水池》的畫面構圖，承續了

親子，再到推著路邊攤的小販夫，進而順延到打

畫家一貫以來所喜愛、具舞台佈景感的戲劇性

傘的一對同伴、他們背後停下的汽車，串聯其中

構圖。畫家將地平線迂迴地置於畫面的中間部

的是一種中國山水立軸常見的「之字形」構圖。

份，地平線後方則安排一幢幢新興鄉鎮簇新的

由人物至畫面中心的噴水池，又好像隱隱然被一

樓房(俗稱三層樓仔)，縱然為前景的園圃及鳳

種若斷若續的「Ｓ」形、或是「之字形」的構圖

凰木枝葉所遮蔽，仍有一種導引讀者視線的橫

方式所牽引，呈現了一種具韻律動感的態勢，描

向脈絡來統整畫面結構。特色在於使畫面空閒

繪景物的手法又涵蓋了縱、橫、傾斜的多道飛揚

組織保留一定的平穩，又不致如單點透視技法

線條，使畫面具有一種勃勃起動的氣勢，在構圖

的過份拘束，更重要的是，把畫面一分為二，

考量上顯得特別生動而完整。

使觀眾目光流經曲折蜿蜒的樓房後，又進一步

值得留意的是，陳澄波對「定點透視」的學

帶入前景一大片明朗和煦的空地。畫面左面，

院式構圖有其獨特的詮釋手法，這充份說明畫家

描繪了一株雄壯堅穩的鳳凰木，茂盛的枝葉向

的獨特性格和藝術思維。早在１９２７年創作的

世界藝術發展歷來是多樣的，各民族、各地

右面一直鋪陳延伸，連成了寬廣的林蔭，同時

《嘉義街外》，陳澄波已很熟練的以學院派「定

區富有特色的藝術創造使藝壇百花齊放、異彩紛

也導引了從左至右的動線，在瀏覽畫面後，又

點透視法」來表現空間的深度和嚴密的秩序。但

呈。優秀的藝術作品均有共同的特性一原創性、

重新集中於前景。

陳澄波顯然不滿足於因循這種過於規範的空間，

時代性和地域性。中國近代偉大的思想家魯迅說

在空間結構上，樹幹和漫天伸延的林蔭被

也許這種構圖方式和畫家率直明快的個性和追求

的「有地力色彩的，倒容易成為世界的，即為別

巧妙地轉化如一舞台佈景的支架，更醒目地突

畫面韻律的意趣不盡相合，於是他開始以更具自

陳澄波夏日街景 1927年油彩畫布

169

由動感的方式來經營畫面，繼而融合前述日本浮

法，這就和畫家對油彩媒材特色和台灣南國風

世繪的俯視技法、中國傳統繪畫的多重透視、圓

土的細膩把握有很大關係，以油畫表現光影的

弧形線條律動，從而發展出一種能反映畫家活潑

濃淡深淺，能重複堆疊上色來表現肌理和質量

明快風格的特殊形式。陳澄波曾從東、南、西、

感，這些特點都比較符合畫家的熱情個性。此

北四個方向分別描繪嘉義噴水池的風景，在這四

外，陳澄波對印象派的風景畫作領受甚深，注

件作品中，最早創作的是１９２７年的《夏日街

意表現光影的瞬間變化，於是需要在油彩未乾

景》，前景為寬廣的俯視空間，樹木描寫則採平

以前便加筆，在畫面上留下交錯紛陳的筆觸，

視，以人物將觀眾的視線引導至畫面中央。１９

使畫面出現很美的韻律感，生動而有活力。而

３４年的作品《街頭》、《嘉義中央噴水池》則

畫面上凹凸起伏的顏料層也透現豐富的肌理感

以單點透視為主進行構圖，在覺張力，因而成為

受，猶如在陽光直射、折射、反射的光影變化

四張畫作中最完整表現畫家特色的獨特作品。

中，襯托出台灣南部夏天的氤氳氣息。

文字摘錄於 Christie's HK 2008 November 30 Evening sale Lot 564《The Central Fountain in Chiayi》p.39-43

陳澄波嘉義中央噴水池 1933 油彩畫布

鄉土與色彩在構圖鋪陳上，陳澄波特意由西向東的方位來繪製《嘉義中央噴水池》，陽光由東方射過來，鮮明的顏色對比不僅反映當時作畫時刻，同時也是陳澄波真實掌握地方景觀的具體表現。陳澄波著力刻劃如金黃色的舞台前景，這片空地在鳳凰木婆裟樹影的蔭景下，或明或暗，又有細碎的陽光穿過樹葉間，形成綽約光影。在描繪陰影上，如按照當時日本外光派的藝術理論，應多使用紫色，但在這部份的色塊描寫上，陳澄波卻選用富中國風味的赭色調來刻縷光影。此外，畫面「嫩黃翠綠」的色彩配搭，若把握不好便會使作品俗豔，但在陳澄波筆下，暖色和中性色調融和為一，顯現極度亮麗豔目的視覺效果，發揮出油彩明亮、具動感肌理的媒材特性。陳澄波早年師從石川欽一郎，石川喜好以水彩為媒材，陳澄波早年也有以水彩描寫台灣風光之作，多在畫面上平塗色彩，使顏料平整重疊，但在東京以後創作歷程，皆一貫選用油彩和厚塗

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嘉義中央噴水池 The Central Fountain in Chiayi 1933 油彩畫布 Oil on Canvas 80x100cm (50F)

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文／李欽賢

陳澄波與嘉義公園合影

公園是嘉義市民休息的好去處，也是畫家

的是，陳澄波不同於他人討厭旁人的打擾，他反

駐足流連的地點。1934年的「嘉義公園」，

而會親切地邀請眾人前來看自己的畫，並且歡迎

一裸撐起了燦爛閃爍綠傘的巨大鳳凰木是詩意

觀眾批評指教，林玉山先生說，陳澄波大概是受

的象徵符號，造型色彩不但有力而且悅目。在

過師範科的訓練吧，因此才無論對圍觀的成人或

這綠蔭底下有蓮花與白鵝的悠游自在，如同身

兒童，都熱情的招呼解說著。右圖畫中的大樹像

置仙境一般的平和世界中。陳澄波在嘉義公園

是披著翠綠色的羽毛，而前景的池塘蓮花，像是

作畫時，陳重光常常陪在父親身邊興致勃勃負

一盞盞的明燈，使得這幅畫更具生命力。而誇張

責提水、換水。當陳澄波描畫樹木時，拿筆的

的弧面結構，與弧狀表現的語彙，使畫面張揚著

架式就像打拳般或舞劍般地充滿戲劇性張力，

樸拙難以禁錮的生命力，乖違而執拗地震撼著觀

眼神也像要決鬥似地看著樹木枝葉，那種神態

者視線。

與氣勢，果然常常引來不少圍觀的群眾。有趣

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嘉義公園 Chiayi Park 1934 油彩畫布 Oil on Canvas 30F

173

文／李欽賢

嘉義公園設立於一九一O年，位於當時宮前町盡頭（嘉義市北門附近），面積約四萬餘坪。園內的「福康安生祠碑」之碑文為漢文、滿文對照，乃乾隆皇帝為表揚福康安的功績親筆所題。園內的辨天池亦為當時嘉義公園的名勝之一。

嘉義公園

174

嘉義公園 Chiayi Park 1939 油彩畫布 Oil on Canvas 4F

175

「日治時代─嘉義畫都」文／Golnie

「嘉義畫都」的由來，從人文薈萃的嘉義美

張李德和（1892∼1972），雲林縣西螺人，

於詩社活動仍然捐錢輸力，為擴大詩社或者詩教

街說起：美街古名米市街，康熙42年初建木柵城

是水路提督李朝安將軍之後李昭元翁的長女。

的影響力，張李德和利用寒暑假在地方上舉辦

時，諸羅西門城柵即在此街。為諸羅城糧食買賣

幼年時除了父親親自教授漢學，她也進入姑姑

詩、書短期研習，成效卓著。她終生以一介女

集散地，是嘉義富豪聚居之處，富豪延請老師教

辦的活源書房讀書5年，並同時接受現代教

流，選入臨時參議員，親歷全省考察農業組合，

導子弟，此街教育水準比城裡各地區還高。

育，在西螺公學校修業4年，隨後赴台北第三

當時女性參加考察者，僅她一人而已。

1895年以後，詩社、裱褙店興生。著名詩社有

高女就讀，直到畢業，進入公學校教書。

鷗社、麗澤吟社。裱褙店有西園、仿古軒、文

不久，張李德和嫁與嘉義醫生張錦燦，育

錦、文園、風雅等數家。名儒賴世觀、吳增如、

有2子7女，個個成就出眾。善於處理家務，作

賴壺仙，書畫家蔡文哲、蘇孝德、宋光榮、林玉

一個能幹的母親固然是當時女人本分，張李德

山、盧雲生，雕塑家蒲添生皆出自此街。文人雅

和空前成功，在這個廣為社會所認同的基礎

士結合各項文會活動，拉開嘉義美術走上台灣美

上，她展開個人的社會參與。她一方面為丈夫

術重要舞台的序幕。

處理繁雜的醫業，還協助其襟兄開辦了一所助

嘉義詩人雅集之風沿自清代，詩社活動在日

產士講習所：諸峰醫院。這座美輪美奐的建築

治時期達到高潮，「羅山吟社」、「玉峰吟

一直是嘉義地區地標之一，該醫院不僅免費培

社」、「鷗社」、「嘉社」…等，造就嘉義文風

養接生婆，這些接生婆也接受張李德和策劃的

鼎盛，發展以「詩書畫一體」的文人畫。1920

短期漢詩教育，同時，嘉義詩人雅集也以諸峰

年代詩人活動常聚於張李德和「琳瑯山閣」，為

醫院為處所，名之曰：琳瑯山閣，一直到台灣

嘉義地區藝文活動的重心。1928年北平大學教

本土捲入太平洋戰爭，諸峰醫院毀於戰火才結

授王亞南客寓「琳瑯山閣」，促成組織「社書畫

束經營。

會」。1930年「墨洋社」成立，由林玉山授

張李德和活躍於詩社雅集，充分展現結納

課。賴雨若「壺仙花果園」邀請唐山來的學者指

人物、圓融處事的女性特質，被視為「奇人

導英文和國學。1929

年潘春源與林玉山組織

頭」。張李德和兼善繪畫，詩作，特別是詩

「春萌畫會」，在台南、嘉義兩地輪流舉辦展

作，「震災吟」長詩為她博得「嘉邑曹大家」

覽。

的美譽。諸峰醫院毀於戰火後，她不改初衷，

176

陳澄波訪琳瑯山閣與張錦燦張李德和(左立者與坐者)合影

琳瑯山閣 Linglang Mountain Pavilion 1935 油彩畫布 Oil on Canvas 73x91cm (30F)

177

「嘉義公園」我們觀察自己、研究自己，了解自己的長短，並且向正確的遣路精進，可以說是最重要的事情吧!絕對避免迷信名家，經常以活潑的朝氣，盡全力不眠不休地開拓新天地。作畫時，最重要的是先仔細認識對像，其次順序便是決定構圖將收拾到什麼程度。提到構圖，若謹守之為尺度作畫便僵硬了，果然如此一旦收入畫面，便無法收拾，如此一來還不如以輕鬆自如的態度任筆揮灑更好吧! 作畫時，或畫好後也對照實物更進一步，一

魏亞羅伯斯：第九號巴哈風巴哈組曲

一盡可能修改，畫好的作品不要隨便塗掉，請前

（前奏與賦格，為弦樂團所作） Heitor Villa-Lobos / Victoria de los Angeles Heitor Villa-Lobos-Bachianas Brasileriras No.9 I: Preludio II GFuga

輩批評，早點發覺缺點對以後作畫會有很大的幫助。沒有前輩時請教同輩或平常人的感想也不會全無幫助吧! 請人批評自己的畫並且常看別人的畫作都重要。即使描寫同樣的對象，繪具的方法也因人而

這幅嘉義公園多層次的趣味與交錯複雜的意像，很難

異，多方參考並努力開拓新技術才好。

找到尋常的音樂為他特殊的意境伴作陪襯。在屬於熱帶筆

我因在上海居住期間，獲得研究中國畫的機

觸的鳳凰木，焦慮地纏據了整個畫面，只留下下方一絲空

會。中國畫中有各種好作品，其中我最欣賞的是

間給來自寒帶的丹頂鶴安詳地與自鵝共處。粗野的原始筆

倪雲林、八大山人的作品。前者利用線描畫生

調和素淨的主題仙禽共處，讓意境顯得複雜而充滿對立。

動，反之，後者則表現塊面的筆觸，技巧偉大。

魏亞羅伯斯把寧靜的前奏曲和充滿主題對立糾結的賦格曲

我近年的作品大致受到這兩位的影響。並非

橫陳並立的手法，卻貼切地掌握了這種奇特的意象。

有排斥西洋的意思，但東洋人也不必生吞活剝地

始終籠罩在音樂上的，是一種來自巴西雨林的焦躁陰

接受西洋畫風吧!將雷諾瓦線條的動態，梵谷的

濕氣氛，在地帶著現代色彩的和聲中渲染閒來，就像陳澄

筆觸及筆法的運用方式消化之後，以東洋的色與

波此畫中佔據整個畫面的鳳凰木扭曲而放肆的葉傘一樣;

東洋的感受來畫出東洋畫風，豈不是很好嗎!

那四處盤據怒張的鳳凰葉樹葉，就像魏亞羅伯斯賦格曲的

將實物理智性地、說明性地描繪出來沒有什

主題一樣，不時穿梭在樂曲的每一處，帶著威脅、戲弄的

麼趣味。即使畫得很好也缺乏震撼人心的偉大力

口吻，與上方的長旋律對話。

量。任純真的感受運筆而行，盡力作畫的結果更

而一開始的前奏曲以中提琴拉奏看似平靜，卻在低音

好、至少我是這麼想的。

處透著隱約不安的頑固低音，則如同畫面下方的丹頂鶴，一陳澄波自述

是全作中唯一讓久所以喘氣的解脫。

178

台灣美術全集封面

嘉義公園 Chiayi Park 1937 油彩畫布 Oil on Canvas 60.5x72.5cm (20F)

179

「我心中的交響樂─律動與節奏」文/劉長富

自上海回台後，陳先生的畫風已融和了中、日、歐洲的各種風格，此期對台灣的美術擔負著一種使命感，在內心更充滿了熱忱與抱負。作品中許多是取材於地方的人文景物，構圖上無論建築物或風景寫生均以弧形的線條交錯而成，如 1935 年的〝淡水〞一幅利用傳統建築的弧度及 1937年的 “嘉義公園" 一幅也利用鳳凰木枝葉的特有造形來構成整幅畫面的律動與節奏之感與梵谷的筆觸類似；1936年的“淡水中學”更在近景與遠景之間配置了許多大小相間的弧形筆觸，由近而遠猶如交響樂演奏中的美妙曲子。

陳碧女嘉義公園一景(太保樓) 38x45.5cm 油彩畫布

180

嘉義公園 Chiayi Park 1939 油彩畫布 Oil on Canvas 91x116.5cm (50F)

181

「陳澄波繪畫風格一長榮女中校園」文／顏娟英

一九四一年，陳澄波「新樓風景」與廖繼

色的色調，無疑表示是此畫的主題，但更重

回到長榮女中，他當時心目中的世外桃源，譜

春「西寮」都以長榮女中的新校舍為題材參加

要的，陳氏畫面所呈現出來的有情世界中，

出天真的學生頌。「新樓」前後兩棟建築，左

第四回台灣總督府舉辦的台灣美術展覽會（以

高大的鳳凰木、校園、學生與宿舍都是不可

右兩棟大樹呵護著一群勤勉讀書、上學的幸福

下簡稱府展，1938 -1944 ) ，可惜廖繼春的

分割的一部份。廖氏的畫則直接由建築物形

學生。親切的活動空間與活潑的綠色生命力，

「西寮」已不知去向。事實上，陳澄波這一年

貌的本質發揮出圓滿的形象，很顯然地，這

鼓舞著陳澄波克服戰爭時期的諸種困難，繼續

所畫的長榮女中還保存下三幅，一者現在題名

兩位個性頗不同的畫家，創作的特色也各有

努力並寄望未來。

為「長榮女中校舍」，一幅題名為「長榮女中

千秋。為什麼他們都選擇長榮女中為題材？

回到台灣以熟悉、熱愛的風土人物為題材

校園」其中可以說是與廖繼春作品由同一角度

特別是陳澄波已知的作品中小件的除外，至

的陳澄波，決心要創作出能夠掌握鄉土色彩的

取景的，很可能當時兩人同時並肩在現場作

少有四件50號大作描寫此校。當然，我們可

台灣風格，以展現他個人的理念。不論淡水系

畫，陳澄波與廖繼春是台北國語學校的校友，

以說出許多因綠際會的理由。不過，如果歸

列或嘉義公園、長榮女中、乃至於山景都可以

又是東京美術學校師範圖畫科的同班同學，在

納一下，陳澄波自一九三三年回台以後創作

看出陳澄波對油畫的語言乃至於個人創作的理

他們遺留下來的作品中也各有一幅（1926

的主題，那麼淡水、嘉義、台南可以說是最

念都有長足的進步。他執著的精神與努力不懈

年）學生時代以同一位模特兒為對象的裸體

重要的三大主題。其中，台南的長榮女中是

的認真態度對當時後輩的畫家立下一代的風

畫。不過，廖繼春在一九二七年畢業後直接返

他參加第四及第六回（1943年），府展的

範。

回台南，就在基督教長老會系統的長榮中學、

主題，可見其重要性。

長榮女中任教。陳澄波則繼續留在東京美校二

一九四一年所創的一系列長榮女中畫

年，完成研究所課程後，轉往上海任教，直到

面，將構圖簡化，近景人物的活動與背景校

一九三三年才返台。這兩幅以長榮女中為題材

舍更自然輕鬆地搭配，融合為有情天地。恢

的畫，代表了兩位畫家互相切磋畫藝珍貴的友

弘壯觀的校舍碧綠的前庭以及藍白天空烘托

情，很可能陳澄波到台南時便借住廖家，或者

著除草或觀賞草木的女學生，氣氛安詳。另

透過廖氏的關係住在學校的宿舍，以便專心作

一幅「長榮女中校園」還是畫同一建築物，

畫。這兩幅畫的共同點是畫長榮女中新建的三

並由側面而延續到正面，一排排窗台好像倒

層樓學生宿舍，背景澄藍的天空與淡淡白雲，

掛的圓鉤橫行整福畫面，茂密的綠蔭填滿了

圍繞著建築物好像發光般充滿無限的希望。然

右半邊，氣勢綿密。點景的一對的母女形色

而，廖氏的畫拾棄人物，直接剖析建築物樸直

悠閒，右方一位男士則好像出來迎接的樣

的幾何造型與強有力的立體身姿。逼近畫框的

子。

校舍表現出壯觀的氣魄。陳氏則在校舍和近景

一九四三年，戰爭非常期間的最後一次

之間拉開距離，容納一個可賞遊的庭園，兩三

府展（第六回）許多畫友響應當局的呼應，

位學生正在整理花圃。校舍壯觀的體積與深紅

製作合乎聖戰美術主題的作品，陳澄波則又

182

百年女校—長榮女中海報

新樓風景 New Building Scenery 1941 油彩畫布 Oil on Canvas 50F

183

陳澄波是台灣前輩畫家入選日本帝展第一人，熱心推展美術教育如「台陽美術協會」，卻不幸於二二八事件罹難，於壯年霎然結束短暫創作生涯。其作品至今已如鳳毛麟角，故十分珍貴。《長榮女中學生宿舍》是陳氏以長榮女中校舍為題所繪，長榮女中乃長老教會1923年於台南創設，閩南式傳統房舍屋頂搭配西洋窗，建築巧妙融合了中西元素，紅磚瓦舍，如茵綠意，激發出前輩藝術家豐富的創作泉源。陳澄波與廖繼春皆曾以長榮女中校舍為題參加府展，故對校園安祥恬靜的教學生活有種特別的眷戀。陳氏多次以此地作不同角度作畫，《長榮女中學生宿舍》取校舍正側面，氣勢宏偉，在鳳凰木與藍天綠蔭烘托下，點綴著三兩人物，蜿蜓小徑連接前後景，佈局寬闊中帶著南國特有閑適與寧靜。紅綠對比色巧妙和諧並存。陳氏頗受留日畫師岡田三郎影響，畫風偏向後期印象派特點，筆調灑脫拙中帶辣，用色厚重濃烈，共構出作者開朗奔放才情。

新樓 1941年 26.5x36.5cm 鉛筆、紙

景薰樓拍賣2004.11封面

184

長榮女中校舍 Chang-Jung Girl's High School Domitory 1941 油彩畫布 Oil on Canvas 91x116.5cm (50F)

185

「長榮女中」

長榮女中新設校門在長榮路上。門口熙來

天津條約（1858）後台灣開埠通商，英

攘往，盡是天真活潑女學生。很難想像，百年

國長老教會亦來台宣教，其中一位李庥牧師

前學校剛成立，入學的唯一條件「不纏小

（Rev. Hugh Ritchie）與其夫人關心台灣女子

腳」，卻讓許多家長因此裹足不前。長老教會

的教育，四處奔走籌募經費並親自設計此女

進入台南後，便有設立「大、中、小、女」學

學校的校舍。當時唯一的入學條件是不纏小

的構想。當時最熱心籌辦女學者為來自英國的

腳，至1887年（民國前24年）好不容易才招

李庥牧師夫婦。後來李庥牧師病故，牧師娘也

到19位學生，當年二月十四日正式開學。本

因病返國。光緒11年（1885），英國長老教會

校歷經清朝，日據，光復，因學制與教育內容

派朱約安和文安兩教士來台繼續籌建。1887

的改變可分為四個時期：

年，女學校正式成立，學生19人。因設於新樓

1.長老教女學校時代（公元1887至 1938）

醫館內，故稱為「新樓女學校」。日治後，

2.長榮高等女學校時代（公元1939至1945）

1 9 0 3 年改名為「長老教女學校」，學生日增，

3.光復後的長榮女子學校（公元1946至1974）

遷於今址。1 9 2 3 年新校舍落，即今日的「長榮

4.綜合高級中學時代（公元1974至現在）

大樓」。1 9 3 9 年日人准予立案，易名「長榮

全校師生共同努力於1939年通過考試，

高等女學校」。光復後，再改為「私立長榮女

正式得到日本政府承認為四年制女子中學，本

子中學」。長榮女中的長榮大樓屬於日治時期

校更名為 "長榮高等女學校"，所收的學生都是

的式樣建築，在建築設計上混合了西方建築的

受過六年小學教育畢業者。1941年世界大戰

風格與建村，造形華麗且高大顯眼，其磚花變

轉激太平洋戰爭爆發，學校也因而進入緊張狀

化之美，更稱得上是典範之作。

況，生活困苦，全校師生利用空襲斷續的停課

（新樓）高美館展覽現場

時間，在校內空地栽種農作物，並飼養雞鴨共渡患難。當時日本政府為宣揚日本神道，干涉本校不可自由教授聖經，學校不顧此干涉，一直保持聖經課程，維護傳統的基督精神。日本政府亦嚴禁學生學習漢文並強迫使用日語，當時的學科有：日文，公民，歷史，地理，算術，代數，幾何，英語，美術，音樂，理化，家事；尤重音樂教育，設有風琴，鋼琴個別指導，每年舉行二次音樂會，每週舉行音樂欣賞會。此時本校的體育風氣也非常興盛，屢次奪新樓素描

得台南女子田徑賽和排球賽冠軍。

186

長榮女中實景

新樓 New Building 1941 油彩畫布 Oil on Canvas 91x116.5cm (50F)

187

「重回淡水」縱觀整個中國現代繪畫史的發展脈絡，陳澄波著實在現代中國美術歷史上深具貝導引作用，他從南台灣的土地出發，進而到上海發展，最後再將所學回歸本土，他畫中綻放的那無人所及的熱情與感染力，相較於與他同一時期發展的畫家們如:徐悲鴻，林風眠等，陳澄波無庸置疑地是中國現代藝術領域中獨樹一格的油畫大師之一。縱觀陳澄波一生的創作，不難發現「風景畫」佔了相當大的份量，而他在曾經參加的各項重要比賽和展覽中所提交的作品也多為風景題材，足見陳澄波在風景表現上的高度關注與自信。同樣地，他在藝術領域上的探索與追求突破也自然地顯現於他的風景創作中，相較於人物或

（局部）陳澄波曲徑 1936年油彩畫布

（局部）陳澄波淡水 1935年油彩畫布 91x116.5cm

第十回台展無鑑察展出

靜物畫中針對特定對象主題的描繪，陳澄波在風

的淡水系列油畫創作中，此幅《淡水夕照》不

景畫的空間運用上，更顯得靈活且深具個人特

論在構圖方式、線條色彩的運用上，更為這五

質，同時在色彩和線條等形式傳達上，亦發展出

幅作品中之翹楚。至於其他的四幅淡水題材作

了他獨特的繪畫風格與生命。

品，目前已分別由國立台灣美術館、畫家家屬以及私人機構所永久典藏。自1920年代起，台灣藝壇開始出現了許多重要的官方美術展覽，其中包括了:台展、台陽美展等，這些展覽活動直接地刺激了藝術家們致力於創作上的精益求精，更進一步劃下了以台灣意象為主題發展的藝術文化大方向，使藝術在尋求員個性和特質的風格與題材前題上，得到前所未有的鼓舞，相較於當時中國內地現代美術資訊的据限與沉重的傳統包袱下，中國現代藝術反而在地處南方的台灣，得到了極為優越的發展空間與潛力，這也是今日當我

（局部）陳澄波淡水 1935年第九回台展無鑑察展出

們在回顧中國現代藝術歷史發展的洪流中，陳澄波以及這些出生於台灣，並接受中國傳統文化精神薰陶的藝術家們，是如何在藝術領域上成功地銜接了中國傳統精神並開創了現代藝術

（局部）陳澄波淡水夕照 1935年油彩畫布 50F

的新風貌。藝評家珍．路克．夏綠曾說:「藝術家必須要知道在許多的可能性中，在真實與想像之間選取。」依循這條思路，我們試善說明風景畫在陳澄波的藝術發展中，佔有什麼樣的地位和角色，它具有什麼樣發展的可能性供陳澄波選取，並成為繪畫表現的重心。惠斯勒對自然繪畫之間的關係，有一段精采的形容，他說：陳澄波淡水夕照 1935年油彩畫布 50F

「自然已經包含了所有繪畫必備的要素，不論是色彩或形式皆然，就好像所有的鍵盤已經包

此幅完成於1935年的《淡水夕照》更可說

含了所有音樂的音符一樣。」這指明了一個事

是陳澄波此一題材創作中的代表力作，也是陳澄

實，那便是自然蘊藏豐富的元素和可能性，而

波畢生創作中最具象徵性的指標。淡水由於她特

陳澄波對戶外寫生的重視。他必然也深刻體會

殊的人文歷史與自然景觀，成為了許多藝術家創

到自然巧妙和繁複的特性．並將他所面對自然

作的靈感來源，而陳澄波在此幅作品所用的心

的視覺感受呈現出來，正如同畫家自己所說

思，不僅在作品色彩與構圖上的拿捏，亦或是在

的:「一心一意地努力，我所盡力表現的，首

創作意念的表達上，均達到了純熟洗練的境地。

先為自然及其存在的物象。」

就目前留存的史料記載顯示，在這為數僅有5幅

—《畫室巡禮》台灣新民報，1933年秋

188

（局部）陳澄波淡水 1935年油彩畫布 91x116.5cm

石川欽一郎於1910年代為陳澄波的啓蒙老師

1913至16年間，陳澄波受教於石川欽一郎，也是陳澄波藝術歷程上的

觀察和安排，他說道：「面對的右方出現小高崗，山崗前面為農村，其間

第一位啟蒙老師，石川欽一郎留於第328期的《台灣教育》刊物中撰寫了

挾蕃蜿曲有趣的田圃，利用前景街道的曲線，來表現整幅畫面的線條韻律

一篇《繪畫的看法》，其中更提及了他對風景題材與寫生的觀點:「在18世

感，斜行的道路區隔出前景和中景，並且道路的色彩也增加前景明朗的快

紀時，為了對抗頹廢的古典派，不管在風景畫或人物畫上都必須開創出新

感，然後配置兩、三個點景人物，蜿蜒且節奏明確的構圖，全畫的精神中

的一條道路，風景畫方面，大約同一時代的藝術家們，在英國的康斯坦伯

心在此，這是努力的結晶。」

1776-1837)、泰納(1775-1851)、法國的米勒(1814-1875)及柯勒 (1796-1875)等「巴比松畫派」的崛起，此一流派通稱為「自然派」，這

—《美術季一作家訪問記(十)，台灣新生報》1936年秋

和以往古典畫派在意境傳達上，有著明顯的區別，他們直接走出戶外描寫大自然，並開拓出一個全新的自然世界，揚棄了當時陳陳相因的作畫方

陳澄波對自然的熱愛與關注，如同西方藝術大師一塞尚以及高更般，

式，表現出自然的清新，這是「自然派」生命的泉源，這一點我們不能不

在一札1866年塞尚寫給友人的信函中表示:「當我在嘗試著表達戶外景象

注意。」這個論點在當時無疑對陳澄波產生了極大的啟發，也帶領了他朝

時，發現到田野與人物的視覺對比，意外令人感到震撼，單純的風景竟能

向風景畫改革的路程。而戶外寫生的觀念，更是跟隨著陳澄波一生繪畫的

產生出十分微妙的變化，我看到了棒極了的事物，而且我應該下定決心，

腳步，自始而終，誠如石川欽一郎對陳澄波創作上的最大影響是建立在觀

以後只在戶外作畫。」到了1906年，他更在一封寫給兒子的信中，對自然

念與態度上的啟示，「我的畫室‥‥‥在大自然之中」。

生氣淋漓及所具有的豐富性，作了以下的描述:「我在小河邊作畫，主題不

也正因為如此，這個以自然景物為繪畫表現第一要務的觀點，促成了

斷增衍，同一對象由不同角度去觀察，便呈現出更有力的研究主題，其變

一張張風景畫的產生，從日常街道、林蔭、錯落的房舍、群山、大氣的變

化又是如此豐富，我想我可以畫上好幾個月。」我們從塞尚對自然深刻的

化、光線、甚至其中活動的人們，配合上其構成的位置關係、線條、色彩

體驗和觀察中可看出自然所提供畫家的無窮主題和圖式，使畫家在面對自

等，皆進入陳澄波的繪畫中，供畫家自由挪移。我們在查閱所有相關陳澄

然時，得以藉由自然物象對繪畫形式上的提示與刺激來完成創作，這對陳

波對他淡水取材的風景畫作的論述中發現得知，他對這些景物所作的詳盡

澄波來說，情形亦是如此。

米勒拾穗者 1857年法國奧賽美術館收藏

康斯坦伯郊外一景 1817年英國倫敦泰德國家藝廊收藏

189

泰納聖日爾曼一景法國羅浮宮收藏

「東西方繪畫在觀點及構圖的解釋與認知」在西方

覺以及對社會人文的關注，以此為論，陳澄波所說的感覺性地作畫方式，

繪畫裡面有兩件重要的事，一個是視覺，一個是心靈，但此兩者在繪畫中

即是以視覺為繪畫的出發點，去理解自然和建構畫面的秩序，如:視點的

卻必須要調和一致才行。一方面，用我們的視覺觀看自然另一方面，用我

移動、透視的扭曲或物體的變形，陳澄波相當清楚控制感受性的重要，他

們心靈的邏輯來統馭我們的感覺，這樣我們才能將此兩者和諧地展現出

不斷的尋求各種繪畫手法來將他的情感引渡到畫布上。

來，以達到我們表達的目的。

於中國西周初期至春秋中葉(約前12世紀至前7世紀)所集成的「詩經」，可說是中國文學藝術上首度深度及廣面性地描繪自然界山水景物的

—塞尚

重要文獻之一，而詩經在中國文化、歷史以及藝術發展上所代表的重要象塞尚的繪畫在西方現代藝術演進中有著不可抹滅的關鍵性，其中在於

徵意義，即是清楚點明了意在「抒情言志」的概念，詩人們藉用日常所見

他並不只是一種單純的繪畫空間處理，在他的繪畫空間喚醒了一種恆定性

的山水景物，來映照人間的生活，和自己的情感，「詩經」中所表現的社

精神的感召力量。換句話說，塞尚的繪畫，常有一種方法性精神的灌注傾

會人生與山水景緻之間的交融關係，顯示詩人對大自然已經有一份生命與

向，使得他的畫作呈現一種彷彿不假外力般地自然感應，達成一種如邏輯

共的親切感，而這個獨特的山水觀，更進而激發了中國人對大自然生命力

思考般穩定的說服力，它看似簡單，而又極富經營，它意境深厚，而又以

的敬畏與愛慕之意。

一種單純而直接的力量，迫使觀者進入畫面的中心思維。塞尚注重結構，

而所謂「視點移動」在中國繪畫上的表現應用，則表現在畫家以連續

並兼顧畫面的建築平衡美。這種從不同角度觀看一個物體的多樣性和選擇

的視覺過程，來統籌畫布上的秩序。作品畫面在透過畫家眼睛的四處移動

觀看角度的重要性更成為了二十世紀西方立體主義發展的基礎。塞尚為自

下，同時將事物不同的面貌連結在畫面中，一如在中國山水畫中，畫面的

己創造了一個屬於自己獨特的空間，完全擺脫傳統的透視法。他擅於選擇

景物隨著畫家上下、左右、前後地移動視點而產生不同地變換與聯結，進

一些不尋常的觀看角度，在畫面上創造出獨特的結構，把觀賞者引入他創

而形成了中國山水畫中景隨人轉的特質，畫面的空間不再只是一個單一的

造出來的現實和邏輯當中。例如在此幅「靜物」這幅畫中，塞尚按照他自

空間呈現，它往往表現出一種

己的想法創造了一種「反透視法」，他不為觀賞者創造進入畫裡面去的深

的經驗，強調身遊的觀念，而呈現多重的視點，並且以此作為基礎出發，

度，而是創造被他所描繪的物和人向觀賞者走出來的印象。如此一來，觀

將整個景融鑄於畫布上而成為一體。

賞者的目光自然就被吸引到畫中的多個不同物體上去了。

因此，中國繪畫空間結構中所強調的「乎、遠、深、靜」，亦純然地融入

「多層三度空間的套合」，畫家意會自然

以上這個觀念，更可解釋到西方現代藝術對視點移動或多重視點表

了陳澄波此幅《淡水夕照》中，利用不同視點的方式來重組空間變化，使

現的重視與深入研究，塞尚的畫面特質被視為擺脫了透視法則的成規，他

得俯視角度的物體或畫面具有較大的空間容量，以及更為寬闊的平坦前

將物體並置於畫面上，為了畫面本身構圖平衡的需要，而移動視點，造成

景，並與平視的視點結合，在這種種構圖方式的結合下便在畫面上產生了

物體或水平線的扭曲，以順應畫面的需要，也說明畫面空間的獨立存在

急遽的空間收縮，呈現出如舞台劇場效果及布幕式背景的印象。

性。

事實上，我們現在所討論的現代風景油畫與中國傳統山水畫兩者的區別上，在某一程度上，它們皆具有某種雷同的關係互動與共鳴，雖然一個

在東方

重戶外實際寫生且關注真實環境，一個重揣摩靈想和理想式的表現，但兩

近代中國美術的發展與變化，在經由不同的觀看世界的視角以及力圖

者實際上皆引用自然的各類元素來成就繪畫，尤其在20世紀初的中國，

在繪畫上呈現強烈時代意義之下，產生了前所未有的觀念改革以及表現型

陳澄波以寫生的基礎，將水墨畫的元素，如筆觸、線條、虛實空間的表現

式上的突破，邢就是透過繪畫平面來重現並體驗畫家個人對視界的情緒感

方式來與風景寫生創作結合。

塞尚靜物 1985-1900年法國羅浮宮收藏

沈周仿倪雲林山水台北故宮博物院收藏

190

「色彩的概念化」在西方所謂概念化的色彩表現，往往是藉由掌握視覺認知的基本特質而來，例如視覺對於光線的變化，往往並非是完整無隙的明度漸層，而是直接掌握最明顯的明、暗或深、淺兩者之間的關係。單一或簡化的色彩所形成的概念化表現，是用以突顯現實事物的特質或是一種凝造瞬間永恆的面貌，其中最其代表性的人物便是高更，在他的創作中色彩即代表了感情，他強調色調的美和創作背後所象徵的意義呈現。他主張藝術應具備力量、直率而平易近人的特質，捨棄繁複的細節裝飾，強烈而集中地表現印象、觀念和經驗三者的結合。他於1891年抵達大溪地，並停留至1893年。該地的美與神秘，令他深深著迷。透過他的眼，我們探尋到那片原始、末開發的純真，進而擁抱自然。在此幅《伐木的男子L’homme a la hache》中高更已不再使用補色，也同時並用紅色與橘紅色、藍色與綠色、紫色與暗褐色在同一個畫面空間表現，並將靛藍當作黑色來使用。這種以色彩來傳達暗示線條、空間的區隔方式，更深深影響了後代的美術發展。在東方相對地，東方民族在色彩的表達上，遠比西方來的含蓄且細膩，這一

保羅高更伐木的男子 1891年

方面源自自我文化傳統背景的影響並地反映出東方藝術的獨特表現邏輯，

佳士得紐約 2006年11月拍賣，成交價 40,336,000美元

在傳統中國畫中，色彩一如線條般，皆為成就畫面空間意境的一環，並不獨立產生，而在陳澄波的繪畫中，色彩成為了他畫面中極為重要的元素，它不僅傳達了陳澄波對空間結構的精闢認知，更承載了他對母體文化背景的熱愛，在此幅《淡水夕照》中，陳澄波藉此表達了他主觀理解現實的特性，陳澄波一直將色彩視為畫布上獨立的一個要素，從早期作品中就已擺脫了大氣透視、光線等影響都說明了這種特質，而色彩的概念化運用，則展現了陳澄波賦予色彩在畫面上獨立自主的地位，並以此來呈現畫面結構。

191

「中國山水畫風格技法的引用」 1929年陳澄波赴上海，中國水墨畫的傳統，直接影響了他的藝術觀

1929年陳澄波受王濟遠之邀赴上海新華藝術專科學校任教職，並先

念，促使他轉引水墨畫的部份元素與西洋繪畫融合，尋求其繪畫發展的可

後兼任了昌明藝專藝術科主任以及藝苑繪畫研究會的名譽教授。此外當時

能性。1933年陳澄波回到台灣，並持續堅定地進行他停留於中國時期對

的教育部亦任派他出任福建省美術展覽會審查委員，和上海市全國美術展

繪畫的理想與改革。陳澄波在離開中國大陸返台後對中國繪畫的思考有了

覽會西畫部審查委員，更於次年出任上海市中等學校圖畫科督察，更被上

更深一層的領悟，在返台不久後創作的一系列描繪台灣風景的作品中，呈

海全國訓政紀念綜合藝術展覽會推選為「現代代表油畫十二大家之一」，

現了他對故鄉台灣風土人情的深刻懷念與擁抱，此時他更迫不及待的想將

而後又被遴選為代表參加芝加哥博覽會中國館的當代美術展。由於駐留中

他在中國學習到的書畫傳統的精粹融入在他的畫作中，也利用中國書畫傳

國的地緣關係，使得中國繪畫的表現方式和技法，進入了陳澄波的視野，

統中的「Ｓ字型」的坡岸交疊來推移空間構圖，或將元朝倪瓚的線條表現

並進而使他進一步的重新詮釋這些元素在繪畫中，如同陳澄波自己對此所

與八大山人的造型空間概念搬入畫中，藉以展現一種屬於東方的情境。

作的敘述:「我一直住在上海的關係，對中國畫傳統多少有所涉獵與研

八大山人 (朱耷1626-1705)和倪雲林 (倪瓚1301-1374)是陳澄波最喜

究，其中特別喜愛倪雲林與八大山人兩位的作品，倪雲林運用線條使整個

歡的水墨畫家，陳澄波明確地表示從這兩位畫家中吸取了線條和擦筆的技

畫面生動，八大山人則不用線描．而是表現偉大的擦筆技巧，我近年的作

法，倪雲林擅長山水，習慣用乾筆勾勒，他對作畫自稱

品便受到兩位的影響而發生變化。」(《隱藏線條的擦筆畫，陳澄波，台

「逸筆草草，不

求形似」及「聊寫胸中逸氣」，知名作家洪文慶先生留形容倪雲林的畫

灣新民報》1934年秋)

「幾乎杜絕人跡，畫面總是乾乾淨淨的只有山水，要不然就是樹石。」可

從這段話的描述中，我們得知中國水墨畫對他創作上產生的影響，而

見他的畫作較少有描繪人活動的情景，而傾向以樹、石、山水、自然來營

在1934年回到台灣後，更將此一概念不斷地延伸與發展。陳澄波一生的

造意境和氣氛，而八大山人的畫作風格強烈，筆法放縱飛舞，當代學者邁

繪畫風格演進，顯示了畫家試圖在傳統與現代間尋求一種適切表達自我以

可．蘇利文(MichaelSullivan)就留形容他的用筆「筆筆中鋒，直透紙

及一位中國現代藝術家的身份與觀點角度的無盡探索。

背」，當代書法家楊新先生則描述為「峻筆勁建，乾濕筆相間，淡焦墨互

陳澄波將東西方各類元素融合併用，並且經由轉化或並置的手續來突

用，使幾何形的岩石仍具堅實之質」。八大山人55歲才開始噩山水畫。

顯畫面的效果和個人的語意觀點，而許多研究陳澄波創作的學者們均認為

並取用倪雲林的「折帶皴」技法，塑造出蕭瑟淡泊、閒和清靜的意境，與

自1929年赴上海之後，是他繪畫創作歷程的關鍵時刻，而1934年回到台

倪雲林一樣追求山水畫中的逸氣。這兩位畫家皆屬於董其昌分析的南北宗

灣後的創作，更達到了他創作的顛峰。以1935年完成的《淡水夕照》為

畫派的南宗，真畫風特點為自由灑脫、追求自我個性的呈現。由此可見，

例，這幅作品以立於左下角的高處平台下俯視景物，房舍延續河岸的曲線

陳澄波對此兩位畫家的鍾愛並非偶然，他的畫作從未專注於單純地精準寫

不斷堆疊形成「S」形的空間推進，這種手法顯然轉化自中國水墨畫中河

實描繪，反而更貼近畫家內心對繪畫主題的情感流露與氛圍營造的闡述

岸層疊推移所達成的效果。

上，如同他所言:「將寶物理智性地，說明性地描繪出來的沒什麼趣味，

此外，就構圖方式來與西方繪畫比較，陳澄波擷取塞尚獨特的設框構

即使畫得再好也缺乏震撼人心的偉大力量。」這種對繪畫的態度，很明顯

圖方式並加以延伸，以不同的線形縱軸互相搭配來建構畫面秩序和節奏，

地與八大山人、倪雲林的「不求形似」的觀念不謀而合。

而就畫面肌理與筆觸上，他更進而提出了所謂「隱藏線條於擦筆之間」的

我們意外地發現到，當陳澄波在描寫水景時有一特點，那便是船隻絕

繪畫手法，即是利用油畫顏料所具的粘稠和延展性，以厚塗著色而讓畫筆

不可少，它可能一方面是陳澄波在戶外寫生時存在的實際景物，而另一方

藉由擠壓顏料來留下筆觸，陳澄波轉化了八大山人的皴擦和梵谷的塗刷方

面那些悠游於海上的船隻，卻是中國山水畫中用來隱喻傳達閒逸淡然的人

式，一方面讓筆觸連續目呈弧形進行，一方面運筆劃過濃厚的顏料產生筆

生態度所不可或缺的要件。雖然在倪雲林與八大山人的作品中，我們看不

觸的痕跡，使具擦筆的效果文能使線條隱約存在，他對弧形筆觸呈現的偏

到船隻的表現，不過我們卻在沈周(1427-1509)的《仿倪雲林山水》中，

好，一部分來自於對雷諾瓦作品中線性動態所得的靈感，陳澄波將那種流

可以看到沈周強迫性的將船隻置入倪雲林寂靜的山水中，以增加平易動人

動的暗示性、圓潤的筆觸，大量運用在樹木的呈現上，尤其是在《淡水夕

的繪畫語言，減少作品中太過冷靜的表現。而陳澄波的作法與沈周相似，

照》中，錯落四周的樹叢將紅瓦屋團團圍住，線條的使用僅用來勾勒物

如果我們抽離了船隻，整個海面便顯得太靜，這顯然不為陳澄波所接受，

形，不再具有獨立性質，紅瓦牆面以平塗方式表現，屋簷配合著樹叢蜷曲

船隻的存在不僅強烈暗示了流動性，也一方面豐富了畫面結構，並宣洩了

的行進也以弧形相對，整張畫面結構堅實而不失動感。

畫家濃厚的鄉土情感。

192

「陳澄波獨特的油畫肌理筆觸變化 V.S中國宮掐絲琺瑯彩」如果要更深入推演探究陳澄波繪畫中獨有的筆觸、肌理堆疊的形成，1920年代末於中國長達五年的學習與薰陶便成為了他創作歷程中極為重要的關鍵轉折。在許多目前存留下來的文獻資料考據中，我們發現陳澄波不僅僅深入剖析了中國傳統山水繪畫的精粹，更廣泛涉獵了中國民間藝術與傳統工藝上的研究，特別是在我們解析陳澄波30年代前後創作風格上的分野，明顯地發現到他在中國傳統藝術上所得到的深刻體悟，並進而轉化為在筆觸肌理上的再蛻變，在此幅完成於1935年的中，畫面大膽卻細膩的筆觸推移、微妙漸層的色階變化與勾勒淡水獨有的紅瓦屋簷、建築線條輪廓上，皆極與中國官窯中著名的琺瑯彩瓷的特質相符，其中:琺瑯彩中特殊立體的形體線條勾勒方式，陳澄波在此幅作品中，將此線條壓邊的技法配以富麗渾厚的赤紅色調，來重塑淡水紅瓦建築的宏偉氣勢與景觀，此一獨具創新的表現方式與風格，更使得陳澄波的淡水風景繪畫成為了他畢生創作的代名詞。此外，我們並希望藉由簡略地介紹清代琺瑯彩的歷史源由，來引領觀者重新探索陳澄波《淡水夕照》畫中不同的視野;中國琺瑯彩的製作起源於康熙二十年(西元1681年)，當時清廷派官前往景德鎮督陶，並以內廷為主導，自此景德鎮御窯廠相應配合的生產機制從此成立。雍正、乾隆兩朝的景德鎮御窯廠，燒造稱空前絕後、無與倫比。這種層次分明的雕工技術隨後又轉變成紋飾連貫、立體感強、無明顯起迄線紋的新風格。琺瑯於清初的發展主要以畫琺瑯主，十五世紀傳入中國的陷絲琺瑯至乾隆中期以後達到頂峰。清康熙掐絲琺瑯冰梅紋五供、清乾隆掐絲琺瑯獸面紋方鼎是其中的代表作。而雍正畫琺瑯蟠龍瓶，黃色代表黃家氣象，牡丹象徵富麗堂皇，與鑲嵌於器表的夔龍共同傳達清皇室的恢弘氣勢。琺瑯彩分瓷胎琺瑯和銅胎琺瑯，盛行於康熙到乾隆這段期間:尤其在乾隆時期，宮中畫瓷胎琺瑯的匠人，都是畫界中最頂尖的高手，所製作的耘瑯瓷最為世人稱道。其精美與細緻，至今仍無與倫比。而「古月軒」一詞所指的即是這一時期的琺瑯瓷。

（局部）清乾隆御製料胎畫珐瑯西洋母子圓筆筒《乾隆年製》楷書刻款將於2007年11月27日香港瓷器與工藝精品—「西映東暉」專題拍賣中拍賣

193

金子常光於1935年繪製的「基隆市大觀」

「淡水百年」

「淡水的古貌今況」

淡水的古名為「滬尾」，說的是「殘雨」之意，而此名的由來，取自

我們從歷史、經濟發展探究淡水的重要地理位置，它位處於北部台灣

於福建話。潮水輕輕拍擊船舷，河，靜寂的攤開兩岸‥‥‥，2007年的

的重要民生經濟動脈-淡水河的出海口，因此自古即成為了台灣北部對外

今天，靜觀淡水鎮的景緻，從河岸到丘陵，沿途燈火如繁星，而距含72年

舉足輕重的國際大門。而這樣的形勢位置除了帶來大量的外來人口移入以

前 (1935年/民國24年)的今日，如果我們一樣佇立於此地，放眼兩岸，所

及伴隨而來的經濟繁榮外;環俟而顧的各國列強當然不會輕易放過這樣的

感受到的是否也是如此情境?今日的我們，一個漢族移民的後裔，想到如

商機與其後所代表的國家勢力宣示。除了外國勢力的相繼介入外，明、清

果我們的祖先不普渡海來台，抑或是在施琅征台滅亡鄭氏王朝後，大清將

兩代中國大陸沿海各區域的族群也是經由此地入台開墾、經營的。由於地

在台的遺民趕回唐山，那麼台灣的歷史又將如何改寫?

形上的優勢讓淡水很快就與國際接軌，也由此影響整個台灣島。因此，自

順著紅毛城坡上的商專走向淡水中學的方向，曾幾何時飄揚著米字旗

古淡水就是台灣歷史舞台上重要的要角。

的英國領事館舊址掩覆在繁茂的九重葛後面，那些紅磚深邃的西班牙式建

我們在細觀此幅《淡水夕照》的構圖方式與結構時，讓人不禁聯想起

築、土產的台灣清水磚、舊牆上斑駁的彈痕，述說著台灣的近代事蹟;百

早自16世紀初期西方人對當時「福爾摩沙」的印象所繪製的多楨精密堪輿

年前，劉銘傳經營台灣，法國艦隊侵逼北海岸，劉銘傳以百艘鐵殼船沉落

的地圖，在此我們特別選取了幾幅深具時代背景意義且彌足珍貴的古地

於淡水河口，以阻擋法國艦隊溯河直入台北盆地，西班牙、荷蘭、法國的

圖，來重回舊時北台灣的風貌，其中曾出刊於上海《點石齋畫報》的《滬

遠征軍都留在這河口小鎮留下不可抹滅的歷史痕跡，而如今依然屹立於淡

尾形勢圖》中，精確地繪出了滬尾戰役時，清法雙方的佈障形勢，由此圖

水河岸旁長達百年歷史的禧年禮拜堂更成為了外族進入台灣歷史的見證，

中不難窺視出當時人們對台灣-特別是淡水地形的全盤理解，此外一直到

陳澄波特意將此其歷史意義的建築納入於此幅《淡水夕照》中，希望在藝

了1935年，也是陳澄波繪製此幅《淡水夕照》的同時，透過日本地理學

術創作的同時並仍保留書本土文化歷史的一刻。1871年，遠目加拿大渡

家金子常光先生所繪製的《基隆市大觀》一圖中(鄭世播先生提供)，更將

海而來的長老教會牧師馬偕 (George Leslie Mackay) 抵達了滬尾，這位

北台灣的地理環境與人文景緻，生動逼真的呈現於我們眼中，這些地圖中

將一生都奉獻給台灣的傳教士在他的日記中記錄了一主，要我在這裡停留

的共同特色均以極為俯視的廣角度來一覽地理全局，並同時將各個不易窺

下來。

見的視角，以透視虛擬的方式與地圖整合，使整幅地圖呈現如地球儀般大

清代台灣首任巡撫劉銘傳有意將台北建設為一個超越中國沿海城市中

拋物線的視野與景深。這個特點更在此幅陳澄波繪製的《淡水夕照》中，

最現代化的城市，其中的建樹包括了:規劃公共交通建設、設立清理街道

技巧地轉移於繪畫中，在此幅畫作中，陳澄波巧妙地運用綿延的紅瓦屋

局、架設路燈以及邀請外國技師開挖水井等，而當時漢人的房屋建築形式

舍、蜿蜒的黃土街道、三兩成群的人們，將淡水右岸的景緻無限推移至極

亦沿續到了光復時期，其中傳統的民宅多為閩南式，基本格局為三合院，

遠的視角，讓整幅作品的視覺組織呈現出極大拋物線結構的右弧度，讓觀

屋頂形式可分為燕尾式和馬背式兩種，一般的民宅多採馬背式，只有官家

者的視野由近景高處出發，緊接著沿續不斷向前延伸，最後在遠處的右岸

或是寺廟可用燕尾式，但在當時北部地區，尤其是在淡水以及大稻埕一帶

河口進入海洋，並再重回畫面中央停泊於岸邊的船艦，使得整幅作品的構

的富裕人家也擅自採用此屋形。除此以外，在基隆、淡水一帶，許多的商

圖結構以甚為細膩平穩且緊湊的節奏運行。

街民宅更多以併連式的街屋型式出現，主因為與外商貿易之便的緣故，而在此同時在台灣還出現了第一批以西洋獨棟樓房設計風格的建築，此外房屋建材則就地取材於當地窯場出產的紅土磚，在這種種因素的促成下，造就了淡水獨特幽雅的特殊景觀氛圍。

清末時期繪製的「滬尾形勢」圖

淡水老街街景

舊時淡水河口

194

「淡水歌謠」

「從中國詩詞中」

1950年代，嗓音渾厚的本土歌手－洪一峰，伴著他的好友，也是著

在中國古代詩詞中對山水景色的描繪，總是以「深衷淺貌，短語長

名的填詞人－葉俊麟來到淡水，他們沿著渡船頭的岸邊緩步走來，晚霞燦

情」的方式，來點出其山水與觀者間微妙的趣味與感應。通過簡練的文字

爛，遠海如銅鏡般的金亮，舢舫隨著晚潮的浪濤起伏如韻律，相信他們的

與歷史片段去重新認識山水，本是中國文人寫作山水詩的一種常用的方

內心必定感動莫名，吟唱著一首伴隨著台灣人成長的歌謠，叫做《淡水暮

法，也就是在滄海桑田的歷史變化之中，以山水作為起興的對象，連結起

色》，這首歌真實記錄了洪一峰先生與葉俊麟先生深刻的淡水河口記憶，

古今人物蒼茫的生命情志。而如果我們將詩詞的抽象意境體會再深入轉化

也唱出了台灣人們由中如浪潮拍岸般的慨歎與鄉愁。

為視覺上的再創造時，一幅好的風景繪畫則可將兩者完美的契合與交融，此幅《淡水夕照》中，陳澄波刻意凸顯了自然空間在時間的流轉下所展現

日頭就要沈落西，水面染五彩，男女老幼在等待，漁船倒返來，

出來的和諧性，並加入了昏旦之間景色變化的微妙，而「戌臺夕陽」一景

桃色樓窗門半開，琴聲訴悲哀，啊……幽怨的心情無人知。

的誕生正出於清代文人擇選台灣八景的標準，乃是上承自中國山水繪畫的創作中心思維。也正是由於這種「寫意」的詮釋觀點，使這種「俯視」、

朦朧月色白光線，浮出紗帽山，河流水影色變換，海風陣陣寒，

「全覽」的觀景位置適切地讓創作者在描繪台灣山水時自然地產生極為朗

一隻小鳥找無伴，歇在船頭岸，啊……美妙的啼叫動心肝。

闊的心情氣度;另一方面，由於這個觀景位置也象徵了居高臨下的位階上，而形成了主體與客體、創造者與被創造者之間的「瀏覽」與「被瀏

淡水黃昏帶詩意，夜霧罩四邊，教堂鐘聲心空虛，響對海面去，

覽」的上下關係。這種「俯視」、「全覽」式的觀景位置，絕妙地配合著

埔頂燈光真稀微，閃閃象天星，啊……難忘的情景引心悲。

創作者的情感流轉，而將山水的壯麗氣勢無孔不入的滲入、瀰漫在淡水的每一角落。就目前的史料記載中，我們可得知早自乾隆29年間，由余文儀先生、黃佾先生開始編撰並持續至乾隆39年完成的《續修台灣府志》中，所提到的「戌臺夕陽」一景，即納為台灣重要的景觀之一。而到了同治年間所修的《淡水廳志》更列出「淡北八景」此八景則皆是北台灣的名勝景點 (當時的淡水廳治在令新竹，淡北就是台北了)，而那八景即為:「戌臺夕陽、坌嶺肚霧、關渡分潮、劍潭月光、峰崎灘音、蘆洲泛月、淡江吼濤、屯士積雪」此外，八景中的「戌臺」指的是舍淡水紅毛城的埔頂，「岔嶺」即對岸的觀音山。淡江吼濤形容的是漲潮時淡水河口的氣象。關渡分潮指的是

馬背式屋簷

基隆河、淡水河 (大漢溪和新店溪的合流)色的奇景。屯山積雪是指今日已難得幾回見的大屯山冬雪白頂的景緻，因此都算在今淡水鎮內。這些勝景淡水廳志內都有附詩，尤以「戌臺夕陽」的「高台矗立水雲邊，有客登臨夕照天。書字一行斜去雁，布帆六幅認歸路。戰爭遺蹟留孤壘錯落新村下晚煙。山海於今烽火晴，白頭重話荷戈年」最為知名。「戌臺夕陽」為台灣八景之一，夕陽西下時分，彩霞雛天映照淡水河面炫眼的金光，構成一幅剎那即成永恆的唯美畫面，總令人難以忘懷。在

燕尾式屋簷

河對岸的觀音山，觀音山的主峰在30年代期間紀錄標高為612公尺，直到目前所測得最新記錄為608.9公尺標高，此山頂主要由三個高度相似的頂峰支撐，山頂的展望度極佳，屬台灣景觀中的第一級。此外由於觀音山脈由18個連峰的山形所組成，所以縱觀山脈的走勢極為秀麗且壯美，每逢落日餘暉，便形成層次多變的剪影，特別是由淡水河口望去，更是美不勝收。加上氣候多變的淡水河口的特殊地域環境，隨著晨昏溫溼度的變化，更產生了薄霧輕覆、氣象萬千的景色。尤其自古唇氣由海而來，過山無法翻越便降下化為行雲，「觀音吐霧」亦成為了淡水八景之一。如陳維英老師所題詩「坌嶺微茫八里間，連朗吐霧罩鴉鬟，此中定有深藏貌，朱許分

淡水鎮的禧年禮拜堂一景

明見一斑」。

舊時紅毛城一景

195

「陳澄波繪畫中的人文景觀」陳澄波的風景畫中對文化及人的關注，來自於他對藝術落實於社會的期待，他的畫面中以人和鄉土文化為中心的繪畫觀念，及所具有的理想特質，皆證明了他對人的關懷，我們在他的風景畫中，幾乎無法將視線拉開人物、環境景觀所形成的焦點和重心，在此幅《淡水夕照》中，我們透過陳澄波的眼和筆，看到的是他對家園、土地、人民深遠無盡的愛與期盼以及那份源自於中國人內心深處的真摯與熱情、那份再次踏上祖國領土的驕傲與感動。透過陳澄波的創作，我們看到的是中國現代繪畫開始認真凝視自己生活的環境與天地，揚棄了刻板傳統山水花鳥繪畫的模式，重現當下眼前所體會的山水奧妙，並真誠地傳達了土地與人民之間深厚的情感與相依。文字摘錄於 Christie's HK 2007 November 25 Evening sale Lot 216《Sunset at Tamsui》p.35-42 淡水老街街景

196

淡水夕照 Sunset of Tamsui 1935 油彩畫布 Oil on Canvas 50F

197

「淡水老街的變遷過程」文／Golnie

老街的歷史由來已久，主要與淡水港

翻開的中文或是日文旅遊手冊，所介

合老街的拓寬計畫了。不過老街的拓寬

口所帶來的繁榮有關。清咸豐十年，淡

紹的是哪一家的小吃聞名全臺，而歷

卻延宕了十多年，直到這一任淡水鎮長

水與台南安平港同時開港，一躍而成為

史痕跡及文化特質在時間的流逝中一點

郭哲道上任以來，才又繼續施行老街拓

國際港，當時與香港、大陸、南洋各商

一滴地消失遺忘，而真正瞭解其整個

寬的工程。

埠口岸通航，盛極一時。

時代背景的又有多少？

民國三十四年台灣光復初期，大陸沿

在交通安全的考量上，老街面臨拓

海各地小型商船又雲集淡水港，成為台

寬的命運，而我們所不願見到的文化

賣著鐵蛋、魚丸、酸梅湯、阿給、

灣最大的商港，連帶的也促進老街的繁

古蹟消失，並不是怪手及推土機所能摧

溫州餛飩各樣著名特產的小吃店，一天

華，老街在往日繁榮之時，猶如國際

毀，在觀光客與商家的利益交換中給

的營業額據估計約數萬元不等，遇到假

村，販售來自各國的產品，也由於國際

出賣了。

日、天氣好的日子營業額就不僅於此，因此在他們的回答中是聽不到所謂的文化

港口的關係，街市的風貌呈現出多元化的異國風情。

人車爭道無心思古

拆與不拆中的抉擇

與歷史的關懷，「沒有時間跟你講那麼

隨著時光的流逝，兩岸的阻絕往來，

老街為什要拓寬？是經濟因素、交

淡水已由當年的國際港口淪為一個地方

通因素或是整個大環境逼迫？自從淡

性的小港，已不復當年的繁華盛況，所

水捷運線通車以後，更加速老街交通的

忙著包裹、秤重著顧客的東西，重

幸在現今捷運淡水線的通車之後，淡水

惡質性，湧入的人與車潮水般澎湃兇

覆么喝著價錢與食物。而多數商家也認

老街又再度躍為臺灣著名的觀光景點，

狠，造成中正路的壅塞以及周圍環境

為，「拓建並沒有差別，反而更好。因

這個光環下所帶來的人潮與車潮，使得

的髒亂，使得老街有如夜市一般，棄

為交通更加順暢，人潮將會更多。」

淡水小鎮又再度繁榮起來。

置在一旁的垃圾、隨意停放的車輛、

但在傳統文化與現代經濟的衝突下，老

鼎沸嘈雜的人聲以及烏煙瘴氣。

街拆不拆？該如何拆？又成為老街商家與文化保衛者間的惱人問題。

更方便，人潮也會更多。」

重新期待

一到了假日，整個老街彷彿陷入泥

「維護老街文化」是一種口號還是打

濘之中，公車、小客車與機車陷入馬

從心裡的抗爭？傳統文化的保存是藉由

路中動彈不得，路旁更停滿了機車與

建築物或是外在可見的物體來證明自己

汽車，而行人被迫與車輛爭道，在險

是關心、是懷舊？古蹟可以說是種歷史

象中求一條通路。

見證，它們的存在足以令人安心，我們

淡水的經濟效益在近百年的大環境下逐漸萎縮，河口淤積的泥沙早已將

早期淡水街景

多話，擴建馬路沒有不好的，至少交通

需要古蹟來表現對所處社會的關懷，我們需要古建築來表現對前人的尊重。

來來往往的商船逼退，因此淡水商港

我們雖然高呼維護淡水老街的文化，

所帶來的繁榮已不復當年。而這條街

但是真正關心它的又有幾位？遊客們想

道能保存至今，除了渡船頭的功能外，

從這條街得到的是一份口腹的滿足感，

更少不了鐵蛋、阿給、魚丸湯、酸梅

但真正想要的是一份感覺，對老街所透

湯等小吃所帶來的商機，就像月亮少

出的古樸與吆喝聲深深吸引而不自覺，

不了太陽成就其光潔，然而交通如同

你跟我就是如此惦記著那份像空氣一般

月球運行的軌道，受到阻礙就無法再

自然的老街氣息。

展光彩。

面對著老街擴寬的命運，有人坦然的接

「老街不拆不行了。」淡水鎮公所

受它的命運，也有人反對。老街到底夠

當觀光團由鶯歌來到淡水老街，所見

建設課課長董正之如是說到。在淡水

不夠老？該不該拆？這問題也已存在多

到的已不復當年美麗，他們急忙的看完

捷運未通車時，淡水老街已有沒落的

年，擴寬後的老街是否會有更大的商

年近百歲的福佑宮，不耐煩的仰頭望望

現象，目前老街僅有六到八米的寬度，

機，或結束了它長年以來的歷史地位。

街道兩旁的建築雕刻，在這同時也忙著

不足以供應現有的交通流量，只要兩

閃躲雙向的汽機車，不輕鬆的心情在趕

輛汽車擦身而過，就不容許其他交通

往人潮眾多的小吃攤時逐漸笑開容顏，

工具再參一腳，所以才會計畫拓寬老

搶購著、品嚐著鐵蛋、阿給、魚丸湯、

街。為了改善老街的軌道，還給老街

酸梅湯等，滿足地笑臉證明自己已經來

再一次光潔的風采，於是淡水鎮公所

到淡水老街「巡禮」了，帶隊的導遊落

於民國八十三年召開六次的說明會與

得輕鬆的抽著菸，他操著臺語口音，「

民眾進行協調並發放補助金額，希望

現在的人來這裡不是看古蹟而是買名

民眾能配合整頓老街的計畫，自行拆

產，我也不用講太多或解釋太多淡水老

除劃入道路規劃內的局部建築物，除

街的歷史以及殖民地建築。」一口濃郁

了以列為古蹟保護的福佑宮不用拆除

嗆鼻的香煙不急不徐地吐出。大多數人

之外，其餘的房屋皆需拆除十五公分

都清楚淡水老街的著名小吃，卻沒有幾

至一公尺不等。

著名小吃掩蓋古蹟風采

位清楚西班牙、荷蘭以及日本曾經在此

當時大多數的居民都持贊成的意

經商貿易，如今淡水老街的商業模式儼

見，也由於老街居民彼此特殊的血源關

然已取代觀賞古蹟的真正意義，

係，在領了補償金之後，就算是答應配

198

2005年尊彩藝術中心出版藏寶圖（肆）封面

淡水風景 Landscape at Tamsui 1935 油彩畫布 Oil on Canvas 30F

199

嘉義公園—神社前步道 Chiayi ParkPedestrian Path in Front of the Shrine 1939 油彩畫布 Oil on Canvas 72.5x91cm (30F)

200

夏之朝 Summer Morning 1940 油彩畫布 Oil on Canvas 91x116cm (50F) （府展第三回）

201

詹姆士．麥克米蘭 :打擊爍協奏曲來吧、來吧、伊虔紐爾第三樂章 :舞蹈

James MacMillan: Veni, Veni EmmanuelII Dance-Hocket 文/顏涵銳

非常具有現代感和躍動感的一幅晝作，讓現代英國作曲家麥克米倫所寫的這首扛擊樂協奏曲這首充滿動感的舞蹈樂章得以在這畫布」找到音符外的具象寫實。雖然搞繪的是我們拖熟悉的總統府，但是畫家在不同時空翻心境下所捕捉到的這個風和日麗下、透過樹景眺望的總督府，卻是那麼的生氣蓬勃、充滿律動感。在音樂中、如同在畫面上一樣，可以感受到一種節慶的賜快感。雖然作品標題以總督府為名，但畫面的焦點卻落在幾顆舞姿酣暢的綠樹上，那如同火酸般舞動的樹形，外淺綠、內核濃綠的樹形，好像屈中燭火一樣的搖曳，擺動生姿，就如同真的在舞蹈一般。而整幅畫面也因此添上一種動勢。

總統府攝於1958年南天書局提供

202

台北總督府 Governor's Mansion 1940 油彩畫布 Oil on Canvas 8P

203

川邊 Riverside 1940 油彩畫布 Oil on Canvas 17.5x27cm (3M)

204

嘉義蘭潭（紅毛埤） Lantan in Chiayi (Hongmao Lake)

油彩畫布 Oil on Canvas 31.8x40.8cm (6F)

205

「陳澄波文物捐贈感言」先父逝世日久，傷痛之情雖不復往日沉重，

由這些史料，當代畫家之間、社會人士之交往

然思念並未隨時日之過往而稍減。適逢嘉義市立

情形，均能清楚呈現，並進而瞭解當時之社會

博物館成立，於三樓藝術廳闢「陳澄波紀念專

潮流、文化風俗及習慣等概況。

區」，以陳列先父之文物資料，思及先父乃開

先父遺物中的畫架、畫筆、畫刀、皮箱

創台灣近代西洋美術史之畫家中的主流領袖，欲

等，均是其創作過程中極重要的資料，大凡其

研究其生平、畫風、繪畫歷程，實需要一些實際

旅遊的足跡、創作的轉變歷程，都可在這些遺

資料輔助，本人以為，先父之遺作、相關史

物中尋出脈絡。而在父親過世後的畫展紀錄，

料，固然是陳家的稀世珍寶，但卻是國家社會重

相關新聞雜誌的報導與評論，可幫助世人瞭解

要的文化資產，縱然萬般不捨，亦有必要使其公

其在畫界所得之高度評價。歷史錯誤所造成的

諸於世。

傷害實難彌補，但藝術的美則是永恆存在，只

本人所捐贈之文物、畫作，共計二八三二

有愛才能使這一段傷害減到最低，當你走近

件，除具上述意義之外，更有諸多價值。先父

「陳澄波紀念專區」一定能體會先父熱愛藝

所收藏之當代畫家之圖片、明信片、新聞記事相

術、熱愛鄉土之無私大愛。喜見嘉義市立博物

當多，對於研究印象派畫風有其多重功能與價

館成立，更樂見父親之文物得以保存展放在自

值。而父親之私人信件、明信片、各式證書，藉

己故鄉。．財團法人陳澄波文化基金會董事長

（慶祝日）高美館展覽現場

陳重光

．財團法人陳澄波文化基金會執行董事陳前民敬上 2004年3月

206

嘉義市街道圖

慶祝日 Day of Celebration 1946 油彩畫布 Oil on Canvas 72.5x60.5cm (20F)

207

灣邊 Bay Harbour 油彩畫布 Oil on Canvas 21x33.5cm (4P)

208

水彩作品 Water Color Paintings

古亭村牛奶屋 Milkhouse in Gu Ting Village 1916 水彩紙本 watercolor on paper 31.1x23.9cm

210

博物館一隅 A Corner of the Museum 1916 水彩紙本 watercolor on paper 31.2x24cm

211

盆栽 Potted Plants 1921.07 水彩紙本 watercolor on paper 31x23.5cm

212

樹林邊 The Grove 水彩紙本 watercolor on paper 15.8x21.7cm

213

農舍雞群 Farmhouse and Chickens 水彩紙本 watercolor on paper 23.5x31cm

214

大樹下的農家 Farmhouse and Trees 水彩紙本 watercolor on paper 15.5x21.5cm

215

淑女臥枕 A Lying Lady 上海時期 Shanghai period 水彩紙本 watercolor on paper 29.5x38.2cm

216

湖景 Lake View 上海時期 Shanghai period 水彩紙本 watercolor on paper 10x15cm

217

海邊 The Coast 上海返台時期 Return to Taiwan period 水彩紙本 watercolor on paper 40.5x49cm

218

海邊岩石 Coast Cliffs 1939 水彩紙本 watercolor on paper 21x26.5cm

219

圖錄 I n d e x

秋之博物館

裸女倚窗

Museum in Autumn

Nude Leaning Against a Window

1926

油彩木板 Oil on Wood

油彩畫布 Oil on Canvas

33x24cm (4F)

P.112

P.101

勤勞

陽台上的裸女

Doing Housework

Nude on a Balcony

1928

油彩畫布 Oil on Canvas

10M

P.103

P.113

上野公園

裸女坐姿

Ueno Park View

Seated Nude

1927

東京時期 Tokyo period

油彩畫布 Oil on Canvas

15P

65x91cm (30M)

P.105

P.115

嘉義街外

側坐裸女

Outside of a Chiayi Street

Seated Nude

1927

1930

油彩畫布 Oil on Canvas

64x53cm (15F)

P.107

P.117

西湖泛舟

裸女

Boats Plying the West Lake

Seated Nude

1928

1930

油彩畫布 Oil on Canvas

60M

P.109

P.119

湖畔

海邊三美

Sence Besides the Lake

Three Ladies on the Beach

1928

1932

油彩畫布 Oil on Canvas

45.5x53cm (10F)

P.110

P.121

普陀山群驢

西湖

Donkeys at Putuo Mountain

West Lake

1929

1933

油彩畫布 Oil on Canvas

33x44.5cm (8P)

P.111

P.123

221

西湖塔景

洗衣

Tower of West Lake

Doing the Washing

油彩畫布 Oil on Canvas

60x76cm (20F)

23.5x34cm (4F)

P.124

P.132

梅園

玉泉觀魚

Mey Blossom Garden

Fishpond in Hangzhou Yuquan

上海時期 Shanghai period

1933

油彩畫布 Oil on Canvas

91x116.5cm (50F)

60.5x72.7cm (20F)

P.125

P.133

上海路橋

河邊山坡

Walk Bridge in Shanghai

Hill Next to a River

1930

油彩紙本 Oil on Paper

油彩畫布 Oil on Canvas

23x31.5cm (4F)

40F

P.134

P.127

林中閣

五里湖

Pavilion in the Woods

Wuli Lake

油彩木板 Oil on Wood

1932

油彩畫布 Oil on Canvas

P.128

91x116.5cm (50F) P..135

潭前山景

古門

Mountain View in Front of a Pond

The Ancient Gate

油彩畫布 Oil on Canvas

32x41cm (6F)

31.3x24.3cm (3F)

P.129

P.136

垂釣

山景

Fishing

Mountain View

油彩木板 Oil on Wood

油彩畫布 Oil on Canvas

15.5x22.5cm (1F)

22x27cm (3F)

P.130

P.137

屋頂

西薈芳

Rooftop

West Huifang

油彩木板 Oil on Wood

1932

23x33.2cm (4F)

油彩畫布 Oil on Canvas

P.131

117x91cm (50F) P.149

222

台灣農家

鹿港老街

Taiwan Farmhouse

Lu Kang's Old Streets

1932

1933

油彩畫布 Oil on Canvas

10F

P.151

P.165

總督府

鹿港辜家

Governor’s Mansion

Koo's Family Old House in Lu Kang

油彩木板 Oil on Wood

1933

33x24cm (4F)

油彩畫布 Oil on Canvas

P.153

8F P.167

展望諸羅城

嘉義中央噴水池

Looking Towards Chiayi

The Central Fountain in Chiayi

1934

1933

油彩畫布 Oil on Canvas

73x91cm (30F)

80x100cm (50F)

P.155

P.171

阿里山之春

嘉義公園

Spring of Ali Mountain

Chiayi Park

1935

1934

油彩畫布 Oil on Canvas

60M

30F

P.157

P.173

淡水高爾夫球場

嘉義公園

Tamsui Golf Court

Chiayi Park

1935

1939

油彩木板 Oil on Wood

油彩畫布 Oil on Canvas

23.5x33.5cm (4F)

P.159

P.175

八卦山遠眺

琳瑯山閣

View of Bagua Mountain

Linglang Mountain Pavilion

1934

1935

油彩畫布 Oil on Canvas

45.5x53cm (10F)

73x91cm (30F)

P.161

P.177

台南孔廟

嘉義公園

Tainan Confucian Temple

Chiayi Park

油彩畫布 Oil on Canvas

1937

油彩畫布 Oil on Canvas

P.163

60.5x72.5cm (20F) P.179

223

嘉義公園

夏之朝（府展第三回）

Chiayi Park

Summer Morning

1939

1940

油彩畫布 Oil on Canvas

91x116.5cm (50F)

91x116cm (50F)

P.181

P.201

新樓風景

台北總督府

New Building Scenery

Governor's Mansion

1941

1940

油彩畫布 Oil on Canvas

50F

P.183

P.203

長榮女中校舍

川邊

Chang-Jung Girl's High School Domitory

Riverside

1941

1940

油彩畫布 Oil on Canvas

91x116.5cm (50F)

17.5x27cm (3M)

P.185

P.204

新樓

嘉義蘭潭（紅毛埤）

New Building

Lantan in Chiayi (Hongmao Lake)

1941

油彩畫布 Oil on Canvas

31.8x40.8cm (6F)

91x116.5cm (50F)

P.205

P.187

淡水夕照

慶祝日

Sunset of Tamsui

Day of Celebration

1935

1946

油彩畫布 Oil on Canvas

50F

72.5x60.5cm (20F)

P.197

P.207

淡水風景

灣邊

Landscape at Tamsui

Bay Harbour

1935

油彩畫布 Oil on Canvas

21x33.5cm (4P)

30F

P.208

P.199

嘉義公園—神社前步道

古亭村牛奶屋

Chiayi Park-

Milkhouse in Gu Ting Village

Pedestrian Path in Front of the Shrine

1916

1939

水彩紙本 watercolor on paper

油彩畫布 Oil on Canvas

31.1x23.9cm

72.5x91cm (30F)

P.210

P.200

224

博物館一隅

海邊

A Corner of the Museum

The Coast

1916

上海返台時期 Return to Taiwan period

水彩紙本 watercolor on paper

31.2x24cm

40.5x49cm

P.211

P.218

盆栽

海邊岩石

Potted Plants

Coast Cliffs

1921.07

1939

水彩紙本 watercolor on paper

31x23.5cm

21x26.5cm

P.212

P.219

樹林邊 The Grove 水彩紙本 watercolor on paper 15.8x21.7cm P.213

農舍雞群 Farmhouse and Chickens 水彩紙本 watercolor on paper 23.5x31cm P.214

大樹下的農家 Farmhouse and Trees 水彩紙本 watercolor on paper 15.5x21.5cm P.215

淑女臥枕 A Lying Lady 上海時期 Shanghai period 水彩紙本 watercolor on paper 29.5x38.2cm P.216

湖景 Lake View 上海時期 Shanghai period 水彩紙本 watercolor on paper 10x15cm P.217

225

CHEN Cheng-Po

“The Origin of Taiwan Art ”

發行人

余彥良

出版者

尊彩國際藝術有限公司

策劃設計

尊彩藝術中心

印刷

日動藝術印刷有限公司

出版

2012年5月初版

ISBN

978-957-98147-9-9 （平裝）

Executive Director

Yu Yen-Liang

Publisher

Liang Gallery Co., Ltd

Editor

Liang Gallery

Printing

Jih-Tung Art Pringting Co., Ltd.

Publishing Date

First Edition, May, 2012

ISBN

978-957-98147-9-9 (Paperbound Edition)

台北市11492內湖區瑞光路366號 No.366, Ruiguang Rd., Neihu District, Taipei 11492, Taiwan www.lianggallery.com‧Tel +886-2-2797-1100

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陳澄波 彩筆江河 CHEN Cheng-Po "The Origin of Taiwan Art"

陳澄波彩筆江河 CHEN Cheng-Po "The Origin of Taiwan Art"