畫中有「話」―― 陳澄波嘉義與淡水街景畫的空間敘事

本文以臺灣畫家陳澄波（1895-1947）嘉義與淡水街景系列畫作為例，嘉義為陳澄波自小成長的故鄉，他能以特殊的視角展開對原鄉景致的勾勒，蘊含他對在地的獨特情感與意義；淡水則是他1934年到1936年間經常寫生之地，喜用俯瞰視角繪寫紅瓦街景與山城港都，極富敘事性與故事場景感。筆者從四方面論述：第一部分透過畫面中點景小人物細節，包含族群、衣著、配件、畫面位置等，歸納人物在畫中的意涵。第二部分從街景空間的構圖、街景元素切入，整理畫作的視覺審美序列，探究其對鄉土的「觀看」與「凝視」特點。第三部分則承接前兩部分，對讀人物與街景之間的關係，探究陳澄波的畫作特色與地景文化，並思考陳澄波如何站在旁觀者的距離，運用畫筆繪出多個瞬間的畫格，筆者試圖理解圖像背後的群眾意識與廣場意識。第四部份則處理日治殖民背景下，陳澄波如何透過官方畫展表達與再現，擺脫殖民體制下的觀景窗，以「全景」、「現代化」、「小人物」、「街道」破除遮蔽，強化真實而多元的現代化臺灣面貌與本土意識，進而呈顯「美學—社會—時代」的訊息。

關鍵字

陳澄波；點景人物；日治時期；現代性；街景畫；本土意識；群眾；空間敘事

並列摘要

This thesis takes Taiwanese artist Chen Cheng-po's (1895-1947) series of the street scenes paintings in Chiayi and Tamsui as an example. Chiayi is the hometown where Chen Cheng-po grew up. His paintings capture the scenery of his hometown from his unique perspective, embodying his unique sentiments and significance to the local area. Tamsui was a place where he often sketched from 1934 to 1936. He likes to paint the red tile street scenes and the harbor of the mountain city from an overhead perspective, which is rich in narrative and storytelling scenes. There are four aspects of discussion. First, via the details of the small figures in the scenes, including their ethnic groups, clothing, accessories, and picture positions, the meaning of the figures in the painting is summarized. Second, from the composition of the street space and the elements of the street scene, the visual aesthetic sequence of the painting is organized, and its characteristics of ″viewing″ and ″gazing″ on the countryside are explored. Following the first two parts, the third part explores the relationship between the characters and the street scenes, as well as the characteristics of Chen Cheng-po's paintings and the culture of the landscape. The author examines how Chen Cheng-po uses his brush to paint multiple transient frames from the distance of a spectator, in an attempt to understand the sense of crowd and square behind the images. The fourth part deals with how Chen Cheng-po expresses and reappears his creations through the official exhibition in the context of Japanese colonialism, shedding the window of view under the colonial system and using ″panorama″,″ modernity″, ″small figures ″,″ streetscape ″ to break the obscurity, and strengthen the real and diversified face of modernized Taiwan and local onsciousness so as to present the message of ″aesthetics-society-era″.