以石川欽一郎、木下靜謹、陳澄遠、陳慧坤、李永沱筆下之淡水作品詮釋地方及其精神之意象

Abstract

自17 世紀以降，不少詩人﹒畫家、文學家皆以淡水為題材來進行創作，而根據肅瓊瑞(2004 ) 掏出臺灣沒有一個地方能像淡水這樣，曾被這樣多的畫家，以如此豐美而多量的畫作存在著。而至目前為止，據初步估計這些畫作應不下五百多件。所以，以人文主義地理學、美學和審美經驗來談淡水空間意象和其背後所隱含的精神意象應有其值得深究及探掘之處。然，因以淡水為題/為名者畫作甚多，本文配合自日治時期以降，美術在畫發展的歷程和其流派的演變，按照時間順序先後選出石川欽郎、木下靜涯、陳澄波、陳慧坤及李永沱五位畫家的淡水系列，來試著以美學上的精神為基礎，然後究其人文主義地理學和審美經驗來形構也個淡水的空間及精神意象，以補足或開拓以美術作品來詮釋空間意象的可能，並希冀藉由這樣的嘗試可為地方研究帶來新的可能性。

Since 17th century, a lot of poets, painters and writers made their projects or works for Tamsui According to Hsiao Chiong-rei( 2004 )pointed out that, in Taiwan, there was no place like Tamsui which could be portrayed and left bounteous paintings by so many painters. Up-lo-date, the preliminary estimation about these paintings is more than 500 pieces. Therefore, it could be a deep research and a worthy exploration from Humanistic Geography, Aesthetics and aesthetic experience sides to discuss the Tamsui space image and its extended spiritual image. Due to the bounteous paintings about Tamsui, this paper not only considered the Taiwan Fine Art development and the process during the Japanese occupation period but paid attention to the different trends and categories of Taiwan art groups, following the time schedule and Taiwan Fine Art trends, we chose five painters, Ishikawa Kinnichiro, Kinoshita Seigai, Chen Cheng-po, Chen Hui-kuen and Lee Yung-two, to represent the painters who have portrayed Tamsui before. From above, we tried to apply aesthetics spirit as foundation, and go to Humanistic Geography and aesthetic experience sides, to interpret the space image and its extended spiritual image about Tamsui. Hopefully, it could be a new, possible way to interpret space image and a new trial to bring the new possib山ty for the place research.