Spring 2007
 
 

CONTENTS

 
  SEPARATION AND INTEGRATION :
TOWARDS A COMMUNION OF CHINESE MINDS AND HEARTS
離心與向心 :眾圓同心

   By YU Kwang-chung 余光中
 
  FIRST SNOW OF A RIVER TRIP 江行初雪
   By LI Yue 李渝
   Translated by Yingtsih HWANG 黃瑛姿
 
  NOT A DREAM 不是一夢
   By Ai Ya 愛亞
   Translated by David van der Peet 范德培
 
  BEST OF BOTH WORLDS :
WISTERIA TEA HOUSE AND STARBUCKS
在紫藤廬與Starbucks 之間

   By LUNG Yingtai 龍應台
   Translated by Darryl STERK 石岱崙
 
  THE ORCHID CACTUS LOOKS OUT AT THE SEA
曇花看海

   By CHEN Yu-hong 陳育虹
   Translated by Karen Steffen CHUNG 史嘉琳
 
  I TOLD YOU BEFORE 我告訴過你
   By CHEN Yu-hong 陳育虹
   Translated by Karen Steffen CHUNG 史嘉琳
 
  RAMBLIN’ ROSE 流浪玫瑰
   By Du Yeh 渡也
   Translated by John J. S. BALCOM 陶忘機
 
  A MING DYNASTY INCENSE BURNER 宣德香爐
   By Du Yeh 渡也
   Translated by John J. S. BALCOM 陶忘機
 
  SELLING OFF THE LAND OF DREAMS 變賣夢土
   By Chan Cher 詹澈
   Translated by John J. S. BALCOM 陶忘機
 
  SHORT ACQUAINTANCE ; LONG MEMORIES —
A RETROSPECTIVE ON CHEN CHI-MAO
「版畫史」誕生在最後的「裝置」裡——
陳其茂紀念集序

   By SHAIH Lifa 謝里法
   Translated by TING Chen-wan 丁貞婉
 
  PASTORAL SONGS ; POETICAL SENTIMENTS— CHEN CHI-MAO’S CREATIVE ART
牧歌‧詩情——試論陳其茂的藝術創作
   By CHEN Shuh-sheng 陳樹升
   Translated by TING Chen-wan 丁貞婉
 
  NEWS & EVENTS 文化活動
   Compiled by Sarah Jen-hui HSIANG 項人慧
 
  NOTES ON AUTHORS AND TRANSLATORS
作者與譯者簡介
 
  APPENDIX : CHINESE ORIGINALS 附錄 :中文原著
 
  THE MONKEYS IN THE WOODEN HOUSE 木屋裡的猴子,
woodcut, 79 × 79 cm, 1975 ............................COVER
 
  A GIRL SLEEPING ON THE RED WALL
石牆上的睡女,

woodcut, 53 × 32 cm, 1985.................BACK COVER
   By CHEN Chi-Mao 陳其茂

 


CHEN Shuh-sheng 陳樹升

PASTORAL SONGS;POETICAL SENTIMENTS—
CHEN CHI-MAO’S CREATIVE ART
牧歌‧詩情 —— 試論陳其茂的藝術創作*

Translated by TING Chen-wan 丁貞婉

    Woodblock printmaking originated in China at least a thousand years earlier than in the West, it is estimated. Its history is brilliant, boasting numerous illustrations of Buddhist sutra and books of fiction and drama, as well as in the drawing manuals and the colorful New Year decorative pictures later.
    As new materials are gradually introduced to printmaking in the West, it has given new life to the art. During the late nineteenth and the twentieth century, it attracted many famous artists, such as Picasso, Vuillard and Matisse, who contributed to the growth and popularity of this art. Of all art forms, printmaking, rendered methodically and mechanically stroke by stroke, can most effectively express an idea, aesthetic or otherwise. Manually produced, woodblock prints are bound to retain more the spirit and flavor of the artist both in the texture of the wood and perhaps more in the cuts made.


A Pastoral Song 牧歌, woodblock engraving, 14.1× 12.7 cm, 1956

    Woodcuts appeared in Taiwan roughly 300 years ago. In the beginning, they were not so much art as an effort to fulfill people’s needs for their everyday life: pictures of gods to worship, New Year decorative pictures to highlight and celebrate the occasion, etc. In other words, they were “folk art.” It was not until after the retrocession of Taiwan in 1945 when local artists seriously practiced woodcut printmaking as an art form.
    Chen Chi-Mao, who arrived in Taiwan from Fukien, China, in 1946, is one of the pioneers of Taiwan’s printmaking art. He


A Little Pavement Artist 小畫家, woodcut, 48.5×66.5 cm, 1974

started his creative career in his low teens, never once swerving from art and literature for the rest of his life. Over the years he naturally developed his own unique style. He was good both at printmaking and at oil painting. His Chinese brush painting, never officially shown in public, was admirable, too. Yet printmaking was undoubtedly the genre he devoted his heart and mind to, indefatigably and unfalteringly through the years. It is in printmaking that he achieved the most and left a remarkable artistic legacy. In fact,...


Adapted from Chen Chi-Mao yi-shu chuang-tso hui-ku-chan 《陳其茂藝術創作回顧展》(Chen Chi-Mao’s 2007 Memorial Retrospective), Taichung : National Taiwan Museum of Fine Arts, 2007.


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