Winter 2007  |
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CONTENTS |
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| AUNT ICE, AUNT SNOW— in memory of two beauties in the Water
family 冰姑，雪姨—— 懷念水家的兩位美人 By YU Kwang-chung 余光中 Translated by the poet |
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SEASIDE WASTELAND 海濱荒地 BY CHEN I-chih 陳義芝 Translated by John J. S. BALCOM 陶忘機 |
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| DESOLATION 悲涼 BY Hsiao Hsiao 蕭蕭 Translated by John J. S. BALCOM 陶忘機 |
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| FORTUNE AJAR 緣無緣 BY Hsiao Hsiao 蕭蕭 Translated by Zona Yi-Ping TSOU 鄒怡平 |
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| SOUND CHANGE IN TAIPEI 音變台北 BY Chen Tien 陳填 Translated by Shou-Fang HU-MOORE 胡守芳 |
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| RELUCTANT TO WAKE UP 捨不得醒來 BY Chen Tien 陳填 Translated by Shou-Fang HU-MOORE 胡守芳 |
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| TURTLE PEOPLE 烏龜族 By WU Chin-fa 吳錦發 Translated by Mark I. HAMMONS 何邁 |
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| BUTTERFLY PSYCHIC 有請蝶仙 By Ah Sheng 阿盛 Translated by Darryl STERK 石岱崙 |
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| THE PARTY GIRL 酒會的女人 By LIN Tai Man 林黛嫚 Translated by David van der Peet 范德培 |
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| NATIVIST CHARM IN THE COLOR-INK PAINTINGS OF CHUANG
PO-HSIEN 莊伯顯的台灣鄉土彩墨畫 By Carlos G. TEE 鄭永康 |
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| NEWS & EVENTS 文化活動 Compiled by Sarah Jen-hui HSIANG 項人慧 |
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| NEW BOOKS BY OUR MEMBERS 會員新書 | |
| NOTES ON AUTHORS AND TRANSLATORS 作者與譯者簡介 |
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| APPENDIX : CHINESE ORIGINALS 附錄 ：中文原著 | |
| GODDESS MATSU ON PROCESSION
台灣媽祖出巡, gouache on silk,72 × 90 cm, 1985 ...............COVER |
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| MATERNAL LOVE 母愛,
gouache on silk,72 × 53 cm, 1984.....BACK COVER By CHEN Chin 陳進 |
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NATIVIST CHARM IN THE COLOR-INK PAINTINGS OF CHUANG PO-HSIEN by Carlos G. TEE 鄭永康
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Second week into his admission to the Chiayi Normal
College, Chuang Po-hsien applied to join the school’s Chinese
Painting Guild. On that fateful afternoon in 1971, he saw a
“black painting” hanging on one wall of the guild room. Little
did he know that this experience of surprise and curiosity would
determine the course of his studies and future career.
and whose vibrancy often rivals the Fauvist in passion and persuasion.
Over the course of his painting career, Chuang has developed
a colorful palette along the lines of modern-day Chinese
painters such as Lin Feng-mian 林風眠, Liu Hai-li 劉海栗, Hsu
Pei-hung 徐悲鴻and Wu Kuan-chung 吳冠中, among others,
who had earlier assimilated and incorporated Western concepts
on painting. As a graduate student at the Fine Arts Department
of the National Taiwan Normal University, he was also deeply
influenced by his teacher, Cheng Shan-hsi 鄭善禧, a contemporary
master of color-ink painting known for his brilliant techniques
of combining traditional ink with color pigments and
acrylic. Just like Chuang who highly favors the Taiwanese landscape,
Cheng thought that the faint hues commonly used in traditional
painting are far too soft to depict the bright colors of
Taiwan’s sub-temperate mountains and hills. Chuang himself is
convinced that color-ink paintings will be much favored in 21st
Century Taiwan as they better reflect the trends of the times.
Ink and colors are adeptly combined to achieve perspective, volume
and depth in Chuang’s paintings. To create this effect,
black ink serves as the foundation on which brilliant colors are
applied, sometimes in multiple coatings to create the illusion of
dimension. Black ink is also used to highlight objects’ outlines,
create shadows and achieve visual density. This explains why
black ink appears almost luminous and the colored parts more
robust in Chuang’s works. In his Bountiful Harvest
from the Golden Fields 金黃大地樂豊年, this skillful melding of ink
and color techniques is shown in the way the plantains,... |
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