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| Excerpt：《時代之眼：臺灣百年身影》 已經不確定是哪一個關鍵字找出這一本以爲自己早就應該讀過的一本書。 書中引用的余光中、楊牧、黃春明的詩文，如同這些攝影作品，最終也會成為百年身影而讓人不斷追憶！ 以下摘要分享。 https://www.tfam.museum/Exhibition/Exhibition_page.aspx?id=404&ddlLang=zh-tw 時代之眼－臺灣百年身影 今年適逢中華民國建國百年，配合臺北市政府文化局所規劃之系列活動，本館策辦「時代之眼－臺灣百年身影」展，邀請資深攝影家莊靈及張蒼松先生共同策展並選件。這次展覽的內容涵蓋自1871年(同治10年)4月，蘇格蘭籍攝影家約翰‧湯姆生(John Thomson, 1837-1921)，來臺灣所拍攝的珍貴臺灣紀實影像，至2010年的當代數位影像作品。預定展出117位攝影家及271件關於臺灣的影像作品。 「時代之眼」除了是照相機的「機械之眼」，同時也代表攝影者在不同時間，對外在世界的眼光與觀點，甚至是個人內在的「心底之眼」，將自己的思緒情感與影像合而為一。因此影像客觀記錄也主觀呈現了臺灣不同時代及地域的種種面向、生活記憶與生命感受。 展覽從1871年4月，英國攝影家約翰‧湯姆生（John Thomson,1837～1921）從廈門搭船來臺灣探險攝影，在高雄、臺南、木柵、六龜等地拍攝的人物及風景照拉開序幕。隨著淸領時期（1871-1894）、日據時期（1895-1948）、國民政府時期（1949-2011）等三個時代的影像，透過140年來生活在這島嶼的原住民、漢人、客家人、傳教士以及近來的新住民等各個不同的族群，從霧峰林家等名門望族、一般常民乃至於弱勢族群，共同經歷大時代改換下的衝擊、民間信仰的活力與風貌、以及天災人禍下的悲憫與重生。透過攝影者的鏡頭，紀錄臺灣先民生活及社會人文發展的軌跡，並生動呈現對時代的責任、生命的尊重、環境的關懷以及追求更為進步與人性的社會願景。 時間 2011/03/26 - 2011/06/26 https://www.books.com.tw/products/0010514569 時代之眼：臺灣百年身影 作者：臺北市立美術館 出版社：臺北市立美術館 出版日期：2011/05 內容簡介 「時代之眼：臺灣百年身影」展出的247件作品中，包括本館60件典藏的攝影精品與187件借展作品，呈現臺灣攝影及影像藝術的本質、發展與脈絡，包括：六○年代的鄉土沙龍以及「現代攝影」的啟蒙、七○年代的報導紀實攝影、及八○年代以來的心象攝影、美術攝影、影像裝置及360度數位影像作品等。 【Excerpt】 〈策展理念〉 從1871到2011，築構臺灣影像長河的人文與藝術篇章 / 莊靈 臺灣攝影博物館預備館籌備會召集人．「時代之眼：臺灣百年身影」共同策展人 去年（2010）五月，臺北市立美術館研究組的李既鳴研究員約筆者見面，轉達北美館為了慶賀建國一百年，擬在今年春季策辦一檔有關臺灣影像百年風情的展覽，希望能邀我擔任策展人。此展無論是對國內的攝影界還是社會大眾來說，相信都是一項極有意義的影像文化活動；而對於筆者個人，更可說是對多年來希望有人能出馬撰寫「臺灣攝影史」的這個期盼，能夠得到某種程度（或角度）具體實踐的機會，因此當時便答應了下來。可是事後一想此展茲事體大，惟恐個人想法及顧慮不夠周延而留下遺憾，因此便向主辦單位建議，邀請曾為國美館撰寫「四十年來臺灣攝影發展研究」論文、同時也是著名的紀錄型報導攝影家張蒼松先生，擔任共同策展人；這便是蒼松兄和筆者共同與北美館相關同仁，協力策辦這檔「時代之眼：臺灣百年身影」大展的緣起。 …… 邀請詩人和作家共襄盛舉 這個展覽在影像作品之外，還有一項特別值得一提的，那就是我們邀請了兩位著名的詩人余光中先生和楊牧（王靖獻）先生，還有名作家黃春明先生也一同參與展出；就是請他們把對於展出某部影像的感覺，寫成詩句、寫成文字，在會場也同時讓觀眾欣賞。之所以有這樣的構想，是筆者對1955年由攝影大師史泰欽為紐約現代美術館所策辦的一檔曾經巡迴全世界的重要攝影展「人類一家」的展覽方式留下深刻印象，因為他們在展出會場，除了精采的影像作品外，中間更安排了著名詩人或文學家、哲學家、甚至科學家，像喬艾斯、史克里亞賓、莎士比亞、柏拉圖、荷馬、羅素、愛因斯坦和中國的老子等人的精鍊文句，不僅使展場增加視覺上的變化，更因這些飽含人生哲理的文學性文字，而加深了整個展覽的厚度和高度。這一次在余光中、楊牧和黃春明三位大家的加持之下，必定能讓整個展覽更為深刻動人。 瑰奇的祖母綠 Astonishing Emerald 最初是葡萄牙人的瞳孔 反映這美麗的海島 驚呼了一聲Ilha Formosa ! 一塊瑰奇的祖母綠 用潔白的浪花鑲嵌 別在南中國海的胸前 讓西班牙與荷蘭的水手 都望呆了眼。羽禽起落 鹿角出沒，帆檣來去 最後是明末孤憤的大纛 由北望的國姓爺升起 但這寶島的魂魄，第一眼 被攝影機善憶的鏡頭 捉住，卻是在十九世紀 同治十年，那就是清朝了 多少追思要回溯，都是從 斷垣頹壁，不斷倒帶又停格 The first time the pupils of Portuguese eyes Reflected this beautiful island, They shouted in amazement: Ilha Formosa! An astonishing emerald Inlaid with white waves Pinned on the breast of the South China Sea That made the Spanish and Dutch sailors Stare baffled. Birds took flight and landed, Deer antlers appeared and vanished, ship masts came and went. Finally, hoisting a banner of indignation at the fall of the Ming, Came Koxinga, gazing toward the north. But the first time the spirit of this treasure island Was captured by the long-memoried camera lens Was in the 19dh century, The tenth year of the Tongzhi Reign-that was the Qing. So many recollections trace back to ruins, Constantly rewind and stop. ——余光中 Yu Kuang-chung 攫住美與滄桑 Clutching at Beauty and Vicissitudes 黃龍旗換成了紅心旗 為島神勾魂攝魄 也換了鳥居龍藏，八百張 玻璃乾版底片，鏡頭朝北 從打狗到六龜，沿著荖濃溪 到臺北府、內埤、大稻埕、淡水 你見過有人站在戶外 張大了口讓醫生拔牙嗎 泛黃的老照片說，它見過 馬偕大夫甘心做山寨醫師 你見過萬華戲院沒屋頂嗎 黑白的舊照片說，慶祝上梁 賀客濟濟都擠在鷹架岌岌 從林草到張照堂，從郎靜山 柯錫杰到莊靈，多少快門 把善遁的時光攫住，為我們 珍藏了臺灣之美與滄桑 Exchanging the flag of the Yellow Dragon for the flag of the Rising Sun Capturing the soul of the island god Along came Torii Ryuzo, eight hundred Glass negatives, lens pointed north From Dagou to Liugui, along the Laonong River To Taipei, Neibi, Dadaocheng, Danshui Youve seen people standing outside Mouths wide open for the dentist pull a tooth? The yellowed photo says, it has seen Old man Mackay dutifully doctoring in the mountain hamlet Have you seen Wanhua Theater without a roof? The old black-and-white photo says, lets celebrate the raising of the roof beam The many celebrants crowded under precarious scaffolding From Lin Tsao to Chang Chao-tang, from Lang Jing-shan Ko Si-chi to Chuang Ling, how many shutters Have captured fleeting time, Enshrining for us the beauty and vicissitudes of Taiwan ——余光中 Yu Kuang-chung 喚醒時代的記憶 Awakening the Memories of the Times 每一個人隨著歲月流轉，個人的記憶就像攝影機，紀錄了時代的、社會的、以及個人的。這一連串的記憶，有的深刻，有的逐漸淡化，乃至遺忘，那是隨個人的內在與外在的條件所產生的差別。不過在這過程，一般人大致上是一樣，像電影剪接。舊有的經驗銜接新來的經驗，一個淡出，一個淡入，有時重疊，又有時新的經驗以切入，舊有的就被逼退，當農業社會一逝去，新的就密集著來，舊有的也就遺忘了。好多的人、事、物，也因為這樣的過程讓我們遺忘不少，有的從此失去記憶，有的卻等著被喚醒。在這些影像中，驚喜的是有好多寶貴的記憶被喚醒了。有的已經遺失，又被找回的，這是何等慶幸的事啊！若沒有這些攝影家，為時代，為我們社會留下這些寶貴的影像，我們回頭也望不到來時路，也不再記得當時的精神與人文。因此，對年輕的一代，提供了繼承的過去。 We all flow with the current of time. Every individual’s memory is like a camera, recording those things that belong to the times, society and themselves. Along this string of memories, some are deeply engraved, while others gradually diminish or even disappear, according to the differences that arise between an individual’s inner and outer conditions. Yet in this process, most people are basically the same, like the editing of a film. Old experiences segue into new ones. One fades out, another fades in. Sometimes they are superimposed. Sometimes a new experience cuts in, forcing an old one out. When agrarian society came to an end, a throng of new experiences crowded in, and the old ones were forgotten. And because of such a process, many are the people, events and things we have forgotten. Some have been lost, others await awakening. In these images, surprisingly, many precious memories have been awakened. Some have been lost and then called back. This is such a fortunate thing! If not for these photographers, leaving these precious images for the ages and for society, we could not turn our heads and view the road of time behind us, and would no longer recollect the way of life and the spirit of days gone by. They have provided a past for the younger generation to inherit. ——黃春明 Huang Chun-ming 島嶼記載 Orchid Island 海上忽然更亮了，太陽已經露臉。在閃閃的光明下，我看右前方多礁石的水面，白浪彷彿剛剛醒來，沙灘上有兩個雅美人正在一條木舟裏工作，遠看好像是在綑紮著甚麼。然後他們跳出舟外，合力將木舟推向水邊，一個先上了木舟，把住雙槳，另外一個用力向前一推，舟裏的人迅速使槳，木舟駛出丈餘，外面那人涉水翻進木舟，隨即坐好，一片大浪湧來，木舟竟被打橫，但那使槳的人好不堅毅，他不停地划著，木舟終於搶過大浪向前滑去。這時海浪還是繼續湧來，但它已經不能將木舟驅回沙灘了。使槳的人用力在划，和著自然的韻律，木舟載浮載沉·在晨光裏閃過羅列的石礁，放向大海。 The sea suddenly brightens. The sun has shone its face. Under the sparkling light, I look at the surface of the water, up ahead and to the right where there are many reef rocks, and the white waves seem to have just awakened. On the beach two Yami people are working in a canoe. From a distance, they seem to be tying something up. Then they leap out of the canoe, and together they push the boat toward the water. One jumps back into the canoe and grabs two paddles, while the other pushes it forward with all his might. The man in the boat works the paddles swiftly, rowing out ten feet or more. The man outside the boat runs through the water and flips himself into the boat, and then he sits upright. A big wave rushes up, pushing the boat sideways. But the man with the paddles wont relent. He paddles and paddles, and the boat finally hurdles over a big wave and slides forward. The wave keeps surging onward, but it no longer is able to drive the boat back to the beach. The oarsman paddles hard, in synch with the rhythm of nature. The canoe floats up and sinks down. Weaving through the rocks in the early morning light, they set out into the open sea. ——摘自楊牧，〈島嶼記載〉，1978 Excerpted from "Orchid Island Notes" by Yang Mu, 1978 綠湖風暴 Green Lake Storm 讓我靜下來俯視自己，離開了無名的綠色湖泊，離開了照亮自己的心靈的水涯，拾野菜的日子，撿稻穗的日子，摘橄欖的日子，捕麻雀的日子。漫天的蜻蜓在荊棘林上飛旋，果園，酒店，宗祠——我看見那村莊·線裝書裡的村莊。 Let me settle my heart and gaze down on myself. Ive left the nameless green lake. Ive left the waters edge, where my spirit was illuminated, the days of gathering wild greens, the days of reaping rice, the days of picking olives, the days of capturing sparrows. A skyful of dragonflies circle above the forest of briars. The orchard, the tavern, the clan temple - I see the village, the village in the thread-bound book. ——摘自楊牧，〈綠湖風暴〉，1963 Excerpted from "Green Lake Storm" by Yang Mu, 1963 孤獨 Solitude 孤獨是一匹衰老的獸 潛伏在我亂石磊磊的心裏 背上有一種善變的花紋 那是，我知道，他族類的保護色 他的眼神蕭索·經常凝視 遙遙的行雲，嚮往 天上的舒卷和飄流 低頭沉思，讓風雨隨意鞭打 他委棄的暴猛 他風化的愛 孤獨是一匹衰老的獸 潛伏在我亂石磊磊的心裏 雷鳴刹那，他緩緩挪動 費力地走進我斟酌的酒杯 且用他戀慕的眸子 憂戚地瞪著一黃昏的飲者 這時，我知道，他正懊悔著 不該貿然離開他熟悉的世界 進入這冷酒之中，我舉杯就唇 慈祥地把他送回心裏 Solitude Is a Decrepit Beast Lurking in the disordered rock heap of my heart A shifting pattern on his back Right then, I knew, the protective coloration of his kind His eyes desolate, often gazing The distant drifting cloud, longing Curling and floating in the sky Head lowered in thought, letting the wind and rain lash at will His vanquished ferocity His blown-away love Solitude is a decrepit beast Lurking in the disordered rock heap of my heart A thunderous instant, he slowly moves Laboriously entering my pensive wine cup And with his loving eyes Sorrowfully stares at the dusk drinker Right now, I know, he is regretting Rashly leaving his familiar world And entering this cold wine — I lift the cup to my lips And gently send him back to my heart ——摘自楊牧，〈孤獨〉，1976 Excerpted from "Solitude" by Yang Mu, 1976 比語言更真實可靠的肖像 Portraits More Real and Reliable than Words 肖像是無聲的語言，往往比語言更真實可靠，從人物顏面表情，乃至於手腳肢體等等，在快照的鏡頭下，都誠實地透露被攝影者的境遇和狀況。這些情形，出現在某個年代，某個社會，或其他場域。呈現出來時，它都可以告知當時的他者，或是存在歷史檔案中。亦可以讓後來的人，深刻地了解肖像人物的處境，以及肖像人物的精神面貌。 Portraits are a silent language, often more real and reliable than words. From the expressions on peoples faces, or even their hands or feet or bodies, a snapshot honestly reveals the circumstances and the state of the photographed subject. These situations occur in a certain era, a certain society, or other milicus. When manifested, they can all inform others living at the time, or be stored within the vaults of history. They can enlighten those who come after, allowing them to deeply understand the conditions, and the psychological states, of the people portrayed. ——黃春明 Huang Chun-ming |
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