章節試閱
客家人的祖先來到臺灣時,比閩南人晚了將近200年,因為當時平原土地幾乎已被開發殆盡,為了生計只好往尚未開發之山邊丘林地帶,尋找窪地開田種稻。該田園看起來雖景緻美好,但是耕種工作上有諸多不便,歲月如梭,數百年來客家人就這樣養活了自己,也繁衍著代代子孫。
Hakka migrated to Taiwan almost two hundred years after the Hocklo arrival. Most of the plains had been exploited at that time. The Hakka had to seek possibilities on those unexploitd hillsides and mountains. The mountains presented beautiful sceneries. However, they were not exactly the best places for cultivation. A few hundred years flew by, the Hakka survived in spite of the difficulties.
客家先民於非農忙季節,於河岸撈魚抓蝦,形成農漁兼作的海客文化,在窮則變,變則通的情況下,先祖到溪邊尋找魚、蝦、螺、貝,補充食物來源,採集現地石材堆疊石塭,以歷久彌新的古老智慧,編織網具,清楚明確網住魚群,豐收滿載而歸。為求生存適應環境努力打拚。
During the non-agricultural season, Hakka ancestors fished and caught shrimps on the banks of the river to form a seafarer culture of both farming and fishing. In the case of poverty and change, the ancestors went to the brook to find fish, shrimps, snails, and shellfish to supplement food sources. They would also collect stone piles in the existing site, weaving nets with time-honored ancient wisdom.They would also use nets to catch fish, returning with a full harvest. They strove for survival and adapted to the environment.
樹木的開花結果,長成樹林,再砍伐作板製作房屋材料是 一段艱辛的危險過程。伐木工人怎麼鋸樹,怎麼搬運樹木下山,胼手胝足、出入險峻的深山,開發山林資源,與大自然搏命的工作,留下台三線開發的血淚點滴。
The flowering of trees, trees grow into a forest, and the cutting and production of housing materials are a difficult and dangerous process. How do the lumberjacks saw the trees? How to carry the trees down the hill? Unite to work together, they would go in and out of the mountains, develop the forest resources and fight with nature, leaving the blood and tears of the development of the 3rd Taiwan provincial road.
早期客家先民,在臺灣南部水稻田初期除草時,採站式者需各拿一枝竹棍,以保持身體的平衡;而腳跟在稻叢間向前及向後各推一次,又在稻叢間向斜前及向斜後轉成8字形,而非7字形;最後用腳掌抹平稻叢間之土,即算完成乾坤。
Earlier in southern Taiwan, Hakkas weeded the fields by standing with a stick in hands to balance themselves. They stood on one heel between the rice seedings, moved forward and backward once, and slightly turned to the sides writing in the figure 8 but not 7 with their foot. After that, they flattened the eath with the sole of the feet thus completing the weeding process.
日本佔領臺灣,當時經營製糖業部不但可以滿足日本國內之需求,而且在國際市場也佔有一席之地,其獲利雖高,但臺灣種植之農民卻未能得到相對之利益,日本為確保其原料甘蔗,乃頒布「糖蔗甘蔗」禁食令,以禁止原料無謂之消耗,間接影響經營之利益。
Taiwan's sugar industry played an important role in the markets of Japan and the world during Japan's occupation of Taiwan. The high profits notwithstanding, sugar cane farmers did not benefited accordingly. The Japanese colonial government prohibited the consumption of "sugar-making canes" to ensure a steady supply of them. Troops were sent, therefore, to guard the sugar canes from people as if they were national treasures.
1920年代以前,臺灣均以手工製茶,首先將手工採好之茶葉,經晾乾後即置於鍋中溫炒,炒後最重要的過程為搓揉,當時沒有機械全部用腳掌相互搓揉而成,至於衛生情況就不能以現代的標準來衡量了,不過可以確定的是,當時內外銷想用過的人都健康無虞,且對其香郁讚美有加。
Before 1920, Taiwan teas were all made by hand. The plucked leaves were pan-fried after being aired in the open air , and then kneaded by the soles of the feet. Although this process of production might not be considered as hygienic by present standard, those who enjoyed the teas remained healthy for sure, and all praised highly of their taste and aroma.
客家人相信風水,蓋房造屋講究選擇風水寶地。大都會選擇由高朝低,坐北朝南,依山面水的地方。選好宅地後,按需要進行平整地基,便可起工建屋。一般由風水先生擇日,主要是起工、上樑、砌灶、進火這四個環節,一定講究良辰吉日,不能與家人命格相衝,按習俗舉行儀式也不可少。
The Hakka people take the art of Feng Shui so seriously that it even impacts the construction of their houses. Much effort was often spent on making sure the land had good Feng Shui, its depth, or what direction it faced. In a metropolitan area, the ideal house would be built high to low and would both face south and have water to the front of it and a mountain to the back. Even after finding such a fortunate area, however, the work of building the house was still to come. It would begin on an auspicious day specifically divined by a Geomancer, and would take place in four stages: the foundation, the upper beam work and masonry, the stove, and the fire ceremony. Of these procedures, the geomancy was exceptionally important, as bad luck would fall upon the work if the day clashed with one of the family member's eight characters.
客家人對於男女一向持平等互敬之觀念,「男大當婚,女大當嫁」時,為人父母者均遵照傳統嫁娶禮法,循規合矩,心謹必慎,祭天告祖,來完成兒女的終身大事。男方甚且還會備酒肉菜餚,送往女方家敬其內祖。
客家人對結婚之意義,注重「二姓好合」與「承先啟後」之意義,結婚成為貫通橫面之異姓家庭與縱面的祖宗與子孫之大事。傳統的客家婚俗務需經過議婚、過定、送日子、親迎等四過程。
The Hakka people prized equality and respect between men and women, but even they had their gender roles; "When the man takes a wife, she is married into his household." Such was the traditional marriage that the people were held to obey. For such a serious affair, which would be the most important day for the children, caution had to be held just as close, lest the emotions of the heart drive the man to making an ill thought out choice. Upon making his decision, the ancestors would naturally need to be informed and often the man would prepare his finest offerings of wine and food to send to the woman's family for the ancestors table.
In the Hakka imagination a good marriage contained the auspicious coupling of two compatible family names, a good inheritance, and a bright future made possible by a new relationship. In the traditional custom, marriages were performed through four processes marriage negotiation, auspiciously timed engagement, an auspiciously timed marriage ceremony and the welcoming of the bride. Each process was performed with duty and care, as the marriage was a grand affair for both families that opened the way for numerous future generations.
客家人的祖先來到臺灣時,比閩南人晚了將近200年,因為當時平原土地幾乎已被開發殆盡,為了生計只好往尚未開發之山邊丘林地帶,尋找窪地開田種稻。該田園看起來雖景緻美好,但是耕種工作上有諸多不便,歲月如梭,數百年來客家人就這樣養活了自己,也繁衍著代代子孫。
Hakka migrated to Taiwan almost two hundred years after the Hocklo arrival. Most of the plains had been exploited at that time. The Hakka had to seek possibilities on those unexploitd hillsides and mountains. The mountains presented beautiful scener...
推薦序
客家委員會主任委員 李永得序
春雷乍響,萬物甦醒,在此春暖花開的季節,欣聞客籍畫家余秀雄先生的畫作即將集結出版,他憑藉著自幼對繪畫的興趣,於中年事業有成後,無師自通,開始從事創作,題材多半來自於對客庄農村生活的紀錄,不僅將鄉土景物刻劃得維妙維肖,更將客家人勤奮打拼的精神表露無遺,實令人感佩。
本畫作收錄了余先生自1995年到2017年間的作品,並由文化大學莊麗華教授,以藝術觀點述說每一幅作品的內涵及時代意義,深刻描繪出先民渡海來臺、辛勤捕魚耕作、築屋、嫁娶、過節及各種生活點點滴滴的經過,除了可作為愛好臺灣藝術文化者學習的典範,也提供了社會大眾看到臺灣早期社會的常民文化圖像。
余先生的作品不但呈現濃厚的鄉土氣息,也畫出客家人的硬頸與堅毅精神,如果人人都能有余先生憨直的勁道,並將身邊的人、事、物記錄下來,相信處處有客家的身影;同時亦可透過政府與民間的通力合作,以多元方式行銷推廣,讓更多人認識客家、愛上客家,才能使客家文化永續傳承與發展。
值此畫作付梓之際,藉勉勵優秀的客籍藝術家余秀雄先生,特為之序。
前台灣省主席趙守博序
今天大家大多數人之所以能夠悠遊自在地過著民主自由而不虞匱乏的生活,都是靠著前人努力奮鬥流血流汗而來。我們除了應珍惜這種得來不易的果實外,更應該延續這股努力不懈的精神,並為這種精神發揚光大。余秀雄先生正是致力於此種延續和發揚的非常有代表性的人物之一。
結識余秀雄先生是在民國八十七年的一次台北畫展上。當時我深為他的頗具鄉土意涵與精神的畫作所吸引。不久,我就到新竹竹東他的工作室去拜訪。對於這位自學而成的鄉土畫家之獻身畫藝、努力刻畫客家族群傳統生活及客家族群的打拚和貢獻的作為、表現和成就,深感敬佩,也留下極深刻的印象。自此與余先生成了時常連繫的好朋友。也經常應他之邀觀賞他的畫展。
欣悉秀雄先生即將出版一《先民過台灣─鄉土風情畫》畫冊,將多年來相關的畫作,集成專冊,付梓問世,誠為愛好鄉土畫作及對客家風土人情有興趣者之一大福音。細閱余秀雄先生的畫作說明,可以看到這本畫冊充滿了人性的喜怒哀樂,智慧與巧思,極具教育意義與啟發性。
繪畫能夠讓人美化生活、安定情緒,因此建議,對繪畫有興趣的朋友,不妨以余秀雄先生為榜樣,走出室外,到處走走看看,體驗各種風土人情,回到家後就執起畫筆將所見到的生活中的人與事畫出來,相信一定會使自己的生活更充實。
我恭喜此一畫冊的出版,也向大家鄭重推荐此一非常有內涵的畫冊。
客家委員會主任委員 李永得序
春雷乍響,萬物甦醒,在此春暖花開的季節,欣聞客籍畫家余秀雄先生的畫作即將集結出版,他憑藉著自幼對繪畫的興趣,於中年事業有成後,無師自通,開始從事創作,題材多半來自於對客庄農村生活的紀錄,不僅將鄉土景物刻劃得維妙維肖,更將客家人勤奮打拼的精神表露無遺,實令人感佩。
本畫作收錄了余先生自1995年到2017年間的作品,並由文化大學莊麗華教授,以藝術觀點述說每一幅作品的內涵及時代意義,深刻描繪出先民渡海來臺、辛勤捕魚耕作、築屋、嫁娶、過節及各種生活點點滴滴的經過,除了可作為愛好...
作者序
歷史的腳步、環境的改變猶如流星穿月,既快速又令人扼腕不已,客家文化的推廣傳承無法靠小眾的力量而獲得成效,需要大家的珍惜傳承,為後生保留前人生活的奮鬥生命過程,讓淵遠流長的客家精神永垂不朽。我在2011年因為策畫了「客家的礱榖與舂米記憶」的特展與出版而認識了余秀雄畫家,走進他的畫室映入眼簾的每一幅畫讓我猶如走進懷舊的時光長廊,令我好奇著每一幅畫所描繪的故事。
有別於現代畫家的抽象畫風,余秀雄的畫筆下,揮灑的盡是臺灣目前幾乎是消逝的景象,他憑藉著自身的經歷與腦海的記憶,一筆一筆的「寫實」下來,許多的長者目睹此畫風,更加心有戚戚焉,畫風裡的人、事、物,正是喚醒他們在青少年時期,生活的困苦、忙碌的農村生活、滿山飛鳥、清澈河流滿佈魚蝦的點滴記憶,而如今,這些光景卻不復在,難怪有人說余秀雄先生是用「畫作」在寫「歷史」,「畫」的是「記憶」,「寫」的是「感觸」。
從小就喜歡繪畫的他,因家境貧窮,所以無法聘得好師尊,讓出生在苗栗苑裡的他,從此隨著父親從事廟宇及四合院的建築工作,溪田的鄉村景致,隨著外出工作日復一日的映入眼簾,那涔涔的流水,呼應著天空上翱翔天際的飛鳥,鳥媽媽忙著為嗷嗷待哺的幼鳥而覓食,田裡的牛隻,也因太陽的升起拖動那沉甸甸的牛軛,這一幕幕的光景,造就了他五十二歲開始作畫的題材。
憑著兒時記憶,他將頭擺的懷舊情景描繪在畫布上,採訪中他說起當初與家人到三義火炎山下,撿拾木材生火煮飯、割草餵牛,以及火炎山的猴群,所以早期的余秀雄大部分的畫都是三義火炎山,像「菜花田」、「採收」、「慶豐收」、「牛拉水車」都屬此類,他的畫風純真自然,用色濃烈明亮,彷彿在畫裡,慢慢的在透露他對往日鄉村生活的濃郁情感,尋找自己的心靈寄託。
現年七十八歲的余秀雄仍然滿腔熱血持續創作,累積畫作已有上千幅,每一幅的景象現在幾乎都看不到了,鄉土伯畫家余秀雄致力於歷史還原的寫實畫作,讓後人感觸客家族群的精神,再現先民的智慧,見證過往今來的河川橋樑、稻作農耕、生活文化,的確是部淵遠流長的臺灣開墾紀錄。本書並非一嚴謹的學術論著,也非藝術家的個人畫冊,旨在用通俗的行文簡述先民的過往智慧與消失的文化,讓我們一起走過懷古時光隧道,熱愛這片美麗的土地。
歷史的腳步、環境的改變猶如流星穿月,既快速又令人扼腕不已,客家文化的推廣傳承無法靠小眾的力量而獲得成效,需要大家的珍惜傳承,為後生保留前人生活的奮鬥生命過程,讓淵遠流長的客家精神永垂不朽。我在2011年因為策畫了「客家的礱榖與舂米記憶」的特展與出版而認識了余秀雄畫家,走進他的畫室映入眼簾的每一幅畫讓我猶如走進懷舊的時光長廊,令我好奇著每一幅畫所描繪的故事。
有別於現代畫家的抽象畫風,余秀雄的畫筆下,揮灑的盡是臺灣目前幾乎是消逝的景象,他憑藉著自身的經歷與腦海的記憶,一筆一筆的「寫實」下來,許多的長者...
目錄
序
前言-日治的農村歲月
壹、過番臺灣Overseas Crossing to Taiwan
先民過臺灣
登陸尋找棲身處
短暫休息
墾荒除草
落腳搭建茅草屋
穩當改搭石頭屋
貳、黏黏有魚Plenty of fish year after year
石擋魚蝦
網撈魚蝦
河壩堵魚
魚籠抓魚
肩挑魚籠滿載歸
混水揜魚
混水撈魚
堆石網魚
參、山林傳奇Legends of mountains and forests
開山闢林
開火路
圍燒殘枝落葉
開坡地成梯田
揩砂作田
開田作隄測地平
移石填土整田園
撬大石
扛大石
開墾埔園
掩埋凸出大石
肆、藍衫倒影Reflection of the blue shirts
客家風情除草
婦女犁田
草剷之後短暫休息
婦女用赤牛犁田
婦女橫田
黃牛運稻穀渡河
婦女洗衣
拉木馬
輕便車運木材
打鐵店
水碓樁米
伍、望蔗興嘆Looking at sugarcance and lamenting
怕人偷吃派兵保
日本仔監糧送戰場
賣甘蔗情報站
採甘蔗要趁早
收甘蔗吃點心
老鼠偷吃甘蔗
輕便車運甘蔗
雲林虎尾糖廠
蔗部加工製糖
牛拉木輪夾蔗汁
輕便車運稻穀
陸、採茶山歌Folk songs of teapicking
山上採茶
牛拉水車灌溉
採收蕃薯
挑豬菜蕃薯上街賣
牛童比功力
挫蕃薯籤餵六畜
母雞護子戰鷂婆
挑水入水缸
山峰百年茶亭
臺灣新竹38縣道百年茶亭
水力壟間
臺灣純種土狗
臺灣火炎山獼猴
猴 洞
猴群歡樂慶豐收
燒火炭
原始水力製材所
榨油車間
竹製閘門口
牽豬哥
日治時代強徵民豬
偷殺豬
石炭礦場
柒、代代相傳Plenty of fish year after year
羅經點龍穴
遷地擇良居
壘盤石地基
牛拉石渡河
壘牆腳
槌石灰壘磚柱
建屋壘圓拱門
新屋上樑
木匠取材鑿榫頭
釘角板
夯土築牆
屋頂揜瓦
抹牆壁
搬 屋
捌、純風樸俗Pure and simple customs
搬家入新屋
喜慶撐桌椅
磨 粄
年節喜慶同樂做粄
童養媳揹幼夫撈飯
新居禧慶請客
迎娶親
迎娶新娘
早期山腳市集
新娘入門辦囍事
新娘與雞拜堂
老鼠迎親
輕熟女嫁幼童郎
苑裡慈和宮圓醮
義民廟會讚中元節
施 善
客家謠船
桐花之喜
全家福
靜 物
台灣豐盛百菓
蘭 花
畫者重要典藏紀錄
版權頁
序
前言-日治的農村歲月
壹、過番臺灣Overseas Crossing to Taiwan
先民過臺灣
登陸尋找棲身處
短暫休息
墾荒除草
落腳搭建茅草屋
穩當改搭石頭屋
貳、黏黏有魚Plenty of fish year after year
石擋魚蝦
網撈魚蝦
河壩堵魚
魚籠抓魚
肩挑魚籠滿載歸
混水揜魚
混水撈魚
堆石網魚
參、山林傳奇Legends of mountains and forests
開山闢林
開火路
圍燒殘枝落葉
開坡地成梯田
揩砂作田
開田作隄測地平
移石填土整田園
撬大石
扛大石
開墾埔園
掩埋凸出大石
肆、藍衫倒影Reflection of the blue shirts
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