Taiwan Panorama 2018 Jul

全球．在地．人文
中華民國107年7月第43卷第7期
中英文北美版
Vol. 43 No. 7 July 2018
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
7
遇
見
異才
將建築融入地景的實踐家
騎行新竹林業軌跡
重啟出版的南方之門
文 ‧
鄭問
學
Encounters with
Austronesian
Cultures
建議售價
NT$150
US$5
HK$40
¥600
螢光漫舞
Dance of the Fireflies

圖／文‧林格立　版面設計‧王敬勛
栗三義的忘憂谷是熱門的
苗賞螢聖地，這裡的山林沒 W angyou Valley in Miaoli County’s Sanyi
Township is a popular place for watching
fireflies. The pristine mountain forests provide the
有人為的破壞，提供了螢火蟲
絕佳的生長與繁殖環境。 best possible habitat for fireflies to live and breed.
入夜後點點螢光一閃一閃， After night falls, the blinking dots of biolumin
宛若在跳一曲愛的華爾滋。 escence move as if dancing a waltz of love.
(photo and text by Jimmy Lin/tr. by Phil Newell)
編人的
編者絮話語
台灣‧東南亞文學火花
文．陳亮君
中華民國107年7月1日出版（月刊）／
中華民國65年1月1日創刊
台灣被南島語族稱之為「南島的母親」，灣，領會在地之美；「影像對話」單元則
出版者光華畫報雜誌社除了與東南亞島群的原住民系出同源外，華前往馬祖北竿，用畫面呈現「擺暝文化祭」
發行人／吳釗燮
Publisher: Jaushieh Joseph WU
社長／陳銘政人移民、列強殖民、熱帶氣候與海洋的親近的民俗文化盛典，以及島上特殊的建築形
Director: Henry M.J. CHEN
總編輯／陳亮君（代理）
Editor-in-Chief (acting): Ivan CHEN
性⋯⋯等，都與東南亞有著共同的文化因式與人文景觀。
副總編輯／陳亮君
Deputy Editor-in-Chief: Ivan CHEN 子，而這些養分也化作文字，展現在豐富的同樣體現在地之美的，還有甫獲第20屆國
文稿主編／曾蘭淑
Editor: Esther TSENG
文稿副主編／郭玉平
出版品上。家文藝獎及第3屆總統創新獎的建築師黃聲
Deputy Editor: Camille KUO
文字編輯／鄧慧純陳群芳蘇俐穎本期《光華》邀請參加文化部所舉辦「赤遠，他用人文度量建築，足跡遍及宜蘭各個
Writers: Cathy TENG, CHEN Chun-fang,
Lynn SU
版面主編／胡如瑜
道二三五‧東南亞文學論壇」的越南作家鄉鎮，把對土地的熱愛，毫無保留的用「建
Director of Layout: HU Ju-yu
美術編輯／蕭郢岑王敬勛保寧（Bao Ninh）、印尼作家亞悠．烏塔米築」呈現。
Art Editors: HSIAO Ying-tsen, Henry WANG
攝影組召集人／莊坤儒
Photographic Coordinator: CHUANG Kung-ju （Ayu Utami），和台灣作家房慧真對談， * * *
攝影組長／林格立
Photographic Director: Jimmy LIN
攝影編輯／林旻萱
藉由彼此間的交流互動，讓文學突破疆域，藝術的影響力無遠弗屆，已故漫畫大師鄭
Photojournalist: LIN Min-hsuan
英文編輯／陳瑩潔唐樂榕倪凱駿展現對生命的關懷。問，他的足跡遊走台灣、日本、香港、中國
English Editors: Audrey CHEN, Robert TAYLOR,
Phil NEWELL
日文編輯／山口雪菜施家騏
此外，繼2007年以後，台灣再度獲邀成大陸，其漫畫風格在漢字文化圈內獨樹一
Japanese Editors: YAMAGUCHI Yukina,
Shila SHIH 為曼谷國際書展的書展主題國，讓《光格，並啟發了整個世代的創作者。讓我們回
印尼文編輯／陳德銘
Indonesian Editor: Temmy WIRYAWAN
越南文編輯／武秋香
華》採訪團隊深入展區，報導第一手之國顧鄭問一生對於畫作的堅持與創意，也透過
Vietnamese Editor: VU Thu Huong
資深行政編輯／段蜀華際文化交流現況，而台灣這些出版品的幕他徒弟的貼身觀察，讓我們一窺大師的迷人
Senior Administrative Editor: DUAN Shu-hwa
總監／鍾宜蓉後推手們，有什麼樣的理念與想法，亦是此風采。

Marketing Director: Carianne CHUNG
業務協理／陳俊偉
Deputy Manager: CHEN Jyun-wei
次報導的重點。從政府到民間，在這一波波讓藝術廣傳的，還包括在國際藝壇佔有一
綜合服務組長／陳淑英
Chief of General Affairs: CHEN Shu-ing 新南向的浪潮中正不斷地前進，期盼開闢席之地的作曲家兼指揮家金希文，其個人創
綜合服務組／李淑慧
General Affairs: S.H. LEE
發行組／何世隆
出不同以往的嶄新境界。作體現了台灣近30年來音樂創作之發展面
Circulation: HO Shih-lung
* * * 貌。此外，外交部與文化部共同在紐約、
社址／中華民國台灣台北市10051中正區天津街2號
Address: No. 2, Tianjin Street, Taipei 10051,
Taiwan, ROC
此次「島嶼行旅」單元特別以縣道122線華盛頓與新加坡等台灣大使館與官邸，所
郵政信箱／10099台北復興橋郵政第8-398號信箱
E-mail: service@taiwan-panorama.com 竹東段為「騎行台灣」的起點，沿途造訪策劃一系列「台灣當代藝術展」，除推介
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本刊物印刷油墨使用環保認證大豆油墨
Cultural Connections: EDITOR’S NOTE
Taiwan and Southeast Asia
T aiwan is known as the birthplace of Aus

tronesian languages. Beyond the ethno
linguistic legacy shared by the indigenous
Hsuehliang’s former residence, and the Dalu
Forest Road. Our Photo Essay, meanwhile,
takes us to Matsu’s Beigan Island, capturing
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Art Park, Ruanqiao Painted Village, Chang (Ivan Chen/tr. by Jonathan Barnard)
目次
CONTENTS 中華民國107年7月第43卷第7期 Vol. 43 No. 7 July 2018
8 封面故事 Cover Story
6 遇見南島文學
Encounters with Austronesian Cultures
圖‧林格立
8 走進東南亞
以人為本的跨文化對話
Engaging with Southeast Asia:
A People-Centered Cross-Cultural Dialogue
30
文‧蘇俐穎　圖‧林格立
18 來自季風帶的新風
跨域交流與出版合作
Two “Monsoons” Nurture
Transnational Publishing and Exchange
30 東南亞文學圓桌會
生命的關懷，書寫的原點
Southeast Asia Literature Roundtable:
Writers Inspired by Concern for Humanity
文‧曾蘭淑、武秋香、陳德銘　圖‧莊坤儒
40
40 重啟出版的南方之門
台灣二度擔任曼谷書展主題國
The Bangkok International Book Fair:
Taiwan Back in the Spotlight
編者的話來自地方的明信片
Editor’s Note Postcards from Home
2 台灣‧東南亞文學火花 1 螢光漫舞 52 月月好讀

Cultural Connections: Dance of the Fireflies Variety Pages
Taiwan and Southeast Asia 圖／文‧林格立周保松
文‧陳亮君
影像對話 Photo Essay
56 漫步北竿
封面說明：
泰國圖書市場在東南亞國家中相較蓬勃與完整，是台灣
文化出版產業南向的重要據點。（林格立攝．胡如瑜設計） A Stroll Around Beigan
Cover: Thailand’s thriving book market makes it an important 圖／文‧林格立
base for Taiwanese publishing enterprises wishing to enter
Southeast-Asian markets. (photo by Jimmy Lin, design by Hu Ju-yu) 全球視野 Global Outlook
64 新文化外交
駐外使館藝術展示計畫
The New Cultural Diplomacy:
Exhibiting Art in Taiwan’s Overseas Offices
文‧曾蘭淑　圖‧藝術銀行提供
島嶼行旅 Around Taiwan
72 相遇在雲的故鄉
72
騎行新竹林業軌跡
Encounters in the Clouds: Cycling Through
the Heartland of Hsinchu’s Timber Industry
文‧鄧慧純　圖‧莊坤儒
84 田中央的建築藍圖
Integrating Buildings with Nature
—Huang Sheng-yuan and Fieldoffice
文‧李珊瑋　圖‧林格立
藝文脈絡 Cultural Trends
94 用音符譜寫永恆
84
眷戀故鄉的音樂家──金希文
Eternity Expressed in Music
—Composer Gordon Chin
文‧李珊瑋　圖‧林旻萱
104 異才‧鄭問
台灣‧原創
Manga Master:
The Extraordinary Talent of Chen Uen
文‧鄧慧純圖‧莊坤儒
多元族群 Communities
116 台越文化橋梁
104
台灣越語檢定的推手
A Bridge Between Cultures
—Vietnamese Language Teacher
Nguyen Thi My Huong
文‧黃淑姿　圖‧林格立
封面故事
遇見
南島文學
COVER STORY
Encounters with
Austronesian Cultures
圖•林格立 photo by Jimmy Lin

封面故事　COVER STORY
走進東南亞
以人為本的跨文化對話
Engaging with Southeast Asia:
A People-Centered Cross-Cultural Dialogue
文•蘇俐穎　圖•林格立　版面設計•王敬勛
絕大多數的人都不知道，台灣歷史的發展
進程，與東南亞休戚與共，甚至在地理位置 T aiwanese have a habit of overlooking Southeast
Asia, even though it is a culturally rich region
with a great many ties to our island. Most of us also
上，除中國大陸以外，菲律賓是距離我們最
fail to recognize how closely Taiwan’s development
近的國家，而非相較熟悉的日本。東南亞，
has been connected to Southeast Asia. Somehow, we
稱得上是地圖上被忽略的暗角，然而，在這 in Taiwan are much more familiar with Japan than
片土地上，不僅有著出人意料的豐饒內涵， with the Philip pines, even though the Philippines
還有著與台灣千絲萬縷的聯繫。 are much closer.
在剛落幕的2018年曼谷國際書展上，受 When Taiwanese Aboriginal author Sakinu Yalong

邀參展的原住民作家亞榮隆‧撒可努，分享 long spoke at the recently concluded 2018 Bangkok In
ternational Book Fair about his experience visiting the
自己到菲律賓交流的經驗，當地人說他來自
Philippines, he mentioned that the Filipinos he met de
「mother island」。
scribed him as having come from the “mother island.”
台灣被南島語族稱之為「南島的母親」， There was a good reason for that. Taiwan is some
緣由可上溯到約西元前5,000年以前，南島語 times known as the “mother of Austronesia” because
族從北往南漂移到太平洋各地，開枝散葉， the Austronesian languages have their roots in a group
這是人類學上的「出台灣記」。 of people who came to Taiwan around 5,000 BCE. Ac
除了南島語族，華人移民、列強殖民、 cording to the “out of Taiwan” model, those people
subsequently sailed south to destinations around the
熱帶氣候與海洋的親近性⋯⋯都是台灣與東
Pacific Ocean.
南亞共享的文化元素，「台灣甚至可算是東
Taiwan and Southeast Asia share other cultural constit
南亞的一部分，」文化部政務次長丁曉菁表
uents beyond their Austronesian heritage, including their
示，「只是我們以前沒有放在這樣的脈絡下 experience of immigration from China and colonization
去思考。」如今，不管是出於何種理由，以 by the Great Powers, their tropical and subtropical cli
新的眼光看見東南亞，對台灣而言已是刻不 mates, and their proximity to the ocean. “Taiwan could be
容緩。 said to be a part of Southeast Asia,” says Deputy Minister
8 台灣光華 Taiwan Panorama 2018/07

9
多族群的東南亞，不同的面孔各自帶有不同的
複雜多樣的東南亞身世與心事，傳來紛雜的訊息。
Southeast Asia is ethnically diverse, the variety of its peoples’
台灣與東南亞雖有許多相似之處，但在本質 appearances embodying their individual histories and concerns.
上仍相差甚多。好比說，台灣雖也有南島語族，
但因著地理上靠近中國沿海，從明鄭時期開始移
民至此的漢人，將中國的文化搬挪至台灣，在此物資開採、基礎建設等勞力需求，殖民者大量引
建立起漢人社會，最後甚至超越更早落腳的原住入印度、中國等不同國家的移民，作為廉價勞工
民，成為後來居上的文化主流；但反觀東南亞社使用。
會，卻始終以南島語族為主體。從古至今，來自四面八方的文化元素，在此
而以地理條件來說，台灣是由激烈的版塊運動不斷攪和，最終形成東南亞多人種、多語種的文
擠壓出來的島嶼，平地與高山的落差劇烈；地貌化景觀。暨南國際大學東南亞學系副教授林開忠
平緩的東南亞，則依此優勢建設許多港口，進而說：「這也許就是我們沒有很大的驅動力去了解
帶動貿易的發達，又因著貿易之故，再帶進與鄰東南亞的原因，因為實在太複雜了！東南亞真的
近民族，如印度、波斯、阿拉伯、中國的交流，很多元，多元到爆！」
經過長期接觸、碰撞，融合成為東南亞文化的一
被偏見所掩蓋的寶藏庫
部分；好比在歷史上有許多東南亞國王，兼具神
王的形象，即是受到印度教影響的緣故。從學術的角度來看，東南亞豐富的內涵，一直
再加上到了19世紀，歐洲列強紛紛到東南亞爭是許多民俗學、人類學、政治學理論重要的取材
權，如菲律賓之於西班牙、印尼之於荷蘭、馬來來源，包括知名學者Benedict Anderson、Clifford
西亞之於英國、法國之於中南半島⋯⋯等，又因 Geertz都從東南亞發展研究。但在普羅大眾，東

of Culture Ting Hsiaoching. “We just never think about eastAsian culture. The historical opulence of the courts
it that way.” At the very least, there is an urgent need of many SoutheastAsian monarchs is a case in point in
for Taiwan to reevaluate its view of Southeast Asia. that it owed much to the influence of Hinduism.
Diverse, complex Southeast Asia As Lim Khaythiong, an associate professor in Na
Though Taiwan and Southeast Asia share many tional Chi Nan University’s Department of Southeast
similarities, they also differ in important ways. For ex- Asian Studies, says: “We may have been slow to come
ample, while Taiwan is home to several Austronesian to grips with Southeast Asia in part because it is so
languages, its proximity to the mainland Chinese coast complex. It’s incredibly diverse!”
has made it a popular destination for ethnic Chinese mi Treasures hidden by prejudice
grants since the 1600s. These migrants built an ethnically While folklorists, anthropologists and political scien
Chinese society that established itself as the island’s tists have drawn from Southeast Asia’s cultural riches
cultural mainstream and overwhelmed that of Taiwan’s in their theories, the general public has more often ig
indigenous peoples. In contrast, Austronesian cultures nored or harbored prejudice towards the region.
remained much more prevalent in Southeast Asia. According to Lim, this attitude traces back, at least
Taiwan also has a very different topography to most of in part, to the views of the European merchants and
Southeast Asia. Formed by violent tectonic plate move travelers who visited Southeast Asia during the Age
ments that thrust it out of the sea, Taiwan is an island of of Discovery, deemed it an uncivilized hinterland, and
tall peaks and coastal plains. Southeast Asia’s gentler ter
rain lent itself to the construction of ports, which fostered
vibrant trade and led in turn to immigration by people
of various ethnicities, including Indian, Persian, Arabian, 雨季的暴雨驟降，泰國人一派不疾不徐，安然與自然共處。
and Chinese. Over time, these contacts and collisions Thais go about their business at a comfortable pace, neither too
fast nor too slow, interacting in quiet harmony as the monsoonal
engendered a portion of what we now think of as South rains pour down.
11
南亞的地位仍沒有受到重視，甚至備受歧視。野，不僅造成主流社會崇尚歐美、東北亞等先進
根據林開忠說法，一來，可追究到昔日的大航國家，甚至歧視落後國家，更遑論主動提起興趣
海時代，當歐洲人進入東南亞，便把東南亞視為認識東南亞。
沒有文明的化外之地，這樣的論述影響後來的殖
從身邊的「人」開始認識東南亞
民者對東南亞的看法；二來，台灣承襲傳統中華
文化對於東南亞地區的鄙夷，即便到了當代，這中興大學台灣文學與跨國文化研究所助理教
樣的觀點仍是影影綽綽。授詹閔旭談到自己的例子，因為大學時在學校上
另外，以台灣為例，雖然一直以來都有為數不過馬華作家李永平的課，繼而開啟與東南亞的淵
少的東南亞僑生來台求學，甚至留在台灣工作，源，甚至後來從事李永平小說的研究。他從身邊
但由於華人在東南亞社會的處境相當邊緣（惟新的人出發，再延伸關心對方背後的身世故事，最
加坡是例外），間接造成僑生對於母國認同上的後擴大認識到婆羅洲、馬來西亞等區域。因此他
困難，也因此無法主動突顯東南亞正向的一面，認為，認識東南亞，應該是從身邊的人開始。
更難扭轉一般人對東南亞的印象。不只是因著馬來西亞國內教育體制的問題，
暨南國際大學東南亞學系教授李美賢直言不諱而選擇留台的馬來西亞華人，在台灣社會裡，還
地指出，尤其在資本主義掛帥的時代，人們重視有近70萬的外籍移工，以及約54萬名的新移民等
物質文明先於一切，這也影響我們觀看世界的視東南亞面孔。除了作馬華文學的研究以外，詹閔
旭也觀察到，好比許多菲律賓移工喜歡以詩歌創
作，這樣的特性，是否與菲律賓的文學傳統、與
這邊的生活景況有關？這些線索，都是探索東南
亞的起點。

passed on their views to the colonizers who came later.
In Taiwan, the attitude also grows out of our inherited
Chinese cultural disdain for the region, which lingers
on in the shadows even today.
In spite of large numbers of SoutheastAsian ethnic
Chinese students long having studied in Taiwan, and
some having even remained to work, the fact that the
Chinese generally occupy marginal positions in South
eastAsian societies (excepting that of Singapore) makes
it more difficult for them to discuss the region’s posi
tives in a way that Taiwanese find persuasive, limiting
their ability to influence the general public’s impressions
of Southeast Asia.
Professor Lee Meihsien of Chi Nan University’s De
partment of Southeast Asian Studies says that in our pres
ent capitalist era, people are particularly prone to focus
ing on material culture. This focus affects our worldview,
causing our mainstream culture to valorize the advanced
東南亞市場崛起，大都市中
countries of Europe, the Americas and Northeast Asia, 商場百貨林立，消費力驚人。
and to denigrate the less developed ones, which reduces Department stores and shopping
centers have sprung up all over
the public’s interest in learning about Southeast Asia. Southeast Asia’s big cities as the
A first step to eliminating prejudice region’s economies have grown.
Prejudice against migrant workers persists, but Lee

notes that Taiwan is not unique in this: migrants are
looked down upon by mainstream societies the world
over. She sees material culture’s implicit cultural hier
archy as being at the root of the problem. A lack of inter
est in understanding and an unwillingness to understand
lead to the labeling of ethnicities with arbitrary stereo
types, which deepens oppositions between cultures and
creates a vicious cycle.
Lee says: “The first step to eliminating prejudice is
for people to get to know one another. The notion of
cultural equality is also important. But these things are
difficult, and take long-term education to achieve.”
Workers on the educational front lines have no time
to be discouraged. Chi Nan’s Department of Southeast
Asian Studies is the only department in Taiwan focused
on the region. Roughly 50 of its graduates to date have
been Southeast Asians, making the department not just
a forum for the transmission of knowledge, but also a
venue for reallife interaction. Lee says, “Taiwanese stu
dents in this department lose their privileged position.
Everyone is equal, and we all learn from one another.”
Led by Chi Nan faculty, a few teachers have also
used funding from the Taichung City Government and
13
在東南亞議題蔚為風潮的此刻，詹閔旭說，
「互相了解」是消除偏見的第一步
想要關心東南亞，不需要遙想遠方，可以就從關
心這塊土地上的東南亞開始。他說：「當我們在不過，移工移民被歧視的情況仍時有可
講認識另一個國家的時候，我們把國跟國之間的聞，李美賢一針見血地說，全世界移民的處
界線切得非常開，但其實國跟國之間並沒有那麼境，往往都會受到主流社會的排擠，台灣並
開。因為，我們永遠不是在認識異國，而是在認非個案；問題的背後，其實正是由物質文明帶
識連結。」來的文化階序問題。隨著不想了解、不願了
解，任意為特定族群貼上刻板印象的標籤，無
形中加深不同族群對立，造成惡性循環。
本身是馬來西亞華人的林開忠，因為對馬來西亞種族、
教育產生疑問，繼而投入東南亞領域的研究。李美賢談道：「消除偏見的第一步，就是
Lim Khay-thiong is a Chinese-Malaysian academic whose 彼此認識；文化對等也是很重要的概念。但這
questions about Southeast-Asian ethnicities and education drove
him to study the region. 很困難，只有透過長期的教育才有可能。」
站在教育的第一現場，他們並沒有時間灰
心。暨南國際大學東南亞學系作為全台唯一
的東南亞專業科系，歷年來已有約50位東南
亞籍的學生從此畢業，包含泰國、越南、柬
埔寨、緬甸⋯⋯等，因此，除了知識上的傳
輸，還提供實際的互動與相處機會，李美賢
說：「台灣學生在這個學系裡，反而會從優勢
轉變成弱勢的位置，大家比較平等，也互相
學習！」
不僅如此，受惠於台中市政府與教育部的
經費，以東南亞學系為首的幾位暨大老師，
也在台中火車站附近的東協廣場內，成立
「SEAT | 南方時驗室」。在這個曾被棄置、
凋敝的空間，如今開滿了東南亞商家，每到假
日就有大批移工湧入，在此消費，猶如小東南
亞一般；而選擇在此設點，並以串連東南亞移
民社群與台灣社會為核心宗旨，這樣的場所顯
得極具意義。
南方時驗室推動許多活動，多數都開放一
般民眾參與，包含在假日舉辦導覽，吸引不少
台中市政府員工、中小學教師前來參加，開啟
台灣民眾與東南亞族群的互動機會。
此外，暨南國際大學在台北另有開設東南
亞學系碩士在職專班，許多因工作需要的公職
人員或者中、小學老師前往報名就讀，「他
們是教育的第一線人員，觀念也是非常重要
的。」透過對話的方式，可看到大家的心態逐
漸改變，這樣的影響雖非一蹴可幾，卻也逐漸
有成果，令老師們倍感欣慰。

the Ministry of Education to establish “SEAT” (SEA + T: a hot topic. But history shows that Taiwan’s interest in
Southeast Asia + Taiwan), a space that encourages Tai Southeast Asia predates the present moment. In fact, it can
wan’s SoutheastAsian migrant community and main be traced back to the era of Japanese rule, when the Of-
stream Taiwanese society to sit down and get to know fice of the Governor-General sent scholars and experts to
one another. Given that goal, the decision to locate SEAT Southeast Asia to collect information in support of Japan’s
in Tai chung’s ASEAN Square was clearly significant. project to construct a “Greater EastAsian CoProsperity
After all, the previously rundown square near Taichung Sphere.” The documents they produced are now scattered
Station has been revitalized in recent years by South throughout Taiwan. That interest reemerged when the
eastAsian businesses catering to migrant workers who ROC government relocated to Taiwan after World War II.
flock there on weekends and holidays to shop. The Kuomintang, which had close ties to overseas Chinese
SEAT organizes a large number of events and activi communities, chose to follow the example of Sun Yatsen’s
ties, most of which are open to the general public. These Revive China Society by establishing offices in Singapore
include weekend guided tours that give Taiwanese and and Malaysia. Scholars in that period also rediscovered a
Southeast Asians a chance to interact. passion for research into overseas Chinese communities.
Chi Nan has also established a master’s degree pro The Lee Tenghui administration revived interest in the re
gram for working professionals in Taipei. When you talk gion again, many years later, with its rollout of the original
to the many civil servants and schoolteachers who have Go South Policy. Taken together, these actions demonstrate
signed up to better meet the demands of their jobs, you
can hear the gradual change in their attitudes. Such ef
forts are no panacea, but they do yield results over time.
Bilateral exchange on real-world issues
With the Tsai Ingwen administration’s launch of the 高速發展中的東南亞，都會景觀變化快速。
Southeast Asia’s high-speed development has wrought
New Southbound Policy, Southeast Asia has again become rapid changes on its landscape.
15
泰緬邊境的孩童受到台灣NGO援助，
展現希望的笑容。
以普世議題進行雙邊交流 Smiles brighten the faces of children receiving aid from
Taiwanese NGOs operating along the Thai–Myanmar border.
隨著蔡英文政府推出「新南向政策」，東南亞
再度被熱議。不過回顧過往歷史即可知道，台灣
對於東南亞的關注，並不是現在才開始的，甚至
最早可遠溯至日治時代。當時，日本總督府為了相關議題；以及文化流失、土地正義、環境污染
建立大東亞共榮圈，派遣專家學者前往東南亞蒐等因著發展所會面臨到的議題，都是台灣可以提
集情報資料，如今這批文獻還散落在台灣各地；供交流的項目。
二戰結束，國民政府遷台，因著國民黨與海外華丁曉菁也表示，文化部目前已積極促成200位
僑關係密切，好比興中會在新加坡、馬來西亞均的東南亞藝術家來台駐村、展演、研究；又因著
設有分會，學術界再度興起華僑研究的熱潮；隨台灣的民主化領先亞洲多數國家，造就民間NGO
後，李登輝時期也曾推出南向政策⋯⋯台灣對於相當蓬勃，也吸引很多NGO來台設立總部，或者
東南亞的興趣可說是起起伏伏。到此造訪，交流民主經驗。
林開忠特別指出，台灣對於東南亞的興趣，台灣與東南亞的連結，短期之內或許仍會以
因主要都是基於經濟考量，同時又多侷限於華人經貿為主，不過，林開忠說，從具有普世價值的
圈，因此觀點無法長久。然而，因政府目前推動議題切入東南亞，再藉此了解不同國家背後錯綜
的新南向政策，包含教育部、內政部、文化部的複雜的政治處境、經濟網絡，也許會是可行的方
計畫，已將關注視野提昇至更具有延展性的議題式。「這才是我們的軟實力！」他樂觀地說，
上，而有新的火花。尤其台灣經濟發展領先於多「不要把自己只丟在華人的籃子裡。走出去，應
數東南亞國家，包含社區營造、永續發展等發展該就會有路！」

how Taiwan’s interest in Southeast Asia has waxed and that arise in conjunction with development, such as cul
waned over the decades. tural losses, land justice, and environmental pollution,
Lim Khay thiong notes that Taiwan’s interest in where Taiwan can share its experience.
Southeast Asia has tended not to last because it has Taiwan’s connections to Southeast Asia may well
been based primarily on economic considerations and remain primarily economic in the near term, but Lim
has focused largely on the region’s ethnic Chinese. The says that if we can view the region through the lens of
government’s current New Southbound Policy attempts universal values, and if we can better understand the
to address this shortcoming by incorporating programs underlying fabric of their political circumstances and
from the education, interior, and culture ministries. The economic networks, we may be able to make progress.
goal is to broaden the policy’s focus to include issues “This is our real soft power,” says Lim. “We shouldn’t
that generate new and lasting interest in the region. simply think of ourselves as ‘ethnic Chinese.’ We should
These include aspects of economic development in look beyond that and find new ways forward.”
which Taiwan leads most SoutheastAsian nations, such (Lynn Su/photos by Jimmy Lin/
as social entrepreneurship and sustainability, and issues tr. by Scott Williams)
17
來自季風帶的新風
跨域交流與出版合作
Two “Monsoons” Nurture
Transnational Publishing and Exchange
圖書出版，就像文化的一幀顯影。台灣自解
嚴以來，由於高度的民主化社會與出版環境的自 P ublishing industries are windows onto cultures.
Since the lifting of martial law in Taiwan, the
highly democratic society and the respect for press
由，為出版產業提供了優異的發展條件。近來，
freedom here have provided outstanding conditions for
因台灣與東南亞的交流愈發密切，不同的人帶著
the development of the publishing industry. In recent
殊異的背景與機緣，到異國奮鬥求存，最終竟不 years, with numerous exchanges and growing close-
約而同，在台灣這片沃壤開花結實，長出既代表 ness between Taiwan and Southeast Asia, people from
台灣，又屬於東南亞的創作。 Southeast Asia of different backgrounds have seized
opportunities to come to Taiwan to earn a living. Con-
由於台灣在經濟發展的進程領先於多數東南亞 sequently the island has become fertile ground for a
variety of literary flowers to bloom. These works of art
國家，所以長久以來，站在文化強勢的位置，因
represent Taiwan, but also belong to Southeast Asia.
此，即便在台灣每年為數可觀的出版品中，不乏
東南亞主題相關書籍，但論及雙邊交流，仍相當
Because Taiwan has long been ahead of most South-
受限。好比以具識別度的「馬華文學」為例，在 east Asian countries in terms of economic development,
台灣具知名度的馬華作家，如李永平、張貴興、 it has for many years occupied a position of cultural
黃錦樹、鍾怡雯、陳大為⋯⋯等，都屬「在台馬 strength. Consequently, even if there are many books
華」作家，還有更廣大「在馬馬華」作家，台灣 published every year in Taiwan, including no shortage
讀者多是一無所知。 of volumes related to Southeast Asia, there are few that

discuss both sides of the cultural relationship. Take the
松鼠文化：閱讀「在馬馬華」 much-discussed field of “Malaysian Chinese literature”:
The Chinese-Malaysian writers best known in Taiwan
2014年，當時還在從事翻譯接案工作的賴凱俐，
are those Malaysians living here. But there is a larger co-
收到朋友寄來的兩本馬來西亞文學出版品：《假牙 hort of Chinese-Malaysian writers still living in Malay-
詩集：我的青春小鳥》、《我也曾經放牧時間》， sia, most of whom are unknown to readers in Taiwan.

19
這個意外事件，猶如暗室中照進了一束微光，讓她者的生命經歷昭然若揭。好比林韋地的半自傳性
察覺到始終近在身邊，過去卻不曾留意的新風景。小說《消失了妳我的國》，賴凱俐說：「這本書
多數台灣人並不知道，馬來西亞華人對於台談到馬來西亞的教育、遠距離戀愛等問題，以及
灣有著強烈的親近感，不只是影視娛樂的流通之作者因為不斷地移動而成為少數，這也是馬華文
故，也因著過去有白先勇、龍應台、李敖等知名學的主要特色。」
台灣作家的作品，滋養著他們的心靈。作為馬來西亞檳城第三代的華人，林韋地在
有感於文化單方面傾銷的情況，賴凱俐說：馬來西亞出生，但4歲便跟著父母親來台，直到
「台灣的文學出版很豐富，但去看其他地方的華小學畢業才回國繼續升學之路，自云「整個大腦
文作品卻沒有什麼sense，造成內在活動很蓬勃，都很台灣」的林韋地，始終對台灣懷抱著深刻且
外在交流卻很稀疏的情況，非常可惜。」她毅然特殊的情感，長大後因著馬來西亞教育體制的問
決然在2016年創辦松鼠文化，矢志推動馬華文學題，不得不選擇遠赴英國求學，最後卻在新加坡
在台出版。定居工作，至今仍時常奔波於東亞各地的他，本
循著松鼠文化的書，我們得以看見許多別開生人正是華人離散經驗的一幅小影，顛沛流離的心
面的馬華作者，台馬連結的線索，也隨著每個作境轉折，也被細細寫進他的作品中裡。
《季風帶》雜誌：華文評論的新輿圖
台灣是幫助馬華文學走入世界的重要據點，馬華文學則豐富因為自小喜愛閱讀、寫作，自然也積極關注華
台灣文學的內涵。（林旻萱攝）文文壇動態，林韋地在工作之餘，更積極投入文
Taiwan has proved to be an important location for helping to
introduce Malaysian Chinese literature to the world. In turn, 化事業，自稱為「斜槓青年」的他，除了醫生的
Malaysian Chinese literature has also enriched Taiwanese
literature. (photo by Lin Min-hsuan) 正職以外，還擁有新加坡草根書店董事、馬來西

Squirrel Culture: 俗語說「事在人為」，與台灣緣分頗深的林韋地
（左）與賴凱俐（右）攜手，促進台馬兩地的出版
Chinese-Malaysian writers in Malaysia
與文化交流。（林旻萱攝）
Regarding concerns about unilateral cultural dump- “Success depends on effort,” or so the Chinese saying
goes. Lim Wooi Tee (left) and Lai Kai-li (right) have worked
ing, publisher Lai Kaili says: “The literature being pub- hand in hand to promote publishing and cultural exchanges
lished in Taiwan is rich and abundant, but there’s little between Taiwan and Malaysia. (photo by Lin Min-hsuan)
interest in looking at the Chinese-language literature of

other places. It’s resulted in a situation where we have
lots of activity on the inside, but little interaction with Monsoon Review:
the outside world. That’s very unfortunate.” With great Chinese-language literary criticism
determination, in 2016 she founded Squirrel Culture, Ever since he was a young child, Lim has loved
which aims to publish and promote Malaysian Chinese to read and write, so it was only natural that he paid
literature in Taiwan. attention to the Chinese-language literary scene. In
From Squirrel Culture’s books, we have gained ac- his time off from work, he actively threw himself into
cess to many path-breaking Chinese-Malaysian writ- literary work. He describes himself as a “slash” youth,
ers. The threads that connect Taiwan to Malaysia are someone who divides his time between different fields.
clearly illuminated through the life experiences of each Apart from his job as a doctor, he is also one of the
of the writers. Take, for example, Lim Wooi Tee’s semi- owners of Grassroots Book Room in Singapore, and he
autobiographical novel Disappeared Nation. He has always remains active in the Chinese-language literary scene
harbored deep feelings for Taiwan. Due to issues with there. Feeling that there was a lack of literary criticism
the Malaysian education system, once he was grown he on Malaysian Chinese literature, in 2016 he put up the
elected to go to far-off Britain to study. Eventually, he money to found Monsoon Review.
ended up working in Singapore. Even today, he still fre- Taking on the mission of reflecting on its era, Mon-
quently travels to various countries in East Asia. He epit- soon Review has been coming out with special issues, in-
omizes the wandering ethnic Chinese, and the experience cluding ones on “Investigating the Lack of Criticism of
of displacement is carefully chronicled in his work. Chinese Malaysian Literature,” “Singaporean Chinese
21
亞大將出版社董事等多重身分，並以此活 ⋯⋯等人都曾共襄盛舉，戮力向內深化，向
躍於華文文壇中。2016年，因著有感於馬外拓展華文評論的發展空間。
來西亞文學評論的匱乏，他出資創辦《季
《夜行：臺馬小說選譯》：展現台灣價值
風帶》文學評論季刊。
中興大學台灣文學與跨國文化研究所除了民間的出版交流自發性地發生，因應
助理教授詹閔旭指出：「一個文學圈若想政府推動新南向政策，文化部近年積極推動
要升級，深度的文學評論是必要的。」台灣文學外譯。交由兩位馬來西亞華人學者
「創作是把作品留給人，評論是把作品留張錦忠、莊華興共同編選、翻譯的《夜行：
給歷史，因此，我們需要文學評論。」肩臺馬小說選譯》，也在2017年年底由馬來西
負起時代使命的《季風帶》，目前已推出亞的三三出版社付梓。
「重勘馬華文學批評之匱乏」、「新華文值得玩味的是，這本由台灣文學館負責執
學」、「港澳新馬詩評」、「書展及出版行的小說選集，計畫初始，並沒有給予編者任
產業」、「同志文學」、「文學如何教何限制。然而，當我們翻開書籍，竟不見台灣
育」等專題企畫，陸續向台港新馬等華文文學傳統印象中主流的閩南、外省作家，而是
地區的專家學者邀稿，好比張錦忠、楊邦客家作家鍾理和、原住民作家夏曼‧藍波安、
尼、周若鵬、朱宥勳、鄭羽倫、牛油小生瓦歷斯‧諾幹，與馬華作家李永平、張貴興、
黃錦樹⋯⋯等少數族群作家的作品。尤其，當
我們比對歷史上第一本台馬對譯的小說選集，
2014年由中華民國筆會與馬來西亞國家翻譯圖
書院共同編選的《臺灣與馬來西亞短篇小說
選》，這樣的差異更為顯著。
多數的文學翻譯選本，往往期望藉由不同
作家筆下所描繪的台灣風光，向外人拼貼出
一幅猶如觀光宣傳片的台灣景觀，《夜行：
臺馬小說選譯》反倒異中求同，尋求對話的
可能性。在執行的初始，交由在台的馬來西
亞華人張錦忠代表台灣方來進行，便已是一
大突破，詹閔旭指出：「當我們看到，由張
錦忠所挑選的作家，都可以代表台灣文學，
就知道台灣文學的包容性有多大。」他詳細
解釋：「過去，我們一直試圖告訴別人台灣
的文化、歷史是什麼，但現在卻告訴別人台
灣的價值，就是民主、自由，以及對多元文
化的包容。」
張錦忠除了主編《夜行：臺馬小說選譯》，另策劃
製作馬來文繪本，介紹馬來文字母與民間故事，將
於近期出版。
Apart from editing Night Walk, an anthology of Taiwanese
and Malaysian fiction, Tee Kim Tong also has planned a
Malaysian picture book that introduces the Malay alphabet
and Malaysian folk tales. It will be published soon.

Literature,” “Assessments of Poetry in Hong Kong, a bilingual collection of Taiwanese and Malay short
Macao, Singapore and Malaysia,” “Periodicals and fiction, which was copublished in Malaysia at the
the Publishing Industry,” “Gay and Lesbian Liter- end of 2017 by Empress Culture and the National
ature,” and “How to Teach Literature.” Monsoon Museum of Taiwan Literature.
Review has solicited submissions from scholars in It’s worth noting that the editors of the collection
Taiwan, Hong Kong, Malaysia and other locales were never given any limitations in terms of content.
with Chinese-language literature. In the process, it Yet when opening the book, one surprisingly doesn’t
has both given itself greater depth and expanded see the Hoklo Taiwanese and post-1945 mainland
the space for Chinese-language literary criticism. Chinese immigrant writers that are the mainstream
Night Walk:
Exploring Taiwanese values
In addition to private-sector publishing ex-
changes, with the ROC government promoting its
詹閔旭認為，文學對譯不應只是單向輸出台灣的風俗民
New Southbound Policy, the Ministry of Culture 情，更應從作品中展現台灣的精神價值。（林旻萱攝）
in recent years has been actively supporting for- Zhan Minxu, an assistant professor in the Graduate Institute
of Taiwan Literature and Transnational Cultural Studies at
eign-language translations of Taiwan literature. National Chung Hsing University, believes that while literature
Two Malaysian Chinese scholars were hired to com- in translation should display the spirit and values of Taiwan,
it should not merely be a one-way conveyance of Taiwanese
pile and translate Night Walk (Perjalanan Malam), customs and sentiments. (photo by Lin Min-hsuan)
23
張錦忠分享道，初挑之時，他便思考台灣與 of literature in Taiwan, but rather works by minorities—
馬來西亞之間的共通性，除了台灣的原住民作 Hakka, Aborigines and Malaysian Chinese.
家具有海洋文化與南島語族的特性，可與馬來 Many literary collections assemble a variety of
visions of Taiwan, such that the end result resembles a
西亞接壤，台馬共通的族群議題，更是雙邊對
promotional film aimed at tourists. Night Walk takes a
話的主線。好比選入書中，由鍾理和撰寫的〈假
different tack, looking for potential for dialogue . That
黎婆〉，「假黎婆」是台灣人對於原住民的稱
the Taiwan-resident Chinese-Malaysian Tee Kim Tong
呼，故事講述漢人對原住民的想像、衝突與交 was approached to represent the Taiwan side in execut-
融；又或馬來西亞作家楊謙來，擁有不同族群混 ing the project can be seen as a breakthrough.
血身分的他，以馬來文書寫〈老人世界〉，敘述 Tee Kim Tong notes that at the start of the selection
華人後代嫁給馬來原住民的故事。 process, he considered commonalities between Taiwan
張錦忠說：「異族、語言、宗教都是由於『他 and Malaysia. The similarities between Aboriginal

authors and Malaysians—with both featuring oceanic
者』帶來的，但我們看待他者，時常有刻板印
cultures and Austronesian languages—are one major
象，又因文化差異而歧視對方；但怎樣看待他
thing they have in common. The hot-button issue of
者，反映出來的就是你自己，這些文本都在突顯 ethnicity in both Taiwan and Malaysia is another. Since
這樣的問題。」在同屬多元族群社會的台馬，且 both nations are multiethnic societies, the government-
作為官方色彩濃厚的一本書，更具有獨特的意義 sponsored character of this book even more highlights
與價值。 its importance and significance.
Slowork:
慢工文化：從亞洲出發的紀實漫畫 Asian documentary comics
Aside from the aforementioned traditional literary
文學出版品以外，2018年初創刊的《熱帶季
journal bearing the name, there is another Moonson: a
風》紀實漫畫雜誌，在正式出版以前的募資階
documentary comic magazine first published in early
段，便已在網路社群上引起熱議。這本刊物，由 2018. Even in the fundraising stage before publication,
台灣讀者所不熟悉的「紀實漫畫」出發，主訴由 it became a hot topic of discussion on social media. The
亞洲人講述具有亞洲觀點的故事，從形式到題材 journal takes a “documentary comic” approach that is
都有獨到之處。 unfamiliar to many Taiwanese. It mainly features sto-
「紀實漫畫，就像是漫畫的紀錄片。」慢工 ries told by Asians from an Asian perspective. In terms
of both form and content, it is quite unique.
文化總編輯黃珮珊這樣介紹。由於受限於過去台
Founding Slowork Publishing in 2013 with rather
灣社會對於漫畫的偏見，加上市場規模較小，台
simple intentions, Huang Pei-shan courageously
灣至今仍僅有出版社零星引進，未能形成一股風
jumped into a business in which she was a novice. Hav-
潮。然而，紀實漫畫是以成人為主要閱讀族群 ing lived near the border between mainland China and
的新興文類，在歐美日等地區發展已有約20年之 neighboring Southeast-Asian countries for about nine
久，因兼顧視覺美感與內容深度，又被稱為「圖 years, she was deeply captivated by the vitality and
像小說」（graphic novel）。 cultural diversity of those locales. Still earlier, she had
2013年成立慢工文化之時，「從一個沒有人認 majored in theatrical design and technology in college

before studying contemporary arts in Marseille. She
識的人，沒有人認識的出版社，做一個沒有人認
originally thought of shooting local documentaries but
識的東西。」黃珮珊回憶當時創業的艱辛。一個
encountered all manner of practical difficulties. At that
門外漢憑著愚勇便跨入出版，若要追溯動機卻相 point, she recalled the documentary comics she had en-
當單純。已在中國與東南亞邊境地帶生活約9年 countered in France and charted a new course, drawing
的她，深深著迷於當地文化的多元性與旺盛的生 from the cinematic and design techniques she had stud-
命力，由於是劇場設計出身，又有留學法國的經 ied for film and applying them to comics.
25
驗，她原想為當地拍攝紀錄片，卻因實際操作時慢工出版的作品，有別於一般台灣讀者熟悉的日本商業
漫畫風格，自由的主題與高度的實驗性令人耳目一新。
面臨種種困難，才想起過去在法國常見的紀實漫（慢工文化提供）
Slowork’s published works are quite unlike the Japanese-style
畫，因此轉換方向，甚至將過去所學的分鏡、設 manga comics with which Taiwanese readers are most familiar.
計技巧，運用在漫畫編務上。 Readers have found the high level of thematic freedom and
experimentation refreshing. (courtesy of Slowork Publishing)
閱讀量相當龐大的黃珮珊，談到自己讀過許多
歐美作家筆下的亞洲，往往帶有獵奇、誇飾的成
分，加上難免會重複扁平的刻板印象，但長期的邊於關島大學，由於太太是菲律賓與法國的混血，
疆生活經驗與紮實的田野考察，告訴她並非如此。他以菲律賓的親家為素材，甚至融合語言學上的
因此，她從故事的選材企劃、作者的開發與養成，專業，創作《哈囉哈囉馬尼拉》。
到市場行銷等，都以整個亞洲作為主體來思考。至於集結多篇短篇的《熱帶季風》，黃珮
慢工的合作對象來自四面八方，是黃珮珊運用珊說：「這本刊物主要就是希望能傳達出多元
網路社群、人脈牽線引介，甚至舉辦工作坊、徵性。」以創刊號為例，建築、動物、盲人、馬來
稿等方式，多管齊下才逐步開發、培養出來的。西亞生活等不同主題共聚一堂，振聾發聵地傳遞
趣味的是，這些來自台灣、香港、澳門、馬來西出亞洲草根文化的活力。黃珮珊再將刊物交由首
亞、關島⋯⋯等不同場域的作者，許多都擁有跨屈一指的平面設計師何佳興操刀，依照每則故事
域生活、多種專業的特質，也在無形中豐富了作的內容，從排版、選紙、用色等裝幀設計的細節
品內涵。好比Jimmeh Aitch（黃駿），今年才代量身訂作，處處可見的細膩講究，讓整本雜誌充
表台灣參加法國安古蘭國際漫畫節的他，本身是滿華麗的質感，與精緻的畫工相互輝映，成功在
台灣的西拉雅族人，目前以語言學家的身分任教台灣讀者心中留下鮮明的印象。

Huang, who is extremely well read, describes how she matched with the exquisite artwork, succeeds in leav-
has found that the descriptions of Asia written by many ing an outstanding impression in the minds of Taiwan
European and American writers focus on an exaggerated readers.
sense of novelty, and they often end up conveying carica- Southeast-Asian landscape
tures and stereotypes. Her long-term experience along Lim Khay-thiong of the Department of Southeast
the border of China and Southeast Asia and her rigorous Asian Studies at National Chi Nan University mentions
fieldwork, however, showed her that those stereotypes that the concept of “Southeast Asia” arose from mili-
were inaccurate. Consequently, from planning and select- tary strategy, and that there are limitations in terms of
ing material, to writing and development, to marketing, studying it as a region. Nevertheless, people’s activities
she has taken an Asian-centric approach. are never restricted by national borders.
Slowork has found people to work with from many Today, as migration, travel and expat living are on
different Asian nations. Huang has made ample use of the rise, there is a growing consensus in the ten ASEAN
online communities and social networks, even holding countries and Taiwan that their cultures are going to
workshops and putting out calls for submissions, taking collide and blend with each other. Their publishing in-
a multipronged approach to developing contributors. dustries, moreover, will transcend the limits of ethnicity,
Regarding Monsoon, which presents a compilation language, and national borders, and approach inter-
of several short works in each issue, Huang says, “This actions with greater inclusivity. Taiwan has a unique
publication mainly hopes to convey diverse perspec- publishing environment as well as a legacy of rich cul-
tives.” By bringing together different themes and sub- tural assets. As an island people, we need to make good
jects under one cover, she hopes to convey the vitality use of our natural open-mindedness.
of grassroots culture. Huang takes the different authors’ In terms of literature, Tee Kim Tong explains, “Place
works and gives them to the journal’s outstanding has a big impact on people. Southeast Asia is in fact close
designer, Timonium Lake, who serves as art director. to Taiwan, so why don’t we consider them together?
Throughout the publication, one notices that the fine at- Wouldn’t that be altogether better and more enriching?”
tention to detail provides a gorgeous feel, which, when Lim Wooi Tee, who has invested in various culturally
黃珮珊以絹印進行少量
印刷，墨色的飽滿度與
深刻的內容相互呼應。
（慢工文化提供）
Huang Pei-shan goes
to print with small
press runs. The high
saturation of the ink
matches the depth of
the content. (courtesy of
Slowork Publishing)
27
台灣成為東南亞的一片風景
暨南國際大學東南亞學系副教授林開
忠曾談到，所謂的「東南亞」，最早便
是因為戰略需要而被創造出來的概念，
區域研究有許多限制性，但人的活動從
來不會因邊界的界定而受限制。
如今，從東協十國到台灣，不管是人
的離散、遷徙或旅居，文化上的碰撞與
混聲，甚至是圖書出版產業的合作與相
互支援，跳脫國族、語言的畫地自限，
以更大的包容性去想像彼此的互動，似
乎已是各方齊聚的共識。尤其台灣擁有
得天獨厚的出版環境，以及前人累積下
來豐富的文化資產，身為島國子民，更
應具備開放的胸襟加以善用。
以文學來說，張錦忠談道：「風土
對人的影響很大，跟台灣接近的其實
是東南亞，我們何不把台灣文學擺在同
一個水平線去看，這樣會不會更好、更
豐富。」投資多種文化出版事業的林韋
地則提及，港台新馬都有市場太小的困
境，尤其如今圖書出版產值紛紛萎縮崩
盤，台灣也不是孤例，「但是，如果港
台新馬與其他華文地區，可以同步建立
起互相支援的市場，那便是約5,000萬
人口的自由華文世界，等同歐洲一個大林韋地與賴凱俐共同在台灣成立季風帶文化有限公司，以
國的人口，壓力會比單打獨鬥來得小經銷商的角色，積極引進馬來西亞、新加坡的華文出版
的多。」品，促進跨國的閱讀與交流。
當林韋地、黃珮珊兩人不約而同破除慢工文化則善用台灣在出版上的優勢，以台灣作為出
國家的界線，選擇以亞洲特有的氣候現版、行銷的基地，但內容的產出方式則嘗試多方創新。好
象為刊物命名，意味著他們的格局都已比媒合畫家陳沛珛與國際獨立記者廖芸婕合作，畫下核災
在新的高度。林韋地說，《季風帶》的後的車諾比，或者將泰國作家帕達‧雲（Prabda Yoon）
立意初衷，即是希望不同場域的人能跨的短篇小說〈括弧裡的或然率〉轉譯成漫畫。
域對話，除了建構馬華文學論述，甚至不計時間成本投入生產出來的作品，黃珮珊不希望它們
希望能將關懷視角觸及聲勢更為稀微的只流通在台灣市場，也由於留法的背景，她已經將作品鋪
新華、菲華、印華、泰華等場域。到少數歐洲的書店。不過，她更希望有朝一日，能將版權
台灣因出版產業蓬勃及文壇機制完重新賣回東南亞。她說：「東南亞很有趣，市場也很大，
整，許多馬華作家甚至得藉由在台獲在地理、氣候、文化上，與我們都有親近性，但總要我們
獎、出版，才能在華文世界獲得一席之先打開來接納人家，人家才會接納我們吧！」只要我們願
地。因著台灣出版在華語圈的影響力，意融入其中，迎來的將是無限寬廣、富饒的新風景。 l

oriented publishing houses, says that publishers in 現今的圖書市場不能只看台灣，媒合跨國交易的版權
經紀人益顯重要。圖為光磊國際版權公司。
Hong Kong, Taiwan, Singapore and Malaysia all face With Taiwan’s publishing industry no longer able to
the challenge of being based in small countries with look just at the domestic market, copyright brokers are
becoming increasingly important to handle transnational
shrinking markets. Taiwan is not unique in that respect. deals. Shown here is the Grayhawk Agency.
“But if these and other places with local Chinese liter-
ature can work in concert to provide market supports,
then that collective market of some 50 million people,
equi val ent to some large Euro pean nations, will face
less pressure than each market would on its own.” Singapore. It aims to encourage reading and cultural
When Lim and Huang Pei-shan unwittingly both exchange across borders.
named their periodicals after the same Asian weather Slowork makes good use of the advantages the pub-
phenomenon, it demonstrated how much they shared lishing industry has in Taiwan, both as a place of pub-
in common. Lim notes that the original idea behind lication and as a marketing base. Huang doesn’t want
Monsoon Review was to create transnational conversa- their works to circulate merely in the Taiwan market.
tions. Apart from fostering discourse about Malaysian Rather, she hopes that one day Slowork can resell the
Chinese literature, there was the still greater hope that it rights back to Southeast Asia. “Southeast Asia is very
would include discussion of smaller Chinese-speaking interesting, and its market is large,” she says. “It’s really
communities, such as those found in Singapore, the a lot like us in terms of geography, climate and culture.
Philippines, Indonesia and Thailand. But we’ve got to be open to accepting other people if we
In view of the influence that Taiwan has in Chinese expect them to be open to accepting us!” If we are will-
language circles, Lim and Lai Kaili together founded ing to fit in, we can welcome a vast, new, rich scenery. l
Monsoon Zone Publishing, a distributor that actively (Lynn Su/photos by Jimmy Lin/
imports Chinese-language works from Malaysia and tr. by Jonathan Barnard)
29
東南亞文學圓桌會
生命的關懷，書寫的原點
Southeast Asia Literature Roundtable:
Writers Inspired by Concern for Humanity
文•曾蘭淑、武秋香、陳德銘　圖•莊坤儒　版面設計•王敬勛
一個靜謐的午後，《台灣光華雜誌》邀
請前來參加2018東南亞文學論壇的越南作
家保寧、印尼作家亞悠．烏塔米，與台灣
作家房慧真對談，聊及自己的寫作緣由與
對現今政治與社會的觀察，由於各自所處
不同的社會與文化脈絡，產生了不同的文
學作品，但因著同是書寫對生命的關懷，
談話間有著更多瞭解與熟稔，氣氛也熱絡
起來。
O ne peaceful afternoon, Taiwan Panorama

invited two authors, Bao Ninh from
Vietnam and Ayu Utami from Indonesia, to
take part in a dialogue with Taiwanese writer
Fang Hui-chen at the 2018 Southeast Asian
Literature Forum. They discussed the factors
that motivate their writing, as well as their
observations on current politics and society.
Due to the different social and cultural con-
texts in which they find themselves, they pro-
duce distinctive literary works. But because
each of them is inspired to write by their con-
cern for humanity, as the conversation deliv-
ered a greater sense of mutual understanding
and familiarity, the ambience warmed up.

作家介紹
Participants’
backgrounds
房慧真保寧亞悠．烏塔米
Fang Hui-chen 台灣 Taiwan Bao Ninh 越南 Vietnam Ayu Utami 印尼 Indonesia
曾擔任《壹週刊》專欄記者，目前小說家，首部小說《戰爭的哀傷》曾擔任印尼軍政府時期的新聞記

為非營利媒體《報導者》的資深記（The Sorrow of War，台灣有中文譯者，1998年處女作《薩滿》被視為促
者。著有散文集《單向街》、《小塵本《青春的悲愴》）1990年在越南出成印尼政治變革的重要作品，並獲得
埃》等，人物訪談集《像我這樣的版，1994年獲英國獨立報外國小說獎雅加達藝術委員會一等獎，另有劇本
一個記者》（2017年鏡週刊十大好（Independent Foreign Fiction Prize），著作《蘇西拉的審判》。
書）。〈草莓與灰燼──加害者的日另有著作《7個小矮人的農場》、《船
常〉獲得2016年度九歌散文獎。的封印》、《塞車時的思考》。
A former columnist for Next, a weekly His first novel, The Sorrow of War, A journalist in Indonesia during the
magazine, and currently senior reporter debuted in Vietnam in 1990, and the period of military rule, her debut novel
for the non-profit online magazine The English edition won the UK-based Inde- Saman—launched just a few weeks
Reporter. Her published works include pendent Foreign Fiction Prize in 1994. before the fall of Suharto in 1998—is
two volumes of essays, One-way Street A Chinese version has been published considered to have played an import-
and Little Dust, and a collection of inter- in Taiwan. His other works include The ant role in the movement for political
views, A Reporter Like Me, that figured Camp of Seven Dwarves, A Marker change (Reformasi) in her country, and
among Mirror Media Weekly’s Top Ten on the Side of the Boat, and Rambling won the Jakarta Arts Council’s award for
Books. Her Strawberry and Ashes won While Stuck in Traffic. Best Novel that year. She also penned
Chiuko Publishing’s 2016 Essay Award. the theater script for Susila’s Trial.
插圖：王敬勛 art by Henry Wang

台灣印象
Perceptions of Taiwan
光華雜誌：可否談談您對台灣的印象？
Taiwan Panorama: Can you share with us your impressions of Taiwan?
保寧我去過日本、韓國與東南亞所有國家，唯
Bao Ninh
有台灣是第一次來。在越南時，對台灣的第
一個印象是申請台灣簽證很方便，我自己還
是屬於免簽的對象。光辦簽證時就讓我覺得
台灣和日本、韓國相比，更開放。
來到台灣，我看到許多很現代的地方，甚
至不輸給日本，尤其可貴的是台灣還能保留
一些古色古香的事物，例如我非常喜歡故宮
博物院。台灣給我的感覺是既現代又古典，
古今中外的結合，跟台灣人講話雖然語言不
通，卻讓我覺得很親切、很溫暖。
Since I arrived in Taiwan, I’ve encountered

many rather modern sights. In this respect, it’s not
inferior to Japan. What’s especially valuable is that
things here retain a certain air of antiquity, like the
National Palace Museum. Taiwan gives me a sense
of both the ancient and the contemporary, Chinese
and foreign. Although the Taiwanese and I speak
different languages, I feel kindness and warmth.

亞悠．烏塔米我以前對台灣的認識僅限於歷史課本與《流星花園》連續
Ayu Utami
劇，對台灣文學從來沒有接觸過。第一次到台灣，讓我感覺這
裡很友善、開放、舒適，沒有被排擠的感覺。我這幾天去參觀
中正紀念堂、國父紀念館，看到小朋友在跳舞，老人家在練太
極拳，覺得氣氛十分平和；到了台北車站，看到印尼移工自在
地與朋友聊天，覺得台灣是很容易讓外國人愛上的地方。
This is my first visit, and my feeling is that Taiwan is very friendly,

liberal and pleasant. There’s no sense of being excluded. When I ar-
rived at Taipei Main Station and saw Indonesian migrant workers
chatting with their friends, it struck me: Taiwan is a place that could
easily win the affection of foreigners.
我想說說我與東南亞的關係。我的父親是房慧真
Fang Hui-chen
印尼華僑，1960年來台灣念書後留在台灣。
我小學畢業時，父親曾考慮要舉家搬回印
尼，我常想，如果我真的回到印尼，今天的
我可能是另一個錯身而過的命運。
I’d like to say something about my relation-

ship with Southeast Asia. My father is a Chinese-
Indonesian who remained in Taiwan after he
began his studies here in 1960. When I completed
elementary school, he considered moving the fam-
ily back to Indonesia. I often reflect on how, if we
had really relocated, I might be a very different
person today.
33
寫作緣由：國事蜩螗
Writers’ inspiration: Countries in chaos
可否談談您的「國家」對您的第一本書，帶來何種特殊的影響？
Can you tell us what impact the state of your homeland had on your first book?
保寧我1952年出生那一天，正好法國人進攻我們的村子，我媽媽告訴
Bao Ninh
我，我是在炸彈聲中出生的。1969年我入伍，參加「越南人民軍（北
越）」的27青年旅（27th Youth Brigade），1975年越戰結束後才退
伍，五百多人的部隊只有10名士兵存活，我是其中之一。
戰爭結束了，雖然說我們是戰勝的一方，但6年參戰的經驗幾乎把
我摧毀，我每天惡夢連連，連我的父母親看到我都很害怕。雖然我一
直想忘掉戰爭，但戰爭不放過我，因為我不擅於言語，無法訴說出我
內心的痛苦。過了10年，我才提起勇氣，為了我的民族、我死去的同
袍，書寫《戰爭的悲傷》，但其實我的目的是為了書寫和平。
對我來說，越戰是僅次於美軍投原子彈在廣島的大悲劇，尤其是越
南這麼小的國家，對抗這麼強大的美國。當年人口4,000萬的越南，
在戰爭中死了450萬人，有的家庭3個兒子全死了，有的村莊的男人全
部戰死，但社會主義的文學作品和報導，卻只會宣傳輝煌與勝利，忽
略戰爭帶來的悲劇與傷痛，我認為這樣的行為是對不起人民、對不起
祖國。因為暴力如此的可怕，所以人與人之間更要懂得愛護、疼惜。
The day I was born in 1952, the French attacked our village. I came into
the world amidst the sound of bombs exploding, my mother told me. From
1969 I served in the 27th Youth Brigade of the People’s Army of Vietnam. I re-
turned to civilian life in 1975, one of just ten to survive the war out of a force
of more than 500.
The war was over. We were the victorious side, but undergoing six years of
war almost demolished me. Each day brought new nightmares; even my par-
ents feared me. I was keen to forget the war, but it refused to release its grip
on me. I was not good with words and could not express the pain deep in my
heart. It took me a decade to gather the courage to put The Sorrow of War down
on paper. War wasn’t my subject; I was writing for the sake of peace.

亞悠．烏塔米
Ayu Utami
我在印尼強人總統蘇哈托執政末期，擔任新 I was a journalist near the end of the rule of

聞記者，由於軍政府箝制言論，要求報社只能刊 Indonesia’s strongman, President Suharto. To resist
the military regime’s clampdown on speech, which
登政府要刊登的新聞。我與朋友為了爭取新聞自
demanded that only pro-government news be pub-
由，創立了「獨立記者聯盟」。由於雜誌社被政
lished, my friends and I established the Alliance of
府取締而關閉，我的同事坐牢，我上了政府黑名
Independent Journalists.
單，求職被所有報社封殺，我改以匿名從事新聞 My country underwent colonization by the
報導。 Netherlands and Japan, and the dictatorship of Su-
我的國家經歷被荷蘭、日本殖民的壓迫，蘇 harto’s junta. The voices of many victims who were
哈托軍政府專政32年族群的撕裂，印尼人雖然相 politically persecuted and whose human rights
信「惡有惡報，善有善報」因果論，但這些被政 were trampled upon were long disregarded. When
I finally realized that the medium of news reporting
治迫害、人權被踐踏的受難者心聲，卻長期被漠
could not capture the deep sense of injustice suf-
視。我終究發現，新聞報導的寫作風格無法書
fered by victims, I switched to writing a novel. Af-
寫受難者內心深處所遭受的不平，於是我改寫小 ter my Saman was published in 1998, many female
說。1998年《薩滿》（Saman）出版後，有許多 writers and activist-authors followed suit, which
女性作家與人權作家跟進，也印證了「當新聞沈 confirms the wisdom of the phrase, “When the
默，文學就會發聲」這句話。 press is muted, literature finds its voice.”
房慧真
Fang Hui-chen
我很同意新聞自由是要冒險達成的。 I very much agree that attaining freedom of the

我想回應Ayu的故事。我最近採訪支持黨外雜 press requires taking bold risks.
誌的海王印刷廠負責人，大家知道在1980年代的 I’d like to respond to Ayu’s story. I recently inter-
台灣，由於報禁，常常要搶在警備總部之前，去 viewed Zhang Kunshan, the owner of Haiwang Print-

ing House, a firm that handled underground dangwai
印刷廠搶書，包括當初《前進雜誌》要出一萬本
publications under martial law. Nowadays everyone
二二八事件的專輯，警總準備查禁、扣押，接訂
knows that in the eighties, due to the ban on oppo-
單的海王印刷廠不放棄繼續印，為了躲閉警總的 sition publications, staff often had to race to remove
查緝，得把車開進殯儀館，把書藏到六張犁的豬 newly printed matter, such as a 10,000-copy special
寮，不怕鬼也不怕髒臭，這是台灣爭取新聞自由 edition of Progress magazine on the February 28 Inci-
的一段歷史，Ayu非常像這些前輩們。 dent, before the Taiwan Garrison Command could con-
我這一代沒有經歷像保寧般戰爭的離散與饑 fiscate it. Haiwang planned to continue printing the
special edition, so to avoid inspection by the garrison
饉，我當記者時台灣也進入第二次政黨輪替。而
command, printing factory staff transported the mag-
我創作的初衷可以說拜台灣書寫部落格風起雲湧
azines to a funeral home, or hid them in a pigsty near
之賜，2005年我被中文研究所期末報告的學術寫
Taipei’s Liuzhangli—ghosts and stink be damned! This
作弄得煩躁不堪，因此將我平時的隨筆放到部落 is the history behind Taiwan’s battle for freedom of the
格的網路介面上，與網友互動，這些抒發心情的 press. Ayu is very similar to those forebears of ours.
散文隨筆，成為人氣部落格，2007年集結成我的 As for my first book, One-Way Street, it was inspired
第一本書《單向街》。 by the spirit of Taiwan’s rising tide of bold bloggers.
35
不同社會，相同激烈轉型
Distinct societies, similar transformations
對各位來說，您的國家最近的社會變化，是否影響您的寫作計畫？
Have recent social changes in your country impacted your writing plans?
保寧房慧真
Bao Ninh Fang Hui-chen
越南這幾年變化越來越台灣社會也是變化很大。我生平第一個工作是到《壹
快、越來越大。一方面發展週刊》當記者，工作4年，台灣媒體環境歷經激烈的轉
會帶動經濟發達，但另一方變，可以說也反映台灣社會變遷的一面。由於媒體受到
面，價值觀跟著改變；城市資本的箝制、新聞的置入行銷，與一味追求膻色腥，衝
進步的同時，出現失序、混點擊率。接著面臨中國資本家欲介入台灣媒體的現象，
亂等問題，以一個作家的角當時壹週刊也面臨相同的威脅，我與同事成立工會，擔
度來看，我覺得蠻難過的，任理監事，所幸壹傳媒被中國資本購併案一度喊停，我
但我還是著重寫報導文學。的新書《像我這樣的一個記者》就提到這個變化。
In recent years, Vietnam has Taiwanese society has also changed greatly. My first job
undergone increasingly quicker ever was as a feature writer for Next, a weekly magazine.
and more radical change. On During my four years there, Taiwan’s media environment
the one hand, development underwent drastic changes, such as the increasing influence
drives economic prosperity; but of investors, paid product placement within news, and blind
it also brings problems such as pursuit of scandal and higher click-through rates. This has
changing mores, urban chaos been followed by the efforts of mainland Chinese capitalists
and a breakdown in social or- to gain entry to the Taiwanese media scene via investment.
der. From a writer ’s point of My new book, A Journalist Like Me, chronicles this trans-
view, I feel rather sad. formation.

亞悠．烏塔米
Ayu Utami
這幾年印尼則是經歷過政治改革，已有新聞自由，但卻有愈來愈多以宗教之名行暴
力之實的事件。此外，假新聞充斥媒體，尤其是特定的族群與宗教人士，只選擇自己
想聽到的新聞，而不選擇正確、客觀的事實，「獨斷」的風氣改變了原本印尼寬容社
會的本質。
現在的我認為，有了新聞自由還不夠，人民必須要有「思考的自由」，因此我的
下一本書，我想以「critical spiritualism」為主題，希望印尼成為更包容、更寬容的
社會。
In recent years, Indonesia has experienced freedom of the press, but nowadays it may be too
free. The media is flooded with fake news items, manipulated by certain ethnic groups or reli-
gious figures that select solely the news they wish to hear, while ignoring objective facts. This
“autocratic” atmosphere is altering the nature of Indonesia’s formerly tolerant society.
So I now believe that freedom of the press does not suffice; people must acquire the “freedom
to think.” For my next project, I intend to write a book around the theme of “critical spiritual-
ism,” in the hopes that Indonesia will become a more inclusive and tolerant society.
37
文學交流，推薦選書
Writers reveal their favorites
房慧真有備而來，也請保寧與
保寧亞悠．烏塔米亞悠推薦越南與印尼的作品。
Bao Ninh Ayu Utami
Fang Hui-chen evidently came
prepared. Now let’s invite Bao
我們很想更認識台灣，因此可以請她推薦了解 Ninh and Ayu Utami to recommend
台灣文學與歷史的書嗎？ works from their own countries.
We would like to know more about Taiwan. Could

Fang Hui-chen recommend some books that might
保寧
be helpful in understanding Taiwanese literature and Bao Ninh
history?
越南古代文學很受中國文學的影響，很多悠久
房慧真的作品是用漢文寫的。我本身也很喜歡唐詩。越
Fang Hui-chen
南作家我覺得可以推薦的有阮輝涉、阮平方，詩
我首先想推薦齊邦媛的《巨流河》，這本書從人的代表有阮攸。想融入越南文化可以看《金雲
外省人的角度，來看台灣外省第二代偏安台灣的翹傳》，連美國兩任總統到越南演說時也會提到
時代故事。第二本書是台灣文學之父賴和的《一幾句《金雲翹傳》裡面的詩詞，很受越南民眾的
桿「稱仔」》，他行醫之餘，用漢文書寫在日本歡迎。
長期殖民統治下，台灣底層人民貧困的生活。第 Two contemporary Vietnamese prose writers worthy
三本推薦《呂赫若小說集》，這是書寫1945年至 of recommendation are Nguyen Huy Thiep and Nguyen
「二二八事件」等歷史創傷的故事。第四本是白 Binh Phuong. A representative poet would be Nguyen
先勇的《台北人》，作為外省人的第二代在台北 Du [1765–1820]. For readers who are keen to delve fur-
生活的故事。第五本是黃春明《蘋果的滋味》， ther into traditional Vietnamese culture, I recommend
his epic poem Truyen Kieu.
這位代表台灣文學重量級作家透過被美軍撞傷的
小人物阿發的故事，呈現台灣鄉土文學的風貌。
亞悠．烏塔米
Ayu Utami
I’d recommend five books: The Great Flowing River: A
Memoir of China, from Manchuria to Taiwan by Chi Pang- 我想推薦的印尼作家，包括推動女性權益的
yuan; The Steelyard by Lai Ho, the father of Taiwanese 貴族佳爾丁尼所寫的《佳爾丁尼的信》、安南
literature; Collection of Short Stories by Lü Ho-jo; Taipei
達．多爾《人類的地土》、阿里．夏班納的《印
People by Kenneth Hsien-yung Pai; and Taste of Apples
尼的文化與社會革命》，多哈里的《巴路可之舞
by Huang Chun-ming.
孃》，安華的詩《我》。
Indonesian works I’d like to recommend include

Letters of a Javanese Princess by Raden Adjeng Kartini, a
women’s rights activist born into an aristocratic family
in the then Dutch East Indies; This Earth of Mankind by
Pramoedya Ananta Toer; Indonesia: Social and Cultural
Revolution by Sutan Takdir Alisjahbana; Ahmad Tohari’s
The Dancer; and “Me,” a poem by Chairil Anwar.
(Esther Tseng, Vu Thu Huong, Temmy Wiryawan/
photos by Chuang Kung-ju/tr. by Bruce Humes)

場地提供：思劇場
venue courtesy of Thinker’s Theater
39
重啟出版的南方之門
台灣二度擔任曼谷書展主題國
The Bangkok International Book Fair:
Taiwan Back in the Spotlight
時間就落在宋干節（泰國新年）前夕，也是學
生出閘的暑假，堪稱亞洲規模最大，足足是台北 T he 2018 Bangkok International Book Fair
opened on 29 March, on the eve of Songkran,
the Thai new year festival, and coinciding with the
國際書展的3倍，約180萬人共襄盛舉的曼谷國際
annual two-month holiday for Thai students. It is
書展，就在詩麗吉皇后國家會議中心堂堂展開。
Asia’s largest book fair, about three times larger
對於泰國讀者來說，這場囊括一般圖文書、 than the annual Taipei International Book Exhibi-
動漫、輕小說，甚至文具、文創商品的大型會 tion. Held in the splendid Queen Si ri kit National
展，無疑是一場不容錯過的盛會；也是台灣繼 Convention Center, this year’s event attracted some
2007年以後再度獲邀成為書展主題國，不論是象 1.8 million visitors.
徵台泰友好的文化外交，或是為出版業者對東南 For the second time in 11 years, Taiwan has been
亞市場的投石問路，都顯得別具意義。 invited to the book fair as its guest of honor, symbol-

izing both the close cultural exchanges between the
two countries and the success of Taiwan’s publishers
走入一向以強大包容力著稱的泰國，不僅傳統
in making inroads into Southeast-Asian markets.
與現代並駕齊驅，就連外來文化都能在此掙得一
席之地。以曼谷書展為例，會展中心的穿堂，巨 Thailand has always been known for its openness
大的神像浮雕拔地而起，像護衛著底下絡繹不絕 and tolerance, a place where the traditional and the
的人潮，這個令人難以忽視的裝置藝術，除了突 modern coexist, where even foreign cultures can find a
顯泰國是佛教國家的本質，也宣告著高度成熟的 welcoming place. At the book fair, for example, a giant
Buddhist relief carving watched over the endless stream
設計水平。
of visitors as they entered. The art installation left quite
再細看現場商品，這個以銷售書籍為主，而非
an impression, and highlighted the importance of Bud-
版權買賣的書展，十足反映普羅大眾當前的閱讀
dhism in Thailand. It also hinted at the country’s high
趨勢。以中國古代為背景的網路小說大行其道， degree of design sophistication.
另有大量的B L、恐怖小說、日本動漫、美國動 The Bangkok Book Fair focuses on retail sales rather
漫⋯⋯大眾文類市場蓬勃；此外，穿插著設計大 than industry deals over marketing rights. A survey of
膽、裝幀精美，頗有歐風的翻譯文學類書籍，甚 the publications exhibited therefore provides insight
至是中國文史類書籍、印度主題類書籍，以及與 into current reading trends. It shows a flourishing

泰國皇室、軍政相關書籍⋯⋯共冶一爐，讓會場的可能，包含老是讓西方人混淆的國名拼音、地
就像多方文化相互震盪的現場。理與氣候上的相近性等。最後，他以「Tai-Thai
Reading」的主題為整體定調，運用台灣民間經
幽默共饗台泰閱讀盛宴
典的布袋戲偶，成為場館的主視覺設計，兩兩一
在這樣眾聲喧嘩的場域，作為主賓的台灣，也組，就像兩本翻開的書，彼此閱讀、對話。
擘劃出三大展區，包含展現台灣風土民情、文化書展還沒展開，交流就已經在發生。蕭青陽
特色的「主題國展區」；以推介台灣不同類型書說，泰國文創執亞洲之牛耳，「不只很有設計
籍為主的「國際版權書區」；以運用台灣漫畫雜力、很洋化，甚至還有隱藏的幽默感，這是經過
誌《Creative Comic Collection創作集》連載內容很多年進化的。」在這樣的設計大國策展，備感
進行虛擬實境體驗的「CCC漫筆虛實展區」，加兢兢業業之餘，也為他提點出不一樣的觀點。
上穿插大量的音樂、電影、作家講座等超過50場就像曼谷書展的主視覺印象，是以黑線簡單勾
的藝文活動，讓民眾留下鮮明的台灣印象。勒出人在閱讀的圖樣，乍看之下簡直像國中生的
交流除了意味著平等、開放，更關鍵的是彼此隨興塗鴉，他說：「在一個設計很先進的國家，
伸出友誼之手，才能有來有往。除了從出版、音已經進入到很kuso、隨興的部份，這反而提醒我
樂、電影、茶藝，乃至科技等不同面向，大舉展不要太嚴肅。」因此，他將「Tai-Thai Reading」
現台灣的文化軟實力，如何與泰方主場互動，也的縮寫「TTR」，設計成令人莞爾的笑臉，相互
在在考驗著台灣的能耐與器量。有了對話。
承接下主題國展館策展人重擔的設計師蕭青
傳統的內涵，文娛的形式
陽，試圖從台灣與泰國的相似性裡，尋找對話
泰國獨特的文化，一向是刺激文創產業進化的
活水源頭，而文化則來自於民間長時間的累積。
作為主題國的台灣，也由傳統的庶民生活著手，
並以符合現代人的娛樂形式作展演，恰如這個毋
需購票即可入場，猶如大型市集的書展，不約
而同都以大眾為依歸。共通的通俗性，得以讓展
區、表演融入現場，互相增色。
好比九天民俗技藝團以電音演出台灣傳統廟會
的陣頭，三太子也到場助陣；國立交響樂團特別
安排演奏〈丟丟銅仔〉等台灣民謠。最具指標性
的台灣館，所展覽的近年新書，內容環繞著常民
生活展開，包含原住民族、飲食生活、山岳旅遊
等幾大類，展館中穿插陳設台灣民間常見的圓桌
板凳、布袋戲偶、台灣第一台自產的「幸福號」
腳踏車⋯⋯再通過設計美感的統合，為泰國讀者
勾勒出初步的台灣印象。
台灣出版業者攜帶千本以上的書籍參展，讓當地出版社
留下鮮明的印象。
Taiwan made an impression at the book fair with the sheer
number of publications on display.

popular literary market and considerable interest in addition there were more than 50 other cultural events,
online novels set in ancient China. There was also much including musical performances, movies, and literary
in the way of yaoi (boys’ love) fiction, horror fiction, discussions, that helped introduce visitors to Taiwan.
Japanese manga and anime, and American comics. Also The cultural exchanges attempted to create a spirit
on display were boldly designed and delicately bound of equality and openness, and most of all to express
literary translations reminiscent of European publica- the mutual friendship between the countries. It took
tions. The exhibition hall resembled a cultural smorgas- immense creativity and resilience for the organizers to
bord, with publications on ancient Chinese literature successfully pull off the event.
and history, books with Indian themes, and works on Designer Xiao Qing-yang, who curated the Taiwan
the royal family, politics and military of Thailand. Pavilion, coaxed out possibilities for dialogue by focus-
Finding humor in shared confusion ing on similarities between the cultures of Taiwan and
As the guest of honor at this year’s book fair, Taiwan Thailand, such as geographic and climatic similarities
set up three exhibition areas within the busy convention and the similar spelling and sound of the countries’
center. The International Pavilion featured a Taiwan Pa- names, which leads to so much confusion for foreign-
vilion that displayed the unique characteristics of Tai- ers. He decided to use “Tai-Thai Reading” as a general
wanese arts and culture. In the international copyright
section, Taiwanese publishers introduced a rich variety
of publications. The third exhibition area was called
the “Creative Comic Collection (CCC) Exhibition,” and 喜愛民間文物的蕭青陽，大方地以自己的收藏品作為
featured virtual reality displays of comics serialized in 展館佈置的道具，與泰國讀者共饗。
Xiao Qing-yang, ever fond of folk arts, used puppets from his
the Taiwanese magazine Creative Comic Collection. In own collection to entertain visitors to the Taiwan Pavilion.
43
另外，位在會場另一端的「C C C漫筆虛實展主題國展區邀請設計師蕭青陽策展，明亮的色彩與
常民文化元素，為泰國民眾留下台灣印象。
區」更是獨領風騷，策展內容來自《蘭人異聞 Designer Xiao Qing-yang curated the Taiwan Pavilion. He used
bright colors and an emphasis on everyday people to form a
錄》、《異人茶跡》、《北城百畫帖》、《龍泉 picture of Taiwan in visitors’ minds.
俠大戰迷霧人》等幾套以台灣人文歷史為主題的
漫畫，背景橫跨大航海時代、清代、日治等不同
時期，再運用浮空投影、AR、Google Tango空間事實上，泰國讀者對華語作品並不陌生，超
動態偵測等技術，搭配Asus ZenFone手機，讓民過百年以前便有《三國演義》、《西遊記》等古
眾進行數位體驗，遊戲之餘，也深化對於台灣的典作品翻譯入泰國，晚近也曾風行金庸、古龍、
認識。黃易等武俠小說，近兩年，由於中國網路文學崛
起，加上不少作品翻拍成影視作品，帶動以中國
業者集體南向，推動版權交易
古代為背景的長篇網路小說盛行。
雖然現場台泰互動良好，不過事實上，在2016 然而，中國圖書的成長，另一方面意味擠壓台
年以前，有8年台灣出版社都不曾赴泰參展，今灣的生存空間，台北市出版商業同業公會理事長
年也是繼2007年以後，二度受邀為主題國，除了盧欽政談到，其實，早期東南亞華文書是以台灣
安排密集的藝文活動演出，另有156家出版社帶圖書為主，但由於市場逐漸被大陸搶佔，加上過
著上千本自製書參展。國際版權書區除了安排媒去談版權交易都是單一出版社為主，單打獨鬥之
合版權交易的「版權推介會」，另行舉辦「台下成果相當有限，輸出機會減少以後，也造成出
泰版權論壇」，邀請代表性業者從文學類、教育版社中斷赴泰參展。
類、童書、電子書等不同領域進行產業簡報，讓然而，泰國資深中文譯者王道明談及對台灣、
生疏的雙方加速熟悉。大陸作品的觀察，他表示，台灣因延續中華文化

theme that captured the sentiment. He used glove pup- mass appeal and focus on the public enabled the Taiwan-
petry, a classic folk art in Taiwan, to create a thematic ese exhibits and performances both to blend in with the
visual element for the Taiwan Pavilion. Pairs of puppets book fair and to complement it.
faced each other from two sides of an open book, ap- Chio-Tian Folk Drums and Arts Troupe, for example,
pearing to read and talk to each other. performed a traditional temple procession to the accom-
The graphic theme for this year ’s Bangkok Inter- paniment of electronic music, and the costumed temple
national Book Fair was a sketch of a reader with a character Prince Nezha joined the performance. The Na-
simple black outline, which at first glance looks like a tional Taiwan Symphony Orchestra performed a rendition
schoolkid’s doodle. “This reminded me not to be too of some traditional folksongs. The flagship Taiwan Pavil-
serious,” Xiao says. “When a country is already well ion displayed publications focused on facets of people’s
advanced in design concepts, it can afford to be playful daily lives, including the experiences of Aboriginal peo-
and irreverent.” ples, food and drink, and tourism in Taiwan’s mountain
He therefore designed a logo for the “Tai-Thai Read- areas. The pavilion was decorated with typically Taiwan-
ing” exhibit with the initials “TTR” forming the eyes ese round tables and stools, theatrical glove puppets, and
and mouth of a smiley face, which in turn brought an exemplar of the first model of bicycle manufactured in
smiles to visitors’ faces. Taiwan. The exhibit’s designers combined these elements
Old traditions, new entertainments into an aesthetically pleasing whole that sketched out an
Thailand’s unique culture has always provided rich initial impression of Taiwan for Thai readers.
source material for the creative industries and draws
upon centuries of folk tradition. Taiwan’s exhibits also
drew inspiration from the lives of ordinary people and
integrated contemporary entertainment styles, in a way
CCC展區使用Asus手機作為體驗載具，
that chimed with the character of the book fair overall, 輸出台灣IT產業實力。
with its free admission and atmosphere reminiscent of Visitors to the Creative Comic Collection exhibition space
used Asus mobile phones to guide them through a virtual
a large-scale traditional fair. This shared approach of reality experience, showcasing Taiwan’s IT industry.
45
傳統，作品風格較為保守，中國大陸由於歷經過書籍需求漸增，台灣圖書品質亦佳，將會是搶攻
文革的洗牌，反而能不拘一格、大氣揮灑，展現當地市場的優勢。
出天馬行空的想像力，他說：「台灣作品多講
文化外交，打造國家品牌形象
人、講小東西，較少談戰爭、歷史，但對人的情
感就處理得很細膩，其實是各有各的精緻。就像不過，在台灣、大陸同文同種的背景之下，不
電影一樣，台灣像好萊塢電影那樣的作品較少，論是泰國的一般讀者或出版業界，對於台灣的認
但文藝電影就比較多。」識依舊相當模糊，而設置台灣主題館、CCC漫筆
不過，除了文學作品以外，在台泰版權論壇虛實展區，以及藝文活動演出，無不是盼望能加
上，時報文化董事長趙政岷便提及，即便出版產強對台灣的了解。
業產值不斷萎縮，台灣出版蓬勃依舊，2017年台在翻譯工作之餘，也成立蜘蛛文化出版社的王
灣就有超過4萬本新書出版，平均1天就有約110 道明，由於早年進入譯界便是由台灣作品開始，十
本，如今正是分眾化市場的時代。光磊國際版權多年來，一直與台灣有著不解之緣。蜘蛛文化目
經紀公司東南亞版權經紀人徐彩嫦則指出，台前出版侯文詠的三部小說：《靈魂擁抱》、《危險
灣圖書種類以多元取勝，可與中國大陸的大套系心靈》、《白色巨塔》，王道明在書封上特地放上
古裝小說作出區隔，也是輸出南向的機會所在。台灣地圖，標榜來源；《危險心靈》與《白色巨
盧欽政則表示，隨著東南亞國家經濟水平逐漸揚塔》，更因得到台灣文化部出版補助，在歷年書展
升，對於教育、繪本、養生、生活實用等類型的都曾開放教育界、醫界從業人員免費索取，藉著作
品的擴散，加深泰國讀者對於台灣民情的認識。
泰國資深譯者王道明翻譯超過百本以上的華文書籍，
作家對談，泰國的奇妙遇見
深諳台灣、大陸兩邊圖書市場的生態。
As the translator of more than 100 Chinese-language works, 受惠於泰國豐沛的文化能量，一趟曼谷書展，
Anurak Kitpaiboonthawee has a good understanding of
publishing trends in Taiwan and China. 也為台灣帶來豐饒的收穫。

宗教信仰進入當代美學並發展出新貌， 156 publishers exhibited thousands of books. In the
展現泰國高度設計力。
Thailand has become well known for sophisticated design
international copyright section, publishers and distrib-
that combines religious elements with a modern aesthetic. utors discussed distribution rights at the Foreign Rights
Exchange Seminar, while at the Publishing Industry
Forum of Taiwan and Thailand, guest speakers gave pre-
sentations on various fields, such as literature, education,
On the opposite side of the exhibition hall, the CCC children’s literature, and e-books, allowing professionals
Exhibition provided perhaps the most unusual of all the from the two countries to get to know their counterparts.
exhibits. Using aerial projection, augmented reality, and Readers in Thailand are, in fact, no strangers to Chi-
Google Tango spatial motion detection technology in nese-language publications. Lu Qin zheng, chairman
combination with Asus ZenFone smartphones, visitors of the Association of Taipei Publishers, explains that
could enter a virtual reality world based on various in earlier times Chinese publications in Southeast Asia
comic-book series that explore Taiwanese culture and came mainly from Taiwan, but later mainland Chinese
history. Aside from the fun of it all, visitors could gain a publishers gradually took over the market. Moreover, in
deeper understanding of Taiwan. the past Taiwanese publishing houses mostly negotiated
Seeking market share in Southeast Asia copyright deals individually, but this approach yielded
The success of this year’s exhibition notwithstanding, little success. As their market share dwindled, Taiwan-
Taiwanese publishers did not participate in the Bangkok ese publishers eventually withdrew from Thailand’s
International Book Fair for eight years after being first book fairs.
honored as the guest nation in 2007. This year, however, During the Publishing Industry Forum of Taiwan
aside from the busy schedule of arts and culture events, and Thailand, James C.M. Chao, chairman of the China
47
泰國以強大的包容力著稱，書
展現場也可見來自世界四面八
方的書籍與文創產品。
Publications and cultural
products from all over the world
were displayed at the Bangkok
Bookook Fair, reflecting Thailand’s
reputation for tolerance.
這一回的曼谷書展，邀
請作家亞榮隆‧撒可努、紀
大偉、何敬堯、張西、林
立青、陳美燕、侯文詠、
許育榮、邱承宗⋯⋯等人，
各自從原住民、同志、神魔
奇幻、網路書寫、繪本、青
少年⋯⋯等不同角度出發，
從個人講座到與泰國作家對
談，除了展現台灣紛呈多元
的文學景觀，也在激盪中激
發文化演進的動能。
曼谷書展猶如跨年一般的
洶湧人潮，以及可比電子展
的熱烈買氣，加上豐富的圖
書種類、活躍的電子書廠商
與宅配物流系統等，是許多
作家驚嘆的第一印象。
不過，作家林立青也觀察
到，曼谷書展以強調商品性
為主，買氣熱絡，相較於台當是一條可行之路；而現場暢銷的繪本、童書，則啟發他可運用
北書展大量的藝文沙龍，讀妖怪主題創作兒童繪本，持續為保存民間傳說努力。
者習慣與作家面對面互動，最早從網路開始發表作品的小說家張西，她嫻熟使用網路社
在這裡卻仍罕見，這也許是群媒體，也藉由在網路上尋找陌生人作訪談，從他人的故事蒐集
台泰之間可以交流的項目。寫作素材，獨特的創作模式，激勵了與她對談的泰國作家Round
小說家何敬堯則表示，書 Finger，他表示也想嘗試使用相同的方法去挖掘更多的動人故事。
展現場各國文化相互爭豔，讀者收穫滿載，出版業者尋覓市場商機，作家、設計師在文化
也都有各自的特色，令他重的異質碰撞裡各有斬獲⋯⋯為期11天的曼谷國際書展雖已在4月5
新確認，自己目前以妖怪主日畫下句點，不過，重啟的南向之門才開啟，合作交流的故事正
題為台灣尋找文化獨特性，要發生。 l

A number of authors from Taiwan participated in
exhibition events, including Sa kinu Ya long long, Chi
Ta-wei, Ho Ching-yao, Chang Hsi, Lin Li-ching, Chen
Mei-yan, Ho Wen-yung, Hsu Yu-jung, and Chiu Cheng-
tsung. They represented diverse communal voices—
Aboriginal and gay, for example—and a variety of
genres, including fantasy, online writing, picture books
and young adult literature. Through individual talks
and panel discussions with Thai authors, these writers
showcased the variety of Taiwan’s literary landscape
and enlivened the cultural exchanges.
The first impression of many writers at the Bangkok
Book Fair is often one of amazement. The crowds are
as thick as during New Year celebrations and visitors
can seem much like frenzied shoppers at an electronics
show. This year’s displays featured a remarkable variety
of publications, as well as e-book publishers and makers
of logistics systems used for home delivery distribution.
Author Lin Li-ching, however, pointed out that the
Bangkok Book Fair emphasizes merchandize and a
lively shopping experience. This is quite a contrast to
the Taipei International Book Exhibition, which features
many more literary talks and where visitors are used
to meeting authors in person, something that rarely
happens at the Bangkok event. These differences might
Times Publishing Company, pointed out that even as prove instructive for the organizers in both countries.
the overall value of Taiwan’s publishing industry con- Fiction writer Ho Ching-yao noted that the various
tinues to decline, publishing on the island remains vi- cultures on display at the book fair competed to out-
brant. In 2017 more than 40,000 new books were pub- shine each other but they are in fact all quite unique
lished in Taiwan, an average of 110 a day. It is truly an in their own way. Seeing the rich variety on display,
age of market fragmentation. he became even more convinced that his own writing
Itzel Hsu, a literary agent for the Grayhawk about yaoguai (demons and monsters) is a viable way
Agency, said that the diversity of Taiwan’s publica- to showcase the originality of Taiwanese culture. After
tions allows them to be competitive and sets them seeing the brisk sales for picture books and children’s
apart from the serialized historical fiction published in books at the fair, it dawned on him that he could create
China. This also creates a market opportunity for sales children’s picture books with those fantastical creatures
in Southeast Asia. Lu Qinzheng pointed out that de- and thus help preserve traditional folklore.
mand for publications on education, health and daily When the 11-day Bangkok International Book Fair
life, as well as picture books, has risen along with drew to a close on April 5, readers came away satisfied,
economic growth in Southeast Asia. The high quality publishers had found new market opportunities, and
of Taiwan’s publications will also be a major asset in authors and designers had all benefited from the cre-
expanding market share. ative collision of cultures. The event has rekindled Tai-
Thailand through writers’ eyes wanese interest in Southeast-Asian markets, and tales
Thailand’s cultural richness ensured that participa- of further cultural cooperation are sure to follow. l
tion in this year’s book fair would be of great benefit (Lynn Su/photos by Jimmy Lin/
to Taiwan. tr. by Robert Green)
49
狐狸的心事 ◎ 周保松
好讀
月
我用心愛了，
也用心幫助我所愛的人學會去愛了，
也許，這樣就夠了。
是的，在我的愛裡，
有遺憾，有悵惘，也有眼淚。
大抵，這就是生命吧。
狐狸和小王子告別時，說了這樣無是處。狐狸這樣安慰小王子：
一番話：「可是你不該忘記。你現「如果你馴服我的話，我們就
在永遠都得對你馴服過的一切負會彼此需要。你對我來說，就會是
責。你要對你的玫瑰負責⋯⋯」這這世上的唯一。我對你來說，就會
是狐狸最後的教導。說完，他們揮是這世上的唯一。」
是一趟巡覽好文的旅程，
更是一回賞讀美篇的心靈停駐︙︙
也是一段遍閱佳構的遨遊，
手道別，從此天各一方。狐狸在這裡，是在告訴小王子：
細心的讀者一定會問：既然如請馴服我吧！如果你這樣做，我
此，小王子為什麼不須對狐狸負們就會彼此相愛，你就會不再孤
責？狐狸明明深愛小王子，明明捨單，我就會成為你的獨一無二。狐
不得他，為什麼卻要主動將小王子狸沒想到的，是小王子如此回應：
推向玫瑰？「我有點懂了。」小王子說，「有
不解開這個謎團，我們便難以明一朵花兒 ⋯⋯ 我相信她馴服了
白狐狸的心事。我⋯⋯」
要做到這點，我們需要一點想這句話，意味著什麼？意味著
像力和同理心，嘗試走進狐狸的小王子的心，根本不在狐狸那裡。
內心。因為聽了狐狸的話，他第一時間想
讀者應記得，狐狸初見小王子到的，是玫瑰，而不是任何別的事
時，小王子剛剛遭逢一場大危機。情。小王子開始明白，他如此在乎
他發覺，他的玫瑰原來並非世間和掛念玫瑰，原來是因為玫瑰馴
獨有，而只是萬千玫瑰的其中一服了他。
朵。他因此感到無比失落，自覺一狐狸難掩失望。這怪不得牠，
圖／區華欣
因為牠並不知道小王子有過這樣這樣的關係。狐狸很難堪，也很難狐狸明白小王子嗎？不可能不明
的一段往事。照常理，狐狸應該知過，但仍然不願放棄：白。
難而退，但牠實在太喜歡小王子，狐狸閉上嘴，看著小王子，看了那怎麼辦？狐狸唯有收起愛意，
於是在寒暄一番後，忍不住又回到好久：「拜託 ⋯⋯ 馴服我吧！」牠不再強求，改為發出友誼的邀請：
「馴服」的話題，並進一步向小王說。「如果你想要朋友的話，那就
子表白：去到此處，狐狸簡直是放下所馴服我吧！」
「你看到那邊的麥田了嗎？我有自尊，向小王子苦苦哀求了。讀這一次，小王子終於改變態度，
不吃麵包。麥子對我來說毫無用者一定會想，小王子心腸再硬，也並熱切地問：「我該怎麼辦呢？」
處。我對麥田無動於衷。好悲哀很難無動於衷吧。但他如此回應：於是，小王子馴服狐狸，並成為
啊！可是你有金黃色的頭髮。一旦「我是很願意呀，」小王子回好朋友。
你馴服我後，這一切就會變得奇妙道，「可是我沒有很多時間。我還如果以上的解讀合理，那麼小
無比！麥子，金黃色的，就會讓我得去找朋友，而且還有好多東西要王子心裡其實分得很清楚 — 對狐
想起你。連風吹進麥田的聲音，我瞭解。」狸，是友情；對玫瑰，是愛情。狐
都會喜歡⋯⋯」明眼人都會見到，小王子口中說狸的啟蒙，讓他更瞭解他對玫瑰
這段感人肺腑的傾訴，可說是願意，心裡其實在推搪，於是找個是怎樣的感情，因此更為加深他
狐狸愛的宣言。懂事如小王子，即藉口敷衍狐狸。他怎會沒有時間對玫瑰的思念。所以，在他們相
使是出於禮貌，大抵也該給出一呢？他又可以去哪裡找朋友呢？處的日子，直到最後分手，小王子
點善意的回應吧。教人詫異的是，小王子這樣做，原因很簡單：他都沒有什麼掙扎，不覺得有必要
小王子一點反應也沒有。愛的是玫瑰，不是狐狸。小王子知在玫瑰和狐狸中間作出抉擇，因
他保持沉默。為什麼呢？那很道狐狸的心意，但他已心有所屬，為他從一開始就知道，他是要走
可能是因為小王子並不願意進入再沒有位置安放這樣的關係。的。
53
狐狸呢？牠較小王子矛盾得多。知道，小王子最初是在玫瑰園跌淚忍不住要掉下來時，小王子說：
牠本來渴望的是愛情，可惜求之不倒，牠希望小王子領悟到馴服的道「我一點都不想傷害你，可你偏偏
得，最後只能成就一段友情。理後，能夠再次面對五千朵玫瑰，要我馴服你。」
狐狸遺憾嗎？很難沒有遺憾。但從而重新肯定自己，也重新肯定他這清楚表明，小王子其實知道
牠的閱歷和智慧，教牠明白愛情的對他的玫瑰的感情。狐狸很愛他，也知道最後會沒有結
事不可強求，遂將感情收在心底，狐狸又告訴小王子，「你花在你果，甚至知道狐狸終會因此而受
沒有流露出什麼哀傷怨懟。玫瑰身上的時間，才讓你的玫瑰傷。
但狐狸並沒有停止對小王子的變得這麼重要」；去到臨別一刻，這一切，聰慧如狐狸，當然也明
愛，只是換了一種方式：牠希望盡狐狸仍然念念不忘地提醒小王子，白；明白，仍然選擇去愛，並以一
牠的能力，幫助小王子學會愛，因「你要對你的玫瑰負責」。種無我的方式去愛，最後用一句
而能夠更好地去愛他的玫瑰。因由此可見，狐狸一直在為小王子「我不是一無所得，因為麥子的
此在小王子離開之前，狐狸特別叮著想，一直在教導他如何善待和顏色」來安慰自己，那多少說明在
囑他：「你再去看看那些玫瑰吧。珍惜玫瑰。狐狸沒有不平，沒有妒這段關係裡，狐狸對於什麼是愛，
你會明白你那朵是世界上獨一無忌，甚至沒有要求任何回報。有著很深的領悟。
二的。」至此，我們終於明白，狐狸為什這些領悟是什麼呢？這問題不
為什麼要這樣做呢？因為狐狸麼只叫小王子對玫瑰負責，而不對易答，但我願意試試。
牠負責。這不是說狐狸沒有這樣第一重領悟，是狐狸開始明白，
的盼望，而是牠心裡清楚，小王子在世間，你愛人，別人不一定愛你。
的心一直在玫瑰身上。這麼淺顯的道理，還需要領悟
狐狸的愛，是怎樣的一種愛？嗎？需要的。如果你是站在第三
我們或可稱之為「無我之愛」。者角度去旁觀世間的離離合合，
在這種愛裡，狐狸將自我放到最或許很容易就會下結論說：愛，就
低、最不重要的位置，甚至忘掉自本質而言，是偶然的、任意的、不
己，而只以所愛的人為念。確定的，因此誰也無法保證，你愛
狐狸為什麼願意這樣做？那自人，別人就一定愛你。
然是因為牠很在乎小王子，在乎但如果你身在狐狸的位置，面
到一個程度，願意代入小王子的生對你最愛最在乎的人，認定對方就
命，處處為他的幸福著想。是你生命的唯一，並深信一旦錯過
經歷過愛情的人，大抵會明白，就會終生遺憾，那麼你不可能如
這不是件容易的事。在平常人的愛此輕省，並用一種看似灑脫的態
情裡，總是希望愛可以有回報有結度說：沒關係啊，不愛就不愛，反

書名：小王子的領悟
作者：周保松果，總是渴望能完整地擁有對方，正我的選擇多的是。
定價：350 元頁數：272 頁也總盼望一段關係能夠恆久長遠。當你在愛慕之中，你是如此強
出版：大家出版
小王子很明白這點。所以，當他烈地盼望，對方能夠如你愛他那
們分手，狐狸由於太過不捨而眼樣愛你，同時你也會在心裡為對

方找到千百種理由，說服他你就
是最值得他愛的人。
所以，當你全心全意愛一個
人，發覺對方並不愛你，經過
一輪痛苦，最後能夠如其所是
地接受這個事實，絕不容易。
所謂「如其所是」，是不自欺不
欺人不抱怨不嫉妒，意識到所愛的
人是獨立完整的個體，因此也能
像你那樣，可以自由選擇所愛的
對象。換言之，你是愛的主體，他
也是愛的主體；你在選擇人，他也
在選擇人。
你遂明白，在茫茫人海，相遇，
並非非如此不可；相愛，是無數偶
圖／區華欣
然中極難得的緣分。
一旦明白這點，狐狸遂知道強不過，如果狐狸的領悟只停於鼓勵他回到他所愛的玫瑰身邊，
求沒有意義。沒有意義，不在於這此，那麼當牠知道小王子和玫瑰的完成他應盡而未盡的責任。
樣做注定徒勞，而在於這不是對故事後，默默走開就是。但狐狸不狐狸好像在告訴我們，只要看
你所愛的人的尊重。你愛他，便須僅沒有走開，而且還懇求小王子視到所愛的人活得好，牠也就能在
尊重他是獨立的主體，同時尊重他牠如朋友那樣馴服牠，然後一心其中找到活著的意義。
的選擇。一意陪著小王子走過孤獨的日子，小王子走後，在黃昏中，狐狸孑
有人或會問：在愛情中，如此強並一步一步引領他去認識愛的真然一身，看著大風吹起金黃色的
調尊重，會不會理性大於感性，以義。在小王子面前，狐狸慢慢由愛麥子，想必會不捨，會思念，但一
致傷害人的情感維繫？慕者變成知己。定不會後悔。
是的，愈親密的關係，人們愈希狐狸為什麼會有這樣的轉變？狐狸或許會這樣告訴自己：我
望達到水乳交融、人我不分的境這關乎狐狸的第二重領悟。牠用心愛了，也用心幫助我所愛的人
界。逐漸體會到，雖然不能得到小王學會去愛了，也許，這樣就夠了。
這是人之常情。但這種對同一子同等的愛，但這並不意味著牠因是的，在我的愛裡，有遺憾，有悵
性的嚮往，其實是以個體的獨立和此便要放棄對小王子的感情。牠惘，也有眼淚。大抵，這就是生命
差異為前提。沒有個體，就沒有個不再問對方能給自己帶來什麼，而吧。狐狸如是想。
體與個體的聯結。是問自己能為對方做些什麼，從而「只有用心看才看得清楚。最重
所以，尊重你所愛的人的獨立人令所愛的人活得更好。要的東西，眼睛是看不見的。」
格，尊重他或她的選擇，在最深的是故當小王子完全成長，狐狸狐狸說，這就是牠最大的秘密。
意義上，內在於愛。儘管萬般不捨，卻沒有挽留，而是小王子啊，你能明白嗎？
55
影像對話　PHOTO ESSAY
漫步
A Stroll Around Beigan
北
竿

元宵節前後來到馬祖北竿，正好趕上
「擺暝文化祭」活動，「擺暝」是福州
話，「排夜」的意思，是指元宵期間各
村落排定祭神日，在夜晚陳設供品酬神
的儀式。這是馬祖地區重要的民俗文化
盛典，旅台的馬祖鄉親也都會在這時趕
回家鄉參與盛會。
閩東建築則是馬祖特色地景，保存
最完整的北竿芹壁村是最具代表性的閩
東聚落。背山面海，隨地勢而建的石頭
屋，錯落有致，昔日的老屋整修後再度
恢復生氣。隨著民宿與餐廳進駐，旅人
們來到這裡，望著大海發呆，暫時放空
自己，也是一種簡單的幸福。 l
I f you come at Lantern Festival to Bei

gan, an island in the Matsu chain, you
will be there at just the right time for the
“Bai ming Carnival.” In Fu zhou dialect,
bai ming refers to the ritual whereby, in
the period around Lantern Festival, each
village sets a specific night on which to
worship the deities, laying out all kinds of
foods as offerings. This is one of Matsu’s
most important folk culture events, and
many Matsu people living in Taiwan proper
return home at this time for the festivities.
Mindong (Eastern Fu jianese) architec
ture is a distinctive feature of Matsu. Qinbi
Village on Beigan is the bestpreserved and
most representative Min dong settlement.
Facing the sea, their backs to the hills, the
village’s stone buildings are arranged in a
圖／文
charmingly haphazard way, following the

local terrain. Since being renovated the old
houses have regained their vitality, and as
‧
林格立
homestays and restaurants have moved in,

tourists have come here too. Staring dream
　
版面設計
ily out to sea and letting one’s mind go

empty for a while brings a kind of simple
happiness. l
‧
蕭郢岑
(photos and text by Jimmy Lin/

tr. by Phil Newell)
57
北竿的芹壁村背山面海，由花崗岩建成的石頭屋是目前馬祖保存最完整的閩東聚落。
Qinbi Village on Beigan Island faces out to sea, with its back to the hills. The granite
houses form Matsu’s best-preserved Mindong-style settlement.

馬糧文化祭期間，坂里大宅掛起平安風燈為百姓祈福。
During the Horse Feed Cultural Festival, “tranquility wind

lanterns” are hung up at Banli Dazhai, an old house in Banli
Village, to pray for the wellbeing of local people.
59
坂里十三暝馬糧文化祭重頭戲是各村神乩齊聚坂里，
為迎神遶境揭開序幕。
遶境中家家戶戶會準備「馬草」焚燒給白馬尊王座騎享用。
During the Horse Feed Cultural Festival, which marks the opening of the
Baiming Carnival on the 13th day of the first lunar month,
deities borne on palanquins converge on Banli as a prologue to
their procession around the area. During the procession,
each household burns “horse feed” as an offering to the horse ridden by the
White Horse King.

61
沙灘上搭起了簡易的架子，
為漁船進行油漆修補。
Simple scaffolding erected

on the beach serves as a
platform for repainting
fishing boats.

63
全球視野　GLOBAL OUTLOOK
新文化外交駐外使館藝術展示計畫
The New Cultural Diplomacy:
Exhibiting Art in Taiwan’s Overseas Offices
文‧曾蘭淑　圖‧藝術銀行提供　版面設計‧蕭郢岑

在外交場合屢建奇功的英國前首相溫斯頓．邱吉爾
相信，「在面對面非正式交流中，更容易了解對方，
並施展外交。」外交部與文化部連袂在紐約、華盛頓
與新加坡等台灣代表處與官邸，所策劃一系列「台灣
當代藝術展」，將台灣當代藝術家作品，展示到國際
外交場域。除了讓外賓與華僑認識台灣文化內涵的多
樣性，亦是用藝術進行公眾外交的創意之舉。
一百多位從東南亞各國前來參加新加坡「Art Stage」
國際藝術博覽會的藝術家與從業人員，在今（107）年1
月底意外收到台灣駐新加坡代表梁國新「與大使有約」
的邀請，前往大使官邸用餐，並且觀賞「未來寓言」台
灣當代藝術展。
S ir Winston Churchill, the late British prime minis-

ter, who enjoyed repeated successes in foreign policy,
believed it was easier to reach mutual understanding in
diplomacy when meeting face to face. In that spirit, the
Ministry of Foreign Affairs and the Ministry of Culture
have organized a series of exhibitions of contemporary
Taiwanese art for Taiwan’s representative offices in
New York, Washington and Singapore. These shows
are giving foreigners and overseas Chinese alike
a chance to gain a deeper understanding of the
cultural depth and diversity of Taiwan, and are
also demonstrating great creativity by bring-
ing art into the realm of public diplomacy.
65
「所見為何」台灣當代藝術展，以台灣駐紐約辦事處台灣書
院為展示場域。
“What Do You See?” an exhibition of Taiwanese contemporary
art, was held at the Taiwan Academy of the Taiwan Economic
and Cultural Office in New York.
「未來寓言」策展人、國立台灣美術館助理
台灣的邀請：與大使有約
研究員張雅雯指出，此次展示的作品呈現複合的
現場觥籌交錯，春風鬢影，2016年底接受總統媒材與多元的主題，藉此表現出台灣社會的多元
府派令，從外貿協會董事長之職轉而派駐新加坡與豐厚，其實與在地國新加坡多種族、多語言、
代表的梁國新，此時特別權充藝術導覽人員，介曾被殖民的歷史不謀而合，很容易引發觀者的共
紹一幅台灣藝術家賀蕙芝的油畫。許多東南亞的鳴。尤其是陸先銘的畫作，省思現代人在都市化
貴賓一看到畫中的鳳梨花與台灣水果，便覺得很發展的疏離，原住民作家伊誕．巴瓦瓦隆的作品
親切，甚至有人說很像新加坡菜市場裡的一個景富有排灣族的文化與自然的意涵，均展現台灣當
色。梁國新說：「畫面裡牛肉麵、水餃，都是台代藝術創作的活力。
灣生活的一部份，而賀蕙芝細膩的畫風呈現出收駐新加坡台北代表處新聞秘書蔡芝苑透露，
割、豐收、和平與安樂，正是我想傳遞給各位嘉「與台灣沒有邦交的墨西哥官員，聽說有此畫
賓的台灣印象。」展，偕同中南美洲的學者一行11人，專程到台灣
　懸掛於大使官邸客廳，是一幅寬達120公分駐新加坡代表處看畫。我們也善盡地主之誼，除
見方，藝術家侯俊明「受人點滴，湧泉以報」的了導覽畫作，還舉辦認識台灣有獎徵答，並以小
壓克力作品。梁國新向現場觀眾解釋：「中文字點心接待，這些中南美洲的官員與學者直呼，受
是中華文化的一部份，藝術家經過解構主義所重到比在自己國家使館還要熱情的款待。」
新拼貼出的『受人點滴，湧泉以報』，不論是愛參觀的貴賓得知這個畫展其實是台灣政府推
情或是親情的呼喚，讓我們重新省思符號的力動藝術外交的一個創意，尤其藝術品來自政府支
量。」經過梁國新的解釋，在場貴賓仔細端詳，持的「藝術銀行」，紛紛對此政策感到羡慕與敬
也以新的視角認識繁體中文字的張力。佩。
不只是大使官邸，選自29位台灣新生代藝術
外交場域辦畫展
家共37件作品，還佈展在台灣駐新加坡代表處，
梁國新特別要求代表處同仁接受「藝術解說員訓「指標性外館藝術展示計劃」的靈感來源是
練」，為前來辦理領務的各國人士，或是專程來參考美國國務院行之有年的「藝術大使館計畫」
看畫展的民眾導覽。（Art in Embassies Program）。外交部國際傳播司

At the end of January, more than 100 artists and arts display at the Taipei Representative Office in Singapore.
professionals from various Southeast-Asian nations who Liang has asked the office’s staff to take docent training,
were in Singapore for the Art Stage art fair went to the so they too can serve as guides for the visitors from var-
official residence of Taiwan’s representative in Singapore, ious countries who come to the office, whether with the
Francis Liang. There they attended “Future Allegories: intention of viewing the works or on other business.
An Exhibition of Taiwanese Contemporary Arts.” Chang Ya-wen, an assistant researcher at the National
An invitation from Taiwan’s representative Taiwan Museum of Fine Arts who is the curator of “Future
Amid the festive hubbub, Liang, who took up his post Allegories,” points out that the exhibition’s works, which
in Singapore at the end of 2016 after serving as chairman make use of mixed media and present diverse themes,
of the Taiwan External Trade Development Council, demonstrate the richness and diversity of Taiwanese soci-
played the role of exhibition docent, introducing an oil ety. Taiwan’s similarities to Singapore, a multiethnic and
painting by the Taiwanese artist Ho Huey-chih. Once multilinguistic society with a colonial past, make it easy
the Southeast-Asian guests laid eyes upon the pineapple for the works to find resonance with Singaporean viewers.
flowers and Taiwanese fruit depicted in the work, many Upon learning that the exhibit is the fruit of an innova-
immediately felt a strong sense of connection and famil- tive plan by Taiwan’s government to conduct “art diplo-
iarity, even remarking that it resembled a scene from a macy,” and that the paintings come from a government-
Singaporean market. Liang said, “The beef noodles and sponsored “art bank,” the visitors one after another reveal
dumplings are all part of life in Taiwan, and Ho delicately their envy and admiration.
captures in her painting a sense of harvest, plenty, peace Art shows in diplomatic spaces
and joy—which is exactly the impression of Taiwan I The inspiration for this plan came from the United States’
would like to pass along to each of our esteemed guests.” Art in Embassies Program. Henry Chen, who heads the
The art isn’t found just at the residence. A total of 37 International Information Service at the Ministry of Foreign
works by 29 contemporary Taiwanese artists are also on Affairs, explains that the ministry has selected representative
藝術家賀蕙芝的油畫，呈現
出收割、豐收、和平與安樂
的台灣印象。
Oil paintings by Ho Huey-chih
convey a Taiwan of harvest,
abundance, peace and joy.
67
司長陳銘政表示，外交部選定具有代表性的駐外灣政府支持的活動，欣然無償租借他的作品《山
使館，展示藝術銀行的作品，藉此將台灣當代藝人》、《在水一方》與《飛來》，佈展在大使官
術家，帶到國際場域，就像為台灣產品找出口，邸，錦上添美，傳為藝術展示的佳話。
為台商找出路一樣，也為台灣藝術家找國際能見
紐約外館：「所見為何」藝術展
度。由於台灣外交艱困，外交官儘可能「敲每一
扇的門，握每一雙的手」，藝術展示就成為台灣外交部與文化部一共策畫了4場「台灣當代藝
推銷軟實力的有力文宣，豐富公共外交的內涵。術展」，分別在紐約、華盛頓、馬里蘭州與新加
「藝術銀行」則是文化部委由國立台灣美術館坡的駐外使館展出。紐約是聯合國總部所在地，
執行的計畫。由政府編列預算，購置台灣當代藝術世界外交的中心點，「所見為何」台灣當代藝術
家的作品，再以千分之四的「親民」價格，將典藏展去年11月在駐紐約台北經濟文化辦事處展出7位
的藝術品租給公民營企業，得以扶植本土中生代的台灣當代藝術家，共16件作品。
藝術家，具有讓藝術延伸到生活空間的目的。策展人陳妍卉指出，「所見為何」展出侯怡亭
原本參加新加坡藝術博覽會的台灣雕塑藝術家以台灣傳統市場意象為背景的畫作，畫中人物以
李光裕，也參加了「與大使有約」的晚宴。由於西方宮廷華麗服飾的刺繡，來表現全球化下文化
李光裕已是享譽國際的大師，他的作品原本超出的移植與交融，吸引不少收藏家的目光，並進一
藝術銀行所能購置的範圍，但李光裕得知此為台步詢價。
「所見為何」展出的作品，引發參觀民
眾對台灣當代藝術的興趣。
The works exhibited at “What Do You See?”
piqued visitors’ interest in contemporary
Taiwanese art.

「所見為何」台灣當代藝術展，展出廖堉安的《不專心生活
誌No.2》，引發許多觀者的共鳴。
“What Do You See,” an exhibition of Taiwanese contemporary
art, included Liao Yu-an’s Distracted Life Journal No. 2, which
strongly resonated with many viewers.
Art Bank Taiwan is a project that the National Tai-

wan Museum of Fine Arts is managing on behalf of the
Ministry of Culture. The museum buys art works with
government funding, and then rents them out to public
and private-sector organizations at an attractive rate of
0.4% of their value per month. The program serves both
to support contemporary Taiwanese artists and to ex-
tend the reach of art into the spaces of everyday life.
New York’s “What Do You See?” exhibit
MOFA and the MOC are altogether overseeing four
shows on contemporary Taiwanese art, one each in New
York, Washington, Maryland and Singapore. New York
is where the United Nations headquarters, the center of
global diplomacy, is located. The show “What Do You
offices abroad to display works from Art Bank Taiwan. See?” featuring 16 works by seven artists, opened at the
This approach of bringing Taiwan’s art abroad is akin to ef- Taiwan Economic and Cultural Office in New York in
forts to find export destinations for Taiwan-made products. November.
Both serve to raise Taiwan’s international visibility. In view Curator Chen Yan- huei notes that “What Do You
of Taiwan’s diplomatic predicament, MOFA must “knock See?” included paintings by Hou I-ting that feature hu-
on every door, shake every hand.” Overseas art exhibits man subjects in traditional Taiwanese markets wearing
are a powerful way to promote Taiwan’s soft power and embroidered Western palace finery. The works highlight
add nuance and richness to the realm of public diplomacy. how culture has been transplanted and reintegrated under
「未來寓言」台灣當代藝術展，展出藝術家
林慶芳以油彩、噴漆、壓克力與亮粉創作
《公主病的白雪與仙杜瑞拉》。
“Future Allegories,” an exhibition
of contemporary Taiwanese art,
includes Lin Ching-fong’s Snow
White and Cinderella Have
Princess Tendencies, a
mixed media work of
oil paint, spray paint,
acrylic and glitter.
69
外交部國際傳播司司長陳銘政認為，
藝術作品是進行公共外交的有力文宣。
（林旻萱攝）
Henry M. J. Chen, director-general of
MOFA’s Department of International
Information Services, believes that works of
art are powerful agents of public diplomacy.
(photo by Lin Min-hsuan)
外交與歷史文化意涵，此次展出代表
台灣新生代藝術家作品，也為雙橡園
這座古典建築注入新的活力。透過此
次展覽，讓許多美國的藝術家與收藏
家與台灣結緣，例如華府「國際藝術
與藝術家」藝廊總裁兼創辦人D a v i d
Furchgott與美利堅大學博物館Katzen
藝術中心館長Jack Rasmussen等人，均
對台灣新生代藝術家的創作能量，留
下深刻印象。
緊接著「藝術展」7月1日將移師美
國馬里蘭州的僑教中心，展期至今年
11月底，有興趣的民眾可以就近前往
參觀。
台灣土生土長藝術家廖堉安的《不專心生活誌
台灣藝術，最佳國際文宣
N o. 2》，以及《協商二重奏》壓克力作品，反
映了現代都市人生活的焦慮與複雜的壓力。廖堉至於位於駐新加坡台北代表處的「未來寓言」
安表示，「我的畫不是講人的差異性，而是人群台灣當代藝術展，展期至今年10月底。外交部科員
生活的相似性。在紐約展示時，不少觀眾向我表徐遠明說，由於一般辦公室的燈光是白光，光線不
示，美國也有很多低頭族，看我的畫觸動在網路夠均勻，駐新加坡代表處特別為每一幅畫作裝設燈
世界中不知與誰溝通的跨文化共鳴。」軌與投射燈，突顯展示效果，讓原本平淡的長廊，
在大器的藝術畫作裝襯下，立即升格成為優雅精采
華盛頓雙橡園：「遇見台灣」藝術展
的畫廊空間。
第二場「遇見台灣」台灣藝術展，則選在台灣目前駐新加坡代表處正在接洽新加坡的美術
駐華盛頓代表處的雙橡園，展期至今年6月底。館，計劃將這些作品運回台灣前，再舉辦一次外
雙橡園是具有130年歷史的喬治復興式的建築，展。
被美國華盛頓市政府列為古蹟，也因為古蹟保存「使館藝術展示計畫」讓台灣當代藝術走出
緣故採預約參觀制。去，進駐使館與大使官邸，肩負文化使節的任
駐美代表高碩泰指出，雙橡園是見證中美雙務，宣介台灣，進行公眾外交，展現文化底蘊，
邊關係演進的指標性建築物，具有獨特的政治也提升台灣當代藝術的國際能見度。

globalization. Her paintings attracted the attention of many “Meet Taiwan” will be at the TECRO Culture Center
collectors, who followed up with questions about prices. in Gaithersburg, Maryland, from July to November.
“Meet Taiwan” at Washington’s Twin Oaks Estate The “Future Allegories” exhibit of contemporary Tai-
The second show, “Meet Taiwan,” runs through the wanese art at the Taipei Representative Office in Singa-
end of June at the Twin Oaks Estate in Washington, DC, pore is running until the end of October. Hsu Yuan-ming,
which belongs to the Taipei Economic and Cultural Repre- a senior officer at MOFA, points out that the lighting at
sentative Office in the United States. To protect Twin Oaks, the venue—like most office lighting—was uneven and
a historic Georgian-revival building constructed a century overly white, hence TROS specially installed track lights
ago, visits to the show require a reservation. to illuminate the works. Thanks to the grand air imparted
Representative Stanley Kao points out that Twin Oaks by these magnificent pieces of art, what had been a dark
is a building of great cultural and historical significance in and drab corridor has become an elegant exhibition hall.
terms of Taiwan–US relations. These contemporary works These exhibitions held at the ROC’s overseas offices
from Taiwan have also breathed new life into that tradi- and at the official residences of its representatives are
tional work of architecture. With this exhibition, many serving to introduce and promote Taiwan. Moreover, by
artists and collectors who have never been to Taiwan, displaying Taiwan’s cultural heritage and raising the inter-
such as David Furchgott of International Arts and Artists national visibility of its contemporary art, they also serve
and Jack Rasmussen of American University’s Katzen to advance the nation’s efforts at public diplomacy.
Arts Center, have come away highly impressed with the (Esther Tseng/photos courtesy of Art Bank Taiwan/
creative vitality of Taiwanese contemporary artists. tr. by Jonathan Barnard)
華盛頓雙橡園古蹟，展出台灣新生代藝術家作品，
產生了古典與當代的空間對話。
The historic Twin Oaks Estate in Washington, DC, exhibited
works of contemporary Taiwanese art, fostering a spatial
conversation between the classical and the contemporary.
71
島嶼行旅　AROUND TAIWAN
相遇在雲的故鄉
Encounters 騎行新竹林業軌跡
in the Clouds:
Cycling Through the Heartland of
Hsinchu’s Timber Industry
文‧鄧慧純　圖‧莊坤儒　版面設計‧蕭郢岑

美國文豪海明威曾
蕭如松藝術園區
說：「騎單車翻山越 Xiao Rusong Art Park
嶺、揮汗寸土踏查，是
瞭解一個國家風土民情最
好的方式。」
台灣幅員不大，
軟橋彩繪村
但海拔落差逾 Ruanqiao
三千公尺，從高 Painted Village
山到溪谷，從海岸到
小鎮，每個季節都是好日子，
適合一覽島內風光。搭配單車可快可
慢，適應各種路段地形，翻山、越
嶺、涉水都不成問題。
想來一趟踩踏之旅嗎？不妨來聽聽
《光華》「騎行台灣」的提案吧！
A merican author Ernest Heming-

way once wrote: “It is by
riding a bicycle that you learn
the contours of a country best, 張學良文化園區
Zhang Xueliang
since you have to sweat up the
Cultural Park
hills and coast down them.”
Though not large, Taiwan
ranges across more than 3,000
meters of elevation. Its peaks and
valleys, coastlines and villages, and
lovely days in every season
offer stunning views of its
varied landscapes. When 觀霧山莊
Guanwu Cabins
touring it on a bicycle, one
can travel as quickly or slowly as the terrain
demands, and easily work up a sweat climbing up
and over the mountains.
Need some ideas for a a cycling trip? Come along
with us!
海拔2,000公尺的觀霧國家森林遊樂區，是台灣最容易遠眺
聖稜線（雪山至大霸尖山間群峰的連線）的所在。
Located 2,000 meters above sea level, the Guanwu Forest
Recreation Area offers Taiwan’s most accessible views of the
“Holy Ridge”—the mountain ridge that connects the many peaks
between Xueshan and Mt. Dabajian.
73
紅磚外牆、黑瓦檜木的日式宿舍建築，蕭如松故居的氣氛有「竹東林業展示館」用文物述說林業的故事，
閒適，生活感十足。
The black tiles, Formosan cypress wood and red brick perimeter 讓林場的歷史繼續為人所知。
wall of Xiao Rusong’s former home exude a sense of comfortable
hominess.
彩繪軟橋，生態有機
車行到122縣道26K處，兩旁景致除了鬱綠的
位居新竹縣地理中心的竹東鎮，舊稱「樹杞山景和田園風光，還添一分色彩和童趣。電線桿
林」，有縣道122貫穿，是此趟「騎行台灣」的上彩繪了逗人的財神，民居的牆面畫了半露丁字
起點。褲、模樣討喜的客家村姑，軟橋彩繪村的名聲，
鎮上有數個雅致的景點，充滿竹縣人的記憶。在122縣道上傳開了。
位在三民街上的蕭如松藝術園區是紅磚外牆、黑社區規劃師彭松舉解釋，當初為了防治小黑
瓦檜木的日式宿舍建築。蕭如松是台灣美術史上蚊，把社區住屋牆腳的青苔刮除、刷白，軟橋女
重要的水彩畫家，在新竹地區任教近四十年。只婿吳尊賢發揮創意，在社區各處空白的牆上畫下
有高中學歷的他，不曾出國留學，靠著自修苦客家農村生活的樣貌，老丈人家門口繁複的千人
學、揣摩各類西洋畫派風格，內化成自己的畫彩繪，更富含人生百態與警世名言，儼然「現代
風，獲國內各大美展肯定。他的故居則被保存下浮世繪」。
來，成為鎮上的風景。鄰近800公尺處，還有由彩繪讓這個靜謐的小鎮突然多了許多遊客，
原「林務局新竹林區管理處竹東工作站」改建為連我們也好奇地在此地停下腳步。但彭松舉說：
「竹東林業展示館」。竹東昔日與東勢、羅東為「彩繪只是社區營造的一部分，軟橋社區更大的
台灣三大林業的集散地，但隨著1992年全面禁伐魅力在於豐富的有機生態和人文景觀。」
天然林，曾經商賈往來、人車絡繹的林業小鎮，經營「生活田莊」餐廳的黎許傳，在三十多
失了優勢，林業的痕跡幾乎在鎮上消失；所幸還年前辭了台北的教職，返鄉照顧父母，他解釋：

the population of a biting midge, Forcipomyia taiwana, and
then painted the walls white. Wu Zunxian, a Ruanqiao res-
ident brought here by marriage, then suggested decorating
the walls with images of life in this Hakka farming village.
The paintings caused a sudden upsurge in tourists
visiting this once quiet locale. Curious, we too stop in for
a look. Peng adds: “The paintings are only a part of what
we’ve created here. Our organic ecosystem and cultural
landscape are even more charming.”
Li Xuchuan, who operates the Farm Life Kitchen, tells
us that this is the alluvial plain of the Shangping River. “The
Zhudong canal, which captures some of the river’s water,
provides the water supply for the Hsinchu Science Park.”
The Ruanqiao Community began promoting organic
agriculture and ecofriendly land use practices 12 years
ago, and has been designated one of the Agricultural and
Food Agency’s “Northern Taiwan Eco-Villages.” “The
area is home to roughly 300 bird species,” says Peng,
軟橋社區因彩繪而聞名。 whose ring-cupped oak (Quercus glauca) and yangmei
The Ruanqiao Community is known for its paintings.
We begin this month’s excursion in Zhudong, a

town located in the geographic center of Hsinchu
County. Our route will take us up County Road 122,
which passes right through the town.
Alongside Dongshi in Taichung and Luodong
in Yilan, Zhudong was once one of the three most
important centers of Taiwan’s logging industry. But
that changed in 1992 when the government banned
logging in natural forests. Although the ban cost the
town most traces of this once vibrant industry, the
Zhudong Timber Industry Exhibition Hall remains
to pass along its history.
Painted Ruanqiao
The area around County Road 122’s 26-kilometer
marker is filled with farmlands and deep-green
mountain scenery, as well as other bright bits of color
and fun that can’t fail to delight one’s inner child.
Ruanqiao Community, known as “Ruanqiao Painted
Village,” boasts highlights that include humorous
paintings of the God of Wealth atop a utility pole and
a Hakka farm girl flashing the top of a thong.
Community planner Peng Songju says that the
beautification effort began after the community 來軟橋社區別忘了體驗客家老屋、品嚐養生客家菜。
When you visit Ruanqiao, be sure to check out the old
scraped away the moss at the base of walls to control Hakka homes and sample some nutritious Hakka fare.
75
蕭如松故居。老屋搭綠意，閒適且迷人。
The old buildings and greenery in the Xiao Rusong Art Park exude a leisurely charm.
「這邊是上坪溪的沖積平原；擷取上坪溪水源的在管束中度過。1946年，與趙一荻（人稱「趙四
竹東圳，也是今天台灣經濟命脈新竹科學園區的小姐」）被秘密送到台灣來後，新竹的上井溫泉
水源之地。」（清泉部落）是他們停駐約13年的地方，也意外
12年前，軟橋社區已推展有機農法、友善土跟泰雅族人譜出一段相遇的緣分。
地，是農糧署輔導的北區生態聚落之一，「這邊故居的導覽員、泰雅族的秀菊雅外解說，當
約有300種鳥類」彭松舉說，他種了如青剛櫟、年張學良被護送到清泉時，出入皆有侍衛隊荷槍
楊梅等樹種，吸引鳥兒來築巢，「生態不須很用實彈戒備，部落耆老只知道有位大人物入住，並
力去執行，就是放任它，回歸大自然就好。」不知真實身分。張學良與原住民的接觸則起因於
行經122縣道時，建議可在軟橋社區稍作停 1947年的「228事件」，當時情勢警戒，波及全
留，沿著小路欣賞彩繪聚落，或繞騎田區一周，台，山區因交通封鎖，有斷糧之虞。秀菊雅外轉
品賞山景水色，或吃一頓黎許傳用心栽培、烹煮述，當時耆老見張的住處多日未見炊煙，趨近詢
的有機客家菜，體驗客家在地的小鎮風情。問侍衛隊，才發現補給的糧食進不來，耆老因此
募集許多地瓜贈予少帥，才度過難關。自此張學
原住民與少帥相遇
良要求，此後糧食三分之二由在地供應，幫助部
單車繼續在上坡道奮鬥著，來到122線道48K岔落的經濟，與泰雅族人有進一步的交流。部落的
路處的張學良故居。婦女也與趙四小姐親近，留下的寫真相片記錄了
1936年震驚中外的「西安事變」，停頓了張學跨越族群的緣分。
良所有的生命歷程，這位自述「我的事情只到36 再折回122縣道，這條為了運送檜木，在日據
歲，以後就沒有了」的東北少帥，此後的生命多時代即開通的道路（時稱「井上道路」），對原

(Myrica rubra) trees are popular nesting places. “Being mountains were closed, which gave rise to worries about
ecofriendly isn’t a lot of work. You just leave the land food shortages. Xiuju Ya wai says that when village
alone and let it return to its natural state.” elders noticed that there had been no smoke from the
The Young Marshal and the Aborigines residence for several days and approached the guards to
After visiting Ruan qiao, we continue to fight our ask about the situation, they learned that the residence’s
way up the slope to the former residence of the “Young food deliveries hadn’t arrived. The elders responded
Marshal” Zhang Xueliang (Chang Hsueh-liang), which by gathering up a large number of sweet potatoes and
stands near a fork in the road at the 48-km marker. giving them to the Young Marshal to help the household
Zhang was a key figure in the 1936 Xi’an Incident, weather the crisis. From that point on, Zhang requested
which not only jolted China and the world, but also that two-thirds of the residence’s food be sourced locally,
completely upended his own life. Sent secretly to Tai- which brought the residence into closer contact with the
wan with his mistress and later wife Edith Chao in village and provided a boost to the latter’s economy.
1946, Zhang and Chao would spend the next 13 years County Road 122 opened during the period of Japan-
living in Qing quan Village, where they developed a ese rule. Originally built to transport Formosan cypress
connection to the local Atayal community. logs, it had a significant impact on the livelihoods of the
Xiuju Yawai, an Atayal woman who works as a guide Aborigines in the area. The rise of the timber industry
at the residence, says that when Zhang first arrived, provided local Aborigines with jobs, and its trucks pro-
armed guards accompanied him everywhere he went. vided them with transportation out of the mountains. In
Village elders had no idea who he was, only that he was
someone important. The Young Marshal and the Ab-
original community didn’t really meet one another until
the February 28 Incident in 1947. The island was under 張學良與趙四小姐的恩愛仍為原住民記憶著。
Local Aborigines still recall the love between Zhang Xueliang and
military lockdown and the roads from the plains into the Edith Chao.
77
鄧慧純攝 photo by Cathy Teng

住民的生計也影響很大。林業的興盛提供原
住民工作機會，運材的卡車也充當部落
對外的交通車；秀菊雅外從媽媽口中得
知，族人會算準卡車出車的時間，在
路口等著，付一點零錢，搭上往山區
或竹東的便車，而這又是另一段因林
業衍生的故事。
從伐木到護林
單車接續往山裡踩踏，經過土場部落
後，正式進入大鹿林道的範圍。大鹿林道
是國民政府來台後為運送林木而闢建的。此
前日據時代伐木多以流籠、台車索道集運木材，
因為交通不便，故只選擇經濟價值較高的木料才
觀霧山椒魚是台灣特有種，是孑遺物種，喜生活在潮濕的
砍伐，稱為「擇伐」。石下。（陳原諄攝，雪霸國家公園管理處提供）
The Taiwan lesser salamander (Hynobius fuca), which is found at
但到了1960年代，台灣林業發生重大的變革， Guanwu, is a relict species endemic to Taiwan that prefers damp,
shaded environments. (photo by Chen Yuanzhun, courtesy of
引進動力機具，進入了全面皆伐的時代。再加 Shei-Pa National Park Headquarters)
上大鹿林道開通，大量珍貴樹材經此再通122縣
道，運送到竹東集散、加工，成就了竹東林業小
鎮的繁榮。 those days, locals could hitch a ride on a timber truck
「1990年代，國家的林業政策方向轉向全面禁 headed down to Zhudong or back into the mountains
伐天然林，對山林的態度也從『經濟使用』轉向 for the cost of a little pocket change.

From cutting to protecting
著重『公益效益』。」林務局新竹林區管理處竹
Continuing on into the mountains, we cycle through
東工作站主任朱劍鳴說。他1990年進入林務局，
Tuchang Village (Ruba’) and then pedal onto the Dalu
公務生涯正好見證了林業的轉型。1995年，「觀 Forest Road, a logging road built by the government
霧國家森林遊樂園」成立，轉由從生態旅遊、環 and completed in 1964. During the Japanese era, loggers
境教育等面相引導人們親近山林；在現有的步道 used ropeways to transport timber out of the area, and
上還可見昔日伐木的木馬道、台車軌道的遺跡， focused on high-value trees because of the difficulty of
getting the logs out of the mountains. Taiwan’s timber
industry underwent a revolution in the 1960s when it
began introducing power tools and clear-cutting forests.
“In 1990, Taiwan’s for-
estry policy became one of
completely halting the logging
of natural forests,” says Zhu Jian-
ming, head of the Forestry Bureau’s
Zhu dong Station. “The attitude
changed from making economic use of
forests to treating them as a public good.”
「一花一天堂」，細小的植物也別有姿態。
（由上至下：稀子蕨、阿里山繁縷和紅檜的毬果。）
“A heaven in a wild flower.” Clockwise: the fern species Monachosorum henryi, an
Alishan chickweed blossom, and Formosan cypress cones.
79
山的美，永遠等著走進山的人去發現。
The beauty of the mountains awaits.
榛山步道還留有當年吊掛運輸段木的牽引機具。開花，另一側台灣檫樹是第三季冰河孑遺植物，
晚近幾年，再加入原住民權益的討論，這片山林也是台灣特有種，2月是它的花期，金黃色的花
原是泰雅、賽夏族的傳統領域，多年來透過溝通朵襯著藍天，是走過、路過不能錯過的美景。
協調，今年年初林務局與賽夏族簽署了夥伴關翌日，我們放倒腳踏車，改以步行探索觀霧。
係，未來在園區內還會設立泰雅廣場，尊重原住志工林玉琴和技術士李聲銘是我們此行的嚮
民曾在此山林生活的歷史。「遊樂園不光只是保導，我們擇檜山巨木群步道一探。已有三十多年
育動、植物的資源，少了『人』就缺了多元。」志工經歷的林玉琴，她細心地教我們分辨同屬檜
朱劍鳴闡述林務局任務工作的轉變。木屬的紅檜和扁柏，扁柏的樹型是一路直通往上
生長，紅檜在成樹時易有分叉，而且因常受真菌
永續山林，與自然共生
侵蝕，靠近樹根處會中空。她說台灣中海拔的林
大鹿林道的終點是觀霧山莊，車行至此，里程相大概差不多，但是觀霧國家森林遊樂區是台灣
已近56公里。最容易遠眺「聖稜線」的所在，不需負重翻山行
觀霧山莊原為林務局的員工宿舍，2004年歷艾軍數天數夜，在樂山林道3∼4K沿線即可看到遠
利風災後重創，時隔13年，今年初重新開幕。山處由大霸尖山、小霸尖山到雪山綿延的聖稜線，
莊門口兩側，一株年近百歲的霧社櫻，每年3月看了讓人心嚮往之。而且想要一次看足棣慕華鳳

The government went on to establish the Guanwu elevation forests all look much the same, what makes
National Forest Recreation Area in 1995, and used eco- Guanwu special is the fact that it offers fantastic views of
tourism and environmental education to bring visitors the so-called “Holy Ridge.” Looking out from between
to the forest. The recreation area’s trails offer views of the 3- and 4-km markers of the Leshan Forest Trail, hikers
the remains of the Japanese-era ropeway conveyor, and can see the entire ridge ranging from Mts. Dabajian and
its Zhenshan Trail even passes by remnants of the con- Xiaobajian all the way to Xueshan. It is a truly magnifi-
veyor’s drive system. In recent years, the preservation ef- cent view. Guanwu is also the only place in the world to
forts have also taken Aboriginal rights into consideration. see the touch-me-not species Impatiens devolii, Impatiens
Recognizing that the forest is the traditional territory of tayemonii and Impatiens uniflora all in one location, and is
both the Atayal and Saisiyat peoples, the Forestry Bureau the site where the Taiwan lesser salamander (Hynobius
further transformed its mission by signing a partnership fuca) was discovered. An amphibian that prefers damp,
agreement with the Saisiyat at the beginning of this year. shaded environments, this salamander is actually a relict
Sustainable forests species that has been in Taiwan since the last Ice Age.
The Dalu Forest Road reaches its terminus at the Lee Shenming also shows us how to recognize a num-
Guanwu Cabins, some 56 kilometers from where we ber of plants. Searching the vegetation beside the trail, he
started our cycling tour. identifies Alishan chickweed (Stellaria arisanensis), whose
The cabins were formerly a Forestry Bureau workers’ flowers look like five rabbits having a meeting; the orchid
dormitory. Rebuilt after 2004’s Typhoon Aere, they re- species Cremastra appendiculata; the rarely seen buttercup-
opened to the general public just this year. family species Dichocarpum arisanensis; the miterwort
We spend the next day exploring Guanwu on foot. species Mitella formosana; Trigonotis formosana, a plant in
Volunteer Lin Yuqin and technical specialist Lee Shen- the borage family with inflorescences that are curled like
ming guide us on our hike, taking us out on the Kuaishan a scorpion’s tail; Formosan violet (Viola formosana); Chi-
Big Trees Trail. Lin, a volunteer here for more than 30 nese mayapple (Dysosma pleiantha); and even false Indian
years, carefully explains to us the difference between For- pipe (Cheilotheca macrocarpa), which only breaks through
mosan cypress, which frequently forks, and rail-straight the soil surface in its flowering season. None can escape
Taiwan hi noki. She says that while Taiwan’s middle- his keen eye.
晨昏的雲海亦是觀霧
絕景。
Guanwu’s many lovely
scenes include twilight
atop a sea of clouds.
81
仙花、黃花鳳仙花、紫花鳳仙花，也只在觀霧地把它帶到崩塌地去撒。」之後，路行到一片光禿
區限定。這邊也是觀霧山椒魚的發現地，這個喜禿的崩塌斜壁，只見他朝斜壁撒了數把紅檜的毬
好生活在潮濕陰暗石頭下的兩棲類，是冰河時期果，「這邊沒有大樹遮蔽，日照充足，有種子發
孑遺物種，也是推測台灣早期氣候的例證。芽所需的陽光。」李聲銘一邊動作，一邊說明。
辨識植物是李聲銘的專長，他一路上搜尋、落在碎石間的毬果，或許夭折，或許長成下個
掃描著步道旁的植被，告訴我們「這個不可不世代的巨木，命運未知，但我在心裡默禱，要好
拍」、「那個難得一見」，像5隻兔子在開會的好長大呦！
阿里山繁縷、馬鞭蘭、超少見的鐵線蕨葉人字一趟騎行的旅程，我們一探新竹林業的軌跡，
果、嗩吶草、有個像蠍子尾巴的附地草、台灣堇曾經有無數林業的從業人員在這路線上奔走，而
菜、八角蓮、遇開花季節才冒出土層的阿里山水這片山林也曾因人類不知節制而重創，所幸我們
晶蘭，都難逃其法眼。慢慢地填補了傷口，把樹木種回來，了解與自然
在巨木的棧道下，林玉琴撿起直徑約只有5mm 共生才是永續的唯一途徑，後代才能享有森林的
紅檜的毬果，撥開鱗片，紅檜的種子比一粒芝麻庇蔭。
還小，再看看眼前高達42公尺的巨木，她感概：騎行在有陽光灑落的林道上，呼吸滿腔的芬多
「這麼一顆小小的種子要熬過多少天災人禍，多精，兩旁滿眼綠意的森林；剎時雲霧突起，可視
少蟲類、黴菌的侵害，才能長成這樣的參天大距離不到兩尺，又一個轉角，瞥見翻騰的雲海，
樹，就知道這有多不容易。」如浪濤起，「觀霧」果然名實相符。我們何其幸
而另一頭，卻見李聲銘把掉落在棧道上毬果運，能經驗此瞬息萬變的美景，感受風速與陽光
收集裝袋，「它在這邊沒有（生存）機會，我要的觸擁，這也是單車限定的福利。

Lin picks up a Formosan cypress cone just 5
millimeters in diameter from beneath a board-
walk that passes among the giant trees. She
pulls back a scale to reveal a seed even smaller
than a sesame seed, then looks again at the
42-meter-tall tree. “How many natural and
human disasters, how many bug and mold
infestations must such a tiny seed endure to
grow into such a skyscraper of a tree?” muses
Lin. “You can imagine how hard it must be.”
Lee picks up some more Formosan cypress
cones from the walkway and places them in a
bag. “They have no chance of survival here. I’ll
bring them to where there’s been a landslip.”
We continue walking until we reach a spot
where the ground has collapsed. Without any
large trees, there’s plenty of the sunlight the
seeds need to sprout. Lee tosses several cones
onto the ground, and I offer a silent prayer for
the trees to grow tall and strong!
Our cycling tour explored the remaining
traces of Hsinchu’s timber industry, at times
traveling the same roads that its innumerable
workers did. Though the industry’s unre-
strained exploitation in those days severely
damaged the forest, we have since learned
that coexisting with Nature is the only sus-
tainable path forward, the only one that al-
lows future generations to enjoy our forests,
and have begun slowly replanting trees and
healing those old wounds.
Our journey took us along a sun-speckled
forest road, breathing in the phytoncides and
surrounded by the green of the trees; saw us
enveloped by a sudden fog that limited visi-
bility to just a couple of meters and showed
Guanwu (“observe the fog”) living up to its
name; and then, round yet another bend,
revealed a surging sea of clouds. We feel
incredibly fortunate to have been able to ex-
perience Guanwu’s wonderfully varied and
beautiful scenery, and doubly so for having
enjoyed it from our bicycles, wrapped in the
gentle embrace of the sun and wind. l
(Cathy Teng/photos by Chuang Kung-ju/
tr. by Scott Williams)
83
島嶼行旅 AROUND TAIWAN
田中央的建築藍圖
Integrating Buildings with Nature
—Huang Sheng-yuan and Fieldoffice
文•李珊瑋　圖•林格立　版面設計•胡如瑜
一個人說好，可能有偏見。一群人說好，可能只是同好。
但是當國際間的大師，屢屢給予讚揚，就讓人不由得產生好
奇，想要去探究，倒底好在那裡？「田中央聯合建築師事務
所」（以下簡稱「田中央」）就是今天我們要探求的目標。
第3屆總統創新獎和第20屆國家文藝獎得主─黃聲遠，
二十多年來，可說是獎聲不斷。但是國內外得獎無數的卓
越光環，卻從未讓他忘卻初衷。而是吸引更多志同道合的
生力軍，無怨無悔的去做該做的事。就像宜蘭冷泉，平靜
無波，但是當泉水浸潤全身，那深厚的能量，就源源不絕
地緩緩釋放。
T he founder of Fieldoffice Architects and the winner in 2018 of

both a Presidential Innovation Award and a National Award
of Art, Huang Sheng-yuan has been receiving domestic and inter-
national prizes continually for the past 20-plus years. But the halo
of excellence that stems from these accolades has never caused him 自稱曾是台北俗的黃聲遠，用二十多年
to forget his original intentions. However, it has allowed him to 的時間，和宜蘭接地氣。
Huang Sheng-yuan, who says he used to be
attract new blood in the form of a group of likeminded people who a “Taipei City slicker,” has spent more than
do what needs to be done without complaint or regret.
two decades building a relationship with the
people of rural Yilan County.
Behind his round spectacle lenses, Huang Sheng-yuan’s ardent

gaze reveals the heart of a child. His parents were both teachers.
“They always treated us with respect, just like friends, and this is
how I treat my daughter.” Just as his parents did for him, to the most
beloved person in his life he shows magnanimity and tolerance, giv-
ing her strength, but never fettering her.
85
爬過爸爸媽媽和妹妹的床舖，才能跨窗爬進有天
禮教下的異類
窗的廁所。」
穿著寬寬的短褲，被日頭晒成可可色澤的腳「從小學開始，爸爸就要我幫忙畫語音學的發
面，夾腳拖顯得格外亮白。圓嘟嘟的鏡片後面，聲剖面圖。」在師大任教的黃爸爸，可從來沒有
黃聲遠的目光，灼熱地散發著赤子之心。父母皆忽略過愛子傲人的天份。在那個沒有電動玩具的
任教職，溫文儒雅，但黃聲遠卻隨性瀟灑，「爸年代，「積木是我的城堡」，黃聲遠總能在反覆
爸媽媽一直把我們像朋友一樣尊重，我現在也這的建構中，不斷地構思創新，豐富了那段充滿自
麼對待我的女兒。」用寬厚的心，包容人生的最由的歲月。
愛，給他力量，卻從不束縛。
示弱並不是失敗
「我很感謝父母給予我的自由。」在相互尊重
與愛中成長的黃聲遠，以建中頂尖的成績，選擇「從很小的時候，我就體認到自己笨手笨腳，
心中的最愛。只因數學老師在黃聲遠的演算邏輯很難一個人去完成任何事情。」但是當認知了自
中，發現他的空間天賦，促使他快樂的走入東海己的微弱，接納了自己的不足，也就沒有什麼好
建築系。去畏懼的了。
「其實很小的時候，就發現自己很有空間想像「沒有人是萬能的，每個人都有他的長處。」
力。」黃聲遠喜歡有空間感的象棋，卻是橋牌弱黃聲遠深深體悟到團隊的重要，珍惜每一位夥
雞。家無恆產的漂泊，是黃聲遠自幼習以為常的伴。從1994年「黃聲遠建築師事務所」開業，和
遊戲，「高中之前，我們搬了7次家。」在狹小宜蘭大地融為一體的黃聲遠，就像一塊磁鐵，無
的空間裡，黃聲遠總能找出穿梭的樂趣。「我要形中吸引了一群志同道合的夥伴。團隊像珊瑚群
「田中央」培養每一位同仁都要
能獨當一面，接觸和熟悉所有的
環節。
Each colleague trained at Fieldoffice
must be able to assume personal
responsibility for their tasks and
must become familiar with every link
in the architectural chain.

「田中央」的管理模式，給予同仁充份的發揮空間。
The management model at Fieldoffice gives colleagues a great deal of scope to bring their talents into play.
“I’m very grateful for the freedom my parents gave climb over my parents’ bed, and my younger sister’s, and
me.” Huang grew up with high self-esteem, and, after then through the window at the top of the bedroom wall,
gaining top grades from Taipei Municipal Jianguo High to get to the bathroom.”
School, was pleased to gain entrance to the Department “Starting in primary school, my father got me to draw
of Architecture at Tunghai University. him the articulatory diagrams used in phonetics.” His fa-
“When I was very small I discovered I had a strong ther, who taught at National Taiwan Normal University,
spatial imagination.” Huang has always enjoyed play- never overlooked the natural gifts of the son who made
ing Chinese chess, which is a spatial game, but was him so proud. In that era before video games, “building
useless at bridge. But the game Huang really got used blocks were my fortress.” In the process of building again
to from childhood was that of being a wanderer whose and again, Huang Sheng-yuan was always coming up with
family had no permanent property. “Before high school, innovative ideas, enriching that very free period of his life.
wemovedseventimes.”Huangcouldalwaysfindplea- Weakness is not failure
sure in moving around within a narrow space. “I had to “At a very young age I realized that I was clumsy, and
87
蔡明亮在「壯圍旅遊服務園區」舉行「行者．蔡明亮」展，讓參觀者彷彿置身在海灘上觀賞電影。
Tsai Ming-liang held a showing of his film Walker at the Zhuangwei Dune Visitor Center, giving the
audience the feeling of sitting on the beach while watching the movie.
一樣成長，由一個人到三十多個人。一到暑假，陪著他們成長。「我儘量到每位同仁的老家，了
絡繹於途的工讀生、實習生，更是把事務所哄鬧解他們如何成長。」那種真誠，宛若親情手足。
的像菜市場。「事務所同仁的流動率不大，大部份都是因為要
與其說事務所是辦公的地方，實質上卻更像學再去讀書，也有留學後又回來的。」王翰偉補充
校和家庭。「雖然有表定下班時間，但是通常大說。只要曾經在「田中央」工作過，無論走到天
家都會留到9、10點鐘。」兼任秘書的王翰偉笑涯海角，都忘不了家的味道。
著說。「大家都住在附近，即使不是為了工作，
真實才能永久
也會留下來聊聊天。」雖然家在宜蘭，員工黃海
柔依舊選擇附近租屋，和大家在一起。自稱曾是「台北俗」的黃聲遠，卻用二十多年
王翰偉指著模型，「每一個案子都會有一個主的時間，和宜蘭接地氣。把對這片土地的摯愛，
負責人，也會有許多協助者。隨著工程的進度，毫無保留的用修補來呈現。
每個人的角色都會轉換。」黃聲遠口中的同學，用人文度量建築，把建築融入地景，「田中
只要進到「田中央」，每一個人都要能獨當一央」做到了。被戲稱像是鋼彈的「壯圍旅遊服
面，接觸和熟悉所有的環節。「放手，把空間給務園區」今（107）年開園，邀請導演蔡明亮策
同仁。」這種強迫學習法，就像母雞孵蛋，給予展，球狀連結出的廣袤空間，像是宇宙的縮影。
適當的壓力，就能破殼而出。「建築不必刻板地制定功能，而是可以讓自然和
面對來自全國各地的工作夥伴，黃聲遠總是使用人來定位。」黃聲遠說。

it would be difficult for me to complete anything on my Wang Hanwei, pointing at an architectural model,
own.” But there’s nothing to fear in acknowledging one’s says: “Every project has someone in charge, and also
own weaknesses and accepting one’s inadequacies. many people assisting. As construction progresses, each
“Nobody is all-powerful, and everyone has something person’s role will change.” When these “classmates” (as
they are good at.” Huang deeply understands the im- HuangSheng-yuancallsthem)getintoFieldoffice,each
portance of teamwork, and has “treasured every single of them has to be able to take charge, to become familiar
partner.” Since opening his own architectural practice—the with each step in the process. “You have to give up con-
forerunnerofFieldoffice—in1994,Huang,whoseconnec- trol, give colleagues leeway to create.”
tion to the land of Yilan is organically close, began to attract Faced with work partners who come from all over
a group of likeminded partners. The team grew like coral, Taiwan, Huang is always there for them as they mature.
expanding from one person to over 30. And once summer “I try to visit each colleague’s hometown, to understand
vacation starts, a succession of student employees and in- how they grew up.” That kind of sincerity binds people
ternsmaketheofficeasraucousasatraditionalmarket. together like family. Wang Han wei adds, “Turnover
InfactFieldofficeseemsmorelikeaschoolorafamily here is not high. When people do leave, most often it
homethanaplacewhereofficeworkgetsdone.“Although is to go back to school, and some have come back after
there is a scheduled time for getting off work, usually studying overseas.” So long as someone has worked at
everybody stays until nine or ten at night,” says staffer Fieldoffice,nomatterhowfartheygo,eventotheother
Wang Hanwei with a laugh. “Everyone lives nearby, and side of the world, they can never forget the family feel-
even if they don’t have work to do they will hang around ing there.
just to chat.” Although her family home is in Yilan, Huang Only the real is eternal
Hairou,anotherstaffmember,stillchoosestorentaplace Huang, who says he used to be a “Tai pei City
neartheoffice,tostayinstepwitheverybodyelse. slicker,” has spent more than 20 years getting connected
「壯圍旅遊服務園區」
是依循沙丘地貌規劃
設計。
The design of the
Zhuangwei Dune Visitor
Center follows the
topography of the sand
dunes.
89
順隨著原生沙丘地貌起伏，絕不喧嚷惹眼，大
器地把寧靜還給眾生。高聳的潛望鏡，巧妙的把
大海拉到眼前。順勢而為的自在，讓蔡明亮驚艷
不已，尋尋覓覓的夢田，已然真實的矗立眼前。
在黃聲遠的搶救下，得以存續的「員山機堡戰
爭地景博物館」，不管歷史如何的不堪，它已經
真實的存在，我們不必閃躲，只要坦然的面對。
「田中央」用建築的紋理，刻寫著前人的苦
難。看似無心的脈絡，寓含著深沉的省思。
「我其實很不滿意自己的個性」，在別人眼
中，黃聲遠常常被解讀是天生反骨。那種對真、
對善、對美，沒有妥協的堅持，一不小心，就觸
碰到禮教世俗的框架。
「禮貌的背後，其實隱藏著許多事情。可能
是想為自由去辯駁，或是想為公平去吶喊。」黃
聲遠不要虛偽的對應，只追求坦誠的相待。成長
的歲月裡，上天安排他面對無情的批判，在懵懂
中不斷碰撞。雖然挫折不斷，但那不願掩飾的天
性，依舊磊磊地，把內心的想法，攤在陽光下。
包括「維管束計畫新護城河」的建置，黃聲遠要
求的不多，只是要還給小城原來的面貌。公平的
對待流動了幾世紀孕育著宜蘭人的母親河。
用智慧造福田
翻開「田中央」的建築史，在五十多件的作
品中，關懷是一項重要的心願。從1995年的礁溪
竹林養護院、宜蘭大洲教養院，到聖嘉民啟智中
心、聖嘉民老人養護院，「田中央」都投注了最
大的心力。「每個人都有不夠強壯的一天，應該
要讓長者享受無障礙的尊嚴。」面對各種照護需
求的衝擊，如何友善的建置出合宜空間，是未來
值得關注的重要課題。
「田中央」深耕的軌跡，遍及宜蘭各個鄉鎮。
這麼具有代表性的事務所，卻經常捉襟見肘，財
務吃緊狀況，令人無法想像。「明天又是發薪
「宜蘭社會福利館」的無障礙環境設施，
給予使用者最親和的體驗。（田中央提供）
The accessible environment of the Yilan County
Social Welfare Center gives users a warm and
friendly experience. (courtesy of Fieldoffice)

「櫻花陵園」入口橋的流線型設計，
十分具有現代感。（田中央提供）
The streamlined design of the entrance
bridge to the Cherry Blossom Cemetery has
a very modern feel. (courtesy of Fieldoffice)
with rural Yilan. He expresses his unreserved love for elicitswasbreathtakingtofilmdirectorTsaiMing-liang.

this piece of land by working to heal its wounds. The field of dreams that he had been searching for was
Measuring architecture against humanist values, and standing real before his eyes.
blending buildings into the landscape—these are among Thanks to the efforts of Huang Sheng-yuan, a hard-
thethingsthatFieldofficehasachieved.Thebroadspace ened hangar that had survived from the former Japanese
formed out of linked curved spaces inside the Zhuangwei airbase in Yuanshan was saved from demolition and is
Dune Visitor Center is like a microcosm of the universe. “A now preserved as the Kamikaze Aircraft Shelter Museum.
building doesn’t have to be stereotypically functional. It Nomatterhowdifficultthepast,thereisnoneedforusto
candefinethestatusofnatureandthepeoplewhouseit.” evade historical reality; we should simply face it calmly.
Following the natural topography of the undulat- Fieldofficeinscribesthehardshipsfacedbyourances-
ing sand dunes, the visitor center is not ostentatiously tors into the grain of its structures. Seemingly random as-
eye-catching, but stretches graciously, returning a sense sociations are in fact the expression of profound insights.
of tranquility to visitors and to nature. The tall yellow “Infact,Iamverydissatisfiedwithmyownperson-
tower is like a periscope deftly drawing the ocean to the ality.” Other people often see Huang as rebellious by na-
eye. The serenity that the center’s unobtrusive design ture. His uncompromising insistence on his own notions
91
「員山機堡戰爭地景博物館」在黃聲遠的搶救下，得以存續。
The Japanese-era aircraft hangar preserved in Yuanshan’s Kamikaze Aircraft Shelter Museum
was saved from demolition by Huang Sheng-yuan.
日，可能又要借錢周轉。」黃聲遠無奈的搖著多半承攬公共工程的「田中央」，深刻體認
頭。但是無論多麼周折，他絕對要按時把薪水先到政治是一個能為人民謀福利的公器，不管誰
發給年輕的夥伴們。「我們這些資深的，必要的來掌管，都不應忘卻初衷，一定要為大家做最
話，可以先只拿半薪撐幾天。」好的選擇。
因為是公共工程，工程預算本就有一定的天擁有耶魯大學碩士，曾在美國知名的E r i c O.
花板。「老師總是堅持先從本質上做研究，而且 Moss建築師事務所工作，作品又屢獲國際的讚賞
不停的修改，有時候到了現場，老師繞了一圈，肯定，黃聲遠帶領的「田中央」也許有更寬廣的
又提出修改的想法。」小夥伴們半是認真，半是路可以走，但是一種對家園的歸屬感，一種傳承美
訴苦的說。大家都知道，儘量做到最好是「田中好的使命感，要讓下一代擁抱希望和夢想，即使面
央」的座右銘，也讓黃聲遠總是在和時間賽跑。對困頓，仍然牢牢羈絆著黃聲遠，樂在其中。
二十多年的老夥伴工務經理楊志仲，總是拿「他們都長得有點像，都是聰明孩子。」看著
著計算機，不停的精算工程造價。雖然明明知道「田中央」可愛的夥伴們，黃聲遠不自覺地又流
每一次的修改都是成本，還是明知不可為而為。露出溫柔的眼神。「我什麼都信，沒有特定差
「人生每一個階段，都可以有值得專注的事。」別。」在他的心中，認為只要認真去做，無愧於
面對最愛的建築，黃聲遠希望每一個人都盡力。心，上天看得到，別人也會看到。 □

of truth, goodness and beauty may all too easily infringe changes on the spot.” Huang’s young partners are half se-
against the norms of social ethics and etiquette. rious, half complaining as they say this.
“There are a lot of things hidden behind politeness. Althoughheunderstandsthateachmodificationmeans
Someone may be wanting to speak in defense of freedom, additional costs, Huang still goes ahead and tries despite
or to scream on behalf of justice.” Huang doesn’t want obvious impediments. “At each stage of life there are
hypocritical responses; he seeks only candid and honest things that are worth devoting oneself to single-mindedly.”
treatment. While he was growing up, fate arranged for him With respect to architecture, which is what he loves the
to be exposed to ruthless criticism, and through his na- most, Huang hopes that each individual will give their all.
ivetyhecausedoffencetomanypeople.However,despite
continual setbacks, thanks to his natural openness he has
always voiced his inner thoughts with complete honesty.
Huang doesn’t ask for much. For example, with the
New Moat Project, which has restored part of Yilan’s old
city moat, he merely wanted to return the town to its orig-
inal appearance. He just wanted to treat fairly this water-
waythathasnurturedthepeopleofYilanandhasflowed
for centuries. “I was simply doing the right thing.”
Creating well-being through wisdom
Flipping through the construction history of Field-
offi
ce, “concern for others” is an important motivator in
the practice’s more than 50 works. From the Julin Nursing
HomeinJiaoxi,completedin1995,andtheGreaterYilan
County Nursing Institute, to the St. Camillus Center for
Intellectual Disability and the St. Camillus Long-Term 田中央提供／courtesy of Fieldoffice
CareCenter,Fieldoffi
cehasinvestedavastamountofef-
fort. “To every person will come the day when they are no Fieldoffi
ce,mostofwhoseprojectsarepubliclyfunded,
longer sturdy enough, so we should enable elderly people are well aware that politics is a means for giving citizens
to live with dignity in an accessible environment.” Facing greater well-being. No matter who is in charge, no-one
the challenge of all kinds of care needs, an important topic should forget this original purpose, and each must make
for the future is how to construct appropriate spaces. the best choices on behalf of all.
The fruits of Field office’s labors are spread across With outstanding academic and professional experi-
every township of Yilan County. It is therefore hard to ence, and with works that have won international acclaim,
imagine that such a prominent architectural practice is Fieldoffi
ceperhapscanfollowanevenbroaderroadahead.
often short of cash. But Huang Sheng-yuan still finds himself firmly bound
Because these are publicly funded projects, there is by—and takes pleasure in—a sense of belonging to his
always some limit on the fees that can be charged. “Huang homeland, and a sense of mission to pass along beauty and
Sheng-yuanalwaysinsistsonfirstdoingresearchbased to enable the next generation to embrace hope and dreams,
on the inherent nature of the project, and he continually whateverdiffi
cultiesheencountersalongtheway.
makes changes. Sometimes he Looking at his young partners, Huang has a warm
will go to the project site glow in his eyes. “I try to be open minded, to approach
and have a walk around, people and things without preconceptions.” Huang be-
and then propose lieves that if only one carries out one’s task earnestly, then
ideas for one can have a clear conscience. What Heaven can see,
other people will also see.
(Lee Shan Wei/photos by Jimmy Lin/
tr. by Phil Newell)
93
藝文脈絡　CULTURAL TRENDS

用譜寫永恆
眷戀故鄉的音樂家——金希文
Eternity Expressed in Music
—Composer Gordon Chin
文•李珊瑋　圖•林旻萱　版面設計•胡如瑜
第20屆國家文藝獎得主——音樂家金希文，18歲時，由僑居地
日本赴美，一度想要走不同的路徑，卻在心靈的召喚下，旋即
回歸上天賜予的天賦。用勤奮延展創作的能量，用使命成就永
世的樂章。
在音樂世家成長的金希文，以多面向的創作著稱，不僅是現
今國際現代樂派重要的作曲家之一，更勇於融入不同的元素，
永無止境的嘗試，探討生命的原創。最難能可貴的是不忘初
衷，少小離鄉，卻從未切斷與故里的命脈。把對故鄉的依戀，
化為傳承的執著，在寶島繁衍茁壯。
G ordon Shi-wen Chin, winner of a 2018 National Award of Art, is

widely known for his multifaceted compositions. He is not only
one of the most important international modern-school composers,
he has courageously introduced different elements into his work, and
is constantly trying new things, exploring originality in life.
Most remarkable is that he has not forgotten his original aspira-
tions. Though he left his native land when he was very young, he
never cut the lifeline with his old hometown. He has transformed his
love for his native place into a dedication to passing along Taiwan-
ese culture and being robustly productive in Taiwan.
金希文的腦海中，永遠都有源源不絕的音符在舞動，成就即興的永恆。
In Gordon Chin’s brain notes dance endlessly, creating spontaneous
expressions of eternity.
95
金希文從5歲開始彈鋼琴，國小五、六年級
時，更每週由斗六搭火車到台南，跟隨陳美滿
老師習琴。從未間斷的學習歷程，卻因剛到日本
構思生命的樂章
時，家裡沒有鋼琴，而被迫中斷。「那時放學
「創作，必然要歷經痛苦，才能得到甜美的後，我總是留在學校，因為才有鋼琴可以彈。」
果實。」金希文沈浸在心靈的激盪中，用喜悅的孤寂無助的苦悶，像一堵無形的高牆，禁錮著金
心，品味生產的陣痛。身為作曲家，金希文的腦希文，讓他瀕臨窒息。陌生文化的衝擊，加上對
海中，永遠都有源源不絕的音符在舞動。那種充故鄉和友人的思念，唯有借助五線譜中隱形的翅
塞在胸臆間，不吐不快的悸動，自然而然的由指膀，釋放苦悶的靈魂。黃昏的夕陽中，一首首自
尖流瀉而出，成就即興的永恆。由創作的即興曲，陪伴著金希文走出鬱悶，也啟
「作曲的源頭，可以回溯到我剛到日本的那一迪出譜曲的基因。
年。」金希文優雅地坐在鋼琴前，雙眼微閉，嘴
在信仰中找到真誠
角上揚，輕鬆自在地彈奏出流暢優美的旋律。國
小剛畢業，金希文舉家搬遷到日本，不但沒有朋「我經常會獨自沈思。」在金希文的領悟中，
友，語言更是一大障礙，當時幼小心靈的唯一慰每一個人都是一個孤單的個體，所有的悲歡離
藉，就是音樂。父親是學聲樂的，也教授鋼琴，合，喜怒哀樂，都要由自我承受。初中三年級
母親和弟妹也都能彈琴，弟弟還學小提琴，金希時，早熟的他，開始探究存活的哲理。「當我
文就在如此音樂氛圍中成長。們出生時，就注定有一天會離開人世，既然死亡
when his family first got to Japan they had no piano.
“At that time I always stayed at school after the end
金希文習慣手寫譜曲，像是把溫度刻印在紙上。
Chin’s habit is to write out sheet music by hand; it is like of class, because there was a piano I could play.”
engraving his warmth on paper. With the shock of an unfamiliar culture, and missing
his hometown and friends, it was only by drawing
support from the invisible wings of music that he
Composing a movement of life could find release for his dejected spirit. As the sun
“To create, you inevitably must go through suffer- set each evening, one improvised piece after another
ing, for only then can you get the sweet fruits.” Gor- accompanied Chin as he emerged from his gloomy
don Shi-wen Chin, deeply immersed in the surging state, and sparked life into his innate talent for com-
movements of his spirit, savors the labor pains of artis- posing music.
tic creation with a joyful heart. As a composer, Chin’s Finding truth through faith
mind is always filled with endless dancing notes. “I would often think very deeply by myself.” In
The pulse that fills his thoughts and demands to be his third year of middle school, Chin, who matured
expressed flows out naturally through his fingertips, early, began to explore the philosophy of existence.
becoming a expression of spontaneous eternity. “From the moment we are born, it is certain that one
“The origins of my composing can be traced back day we will leave the world. Since death is inevitable,
to my first year in Japan.” Gordon Chin began play- why should one take so much trouble to stay alive?
ing the piano when he was five years old. In fifth and Where is the meaning in that?” Living at that time in
sixth grade, each week he would take the train from Yamashitacho, Yokohama’s Chinatown, Chin came to
Douliu in Yunlin County to Tainan, where he studied know about Jesus Christ in an overseas Chinese com-
under his teacher Chen Mei-man. Shortly after Chin munity church. There he saw the meaning of life in
graduated from elementary school, his whole fam- the persons of Minister Best and his wife.
ily moved to Japan. Not only did he have no friends “They are among the people I most admire. In
there, the language was a huge obstacle, and the only them I saw the brilliance of human nature.” The sense
consolation for his young spirit was music. of belonging in the interactions of the church youth
He had never previously interrupted his study group gave Chin the feeling that he had attained grace
of music, but here he was nearly forced to do so, for and a joyous rebirth. “A year later I was baptized and
金希文數十年如一日，每天
最少都要花8到9個小時作曲。
Gordon Chin has maintained the
same daily routine for decades,
composing for eight or nine
hours per day.
97
金希文擔任音契合唱管絃樂團指揮和音樂總監
近30年，無怨無悔地投入金錢、時間和精力。
For nearly 30 years Chin has served as conductor
and musical director of the Yinqi Symphony
Orchestra and Chorus, investing money, time, and
energy with neither complaint nor regret.
是必然的，我們為什麼要辛苦的活著，意義在那
裡？」當時在日本橫濱山下町，中華街上的華僑
教會中，金希文認識了耶穌基督，也在貝牧師和
師母的身上，看見生命的意義。
「他們是我最敬佩的人之一，在他們的身上，
我看到人性的光輝。」貝師母是白俄羅斯人，在
21歲時，隻身到中國傳教，認識了貝牧師。「我
好佩服貝師母的勇氣。」對比金希文年少時的
惶惑無助，年輕的貝師母，卻有著堅毅的信
心。教會中青年團契的歸屬和互助，讓金希文
獲得恩典，喜悅重生。「一年後，我受洗成為
基督徒。」信仰的力量，讓金希文自此不再孤
寂徬徨。
「當時中華街上充斥著互鬥和糾結。」年幼
的他，已然見證著生活的無奈。但是在陰暗的夾
縫中，貝牧師和師母讓金希文觀照到人性的光明
面。「他們總是像和煦的太陽，傳送溫暖。」真
誠的笑容、細膩的關愛、無私的奉獻，以及正向
的人生觀，引領金希文走出幽暗蔭谷。喜樂取代
悲愴，福杯滿溢心靈。
一生奉獻給這塊土地。」秉持這份純真無私的愛，
高二立志，學成返鄉
金希文投入教育，作育英才；帶領樂團，傳承深
「高二時，我就立下心願，學成後就要返耕。更汲取故鄉的養份，孕育出多元的創作。
鄉。」甘願放棄優良的音樂環境，簡直讓人不可
音符寫詩，揮灑奔騰
思議。「我只是實踐對自己的諾言。」少小離鄉
的金希文，面對眾人的勸阻，無動於衷。1988年「當時正是台灣音樂起飛的年代。」金希文
12月27日，在他拿到博士學位後一個月，和妻小歡喜地躬逢其盛，展翅遨翔。其實早在他返台之
義無反顧地回到台灣。前，擅長用音符寫詩的創作特質，已受到國際
「我毫不後悔當時的選擇。」經歷了30年，金矚目。一曲曲交響詩，為樂壇注入一股清流。
希文依舊執著對這片土地的眷戀與熱愛。「回到台「詩，是啟動我創作，重要的靈感之一。」優美
灣，讓我感到安定。」那種對故土的歸屬感，強烈的意象，錯落的排列，抑揚頓挫的韻律，在金希
牽引著金希文。「我要像貝牧師和師母一樣，把文眼中，都是跳動的音符，優美的旋律。

became a Christian.” The power of faith has enabled filling a promise to myself.” On December 27, 1988, one
Chin to never feel lonely or irresolute again. month after receiving his doctorate, he returned with his
Minister Best and his wife enabled Chin to see the wife and children to Taiwan, without ever looking back.
bright side of life. “They were always like the sun, con- “I don’t in the least regret my choice back then.”
veying warmth.” Sincere smiles, meticulous concern Even after 30 years, Chin feels the same attachment and
for others, selfless service, and their positive worldview love for this land. “Returning to Taiwan, I felt settled
brought Chin out of the darkness. Joy replaced sorrow, and at peace.” This sense of belonging to his homeland
and his cup of happiness overflowed. has strongly drawn Gordon Chin. “I want to be like
Determined to return home Minister Best and his wife, and devote my life to this
“In my second year of high school, I decided that piece of land.” Holding fast to this pure and selfless
after completing my studies I would return home.” Peo- love, Chin has dedicated himself to education, in or-
ple were astounded at his willingness to give up such a der to cultivate outstanding talents, and to leading an
superior musical environment. He says, “I was only ful- orchestra, in order to create a legacy. At the same time,
99
金希文認為，「音樂其實是在描述情感。」
因為心中有愛，才能讓聽眾感動。
Chin believes, “Music is the depiction of
emotions.” You can only move your audience
if you have love in your heart.
「追求那種像電光火石般，瞬間迸發的力 drawing sustenance from his native soil, he has given
道。」結合人聲與大型管絃樂的特色曲風，讓金希 birth to a diversity of creative works.
Writing poetry in music
文純熟運用西方管弦樂法的天賦，在一次又一次的
“That was just the time when Taiwanese music
突破中，展露鋒芒。「每一個時期都是值得珍惜
was taking off.” In fact, even before his return home,
的，當初的稚嫩也許不盡完美，但是現在再也回不
a special feature of musical creation in Taiwan—using
去了。」金希文拿起鋼琴上厚重的樂譜，在音符 musical notes to write poetry—was already gaining
間回憶起漫長的來時路。從孕育到誕生，每一件 international attention. “Poetry is what sets my creative
創作，都是嘔心瀝血的成果，在光陰的醞釀下， work in motion, and is one of my important sources of
成就品味。無論是《晨野》交響詩，還是《第三 inspiration.” Gorgeous imagery, irregular rhythms and
號交響曲：台灣》，都有它當下存在的意義。 modulating cadences are all transformed by Chin into
dancing notes and beautiful melodies.
喜樂的心，永不枯竭 “I am always seeking that sudden burst of energy, like
a flash of lightning or a spark from a flint.” His distinc-
捧著熱騰騰的第20屆國家文藝獎獎座，像是
tive compositional style of combining human voices with
戮力一甲子的厚禮，金希文滿心喜悅與感恩。除 orchestral music has allowed Chin to skillfully utilize
了父母、師長、委託人和知音們，更感謝放下自 his natural gifts for composing for Western wind and
我，永遠在幕後默默支持他的妻子。這個象徵國 string instruments, revealing his cutting edge through
內藝文界最高榮譽的獎項，是榮耀，也是責任。 one breakthrough after another. “Every phase is worth
金希文認為「作曲家就像開墾者，要在一片虛 treasuring.” From conception to birth, each creative work
is always the result of blood, sweat and tears, which,
無中先行。」必然要有開荊闢棘的毅力，才能迎
given the fermentation of time, achieves exquisite taste.
來璀璨的繽紛。多年來，每年的寒暑假，他習於
An inexhaustibly joyful heart
在山林溪谷間踽踽獨行，在空靈中聆聽天地；風
Receiving his trophy at the National Awards of Art
雲幻化中，靈感扶搖直上，困局迎刃而解。 ceremony, Chin’s heart was full of joy and gratitude. Be-
他更在信仰中找到企盼，擔任音契合唱管絃 sides thanking his parents, his teachers, people who have
樂團指揮和音樂總監近30年，無怨無悔地投入金 commissioned work from him, and his intimate friends,
錢、時間和精力，創作出無數真誠的歌誦，恩慈 he expressed special gratitude to his wife, who has always
的詠嘆。撥動愛樂者的心弦，吟唱心靈的跫音， quietly supported him behind the scenes. This award,

which symbolizes the highest accolade in Taiwan’s arts
徜徉在天籟裡，渾然忘我。
community, is both an honor and a responsibility.
天分，靠努力展現 Gordon Chin believes that “a composer is like a pion-
eer, leading the way through the wilderness.” They must
自小受到天才的褒揚，金希文卻認知「天才是 have the perseverance to cut a path through the thorny
長時間的努力，是承受痛苦的能力。」他把一切 underbrush, for only thus can they reach the flower-filled
的榮耀歸諸信仰的神，「人的能力不足，唯有倚 meadows of artistic creation.
靠上帝的幫助，信仰是我永不止息的動能。」 He has also found hope through his faith. For nearly
「我每天最少都要花8到9個小時作曲。」沉浸 30 years he has served as the conductor and musical dir-
ector of the Yinqi Symphony Orchestra and Chorus, in-
在工作室裡，金希文數十年如一日，專注地「孵
vesting money, time, and energy with neither complaint
豆芽」。他習慣手寫譜曲，像是把溫度刻印在紙
nor regret.
上。「必然要耐得住孤獨。」創作的歷程，往往 Talent is revealed through hard work
都是艱辛的煎熬，要能用喜樂的心，享受這份 Having been lauded as a genius since childhood,
枯燥。「我在創作時，經常一個月不和任何人說 Chin has nevertheless realized that “genius is hard
話。」，至今創作超過上百首交響詩、清唱劇、 work over a long period of time; it is the ability to with-
室內樂、獨奏曲⋯⋯，動心忍性，才能成就輝煌。 stand suffering.” He gives all credit to the God that he
101
差點兒和博士擦肩而過的金希文，感念伊士曼美，得以穿越時空，在歷史的洪流中淬鍊沉澱，
音樂學院（Eastman School of Music）嚴謹的教學，靜候美的昇華。唯有聆賞者沉醉於無法抗拒的感
成就他沉穩的功力。「別人都只考兩次就通過了，動，激發心靈的共鳴，才能永世流傳。
但是我的博士學位，卻是在教授的寬允下，考了3
日出台灣，賜福永遠
次。而且每次都要相隔一年，才能再次應試。」這
項重大的挫折，讓金希文正視作曲的嚴肅性，不僅馬勒說：「最重要的部分，無法寫在樂譜
要具備創作的天分，更要有廣博堅實的理論。上。」金希文指著作曲的詮釋，「這只能是誘
在師大任教的金希文，平實的告訴學生，一定發。」就像海上的冰山，那看不見的巨大底層，
要對自我深切評估，「作曲是一條孤獨又艱苦的需要用心領會。「音樂其實是在描述情感。」因
路，要有人委託，才能存活，否則很難維生。」為心中有愛，才能讓聽眾感動。
唯有立定志向，才能無畏險阻。「作曲家必須要膾炙人口的《日出台灣》，是金希文關懷台
具備紮實的古典音樂基礎，最少要熟稔一種樂灣系列組曲中的一首，譜出了他對故鄉濃郁的
器，最好是鋼琴。」孺慕和真情。這首歌唱管絃樂曲的詞，是金希文
「天分是可遇不可求的。很多時候，辛苦了半太太盧佳芬（筆名：耶引）用台語創作的詩句。
天，不見得會有成果。」雖然殘酷，卻是不爭的寫出了金希文對這片深愛的土地，真情的告白。
事實。金希文經常勉勵學生，作曲不是唯一的選
「」
是真情寫乎阮，美麗的心懷；
擇，唯有能在其中獲得喜樂，才是適合走的路。
這誰人疼惜的台灣；
追求極致是作曲家的天命，每件作品，都必
日出光照台灣，賜福直到永遠。
須有創新的深刻內涵。他認為音樂是一種普世的 □

（左圖）信仰的力量，讓金希文走出蔭暗幽谷。
喜樂取代悲愴，福杯滿溢心靈。
(facing page) The power of faith brought Chin out of
the darkness. Joy replaced sorrow, and his cup of
happiness overflowed.
（右圖）金希文認為作曲家，不僅要具備創作的
天分，更要有廣博堅實的理論。
(right) Chin believes that to be a composer, one
needs not only creative talent, but also an extensive
and solid foundation in theory.
worships: “Human abilities are inadequate, so all we

can do is rely on the help of God. Faith has been my in-
exhaustible motive force.”
“Every day I spend at least eight or nine hours com-
posing.” Immersed in his studio, this has been Chin’s
daily routine for decades. “You have to be able to put up
with loneliness.” The creative process is often an arduous
torment, but you have to receive it with a joyful heart.
“When I am composing, I often go a month without tion and you have aroused resonance in their souls will
speaking to anyone.” a work be kept alive forever.
Chin fondly recalls the strict instruction at the Eastman Austrian composer Gustav Mahler said: “The most
School of Music in Rochester, New York, which formed his important part cannot be written in the score.” Like an
ability to remain calm and steady. “Other people passed iceberg in the sea, there is an enormous hidden part
their exam at the second attempt, but for my doctorate I that it takes effort to comprehend. “Music in fact is the
had to take it three times, and I got that opportunity only depiction of emotions,” says Chin. You can only move
because my professor made an exception for me.” your audience if you have love in your heart.
Chin, who teaches at National Taiwan Normal Univer- The widely appreciated “Golden Beam on the Hori-
sity, tells his students plainly: “Composing is a lonely and zon of Formosa” is one of a series of suites composed
difficult road. You have to get commissions from people by Chin out of his concern for Taiwan, setting to music
in order to survive, otherwise you can’t make a living his strong affection for his native place. The words for
from it.” Only if your ambitions are firm and clear can this piece for symphony orchestra and chorus come
you fearlessly proceed on this arduous path. “A composer from a poem in Taiwanese written by Chin’s wife Lu
must have a solid foundation in classical music, and Jiafen (pen name Ye Yin). “It is real emotion written for
should be familiar with at least one instrument, prefera- us, beautiful emotions; / This Taiwan, who will cherish
bly the piano.” it? / Sunrise illuminates Taiwan, blessings until the end
Horizon of Formosa, blessings forever of time.” This is a heartfelt declaration of Gordon Chin’s
To pursue the extreme is a composer’s fate. Each and profound love for this land of ours. l
every work must have innovative and profound content. (Lee Shan Wei/photos by Lin Min-hsuan/
Only when listeners are intoxicated by irresistible emo- tr. by Phil Newell)
103
藝文脈絡　CULTURAL TRENDS
台灣
原創
異才
Manga Master:
The Extraordinary Talent of
Chen Uen
文•鄧慧純　圖•莊坤儒　版面設計•胡如瑜
大辣出版提供／courtesy of Dala Publishing
卜華志攝影／photo by Pu Hua-chih
他以傳統中國畫筆融為漫畫裡寫意的線條，
開創出漫畫的新紀元。 H e revolutionized graphic novels by introducing
freehand brushstrokes from traditional Chinese
painting into his work.
他被日本《朝日新聞》譽為：「20年內無人
He was described in the pages of Japan’s Asahi
能出其右之天才、鬼才、異才。」
Shimbun newspaper as a talent so rare and uncon-
他曾榮獲「日本漫畫協會優秀賞」，是首位 ventional that he will remain peerless for decades.
受此榮譽的外國人。 He has influenced a new generation of graphic
他的足跡遊走台灣、日本、香港、中國，其 novelists in Taiwan, Japan, Hong Kong and China.
漫畫風格在漢字文化圈內獨樹一格，並啟發整個 This is the Taiwanese manga master Chen Uen.
世代的創作者。
日本編輯以「亞洲‧原創」為他宣傳。 When Chen Uen passed away in March 2017, his bub-
bling creativity was suddenly stilled. This June he will
他是「台灣‧原創」的漫畫大師──鄭問。
become the first graphic novelist to be honored with an
exhibition at the National Palace Museum. The master is
去年3月，鄭問猝逝，許多構想中的創作嘎然 gone, but through his work readers can linger endlessly
而止。今年6月，鄭問成為全世界第一位進入故 in his tales of heroism, exploring his wuxia worlds time
宮的漫畫家。「千年一問」，「一問千年」，何 and again.
以千年才出現一位如鄭問般的奇才？大俠已遠 A pioneer of his art
行，但他筆下的武俠世界卻讓人流連，教人一探 Chen’s career as a graphic artist began in 1984 when the
China Times Weekly published his series Panther the Warrior.
再探。
Less than two years later he caused a sensation with his
究天人之際，開漫畫之境 martial arts series Legends of Assassins. At the time, comics
in Taiwan were heavily influenced by Japanese manga in
1984年，鄭問在《時報周刊》上發表第一篇
both their drawing style and the characters depicted. Chen
漫畫作品《戰士黑豹》，開啟漫畫家的生涯。不 was the first to introduce elements of traditional Chinese
到兩年的時間，鄭問又以《刺客列傳》驚艷漫畫 painting into his work, establishing his unique creative
界的武林。當時台灣坊間的漫畫風格，無論是線 vocabulary.
條、筆觸、人物設定受日本漫畫影響極深，唯鄭 After Legends of Assassins, Chen was invited to create a
問以東方的水墨線條，立下自己的漫畫語彙。他 new series for the new publication Sunday Comics. He col-
laborated with author Rex How, now chairman of Locus
在《刺客列傳》自序中說，想表達刺客題材，卻
Publishing, who wrote under the penname Ma Li. Together
發現「用沾水筆太硬，用水彩則像中國樂曲用了
they created Abi-Sword, written by Ma Li and illustrated
交響樂來伴奏的不倫不類。」靈機一動，拿起毛 by Chen. Unburdened by the responsibility of writing
筆描繪起心中的刺客形象。 the plot, Chen could concentrate on experimenting with
毛筆略帶隨性而狂放、不受控制的筆觸，意 the visual images. In Abi-Sword Chen gave free rein to his
外地貼合只重大義，不計個人死生的刺客氣度， creative instincts. His brushwork blends realism with the
筆刷的自由度讓人物的動勢更顯靈活。《刺客列 flowing strokes of Chinese painting; or he uses fine lines
drawn with pen and ink to flesh out architectural detail
傳》後，鄭問受邀於新創刊的《星期漫畫》連載
and his characters’ martial movements, while in crucial
scenes thick painted brushstrokes leap off the page, bring-
ing the story to life.
For example, when Yu Jing and Shi Feihong come to
鄭問作品饒富個人風格。1992年，剛進軍日本市場
blows in a climactic scene, Chen renders images of 156
不久的鄭問，接受《光華》採訪留下身影。
The style of Chen Uen’s work is highly individual. striking hands in a cascading motion, in frames laid out
The photo of him shown here was taken for a Taiwan
Panorama report published in 1992, after Chen first
across a two-page spread. The next spread is a sweep of
made a name for himself in Japan. blank white, with free-flowing lines showing the characters’
107
鍾孟舜想藉「千年一問──鄭問故宮大展」，
告訴大家「鄭問何以為鄭問」。
Zhong Meng-shun hopes to preserve the legacy of his
former teacher through the National Palace Museum
exhibit “The Legacy of Chen Uen: Art, Life & Philosophy.”
《阿鼻劍》，由馬利（現大塊文化董事長郝明
義）編劇，鄭問繪圖。編劇的工作委外，鄭問得
以專注地思考畫面的處理，在《阿鼻劍》中，鄭
問盡情地實驗創作，將寫實與寫意的筆法交錯在
同一分格中，或用沾水筆細描、精刻建築物及武
功招式，而讓毛筆的重線條在重要場景跳出，讓
故事自己說話。例如，在主角于景和史飛虹兩大
高手過招156手緊湊的動作分格後，翻頁一見滿
版的跨頁留白，鄭問以疏放的線條勾勒兩人的身
影，畫史飛虹一劍刺穿于景的心臟和于景中箭後
撐張的五指；留白的另一頭是年幼的何勿生目睹
了這一切，畫面瞬間靜了下來，像掐住了讀者的
呼吸一般，這也是馬利自言最被震懾的一幕。
1990 年，接受日本講談社的邀請，鄭問轉往日
本發展，在週刊《モ－ニング》（Morning）發表
《東周英雄傳》，繼之在月刊《アフタヌーン》
（Afternoon）連載《深邃美麗的亞細亞》，鄭問
的弟子鍾孟舜正參與此時期的製作。
鍾孟舜表示，當初講談社向鄭問邀稿，鄭問提
出的條件就是不使用沾水筆跟傳統網點，因此在
《東周英雄傳》書中，可見鄭問開發許多漫畫的
技法，也納入更多的工具創作，《東周英雄傳》
秦皇兒時的封面彩頁，背景的兵馬俑是用砂畫
出來的；還有用牙刷噴濺、用手掌為畫筆、用火
燒、用塑膠袋定型，甚至在顏料裡調入糖，放到
垃圾桶裡，讓蟑螂代為完成作品。漫畫家常用網
點製造陰影及特殊效果，但鄭問不願依循傳統，
他先畫成水墨稿，再送去印刷廠製成特製的網
點，呈現特有的暈染效果。
鄭問好用新技法，砂、塑膠袋都可以拿來創作。
（大辣出版提供）
Innovative in his methods, Chen Uen employed sand,
plastic bags, and other unusual tools in his work.
(courtesy of Dala Publishing)

silhouettes as Shi Feihong’s sword pierces Yu Jing’s heart;
Yu’s outstretched arms and splayed fingers add to the
drama of the scene. The left-hand page shows the child He
Wusheng witnessing the violent encounter. The sudden
calm of the image is breathtaking in its effect. Ma Li de-
scribed the scene as one of the most startling in the series.
In 1990 Chen accepted an invitation from Kodansha,
a major Japanese publisher, to produce his Heroes of the
East Chou Dynasty, which was serialized in the magazine
Weekly Morning.
His erstwhile apprentice Zhong Meng-shun explains
that when Ko dan sha representatives asked Chen to
produce Heroes, Chen told them he did not want to use
ink drawing and screentone shading. Instead he wanted
to experiment with new techniques. The colored cover
image depicting the childhood of the emperor Qin Shi
Huang, for example, shows terracotta warriors that Chen
painted with sand. He also used a variety of other uncon-
ventional tools and techniques, including a toothbrush
to splatter paint on the page, his palm to apply paint,
burning techniques, and a plastic bag to create a textured
effect. While many manga artists apply screentone to cre-
ate shading, Chen instead used ink-painting techniques
to create a screentone with a unique blurred effect, which
he had specially printed for his own use.
Creating comics is a constant race against time. The
pressure to turn out new images was intense, but Chen
still labored over the details of his work, and used fine 鄭問工作室提供／courtesy of Chen Uen Studio
brushwork for all of his illustrations. Zhong says that at
the time he didn’t understand, but more than two de-
cades later it makes perfect sense to him. “For him it was ing the drama of the scene. “He first conceptualized the
art, not just a comic.” Zhong says. ideal composition for the scene, and then filled it in with
The quest for innovation various figures,” Zhong explains. “Chen relied solely on his
Chen’s artwork makes quite an impression on most imagination and then rendered his concept on the page.”
viewers, but as a professional, Zhong wanted to under- Traditionally the images in graphic novels are pre-
stand how Chen managed to produce such effects. sented through a limited range of cinematic techniques
Today 3D computer modeling techniques allow for ac- such as close-ups, long shots, high-angle shots or overhead
tion characters to perform almost any feat and to bring a shooting. Each angle of view represents a choice, but Chen
fantasy world to life. Chen mastered this technique without decided to expand the possibilities. He combined Chinese
computers. In the videogame Romance of the Three King- and Western painting styles, painting the foreground in
doms, for example, Chen depicts a scene from the Battle of meticulous detail while using freehand methods for the
Changban that shows Zhao Yun holding on to Liu Chan on background and using both abstract and realistic elements
horseback. The horse is suspended in midair with its head in a single image.
facing toward the ground. Zhao Yun’s body is bolt upright As the choices multiplied so too did the complexity
as he clutches a raised spear. The image is composed as an and difficulties, but Chen never tired of the challenge.
inverted triangle, creating a thrilling spectacle and captur- He continued to experiment with new subject matter and
109
鄭問最早將青銅器紋飾
鑲在戰將的盔甲上，
影響此後的電玩風格。
（鄭問工作室提供）
Chen Uen’s pioneering
depiction of bronze
ornaments on a warrior’s
armor influenced the
aesthetic sensibility of
the videogame industry.
(courtesy of Chen Uen
Studio)

漫畫是與時間賽跑的創作，截稿壓力極大，
鍾孟舜回憶說，在時間壓力下，鄭問對於細節的
堅持仍不馬虎，仍堅持要用毛筆完稿。當時的鍾
孟舜不懂，但二十多年後，鍾孟舜說他想通了，
「對他而言，這是他的藝術，不是漫畫。所以要
堅持那種質感，那是他的藝術品。」
大師之所以為大師
外行人看熱鬧，內行人看門道。初接觸鄭問的
作品，一定會被他的畫風震撼。但身為內行人，
鍾孟舜說他第一次碰到鄭問，也是問他那些畫
「怎麼畫的」？
傳統的美術教育靠著靜物素描來了解人體寫實
的樣態，因此在人類體能極限之外的動作無可借
鏡。今日藉著電腦 3D 建模的技術，方可憑空繪
出超越極限的動作姿態及奇幻寫實的角色，但鄭
問早二十幾年前就能在腦中完成 3D 建模；鍾孟
舜舉電玩遊戲《鄭問之三國志》〈長坂坡〉插圖
鄭問畫中有許多彩蛋，不時有畫外之趣，
說明，趙雲抱著劉禪騎在馬上，馬身懸在空中，
如百兵衛從形似F1駕駛座的垃圾堆出場。
首朝下，趙雲的身體挺直向上，手中的長槍還高（大辣出版提供）
Chen Uen included many “Easter eggs”—hidden
舉著，整幅圖呈倒三角形的構圖，情勢驚險，戲 surprises—in his work, as in this scene in which Bai
Bingwei (the major character in Magical Super Asia)
劇效果十足。「他先做出理想的構圖，其他物件 emerges from a trash pile in the likeness of an F1
racecar driver. (courtesy of Dala Publishing)
再去配合。一切就靠著鄭問在腦中虛擬構圖，再
呈現在畫紙上。」
傳統分鏡有近景、遠景、鏡頭高底等變化選 new methods of expression, constantly enjoying the ex-
項，一種角度就是一種選擇，鄭問則把選項開發 citement of creative breakthroughs.
得更多元，比如用中西的畫法做對比、搭配，或 As a cartoonist, Chen tirelessly pursued innovation in
his exploration of destiny and the affairs of mortals. He
是前景工筆、後景寫意的組合，還有抽象跟寫實
wanted to see just how far he could push the boundaries
的分鏡。選擇變多了，思考變得更複雜且困難，
of his art.
在截稿的壓力下，鍾孟舜說：「他這樣做其實很
Zhong Meng-shun notes that Chen Uen was driven
自虐。」 primarily by a creative desire that pushed him to con-
但鄭問樂此不疲，他不斷嘗試新的題材和表 stantly innovate. It was not always an asset to his com-
達方式，享受不斷突破往前衝刺的愉悅感覺。有 mercial career, but it was essential to his art. “So we must
許多讀者跟鄭問反映哪類型的作品好看，應該繼 think of him as an artist, not as a cartoonist,” Zhong says.
續創作下去。但鄭問回應：「我無法停下來原地 An Asian original
In his life, Chen spent time in Taiwan, Japan, Hong
踏步，重複著以前的腳步，我想原因只有一個：
Kong, and Beijing and his work has been translated into
堂堂的創作者就該不斷的進步與衝刺，就算跌倒
Thai, German, English and Korean; negotiations for Ital-
了，也能驕傲的爬起來。」 ian and French editions are also under way.
身為一位漫畫家，鄭問的生命不斷地追尋創 In 1990 Chen was invited to serialize his work
新，想一究天命與人事的分際，看自己的漫畫創 in Weekly Morning. He was the first non-Japanese to
作還能到達何種境界。 become a staple on the Japanese manga market and in
111
鍾孟舜則表示，鄭問的創作欲望太強了，催使兩人沒碰上一面，作品就完成了。就像大俠過
他不得不一直創新。這樣其實不利於商業發展，招，劍不必出鞘，在意念間就定了結局。創作
這是鄭問的缺點，卻也是他的「不得不」，「所《刀劍笑》的馮志明曾以短篇畫出他期待到台灣
以說他是藝術家，不是漫畫家。」鍾孟舜總結。與鄭問見面的過程，黃健和曾詢問馮：「鄭問的
作品對你而言有何特別？」「在他之前，我不知
亞洲的鄭問
道漫畫可以這樣畫。」馮志明如此回覆。
鄭問的足跡走過台灣、日本、香港、北京，作不只在漫畫界有鄭問的傳說，在遊戲界也留有
品被翻譯成英、泰、德、韓，義大利、法文等語他的傳奇。2001年，由鄭問擔任美術總監同時冠
版也在洽談中。名的《鄭問之三國志》PS2遊戲發表，裡面超過
1990年，鄭問受邀在《モ－ニング》連載作兩百位三國人物的肖像皆由他親自操刀；或有西
品，與他同期的作品還有川口開治的《沉默的艦方肖像的寫實筆法，或有東方抽象的寫意形式，
隊》和弘兼憲史的《科長島耕作》。他是首位有毛筆揮灑的粗獷，亦有工筆雕刻的細琢。看鄭
成功打入日本主流漫畫市場的外國漫畫家，1991 問的人物設定很過癮，從人物的神情、神態一眼
年，鄭問以《東周英雄傳》獲「日本漫畫協會優就能知道角色的個性設定，人物的豪邁、深沈、
秀賞」，更是首位受此榮譽的外國人；日本獲得威嚴、勇武躍然紙上。2003年，鄭問轉往中國大
同級獎項的作品如尾田榮一郎的《海賊王》、浦陸發展，擔任《鐵血三國志》的美術總監，當時
澤直樹的《20世紀少年》等等，其地位可見一斑。的工作室也被稱為培養遊戲人才的基地，今日中
在香港，鄭問亦擁有極高的知名度。鄭問曾與國的遊戲美術主管幾乎都從那兒出來。
黃玉郎合作《漫畫大霹靂》；馬榮成邀請鄭問畫今年6月，鄭問要進故宮了，是世界漫畫家的
《風雲外傳：天下無第一人。
雙》，鄭問昔日的漫鄭問過世後，鍾孟舜籌辦老師的後事，他首個
畫編輯黃健和透露這願望是鄭問能進故宮辦展。「鄭問的畫是超越人
合作案還有段趣聞，類極限的，這也是他被許多人推崇的原因。」在
他曾請教馬如何與鄭各界的協助下，「千年一問──鄭問故宮大展」
溝通討論，結果居然搭上熱門的6月檔期，將展出250幅原畫，鍾孟舜
有些著急的想告訴大家，「鄭問何以
為鄭問」？
鍾孟舜取消隔離觀眾與原畫的紅絨
柱，讓民眾近距離親睹鄭問的原畫，
看鄭問持放大鏡畫出如指甲般大小的
人物，以各種稀奇古怪工具創作出的
彩圖，還有鄭問藏在畫裡的「彩蛋」
（如百兵衛從形似F1駕駛座的垃圾堆
出場、要離的成名之路，將上吊的繩
子結成一個「名」），看人類繪畫創
作能達到何種極限與境地。
鄭問的作品被翻譯成泰
當前五、六年級的青壯世代，他們
文、德文、英文、韓文等
語版。的青春歲月都曾有個鄭問，有個拿棍
Chen Uen’s work has
been translated into Thai, 子、掃帚當劍的武俠夢。當年，在出
German, English, and
Korean. 租店中，或在課堂上偷偷看著鄭問漫
畫的孩童長大，成了社會的中堅。

大辣出版社總編輯黃健和當年曾任鄭問
的漫畫編輯，也是鄭問國際版權的重要
推手。
Aho Huang, editor in chief at Dala
Publishing, once edited Chen Uen’s work
and has been instrumental in promoting
foreign distribution.
鄭問跨足電玩遊戲設計領域，他設計著
重人物的神態，並透過造型傳達個性。
In Chen Uen’s videogame designs, he
captured the personalities of the characters
by focusing on their expressions and
bearing.
1991 became the first non- Japanese to

be awarded an Excellence Award by the
Japan Cartoonists Association, for his
series Heroes of the East Chou Dynasty.
Chen’s work is also well known in
Hong Kong, where he worked with Wong
Yuk-long to create Dapili (“Thunderbolt”),
based on the famous Pili puppet drama
from Taiwan, and where Ma Wing-shing
invited Chen to create a spin-off of Fung
Wan (aka Storm Riders). Wong once asked
Fung Chi-ming, author of Dagger, Sword,
Laugh, “What’s your favorite thing about
Chen’s work?” “Before Chen,” Fung re-
plied, “I didn’t realize that comics could
be made like this.”
Chen’s reputation has also expanded
beyond the world of comics. He is quite
famous among gamers as well. In 2001
he became art director for video game
maker Game Arts and oversaw produc-
tion of the PS2 game Romance of the Three
Kingdoms, which included more than 200
characters from the famous historical
novel, all rendered by his own hand.
In the marvelous final product, char-
acters’ personalities are instantly recog-
nizable from their expressions and ap-
pearance, and Chen’s art vividly captures
all of their majesty, dignity and depth. In
113
鄭問創作首重構圖，
他能不靠素描，在腦中
完成3D建模，圖為《鄭
問之三國志》之〈長坂
坡〉。（鄭問工作室提供）
Above all Chen Uen
prized composition. Even
without first sketching
scenes, he could achieve
the same effects as
today’s 3D computer
modeling using only
his imagination, as is
evident in this depiction
of a scene from the
Battle of Changban in
the videogame Romance
of the Three Kingdoms.
(courtesy of Chen Uen
Studio)
2003, he moved to China to work as the art director for
an online PC game that was likewise based on the novel
Romance of the Three Kingdoms. At the time the studio be-
came known as a talent incubator, and many of China’s
well known videogame designers got their start there.
This summer, Chen Uen will become the first car-
toonist ever to be honored with an exhibition at the Na-
tional Palace Museum. “His painting tested the human
limits of art,” says Zhong Meng-shun. “That’s why he is
admired by so many people.”
The exhibit “The Legacy of Chen Uen: Art, Life & Phi-
losophy,”curated by Zhong, is slated to open in the busy
vacation month of June and will feature 250 examples of
Chen’s original page art. Zhong hopes that visitors will
come away with a deeper understanding of this remark-
able artist.
Zhong has arranged for visitors to be able to get close
to the original artwork, to see, for example, the thumb-
nail-sized characters that Chen drew using a magnifying
glass, and the effects produced by the many strange tools
he used to paint. Visitors will be able to discover the
many hidden surprises in his work and see how he ex-
tended the boundaries of painting.
鄭問是世界第一位進入故宮的漫畫家。（鄭問工作室提供） “As a reader I feel remarkably fortunate to have lived
Chen Uen is the first graphic novelist to have his work exhibited at the time he was working,” writes novelist Wu Ming-yi.
at the National Palace Museum. The exhibit runs from June 16 to
September 17, 2018. (courtesy of Chen Uen Studio) Authors Chen Ko Hua and Ruan Guang-min have also re-
corded their memories of Chen. Ashin, vocalist for the Tai-
wanese band Mayday, has written a song for the exhibit,
and there will be performances of traditional Pili glove
小說家吳明益寫下：「身為一個讀者，我深 puppetry. The exhibition poster was created by well-
known designer Feng Yu. Wang Shi and Wang Wan-jo of
感有幸能與他在同一個時空相遇。」陳克華和阮
Activator Marketing have produced a documentary film
光民也字字句句寫下對鄭問的思念，五月天的阿
about Chen’s life. It seems that all of the arts community
信為鄭問展量身創作，霹靂的人偶也會到場向鄭
want to pay their respects to this unique talent. “This is
問致敬，知名設計大師馮宇義不容辭地扛下海報 not just an exhibition about Chen but also a celebration
的設計，牽猴子整合行銷的王師、王婉柔出力拍 of Pili, Ashin and the National Palace Museum,” says
攝鄭問的紀錄片，諸多文化人都貢獻專才。「這 Zhong. “It is the most important gathering of Taiwan’s
不只是鄭問的展而已，是鄭問×霹靂×阿信×故 cultural circles.” This is a rare opportunity to showcase
宮，是台灣最重要的文化大集合。」鍾孟舜說。 the power and growing confidence of local culture.

Chen was famously unsociable in person. “All I have
這也是難得的機會，讓各界正視在地的文化力、
to say is in my paintings,” he once said. All that Zhong
展現台灣的文化自信。
Meng-shun wants to say about Chen Uen can likewise be
鄭問生前是個寡言不愛交際的創作者，他曾 found in the exhibit. He hopes that visitors will come to
說：「我想說的，都畫在漫畫裡了。」而鍾孟舜 understand the life trajectory of this trailblazing graphic
想說的，也都在展覽裡了。世界第一位進入故宮 novelist. l
的漫畫家，其生命軌跡，不容錯過。 □ (Cathy Teng/Chuang Kung-ju/tr. by Robert Green)
115
多元族群　COMMUNITIES
台越文化橋梁　
台灣越語檢定的推手
A Bridge
Between Cultures
— Vietnamese Language Teacher
Nguyen Thi My Huong
文•黃淑姿　圖•林格立　版面設計•胡如瑜
語言是一民族的歷史和文化背景重要的載履歷表攤開來，學、經歷洋洋灑灑，但她不喜
體，也反映文化思維與生活風俗。但要精通一外歡說太多自己做了什麼，常婉拒媒體訪問邀約，
國語，通常經歷漫長學習的過程。主要將精力放在教學與公共事務上，光是2012到
生於越南的阮氏美香，為了學中文，經歷十 2018年的六年間，總共發表了11篇研討會論文與4
多年漫長的文化衝擊與挫折，培養出紮實的中、篇專業期刊論文。
越語文翻譯的能力。現任國立高雄大學越南研究
成為商務語言書作家
中心主任的她，不僅利用自身經驗來幫助學習
中、越語言的學生，推動台灣越語檢定，也協助 15年越語教學以及與越南台商企業的產學合
新住民，成為台越商務交流的推手。作經驗，使聯經出版公司找上門來，邀請她寫作
《商務越南語管理篇：在越南工作零距離》一
生於越南的阮氏美香，2002年畢業於越南順化書，去（2017）年出版後，成為商務越南語的重
師範大學，2005年留學台灣，攻讀國立中山大學要著作；今年再接再厲出版第二冊專書《商務越
中國文學系碩士，2008年取得碩士學位後再考入南語社交篇：在越南闖出一片天》，針對商務需
博士班，歷經「八年抗戰」於2016年取得博士學求設計，強調現學現用的實效。
位。留學台灣11年來，除了投入研究取得學位，務實而有效率，是阮氏美香的生活寫照。從小
身邊還多了台灣籍的先生與一個可愛的女兒。家中經濟並不寬裕，但家人之間感情緊密，總是

L anguage is an important medium for the trans- 高雄大學東亞語文學系越南語組學生發揮語言專長，
成為移民署特考的常勝軍。
mission of an ethnic group’s history and culture, Talented students from the Vietnamese Studies Program
as well as a reflection of their customs and way of in the Department of East Asian Languages and
Literature at National University of Kaohsiung frequently
thinking. However, becoming proficient in a foreign go on to do well in civil-service recruitment exams for
language is often a long and challenging journey. Vietnamese-speaking immigration personnel.
Nguyen Thi My Huong, who was born in Vietnam,

has dedicated over a decade to learning Chinese,
overcoming cultural clashes and numerous frus-
trations along the way. Now she has laid a strong Nguyen Thi My Huong graduated from Hue Univer-
enough foundation that she is a capable translator sity’s College of Education in 2002 and came to Taiwan
between the Chinese and Vietnamese languages. Cur- in 2005 to pursue a master’s degree in Chinese Literature
rently the director of the Center for Vietnamese Stud- at National Sun Yat-Sen University. After completing that
ies at National University of Kao hsiung, she not degree in 2008, she continued on to doctoral level, finally
only uses her own experience to help students study- receiving her PhD in 2016 after eight years of hard graft.
ing the two languages, but also actively promotes Over her 11 years of study in Taiwan, besides earning her
the Taiwan Vietnamese Proficiency Test, works with two postgraduate degrees she published 11 conference
“new immigrants,” and works to advance commer- papers and four journal articles, and in the meantime also
cial exchange between Taiwan and Vietnam. acquired a Taiwanese husband and a lovely daughter.
117
阮氏美香帶著女兒返鄉，回到越南外婆家度假。
（阮氏美香提供）
Nguyen Thi My Huong and her daughter on a visit to
Vietnam to holiday with Huong’s family.
(courtesy of Nguyen Thi My Huong)
互相支持。擔任小學教師的母親是家中主要收入
來源，父親軍旅打仗受傷，越南國家微薄的補貼
不夠養孩子，轉而務農。阮氏美香身為長女，從
大學開始半工半讀，除了為自己賺取學費、生活
費，也把存下來的錢匯回家，支持當時年紀尚小
的妹妹、弟弟接受高等教育，減輕父母的經濟負
擔。「妹妹醫學系畢業，弟弟大學畢業，他們工
作也很不錯，我就放心多了。」阮氏美香說。
面對文化衝擊，從不逃避
然而，阮氏美香的留學之路並非十分順遂。
她在越南順化師範大學就讀華語科系，學的是語
言，來台之後念中文系，學的是文學。華語專注
於語言本身的學習研究，文學則是用語文表現的
藝術形式，進到中山大學之後才發現兩者差異之
大，幾乎必須從頭學起！中山大學的中文系博士
學程是出了名的嚴格，身處異國常遭遇文化衝
擊，教學與執行研究工作也不免遇到挫折，「如
果沒有先生的支持，還有可愛的孩子，恐怕早就
支撐不住了。」阮氏美香說。
她以《越南阮廌自然詩研究》、《鄭懷德艮齋
詩集研究》，交出兩本紮實的碩士與博士論文，
正面迎向挑戰。選定阮廌（1380∼1442）與鄭懷德
（1765∼1825）為研究對象，有重要的文化與歷史
意義。阮氏美香著重於探討阮廌與鄭懷德兩位越南
著名文學家及政治家的詩歌，「對後代的影響，
如何繼承及改變越南文學創作，並致力於推動中
越古代文學交流等方面的研究。」阮氏美香說。
特別是被稱為「越南華人名臣」的鄭懷德，
他是明鄉人──越南一個特殊的華人群體，於明
清改朝易代的動盪時期遷往越南定居，逐漸融入
當地生活。當年，鄭懷德受封為阮朝首任「如清
使」，出使中國清朝請封，在《艮齋詩集》中描
述了出使過程所接觸的地理、人物與風俗民情，

She also has 15 years’ experience as a 阮氏美香自製越語教具，運用在越
teacher of Vietnamese and has worked 語師資培訓課程中，學員們未來將
進入中小學擔任東南亞語教師。
with Vietnam-based Taiwanese compa- （阮氏美香提供）
nies on industry–academia projects. It Nguyen Thi My Huong makes her own
teaching aids to help train Vietnamese
was these experiences that led to pub- language teachers for Taiwanese
lisher Linking Books seeking Huong out elementary and middle schools.
(courtesy of Nguyen Thi My Huong)
and asking her to write two books on
business Vietnamese, designed to meet
the needs of businesspeople in Vietnam
and with an emphasis on practical and
efficient language.
Practical and efficient could also be
an accurate portrait of Huong herself.
She grew up in a family that was of scant them have good jobs, which is a huge
means, but very close and mutually relief for me,” she says.
supportive. Her mother, an elementary Tackling clashes of culture head-on
school teacher, was the family breadwin- Huong’s academic journey, though,
ner. Her father, meanwhile, had been was far from a smooth one. In Vietnam,
injured in the war, but with the meager she studied Chinese at Hue University’s
state support not enough to raise chil- College of Education. There the focus
dren on, he turned to farming. Huong had been on learning the language
is their eldest daughter and worked her itself, but when she came to Taiwan,
way through university, earning enough her attention turned to Chinese liter-
to pay for tuition and living expenses ature, focusing more on artistic forms
while also saving a little to send home to of linguistic expression. The two are so
help her younger siblings pursue higher thoroughly different that it was just like
education and lighten the load on their starting over. The doctoral program in
parents. “My little sister graduated with Chinese Literature at National Sun Yat-
a medical degree, and my little brother Sen University is famously tough. “If it
also completed university. Now both of hadn’t have been for the support of my
119
阮氏美香積極籌辦越南文化中心，成為學生體驗
越南風情的學習空間。
Nguyen Thi My Huong worked hard to set up a Vietnam
Cultural Center, creating a place where students can
learn about and experience Vietnamese culture.
抒發思鄉情懷也自述生平，既是傑出的文學作
品，也是18世紀中越關係史的寶貴史料。
全台首創的越南文化中心
語言並非處在真空狀態，要配合背後的文化脈
絡才學得好，現任職高雄大學東亞語文學系越南語
組的她，與學校合作籌備越南文化中心。一開始
中心經費不甚充足，阮氏美香自掏腰包購買越南文
物，這添購一個迷你斗笠跟農具，那再放一套越南
傳統服飾，拼圖般地重現出越南家鄉景象；加上
高雄大學姊妹校──河內人文社會科學大學前校
長阮文慶熱心捐贈1,200本越南語書籍，一點一滴
打造出全台唯一的越南文化文物中心，提供台灣
讀者更好的學習環境。
如何知道越南語學得好不好？公開招考的語每人每月所得不到12,941元。身處單親家庭與家
言檢測與認證，是一項重要評測機制。2013年之境清寒雙重困境的學生，每年比例也超過15%。
前，台灣還沒有越南官方認可的越南語言能力認為了不讓貧困阻礙學生未來發展，阮氏美香協助
證機制。時任高雄大學越南研究中心主任的阮氏低收入戶家庭或家境清寒的學生，取得企業贊助
美香，多次與主辦官方語言認證的人文科學大學或申請教育部等公部門補助，爭取出國實習及留
協商、溝通，終於在2013年成功獲得越語認證機學的機會。
制的移轉授權，首開全台先河，如今在台灣也能她用過來人的經歷，鼓勵學生善用語言專長投
參加越南官方認可的越南語能力檢定測驗，也更考公職，除了定期邀請校友分享如何準備移民特
有利於跨國交流與就業。考，也積極與移民署高雄第一服務站合作，讓學
生前往移民署實習，參與新住民服務，在第一線
學生紛紛投入公職，發揮所學
了解工作內容。結合高雄大學與移民署的力量，
「語言不只用來溝通，更要學以致用。」阮氏加上校友的經驗傳承，每年移民特考越語組的10
美香說。她從自身的成長與受教經驗中深深理解個錄取名額中，前5名經常由阮氏美香的學生一
到：面對越來越艱困的總體經濟環境，校園只是手包辦，其中一屆更是獨佔前6名，成績十分優
起點，學生必須盡早準備，好在離開學校之後也異。眾人同心協力，各方挹注資源，學生的努力
能謀得一條出路。與不放棄⋯⋯這一切，總使阮氏美香感念在心。
長期教學觀察中，她發現，現在大學生低收入
台、越交流的重要橋梁
戶家庭的比例高達20%以上，一個班級12個學生
當中，可能就有3位屬於低收入戶。按照高雄市投考公職之外，她也勉勵學生勇於挑戰自我，
社會局的數據，意味著這些學生的家庭收入平均前往越南台商企業工作或直接投入各領域職場。

In addition to these, Nguyen Van Khanh, former rector
of VNU University of Social Sciences, which is National
University of Kaohsiung’s sister school, kindly donated
1,200 books in Vietnamese. And so Taiwan’s first Viet-
namese cultural center was born, giving Taiwan-based
readers a better place to learn about Vietnam.
So how can you tell if you’ve learned Vietnamese
well? One important way of evaluating that is through
public language proficiency exams. Up to 2013, Taiwan
had no Vietnamese language certification that was offici
ally recognized by Vietnam. As director of the Center for
Vietnamese Studies at NUK, Nguyen Thi My Huong had
repeatedly been in contact with VNU University of Social
Sciences and Humanities, which hosts Vietnam’s official
language proficiency test, to organize a test for Taiwan. In
2013 she finally obtained authorization, and now anyone
in Taiwan can take the official Vietnamese Proficiency
Test. This has been an enormous boon to exchange and
employment opportunities between the two countries.
Dedicating their skills to public service
“Language isn’t just a tool for communication, but also
for life,” says Huong. School is just the start, and students
need to prepare early for their careers after the classroom.
From her long-term observations as an educator, Huong
husband and our wonderful daughter,” says Huong, “I has found that 20% or more of college students today
probably wouldn’t have been able to get through it.” are from low-income households. In a class of 12, that
She took on the challenge headon with two doctoral means three are likely to be from such circumstances.
dissertations, “The Naturalist Poetry of Nguyen Trai” The Kaohsiung City Social Affairs Bureau defines a low
and “A Study of Trinh Hoai Duc’s ‘Can Trai Thi Tap.’” income family as one with an average monthly income of
Her choice to study Nguyen Trai (1380–1442) and Trinh less than NT$12,941 per person. Moreover, among these
Hoai Duc (1765–1825) was motivated by their cultural young people living in poverty, those from single-parent
and historical significance—both are just as famous for families account for more than 15% of students each year.
their poetry as they are as political figures. “Both had a To help such students have opportunities to develop,
huge influence on future generations through how they Huong helps them secure corporate sponsorships, or
passed on and evolved Vietnamese literature,” she says. grants from the Ministry of Education or other public
Taiwan’s first Vietnamese cultural center bodies, as well as seeking out chances for them to study
Language cannot exist in a vacuum. To learn it well, or intern in Vietnam.
you need to also understand the cultural pulse that Drawing from her own experience, Nguyen Thi My
gives it life. In her role with the Vietnamese Studies Huong encourages her students to put their language
Program at National University of Kaohsiung’s Depart- skills to use in the civil service, not only inviting past stu-
ment of East Asian Languages and Literature, Nguyen dents to share their experience of preparing for the Civil
Thi My Huong has worked with the school to set up a Service Special Examination for Immigration Personnel,
Vietnamese Cultural Center. Initially, the center suffered but also working with the National Immigration Agency’s
a lack of funds, and so Huong paid for various Vietnam- Kaohsiung City First Service Center to get students intern-
ese cultural items out of her own pocket, including nón ships with the agency. Every year the special exams for
lá farmer’s hats, farming tools, and traditional clothing. Vietnamesespeaking immigration personnel lead to ten
121
每年定期邀請畢業校友，回校分享外派越南的就例，「負責任、學習能力強的吳竣升，外派工作
業經驗。「他們在校期間就已通曉越南語，到當表現良好；畢業後取得外語（越南語）導遊執照
地工作語言溝通不成問題。如果願意主動投入，的林慈恩，在旅行社當導遊。」這些大學生似乎
儘管一開始工作量大，一人必須承擔二、三人份重疊了她與弟弟、妹妹的成長身影，不自囚於家
工作，也能很快一路從基層人員往上升到課長、庭環境而自我放棄，把握資源、掙脫困境，找到
組長、主任，甚至廠長。」阮氏美香轉述校友經自己的天空飛翔。
驗談，並舉了兩位在職場找到一片天的學生為嫁作台灣媳婦，融入在地生活，精通中文與越
南文，使阮氏美香成為台、越交流的重要橋梁。
生活簡單的她，除了家庭生活，就是專注投入校
積極投入公共事務，並與越南台商產學合作，
園教職、公共事務與民間產學合作中，如同一朵
使阮氏美香成為台、越交流的重要橋梁。
By playing an active role in public affairs and in 白色幽蘭，散發出清淡綿長的香氣，無論生長的
fostering industry–academia cooperation with
Taiwanese businesses in Vietnam, Nguyen Thi My 土地肥沃或者貧瘠，都以堅韌、強壯的根系，深
Huong has become an important player in exchange
between Taiwan and Vietnam. 入大地。 □
people being hired, and the top five of these are consis-
tently Huong’s students. In fact, so strong are their per-
formances that one time it was actually the top six.
A bridge between worlds
Huong also encourages her students to challenge
themselves by getting involved in other lines of work.
Each year, she invites former students to come and share
their experiences of working in Vietnam.
Among them have been two particular success stories—
Wu Junsheng, a responsible student and excellent learner,
who has shone in his work in Vietnam for a Taiwanese em-
ployer, and Lin Ci’en, who earned a Vietnamese-language
tour guide license and now works as a guide for a travel
agency. These students’ experiences have somewhat mir-
rored those of Huong’s own siblings, escaping the shack-
les of poverty to take to the skies in success.
Having married into a Taiwanese family, integrated
into Taiwanese life, and become a capable user of both
Chinese and her native Vietnamese, Nguyen Thi My
Huong has become an important bridge between her two
homelands. She leads a simple life. Beyond her home life,
she has committed herself to teaching, public affairs, and
industry–academia cooperation. Like the lotus, Vietnam’s
national flower, she has grown from humble circum-
stances to set down resilient roots and bring brightness
and color to the world around her. l
(Sanya Huang/photos by Jimmy Lin/
tr. by Geof Aberhart)

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全 球 ． 在 地 ． 人 文

中華民國107年7月 第43卷 第7期

Dance of the Fireflies

總 監 ／ 鍾宜蓉 後推手們，有什麼樣的理念與想法，亦是此 風采。

Taiwan and Southeast Asia

T aiwan is known as the birthplace of Aus­

For this issue, Taiwan Panorama invited design in Yilan.

8 封面故事 Cover Story

2 台灣‧東南亞文學火花 1 螢光漫舞 52 月月好讀

島嶼行旅 Around Taiwan

藝文脈絡 Cultural Trends

圖•林格立 photo by Jimmy Lin

在剛落幕的2018年曼谷國際書展上，受 When Taiwanese Aboriginal author Sakinu Yalong­

8 台灣光華 Taiwan Panorama 2018/07

10 台灣光華 Taiwan Panorama 2018/07

12 台灣光華 Taiwan Panorama 2018/07

Prejudice against migrant workers persists, but Lee

14 台灣光華 Taiwan Panorama 2018/07

16 台灣光華 Taiwan Panorama 2018/07

讀者多是一無所知。 of volumes related to Southeast Asia, there are few that

18 台灣光華 Taiwan Panorama 2018/07

20 台灣光華 Taiwan Panorama 2018/07

interest in looking at the Chinese-language literature of

22 台灣光華 Taiwan Panorama 2018/07

張錦忠說：「異族、語言、宗教都是由於『他 and Malaysia. The similarities between Aboriginal

2013年成立慢工文化之時，「從一個沒有人認 majored in theatrical design and technology in college

26 台灣光華 Taiwan Panorama 2018/07

28 台灣光華 Taiwan Panorama 2018/07

O ne peaceful afternoon, Taiwan Panorama

30 台灣光華 Taiwan Panorama 2018/07

曾擔任《壹週刊》專欄記者，目前 小說家，首部小說《戰爭的哀傷》 曾擔任印尼軍政府時期的新聞記

插圖：王敬勛 art by Henry Wang

Since I arrived in Taiwan, I’ve encountered

32 台灣光華 Taiwan Panorama 2018/07

This is my first visit, and my feeling is that Taiwan is very friendly,

I’d like to say something about my relation-

34 台灣光華 Taiwan Panorama 2018/07

我在印尼強人總統蘇哈托執政末期，擔任新 I was a journalist near the end of the rule of

我很同意新聞自由是要冒險達成的。 I very much agree that attaining freedom of the

台灣，由於報禁，常常要搶在警備總部之前，去 viewed Zhang Kunshan, the owner of Haiwang Print-

36 台灣光華 Taiwan Panorama 2018/07

We would like to know more about Taiwan. Could

Indonesian works I’d like to recommend include

38 台灣光華 Taiwan Panorama 2018/07

亞市場的投石問路，都顯得別具意義。 invited to the book fair as its guest of honor, symbol-

40 台灣光華 Taiwan Panorama 2018/07

42 台灣光華 Taiwan Panorama 2018/07

44 台灣光華 Taiwan Panorama 2018/07

46 台灣光華 Taiwan Panorama 2018/07

48 台灣光華 Taiwan Panorama 2018/07

一 番 話：「可是 你 不 該 忘 記。你 現 「 如 果 你 馴 服 我 的 話，我 們 就

責。你要 對你 的玫 瑰 負 責⋯⋯」這 這世上的唯一。我 對你來說，就會

責？狐狸明明深 愛小王子，明明捨 單，我 就 會成 為 你 的 獨 一 無 二。狐

讀 者 應 記 得，狐 狸 初 見 小 王 子 到的，是玫瑰，而不是任 何別的事

時，小王子剛剛遭逢一場大危機。 情。小王子開始明白，他 如此在乎

因 為 牠 並不知 道 小王 子 有 過 這 樣 這樣的關係。狐狸很難 堪，也很難 狐狸明白小王子嗎？不可能不明

的一段往事。照常理，狐狸 應該知 過，但仍然不願放棄： 白。

難而退，但牠實在太喜 歡小王子， 狐 狸閉上嘴，看著小王子，看了 那怎麼辦？狐狸唯有收起愛意，

於是在寒暄一番後，忍不住又回到 好 久：「 拜 託 ⋯⋯ 馴 服 我 吧！」牠 不再強求，改為發出友誼的邀請：

「馴服」的話題，並 進一步向小王 說。 「 如 果 你 想 要 朋 友 的 話，那 就

子表白： 去 到 此 處，狐 狸 簡 直 是 放 下 所 馴服我吧！」

「你 看 到 那 邊 的麥 田了嗎？ 我 有自尊，向小王子 苦 苦 哀 求了。讀 這一次，小王子 終於改變態 度，

不 吃 麵 包。麥 子 對 我 來 說 毫 無 用 者一定 會想，小王子心 腸 再 硬，也 並熱切地問：「我該怎麼辦呢？」

處。我 對 麥 田 無 動 於 衷。好 悲 哀 很難無動於衷吧。但他如此回應： 於 是，小王子馴服狐狸，並 成 為

全球．在地．人文

中華民國107年7月第43卷第7期

總監／鍾宜蓉後推手們，有什麼樣的理念與想法，亦是此風采。

T aiwan is known as the birthplace of Aus

在剛落幕的2018年曼谷國際書展上，受 When Taiwanese Aboriginal author Sakinu Yalong

曾擔任《壹週刊》專欄記者，目前小說家，首部小說《戰爭的哀傷》曾擔任印尼軍政府時期的新聞記

一番話：「可是你不該忘記。你現「如果你馴服我的話，我們就

責。你要對你的玫瑰負責⋯⋯」這這世上的唯一。我對你來說，就會

責？狐狸明明深愛小王子，明明捨單，我就會成為你的獨一無二。狐

讀者應記得，狐狸初見小王子到的，是玫瑰，而不是任何別的事

時，小王子剛剛遭逢一場大危機。情。小王子開始明白，他如此在乎

因為牠並不知道小王子有過這樣這樣的關係。狐狸很難堪，也很難狐狸明白小王子嗎？不可能不明

的一段往事。照常理，狐狸應該知過，但仍然不願放棄：白。

難而退，但牠實在太喜歡小王子，狐狸閉上嘴，看著小王子，看了那怎麼辦？狐狸唯有收起愛意，

於是在寒暄一番後，忍不住又回到好久：「拜託 ⋯⋯ 馴服我吧！」牠不再強求，改為發出友誼的邀請：

「馴服」的話題，並進一步向小王說。「如果你想要朋友的話，那就

子表白：去到此處，狐狸簡直是放下所馴服我吧！」

「你看到那邊的麥田了嗎？我有自尊，向小王子苦苦哀求了。讀這一次，小王子終於改變態度，

不吃麵包。麥子對我來說毫無用者一定會想，小王子心腸再硬，也並熱切地問：「我該怎麼辦呢？」

處。我對麥田無動於衷。好悲哀很難無動於衷吧。但他如此回應：於是，小王子馴服狐狸，並成為

啊！可是你有金黃色的頭髮。一旦「我是很願意呀，」小王子回好朋友。

你馴服我後，這一切就會變得奇妙道，「可是我沒有很多時間。我還如果以上的解讀合理，那麼小

無比！麥子，金黃色的，就會讓我得去找朋友，而且還有好多東西要王子心裡其實分得很清楚 — 對狐

想起你。連風吹進麥田的聲音，我瞭解。」狸，是友情；對玫瑰，是愛情。狐

都會喜歡⋯⋯」明眼人都會見到，小王子口中說狸的啟蒙，讓他更瞭解他對玫瑰

這段感人肺腑的傾訴，可說是願意，心裡其實在推搪，於是找個是怎樣的感情，因此更為加深他

狐狸愛的宣言。懂事如小王子，即藉口敷衍狐狸。他怎會沒有時間對玫瑰的思念。所以，在他們相

使是出於禮貌，大抵也該給出一呢？他又可以去哪裡找朋友呢？處的日子，直到最後分手，小王子

點善意的回應吧。教人詫異的是，小王子這樣做，原因很簡單：他都沒有什麼掙扎，不覺得有必要

小王子一點反應也沒有。愛的是玫瑰，不是狐狸。小王子知在玫瑰和狐狸中間作出抉擇，因

他保持沉默。為什麼呢？那很道狐狸的心意，但他已心有所屬，為他從一開始就知道，他是要走

牠本來渴望的是愛情，可惜求之不倒，牠希望小王子領悟到馴服的道「我一點都不想傷害你，可你偏偏

得，最後只能成就一段友情。理後，能夠再次面對五千朵玫瑰，要我馴服你。」

狐狸遺憾嗎？很難沒有遺憾。但從而重新肯定自己，也重新肯定他這清楚表明，小王子其實知道

牠的閱歷和智慧，教牠明白愛情的對他的玫瑰的感情。狐狸很愛他，也知道最後會沒有結

事不可強求，遂將感情收在心底，狐狸又告訴小王子，「你花在你果，甚至知道狐狸終會因此而受

但狐狸並沒有停止對小王子的變得這麼重要」；去到臨別一刻，這一切，聰慧如狐狸，當然也明

愛，只是換了一種方式：牠希望盡狐狸仍然念念不忘地提醒小王子，白；明白，仍然選擇去愛，並以一

牠的能力，幫助小王子學會愛，因「你要對你的玫瑰負責」。種無我的方式去愛，最後用一句

而能夠更好地去愛他的玫瑰。因由此可見，狐狸一直在為小王子「我不是一無所得，因為麥子的

此在小王子離開之前，狐狸特別叮著想，一直在教導他如何善待和顏色」來安慰自己，那多少說明在

囑他：「你再去看看那些玫瑰吧。珍惜玫瑰。狐狸沒有不平，沒有妒這段關係裡，狐狸對於什麼是愛，

二的。」至此，我們終於明白，狐狸為什這些領悟是什麼呢？這問題不

為什麼要這樣做呢？因為狐狸麼只叫小王子對玫瑰負責，而不對易答，但我願意試試。

牠負責。這不是說狐狸沒有這樣第一重領悟，是狐狸開始明白，

的盼望，而是牠心裡清楚，小王子在世間，你愛人，別人不一定愛你。

我們或可稱之為「無我之愛」。者角度去旁觀世間的離離合合，

在這種愛裡，狐狸將自我放到最或許很容易就會下結論說：愛，就

低、最不重要的位置，甚至忘掉自本質而言，是偶然的、任意的、不

己，而只以所愛的人為念。確定的，因此誰也無法保證，你愛

情裡，總是希望愛可以有回報有結度說：沒關係啊，不愛就不愛，反

對象。換言之，你是愛的主體，他

求沒有意義。沒有意義，不在於這此，那麼當牠知道小王子和玫瑰的完成他應盡而未盡的責任。

樣做注定徒勞，而在於這不是對故事後，默默走開就是。但狐狸不狐狸好像在告訴我們，只要看

你所愛的人的尊重。你愛他，便須僅沒有走開，而且還懇求小王子視到所愛的人活得好，牠也就能在

尊重他是獨立的主體，同時尊重他牠如朋友那樣馴服牠，然後一心其中找到活著的意義。

的選擇。一意陪著小王子走過孤獨的日子，小王子走後，在黃昏中，狐狸孑

有人或會問：在愛情中，如此強並一步一步引領他去認識愛的真然一身，看著大風吹起金黃色的

調尊重，會不會理性大於感性，以義。在小王子面前，狐狸慢慢由愛麥子，想必會不捨，會思念，但一

致傷害人的情感維繫？慕者變成知己。定不會後悔。

是的，愈親密的關係，人們愈希狐狸為什麼會有這樣的轉變？狐狸或許會這樣告訴自己：我

望達到水乳交融、人我不分的境這關乎狐狸的第二重領悟。牠用心愛了，也用心幫助我所愛的人

界。逐漸體會到，雖然不能得到小王學會去愛了，也許，這樣就夠了。

這是人之常情。但這種對同一子同等的愛，但這並不意味著牠因是的，在我的愛裡，有遺憾，有悵

性的嚮往，其實是以個體的獨立和此便要放棄對小王子的感情。牠惘，也有眼淚。大抵，這就是生命

差異為前提。沒有個體，就沒有個不再問對方能給自己帶來什麼，而吧。狐狸如是想。

體與個體的聯結。是問自己能為對方做些什麼，從而「只有用心看才看得清楚。最重

所以，尊重你所愛的人的獨立人令所愛的人活得更好。要的東西，眼睛是看不見的。」

格，尊重他或她的選擇，在最深的是故當小王子完全成長，狐狸狐狸說，這就是牠最大的秘密。

意義上，內在於愛。儘管萬般不捨，卻沒有挽留，而是小王子啊，你能明白嗎？

I f you come at Lantern Festival to Bei