Alon Chou

前言/ Overview

2002年於羅浮宮的視覺震撼,啟發以當代數位媒材,繪製一幅巨型台灣歷史繪畫。08年深受霧社事件的感動,決定以此為題材。

2008-2011的三年間,大量收集史料,老照片。並跟隨擅長歷史畫的俄羅斯寫實主義大師--列賓的實地研究精神,兩度走訪霧社事件遺族居住地<清流部落>田野調查,並研究賽德克族輪廓特徵,聽耆老說話。於事件發生地去感受,接觸歷史事件後裔,心靈上的收穫相當可貴,非書面資料所能給予。

期間向多位文史專家請益,包括了賽德克族文史專家郭明正老師,得到歷史人物大概形象與年紀資料,得以依照每個角色性格之特殊性重新創造。並向文史專家暨漫畫家邱若龍老師請教,更深入了解傳統服飾的形式與質料,及武器、配件。

此外,持續百張以上草圖的不斷琢磨嘗試,是最累也最有價值的部分之一,其中幾張參與了2010年霧社事件80周年祭典,而最後的巨型成品的其中一版也將捐贈歷史發生地霧社,深具意義。

2011年9月於板橋435藝文特區展出期間,感謝仁愛鄉公所的支持與主辦記者發表會。

最後由衷感謝所有幫助過這件創作的老師與朋友們。

What motivates me to create this three-year artwork goes back to my visit to Louvre Palace in 2002. Struck by the visual impact of the past great masters, I commit myself to creating a giant history painting that belongs to my homeland Taiwan. Six years later, in the process of collecting historical materials, I read some data about Wushe Incident, which signifies how our past ancestors fight for their dignity and identity. I am deeply moved by these heroes, and decide to make them the subjects in my painting project.

In the years from 2008-2011, to make my work faithful to history, I collect a lot of historical materials and old pictures. Inspired by the Russian painter Ilya Repin, whose historical paintings come from his direct study of real-life figures and tribes, I also do several field trips to Ching-Liu, a historical site where live the bereaved family of the Seediq heroes. During my long-stay I study the ‘Seediq faces’ as data for my later creation and listened to the oral stories from the elder tribesmen. Standing right in front of the historical site, next to the people who share blood-tie with the historical personages, my empathy to the past heroes goes deeper. such emotional impact can not be aroused by any secondhand literary sources.

During these years I also consult with several historians, including the Seediq expert Dakis Pawan, whose explanation of the detailed personal images and backgrounds of each protagonist enables me to reshape my heroes according to their own specific personality. Ruo-Long Chiu, another distinguished Seediq expert and a comic artist, also inspires me a lot. I come to know more about the style and textures of traditional costumes, accessories, and the old weapons.

Before I finish my work, there are more than hundreds of drafts and continuous attempts which deserve no less credits. Several of them are dedicated to celebrating the 80th Anniversary of Wushe Incident in 2010, and one piece of the final work will also be donated to Wushe county.

On September 2011, I have a solo exhibition in Banqiao 435 Corner, Taipei. I want to express my gratitude to Ren-Ai district office, who gives me support and host a press conference for me.

Lastly, my most heartfelt thanks go to my friends. Thank you for your unfailing support and sound advice from day one of the project.