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洄家石聚-花蓮縣石雕博物館典藏作品展

公告日期:2021-09-06

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佛光山佛陀紀念館本館2樓佛光藝廊
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840 高雄市大樹區統嶺路1號

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洄家石聚-花蓮縣石雕博物館典藏作品展

Rockin’ the Art of Stone Sculpture- Hualien Stone Sculpture Museum Exhibition

 

十九世紀初來花蓮拓墾的漢人,在花蓮溪口定居形成聚落,見奔流的花蓮溪注入太平洋時,兩相激盪,形成迴縈巨浪,遂以「洄瀾」相稱, 後以諧音命名為「花蓮」。素有「石頭故鄉」美譽的花蓮,因位居臺灣東部,擁有綺麗壯闊的山海景觀、和煦的天氣型態、豐富的農漁產以及天然礦脈,尤以盛產世界級品質之大理石、玉石著稱,得天獨厚的自然條件發展出獨特的區域人文風情與石雕藝術文化。

全臺唯一石雕主題的花蓮縣石雕博物館應佛光山佛陀紀念館邀請,首次進行館際交流展,透過館際交流影響力,推廣至國際舞台。大環境「山海」所形成的對峙「張力」,透過藝術家內在哲思的「空靈」呈現,訴說著世世代代人與物種、人與自然環境,生生不息的一種循環「洄瀾」。石雕家艾朗.傑布的作品《熱情》藏著無數種子的石榴,自古以來為生命、豐饒的象徵,也是充滿愛的意象。猶如石雕家對作品傾注的熱情,對媒材的精準掌握,細膩的雕刻,代表著石雕家的創作精神,也象徵著本次展覽的職人內涵。


本次展覽中,將分為一、「山海」。二、「空靈」。三、「洄瀾」。四、「張力」。五、「互動」等系列共25件作品。形塑細膩、完美、堅持手作的石雕家職人精神;帶領群眾進入造型、色彩、材質等美學殿堂;將藝術家熱情、浪漫、充滿想像的力道;揮灑成具象、抽象語彙進而與修行眾生產生對話交流。


石雕家們不只讓您認識「石頭的故鄉」,更要讓您感受「石雕藝術的溫度」,藉助「互動」讓溫暖指數破表,讓您進入展場靈動四起,一顰一笑間花開頓悟。

 

In the early 19th century, the Chinese migrants who came from Yilan settled in the estuary region of the Hualien River and formed a village. The name "Hualien" was derived from the fact that when the surging waters of Hualien River flow into the Pacific Ocean, mixing with the waters of the Pacific Ocean to form churning waves. These waves are called "Hui-lan", and later the village was named as "Hualien" according to its homophone in Chinese. Hualien, renowned as the "Hometown of Stones" , is located in the eastern Taiwan, with its breathtaking mountains and seascapes, warm weather, abundance of agricultural and fishery products, and natural mineral veins. Hualien is especially famous for its world-class marble and jade. Hualien's unique natural conditions have led to the development of a unique regional cultures of humanity and art of stone sculpture.

The Hualien Stone Sculpture Museum, the only stone sculpture museum in Taiwan, was invited by the Fo Guang Shan Buddha Museum to hold its first inter-library exchange exhibition. This exhibition will promote its rich collection to the international stage through the influence of inter-library exchanges. The confrontation: "Tension" formed by the natural environment: "Mountains and Sea" is interpreted through the artist's inner philosophy: "Ethereal", which speaks of the endless cycle of migrations: "Hui-lan", between people and species, people and the natural environment over generations. Stone sculptor Gelber Ilan's work "Passion" contains numerous stone seeds of pomegranate, the symbol of life, fertility and love since ancient times. Like the sculptor's passionate commitment, his precise mastery of the medium and his delicate workmanship represent the creative spirit of the sculptor and also symbolize the spirit of craftsmanship evinced in this exhibition.
 

In this exhibition, there are 25 creations included in five series: I. "Mountains and Sea", II. "Ethereal", III. "Hui-lan", IV. "Tension", and V. "Interaction". The sculptors' professionalism, with delicate shapes, insistence on perfection, and emphasis on handwork, will lead the public into the aesthetic beauty of shapes, colors, and materials. The artists' passion, romance, and imaginative power will be transformed into a figurative and abstract vocabulary to create a dialogue with all sentient beings.

Hualien's stone sculptors will not only let you know more about the "Hometown of Stones" , but also let you feel "the warmth of stone sculpture" by "interaction" to make the warmth exceeded. You will visit the exhibition site with inspiration and feel the awakened mind of enlightenment within a frowning or a smile.
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山海A、山海:


花蓮大山大海之間,人文生活,景緻風情皆包羅在遼闊的太平洋濱岸。石雕家如同修行者,在看見與看不見的風景中,詮釋生命。
山海此題,以直觀,體驗花蓮自然紋理後,返歸於石雕表現上。蔡文慶以花蓮居的經驗構成《在花蓮的日子》;黃清輝《漂浮之島》靜觀自得獨立遺世;許禮憲自在寫意的《風》與黎志文崩裂重組的抽象《山水》;彭郡茹打開家窗眺望的《中央山脈》,藉以物質召喚精神的過程,撩撥幽微的性
情,使頑石模糊的容顏逐漸清新。
綜觀,石雕家們有「懷石」知心,靜觀物質,穿越現實邊界,感應生命,描寫花蓮安身立命,充滿祥和,寧靜之美。運用國畫的飛白於雕刻語彙之殘餘,形成屬於東方的雕刻美感。意喻東方美學當中的天人合一、物境融和。

I. Mountains and Sea


Hualien is located between the mountains and the sea, and its humanity and scenery are all encompassed in the Hualien's magnificent Pacific Coast. A stone sculptor is just like a spiritual cultivator, interpreting life in the scenery seen and unseen.

Regarding the theme of Mountains and Sea, the artists have purified their feelings to transform them into the stone sculpture after experiencing the natural wonders of Hualien through direct observation. This area includes "Days in Hualien" sculpted by Tsai, Wen-Ching, which is based on his experience of living in Hualien, and Huang, Ching-Hui's "Floating Island" which is telling the philosophy: the myriad things, when contemplated in stillness, are all obtained of themselves, is unique and independent of the world. In addition, "Wind", a freehand work by Hsu, Li-Hsien, "Mountain and River", an abstract work by Li, Chi-Man, which reconstructs the fractured stone, and Peng, Chun-Ju's "Central Mountain Range", is based on her image when she opens the window of her home and starts gazing at the Central Mountain Range. Through the process of calling the spirit with the material, it stirs up the subtle nature and gradually refreshes the blurred face of the stubborn stone.

Throughout the works in this area, the sculptors have the philosophy of "thinking of the stone" and "knowing the heart" - gazing in the material, crossing the boundary of reality, and sensing life. They depicted the peaceful and tranquil beauty of Hualien. The use of "leaving white space" of traditional Chinese painting to form the sculptural vocabulary "negative space" is Oriental philosophy. It is a metaphor for the Unity of Man and Nature and the Harmony of Things and Environment in Oriental aesthetics.
空靈
 

B、空靈:
 

空靈是一個漢語詞彙,拼音爲kōng líng,意旨靈活而無法捉摸。以道家哲學境界,意旨人或思想靈活而不可捉摸,空靜而帶有清新靈活的氣息。

此系列有樊烱烈《藏山伴月》、王國憲《躺下》、田中等《風之門》、佐然‧葛林柏格《地平面》等作品。感受上有萬籟俱絕,皓月中天,翛然四顧之感,能使觀者感受到心中一片空靈,藝術表現上可見藝術家刀法簡潔俐落,簡約而超脫,將實體量感削弱。我執,躺下、放下後的清新脫俗,觀者可感受到創作的空靈,走入山水畫而飄然出世,身在世外桃源的超然態度,為藝術孑然一身。
其中尤以《躺下》、《藏山伴月》最具東方思維。西方石雕家則以負面空間描繪空間、空氣等飄逸氛圍。

 

II. Ethereal
 

空靈 (Ethereal) is a Chinese word pronounced kōng líng, meaning flexible and inscrutable. In Taoist philosophy, it means a person or thought that is flexible and inscrutable, having emptiness and quiet with a fresh and flexible vibe.

In this area, there are works such as "Admiring The Moon In The Mountains" by Fan, Jiung-Lieh, "Lying Down" by Wang, Kuo-Hsien, "Wind Door" by Hitoshi Tanaka, and "Horizon" by Zoran Grinberg. The exhibition area gives people a sense of silence and feeling the moon in the sky. It makes the viewer look around freely and feel a sense of ethereality. The artistic expression of the artist's sculpting technique is simple and clean, plain and ethereal, weakening the sense of solid volume. There is the freshness of laying down and letting go of self-attachment. The viewer can feel the ethereality of creation, the transcendent experience  of walking into the landscape painting and floating out of the world - the experience of being in the paradise for an artist is being alone for the art. 

Among the works in this area, especially "Lying Down" and " Admiring The Moon In The Mountains" are the most oriental thinking. Western stone sculptors use negative space to depict space, air, and other airy atmosphere.



C、洄瀾:

在東方美學範疇中,常以水做為創作題材,並且將水屬性提昇到人格層次上。論石頭材質與水特性截然不同,一剛一柔。如相通處,則為水清明靈動與石來自大地。
歷經12屆25年的花蓮國際石雕藝術季,國際石雕家總喜愛在水的題材上表現,將花蓮海洋,水的線條,水的色彩展現無遺。此系列作品有魏永賢《戀戀初陽》、緒方良信《愛的朝露》、侯連秦《活力.色彩》、劉庭易《滴水冥靜》、薩璨如《波紋》、坂井達省《水門》。
此主題,石雕家從幾何到寫實,串流感應至觀者的情懷中。


III. Hui-lan


In Oriental aesthetics, water is often chosen as the subject of creation, and the attributes of water are elevated to the level of describing personality. The attributes of stone and water are very different, one is rigid and the other is soft. If there is a common point, it is the clarity and flexibility of water, which comes from the same earth as stone.

In the 12 editions and 25 years of Hualien International Stone Sculpture Festivals, stone sculptors from countries have always preferred to represent the theme of water, bringing out the curves and colors of Hualien's ocean. The works in this series include "Love with Sunrise" by Wei, Yung Hsien ", Love's Drop" by Yoshin Ogata, "Vibrant Color" by Hou, Lien-Chin, "Ripple Silence" by Liu, Ting-Yi, "The Ripples" by Cynthia Sah, and "Gate of Water" by Tatsumi Sakai.

In this theme, the sculptors use geometry and realism to bring the senses into the viewer's mind.

D、張力:

在藝術的表現上「張力」是很有想像畫面的手法。從字義上「張力」是存在某虛實空間中,分成兩個部分,則產生的拉扯力量。「拉扯」的性質亦可泛指聲音、情緒、 胸懷、抉擇、憧憬、生命方向等,不單只是物理上的張力。

此系列作品有黃河《風向》、吳明聲《空間中的幻術》、馮朝宗《追光》、吉歐.菲林《狂想曲》、向光華《寂光山嶺》、柳順天《莫明》,以上作品相似性皆有單一個體,應用兩個相同的元素,交錯、融合。傳達多情眾生,相互吸引的溫度。

石雕家們意在表現精神被束缚,隱喻理性與感性相互消長。唯有解脫不必要的人為枷鎖與不斷修行,方能恢復自在,達到收放自如。
 

IV. Tension

In artistic expression, "tension" is a very imaginative technique. Literally, "tension" refers to the existence of a pulling force in a virtual or real space, where the space is divided into two parts and the pulling force is generated between them. The nature of "pulling" can also be generalized to refer to voices, emotions, thoughts, choices, visions, life directions, etc., not just physical tensions.

This series includes "Wind Direction" by Huang, Ho, "Illusion in Space" by Wu, Ming-Sheng, "Chasing The Light" by Feng, Chao-Tsung, "Rhapsody" by Gheorghi Filin, "Silent Light Behind The Hill" by Hsiang, Kuang-Hua, and "Inexplicable" by Liu, Shun-Tien. The above works are uniquely similar in that they all have a single body, utilizing two identical elements, intertwined and fused. It conveys the warmth of mutual attraction between all sentient beings.

The stone sculptors intended to represent the human spirit in bondage, a metaphor for the mutual extinction of rationality and sensuality. We can only regain our freedom and finally achieve the flexibility of living in the world by releasing the unnecessary shackles of human nature and continuously cultivating out spirituality.

E、互動:

石雕家們偏愛選用石材創作,基於其材質特性,如溫潤質感及質地密、脆所形成的音域特質;老早被先人智慧應用。因此在現今當代藝術著重感觀開發的前提下,石材音域特質的材料特性,自然而然成為石雕家聲音互動的首選。

互動系列共通點皆是將片刻感動,留下最美好記憶。王標將聲音灌穿於臺灣、花蓮兩地圖之間的《聽見奇萊.福爾摩沙》,和與風對話的法蘭西斯柯.馬索塔《石頭的呼吸》,還有透過石頭相互溝通的淺川洋行《石電話-互相理解》。

V. Interaction

Stone sculptors prefer to use stone for their creations because of its characteristics: warm texture and its dense, brittle texture makes it capable to create a range of sounds. These characteristics have long been used by our ancestors wisely. Therefore, in today's contemporary art, with the emphasis on sensory development, the material characteristic of stone's sound range naturally becomes the first choice of stone sculptors for sound interaction.

The common point of the works in the "Interaction" series is to leave a moment of great feeling and fondest memories. Wang, Biao's "Hear Chilai.Formosa", which makes viewers feel the sound when the wind blows through the forms of Hualien and Taiwan, and Francesco Mazzotta's "Breath of the Stone", which is a dialogue with the winds, and "Stone Phone---Inter-understanding" by Hiroyuki Asakawa, in which stones are used to communicate with each other.

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藝術家座談會藝術家座談會

時間:2021年10月7日(四)上午10-12時

地點:佛光山佛陀紀念館本館大堂


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時間:2021年10月7日(四)下午2-3時

地點:佛光山佛陀紀念館本館大堂



 


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