臺灣精神 - 現代風格與文化傳承的對話

THE SPIRIT OF TAIWAN

Dialogue between Modernism and Cultural Heritage

David Teh-yu Wang

Graduate School of Visual Arts Management

Asian Arts and Culture Center Towson University

 

臺灣精神 現代風格與文化傳承的對話

王德育, 元智大學藝術管理研究所所長

September 1 – December 1, 2000

 

 

 

  Among the many ceramists active in Ying-ke, Taipei, which is the center of ceramic art world in Taiwan, Wang Hui-min (b. 1948) is the most noteworthy. Wang was not brought up in a traditional ceramic art environment. After he graduated from the Department of Engineering of National Taiwan Ocean University, he began working as an engineer at a car manufacturing company. Due to his interest in ceramic art, he resigned from work in 1974 and made a living selling ceramics. He soon began producing ceramics that imitated ancient pottery. Since 1983, he has been dedicated to creating modern ceramic art. In years past, Wang has experimented in hand-modeling, pursuing changes in the plastic form. Lately, he has been turning his attention to the glaze coloration of simple, minimalist pots. In Wang’s opinion, the world is already busy and noisy enough, so he hopes to express beauty through simplicity to convey a sense of poetic feeling. It is his aesthetic point of view that art can be pleasant to eyes but should never be vulgar.

 

  

 

 

  Technically speaking, Wang reduces his glazes from more than one hundred kinds to about five. By using an overlapping-spreading method, he uses these five glazes to express a combination of chalky blue, fresh green, azurite, under-glaze red, and purple. He aims at the poetic feelings captured by the T’ang poems and Sung lyric poems, which are reflected in the titles of his ceramics, such as Blooming in Spring and Misty Clouds in a Spring River (cats. 22&23). Wang Hui-mins’ background in science and engineering greatly abet his experimentation with glazes and helped him master the difficult glazing technique of overlapping-spreading. Even so, his strong interest in classic poems enables him to surpass mere technical achievements and create poetic images. When viewed from the angle of pottery, Wang Hui-min’s work is a continuation of traditional Chinese pottery art; but when viewed from the angle of interaction between artistic creation and environment, it is a reaction against the busy environment of Taiwan. The poetic simplicity of his work offers viewers a respite from the busyness of daily life.

 

 

 

  Many artists worry about social disorders in Taiwan and create art that conveys their criticism and sarcasm, expresses their wishes, laments the loss of the rural farming-village life-style, or pursues an exquisite, poetic feeling to counteract the busyness and banality of modern life.

 

 

 

譯：

 

  活躍於臺灣陶藝中心之鶯歌的陶藝家中，王惠民(一九四八年生)之陶藝作品深具特色。王惠民並非出身於傳統陶藝科班，他畢業於海洋大學輪機系，曾經擔任六和汽車公司機械工程師多年，然出自對陶藝的熱愛，於一九七四年轉職從事陶藝行業，並開始嘗試仿古陶瓷的製作，而自一九八三年起專事現代陶藝的創作。王惠民的陶藝曾有一段時間以手拉胚求造型的變化，近年來則致力於在簡單的器形上追求釉彩的變化。王惠民深感日常生活充喧囂繁雜，因此渴求其陶藝作品呈現簡約幽雅之美，並表達文學中詩般的意境。其藝術觀在於賞心悅目但不媚俗。王惠民的理工訓練背景使他在釉藥的研究上事半功倍，他所使用之釉藥從百餘種減少到大約五種 – 粉青、嫩綠、寶石藍、釉裏紅以及鈞[窯]紫等，以困難的重疊噴釉方式來表現這五種色彩的變化，尤其他對詩詞的濃厚興趣更使得他的作品超越了技巧的層次，呈現出唐詩、宋詞般的意境，如《春暖花開》與《春江霞靄》(目錄22、23)。在製作技巧方面，王惠民的陶藝作品繼承了中國傳統的陶藝考量，而在藝術創作與環境的互動方面，他的作品所呈現的則是現實喧囂環境的一種反動。王惠民的陶藝作品引領觀賞者忘卻繁瑣喧嚷的現實，而進入簡約幽雅的詩境中。這種詩意般的陶藝作品乃是經由極度高溫的鍛燒而成，意味心靈的寧靜亦需經過歷練方能臻至。

 

  許多藝術家以臺灣的社會亂象為憂，並以藝術表現來傳達批判與譏諷，或表現期盼之呼籲，或追憶不復存在的農村生活，或逕自追求幽雅的詩意，雖未有明顯的批判意味，卻有退避煩之意。