煥華真意  當代天目茶碗暨黑瓷名家邀請展【廿八田】序

 

論語‧泰伯:煥乎,其有文章。

 

陶藝有多面相的玩賞點;可從與眾不同的器形、特出的應用、或釉色雅俗來掌握,閱者可藉一顆或一組陶器找尋藝術的天地。黑釉系統的陶藝底色樸質,襯托了釉面立體強烈的特性,也就因為深色調讓其上的越燦爛越不怕燦爛,千變萬化的歷程於焉展開。

 

對閱者而言天目是雅致的遊趣。鐵釉對製作者卻難輕易成事。即使擁有再高超的技巧,每件精美的器皿如要渲染燦爛的斑花都必寓予一定程度的機運。沒有足夠的母數,便難得到滿意成品的足數。創作者望穿秋水、營營用心,只在開窯後得到報償,這又何曾是把玩器盞時所能體會?

 

煥華,如同字面光亮鮮明,菁粹美觀。黑釉既須用心在色彩上作文章,天目的重點必將注重華麗的外觀;閱者均有如此的興趣,作者便皆有這樣的期待。也就是這樣的起心動念,讓這樣的存在嚴謹不吝"謹守而勿失,是謂反其真",成就了雅俗齊物、遠近共賞的真情意。

 

台灣是個有趣的地方,人民教育水平頗高,思想型態蓬勃;但普羅大眾對文化性靈、純藝術的陶冶卻又如此有距離感。也許就在自由的國度中,人群有許多逃避疏離的機會;讓展覽機會豐碩的台灣,參與的新面孔如此稀疏。這是一件令既往者扼腕的事。豐富的資源埋沒在文化的沙漠之中。

 

教育是根本的改變之道,但期待政令與法律畢竟是遠水枯魚。相對的,社會教育是個較優良的途徑,潛移默化、風行草偃。在這一情況下,辦展就顯得重要。展覽視為社會教育的一環,潛移默化的感動,在人群中灑下顆顆種子。待它們萌芽成長。

 

廿八田期待能夠成為連結作者、初識、行家、藏家的一個平台;也期待可以成為優秀文化的推手。藉一次璀璨的展覽,貫通時空、天地、人與文化間的初心。

 

邀請您一同體驗天目之美。 

 

The Analects, Tai Bo : How glorious are the elegant regulations he instituted!

Pottery art can be appreciated from a variety of aspects: from its unique form, special uses, or the elegance of the glaze color. Viewers can explore the world of art through a single piece or a series of pottery. The black-glazed series is plain and accentuates the stereoscopic glaze surface. The dark tones intensify the glamor on the surface and unfold the variety of changes.

For viewers, Tenmoku might be an elegant hobby; however, to the artist, iron glaze is an artistry filled with difficulties. Even if the artist has great skills, to coat the pottery with enchanting pattern requires luck. It is difficult to produce satisfied works of art without numerous trials and errors. The artist is patient and diligent, only to be rewarded upon the opening of the kiln. These processes and efforts are rarely felt when merely admiring the tea bowl.

The word “iridescence” describes eye-catching brightness, exquisite beauty in colors. On one hand, black glaze demands effort invested in its colors; therefore, the focus lies in the sumptuous appearance. On the other hand, the viewer’s keenness gives the artist anticipation and expectation. This motivates and drives the strict focus on detail and presentation.  In the Writings of Chuang Tzu, the Northern Sea replied to the earl of the Ho when he questioned the value in Tao, “The virtue (of man) is in what is Heavenly. If you know the operation of what is Heavenly and what is Human, you will have your root in what is Heavenly and your position in Virtue. You will bend or stretch after necessary hesitation; you will have returned to the essential, and may be pronounced to have reached perfection.” This belief has formed all things in life, in addition to the true affection and appreciation from those near and afar.

Taiwan is an interesting place with above-average education and lively thoughts. However, the masses are distant from the cultivation of cultural spirituality and pure art. Perhaps this free world provides many opportunities to hide and distance themselves. This has led to few new faces in Taiwan’s rich exhibition environment. It is a pity for the rich resource to be buried in this cultural desert.

Education is the core of change, but it takes too long to wait for changes in decrees and regulations. However, society is a good route that will be able to gradually influence and nourish the minds of the people. This makes exhibitions even more important. Exhibitions are a link of social education and are capable of subtly and continuously changing the people, spreading seeds into hearts. We hope that one day these seeds will sprout and prosper.

Nian-Ba-Tian Gallery hopes to become the platform that links artists, new viewers, professionals, and collectors. We also hope to become the promoter of great art. We strive to realize our mission: to connect space and time, land and sky, and people and culture.

 

 

 

 

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