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Lavender Fields
薰衣草花田

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2013年夏天,我在法國的普羅旺斯度了一個月的假,當地一望無際的薰衣草花田美景,深深烙印在腦海中揮之不去,讓我下定決心創作釉色來永遠留住這份難以言喻的感動。

薰衣草花田釉以結晶釉為基底,透過精準的溫度曲線控制與釉藥變化,燒出粉紫與粉紅雙色結晶,纏繞成束的姿態正如薰衣草的花束,蔓延成為一片一望無際的花海。

在處理花田的綠意部分,我使用各種層次的綠色,來表現出草地、森林、瀑布、流水及各種植物的多樣面貌。有時候我也會點上一些純金金水裝飾,彷彿薰衣草花田中正在上演一場精采的螢火蟲燈光秀。這種以大自然美景入釉的手法,效果如詩如畫,似乎將陶藝作品的美感提升到了更高的層次。

如果說每個人心裡都有一畝田,那麼存在我心中的就是這紫色夢幻的薰衣草花田。

After a month-long vacation in Provence, France in 2013, I was so enchanted and inspired by the beauty of the lavender fields there that I decided to formulate a unique glaze that could forever capture that amazing scenery.

Using crystalline glaze as the base, along with a precise temperature control and glaze combinations, I was able to create dual-colored crystals in purple and pink. The two colors of crystals intertwine with each other, looking just like lavenders flowers in a bouquet, and then spreading out to become a meadow of flowers.

When interpreting the green part of the field, I used many different shades of green to convey the diversity of grass, forest, waterfalls, rivers, and various vegetations. Sometimes I will dabble some gold lusters to depict a scene of fireflies putting up a light show.

I was hoping that creating the look of natural landscape through glaze effects would elevate the beauty and artistry of my work to a higher level, and, at the same time, remind me of that amazing summer in Provence.


Smoke Fired
燻燒

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「燻燒」是一種非常古老的陶器燒製方式,利用燃燒薪材、木頭後所產生的碳黑素,自然地在土坯上燻出別緻的紋樣,那種天然的紋理、色澤和溫潤感是釉藥所無法展現的。不過也因為如此,大多數的燻燒陶作品只能以黑色、古樸的模樣呈現,燻染上去的紋路也無法操控。

為了打破這種限制,提供燻燒作品更豐富的面貌,我努力鑽研各種可拿來燃燒產生碳素的媒材,試驗了各種水溶性化合物可產生的色彩表現,獨創出以鋁箔紙包覆的燻燒法,並以此為主題,在1995年發表了我的研究所畢業論文。

傳統的燻燒法需在戶外做窯,燃燒產生的高溫和二氧化碳令人難耐,但以鋁箔紙包覆的燻燒法可以在室內以電窯進行,省時省力,而且去除了許多燒窯中無法控制的變因,正因為這樣突破性的燻燒法讓我的作品色彩豐富,圖案變化多端,還能與釉藥一起呈現,加上純金水的點綴,使原本古樸的燻燒黑陶搖身一變成為時尚、現代、亮麗的彩陶作品。

我的陶藝旅程,由燻燒開始,許多這時期的創作元素都在日後的各系列中延續並越加成熟。

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Leaf Tenmoku
木葉天目

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「木葉天目」起源於一千兩百多年前的宋朝,相傳當年的陶匠在戶外排窯準備柴燒時,偶有樹葉隨風飄落至土坯上,匠人起初不以為意,然而出窯時卻驚見落葉不但沒有被窯火燒燼而灰飛煙滅,反倒熔入釉中,呈現清晰動人的葉脈紋路,倒入茶湯後,葉形隨波搖曳,彷彿一葉扁舟游於其中,令當時的文人雅士愛不釋手,成為他們用來「鬥茶」的精品。

對禪宗而言,「木葉天目」也有著特殊意義,想像一片落葉在生命的逝去的時刻,經過窯火的淬鍊之後得到永生,有如證道高僧涅槃後成就不朽之身,蘊含修成正果的深意,禪悟之美,盡在不言中。

可惜的是,在宋朝結束後,這樣的神秘技法在中國杳然失傳,後來輾轉傳入日本,不過傳世的作品如鳳毛麟角,成為博物館中珍藏的國寶級文物。直到近代在各地陶藝家的努力鑽研下,「木葉天目」才漸漸復興。

傳統的木葉天目以黑色天目釉為底釉,搭配金黃色調的葉片,多數將葉片置於茶碗或器皿底部呈現。我的作品則試著突破傳統框架,除了黑色天目釉外,另調配出紅、黃、綠等多種顏色的天目釉,甚至將葉片燒製於非天目釉系統的釉中,如青瓷、銅紅、鈞窯等,賦予木葉天目嶄新的全彩風貌。

在葉子的種類和釉彩的效果變化上,我也煞費苦工,多方嘗試琢磨,目前已經成功燒出十數種葉子,包括波羅蜜、構樹、黃瑾、銀杏、楓葉、櫸木、菩提葉、銀杏、法國梧桐等等,釉藥效果方面則可以呈現油滴天目、結晶釉、和兔毫釉等多元變化。

我的木葉作品最獨到之處,在於可以對抗地心引力,將葉子燒製於作品的垂直面,譬如花器的瓶身、茶碗的碗壁、茶壺的壺身等,使木葉作品的種類不再拘限於茶碗,以豐富木葉天目作品的廣度和藝術表現的可能性。

“Leaf Tenmoku” originates from China’s Sung Dynasty over 1,200 years ago. It was said that one day when the potters were loading the kiln in the outdoors, a few leaves accidentally fell onto the pots. In the beginning they didn’t pay much attention to it but were surprised to find out that the leaves ended up beautifully fired onto the pots. When they poured in tea to the bowl, the leaf looked as if it were floating on it. This surprise led them to study more and finally productized Leaf Tenmoku. At that time, these were the most sought-after item among the affluent people, who used it to show off at a tea ceremony

For Buddhists, “Leaf Tenmoku” has a deeper meaning. A falling, dying leaf getting an eternal life on a pot after going through thousand degrees of fire is a perfect metaphor for Buddha’s immortal form after his Nirvana.

Unfortunately, this mysterious technique was lost after the Sung Dynasty ended in a series of wars. It turned out that a few potters took it to Japan and started firing there. But what’s left for us to see today is very minimum. Most of them end up being national treasures only to be seen in the museums. Luckily, with the efforts of recent potters, “Leaf Tenmoku” is gradually being reborn in the last few decades.

The traditional Leaf Tenmoku work has the black Tenmoku glaze in the foundation, with the gold-tone leaf laid against it. And the leaf is usually positioned in the bottom of the ware.

However, my work tries to break the traditional boundaries by offering slightly altered Tenmoku that shows in not only black, but red, yellow, and green. I even fired it on non-Tenmoku glazes like Celadon, copper red, and Chun to give it a full spectrum of colors.

When it comes to the type of leaf, I’ve done a lot of experiments and have successfully fired a dozen of types, including jackfruit, mulberry, linden hibiscus, jute, maple, beech, Bodhi, ginkgo, etc. And they can even show in special glaze effects like crystalline, oil-spot, and hare’s fur.

The most unique innovation about my work is that the leaf can be fired on a vertical surface without falling off during firing. That means that leaf can now appear not only on the bottom of a tea bowl, but also on the body of vases, teapots, and other forms. This technique broadens the range of Leaf Tenmoku works and the art presentation possibilities.


Ocean World
海洋世界

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Marbled Clay
彩炫絞胎

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我的陶藝啟蒙恩師,也是台灣陶藝界的傳奇先鋒吳讓農教授有一系列色彩繽紛的絞胎作品,名叫「天雨花」,我當年第一次看到時深受啟發,當下沒有問教授是怎麼做出來的,只是銘記心中,多年下來自己嘗試,終於做出屬於自己風格的彩色絞胎作品「彩炫系列」。

「彩炫系列」作品只有一個秘訣,就是麻煩、費時、費工。

作品上的彩色線條不是釉色,而是將白色瓷土染成各種顏色後,切成約零點二公分的超薄土片,再按心中想要的配色,一層一層地疊起成為彩色土團,接著再拉坯做出螺旋的線條,透過拉坏和修坯的技巧,使某些作品線條色彩分明,某些則呈現雲霧或彩霞狀,每一件都是獨一無二,充滿獨特個性的藝術品。

「彩炫系列」是我對恩師吳讓農教授的致敬,也是我對他的無比懷念。

Professor Rhang-Nung Wu, the legendary ceramist and pioneer in Taiwan’s ceramics history, was my most respected mentor who taught and inspired me to pursue a career in ceramics. He had a series of colorful marbled-clay works named “Raining Flowers”. When I first saw it, I was so inspired but didn’t get to ask him how he did it. Over the years, I tried a few different methods myself and finally created colorful marbled-clay works of my own style.

The way I do it is to first dye the porcelain into many soft colors that I like. Slice them into really thin slices. Stack them up layer by layer. Wedge and throw to create the swirls. Through different throwing and trimming techniques, some of the pieces will have clear and clean lines and some will show misty or cloudy looks. Each of them is truly a unique work of art.

This collection is my respectful tribute to Professor Wu and I will always remember what he taught me.


Celadon & Chun
青瓷與鈞窯

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青瓷與鈞窯釉色是千年前中國人偉大的發明,自古以來便流傳著「家財萬貫,不如鈞瓷一片」的說法,足見中國人對鈞窯熱愛的程度,也的確,青瓷的儒雅細膩,鈞窯的萬紫千紅都令我愛不釋手,兩者交互作用之下,使作品更添豐富層次。

鈞窯以銅發色,可以呈現紅、綠、藍、紫等美麗的釉色,在我多年的試釉下,發現以青瓷為底釉,配上鈷藍、鈞紫、鈞紅的組合,整體釉色的呈現不僅優雅,各種顏色之間更是相映成趣,有青瓷儒雅的青綠,鈷藍高貴的海軍藍,和鈞釉醉人的紫紅。

除了運用多種釉藥共融產生多變的釉色效果外,我也使用不同的施釉手法來創造新意,有時候以傳統的筆刷上釉,畫出國畫或西洋水彩畫的感覺,有時則運用一些工具和素材,以噴釉的方式創造出幾何圖形,讓作品變得有現代感,最後還會再上一些釉上彩,如金水等,使作品增添更多變化,也更具個人風格。

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Water Color
浮世繪

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Wood Fired
柴燒

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Fused Glass Jewelry
手工珠寶琉璃首飾

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