本平台旨在促進對臺灣工藝文化的深入理解與欣賞，並以數位科技為基礎，實現對工藝文物的研究、發展、展演、保存及教育推廣等多重目的。該平台不僅展示了臺灣獨特的工藝文化內涵，還強調技藝傳承的重要性，並致力於保存文化記憶與價值，讓更多人能夠接觸並了解這些珍貴的工藝資源。

3D技術能夠提供高精度的視覺效果，但在細節和質感上仍與實物存在差異，本平台藏品3D模型為實物之展示參考。




<p>本平台旨在促進對臺灣工藝文化的深入理解與欣賞，並以數位科技為基礎，實現對工藝文物的研究、發展、展演、保存及教育推廣等多重目的。該平台不僅展示了臺灣獨特的工藝文化內涵，還強調技藝傳承的重要性，並致力於保存文化記憶與價值，讓更多人能夠接觸並了解這些珍貴的工藝資源。</p><p><br></p><p>3D技術能夠提供高精度的視覺效果，但在細節和質感上仍與實物存在差異，本平台藏品3D模型為實物之展示參考。</p><p><br></p><p><br></p>

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(點我觀看)文物典藏網

<p>「朽竹者，秀竹也！」飽經歲月摧殘的竹筒，在即將被蛀蝕掉，化為塵土之前，那朽壞、殘缺不全的美，總是那麼短暫。為捕捉那自然的缺陷美，用石雕出具象的朽竹形貌，並凝形成泡茶之壺具，為使生活藝術化、藝術生活化，以成就此萬年不朽之「竹」（君子）。<br></p>

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材質

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君子不朽-6

Crafts Collection Online

<p>"Even in its decay, bamboo retains its beauty!" Those bamboo tubes, weathered by time, reveal a unique, imperfect beauty just before they fade away, making it all the more fleeting. To capture this natural, imperfect beauty, I decided to sculpt the form of the bamboo tube from stone and transform it into a functional tea set. Through this creation, I hope to integrate art into daily life and infuse life with artistry, ultimately creating an eternal "bamboo" (a symbol of the gentleman).<br></p>

Class.

Author

Year

Material

Size

The Enduring Bamboo - 6

君子不朽-5

The Enduring Bamboo - 5

君子不朽-4

The Enduring Bamboo - 4

君子不朽-3

The Enduring Bamboo - 3

點我觀看(文物典藏網)

君子不朽-2

The Enduring Bamboo - 2

君子不朽-1

The Enduring Bamboo - 1

(點我觀看)龍柱燈：鳳毛

(點我觀看)龍柱燈：麟趾

<p>龍柱燈為錫藝大師陳萬能以傳統柑燈之形式加以創新改造之作品。在台灣傳統婚禮習俗中，男方必須送給女方一對龍燭、一對紅柑燈。柑燈為台灣民間信仰之禮器，擺置於寺廟供桌上，象徵光明；擺置於祠堂與家庭神明廳，因「錫」與「賜」閩南音義同，又「燈」與代表男子的「丁」同音，故有錫燈、賜丁的說法；錫燈又稱紅柑（橘子）燈，意在希望這對新人能早生貴子，也祈求未來的子孫能像柑子一樣多子多孫多福氣，故在燈座上做了一對大紅且外型似柑子的燈罩，並題上鳳毛麟趾等希望子孫出人頭地的吉祥話。為改善佔用空間的缺點，陳萬能便把龍燭和紅柑燈結合在一起，設計成「龍燭柑燈」。</p><p>​<br></p>

年分

錫、青銅、玻璃、原木(框罩)、紅柑粒(玻璃)

龍柱燈

Dragon Pillar Lamps: Gilin Hoofs

Dragon Pillar Lamps:  Phoenix Feather 

<p>The Dragon Pillar Lamp is a work created by the tin craft master Chen Wan-Neng, who innovatively transformed the traditional orange lantern (gan deng) into a new design. In Taiwan's traditional wedding customs, the groom is required to present the bride with a pair of dragon candles and a pair of red orange lamps. The orange lamp is a ceremonial item in Taiwanese folk beliefs, typically placed on the altar in temples to symbolize light. It is also placed in ancestral halls and family shrines, as the words “tin” (錫) and “ci” (賜) sound similar in Minnan (Hokkien) dialect, and “lamp” (燈) sounds like “ding” (丁), which represents men. Hence, the terms “tin lamp” and “ci ding” (literally “granting a son”) are used. The tin lamp is also known as the red orange lamp (gan deng), symbolizing a wish for the newlyweds to have children soon and for future descendants to be prosperous and abundant, like oranges (which represent many children, many descendants, and good fortune). Therefore, the lampbase is designed with a pair of large red lampshades shaped like oranges, with auspicious phrases like “phoenix feathers and qilin hoofs” inscribed, wishing for descendants to excel. To address the drawback of occupying too much space, Chen Wan-Neng combined the dragon candle and red orange lamp into a single design, creating the "Dragon Candle Orange Lamp" (Longzhu Gan Deng).</p>

Authors

Dragon Pillar Lamps

(點我觀看) 龍柱燈

(點我觀看) 龍柱燈：鳳毛

<p><span style="font-size: 18px">龍柱燈為錫藝大師陳萬能以傳統柑燈之形式加以創新改造之作品。在台灣傳統婚禮習俗中，男方必須送給女方一對龍燭、一對紅柑燈。柑燈為台灣民間信仰之禮器，擺置於寺廟供桌上，象徵光明；擺置於祠堂與家庭神明廳，因「錫」與「賜」閩南音義同，又「燈」與代表男子的「丁」同音，故有錫燈、賜丁的說法；錫燈又稱紅柑（橘子）燈，意在希望這對新人能早生貴子，也祈求未來的子孫能像柑子一樣多子多孫多福氣，故在燈座上做了一對大紅且外型似柑子的燈罩，並題上鳳毛麟趾等希望子孫出人頭地的吉祥話。為改善佔用空間的缺點，陳萬能便把龍燭和紅柑燈結合在一起，設計成「龍燭柑燈」。</span>​<br></p>

龍柱燈：麟趾 

Dragon Pillar Lamps:  Phoenix Feather

<p>The Dragon Pillar Lamp is a work created by the tin craft master Chen Wan-Neng, who innovatively transformed the traditional orange lantern (gan deng) into a new design. In Taiwan's traditional wedding customs, the groom is required to present the bride with a pair of dragon candles and a pair of red orange lamps. The orange lamp is a ceremonial item in Taiwanese folk beliefs, typically placed on the altar in temples to symbolize light. It is also placed in ancestral halls and family shrines, as the words “tin” (錫) and “ci” (賜) sound similar in Minnan (Hokkien) dialect, and “lamp” (燈) sounds like “ding” (丁), which represents men. Hence, the terms “tin lamp” and “ci ding” (literally “granting a son”) are used. The tin lamp is also known as the red orange lamp (gan deng), symbolizing a wish for the newlyweds to have children soon and for future descendants to be prosperous and abundant, like oranges (which represent many children, many descendants, and good fortune). Therefore, the lampbase is designed with a pair of large red lampshades shaped like oranges, with auspicious phrases like “phoenix feathers and qilin hoofs” inscribed, wishing for descendants to excel. To address the drawback of occupying too much space, Chen Wan-Neng combined the dragon candle and red orange lamp into a single design, creating the "Dragon Candle Orange Lamp" (Longzhu Gan Deng).<br><br></p><p><br></p>

(點我觀看)龍柱燈

(點我觀看)龍柱燈：麒趾

<p>​<span style="font-size: 18px">龍柱燈為錫藝大師陳萬能以傳統柑燈之形式加以創新改造之作品。在台灣傳統婚禮習俗中，男方必須送給女方一對龍燭、一對紅柑燈。柑燈為台灣民間信仰之禮器，擺置於寺廟供桌上，象徵光明；擺置於祠堂與家庭神明廳，因「錫」與「賜」閩南音義同，又「燈」與代表男子的「丁」同音，故有錫燈、賜丁的說法；錫燈又稱紅柑（橘子）燈，意在希望這對新人能早生貴子，也祈求未來的子孫能像柑子一樣多子多孫多福氣，故在燈座上做了一對大紅且外型似柑子的燈罩，並題上鳳毛麟趾等希望子孫出人頭地的吉祥話。為改善佔用空間的缺點，陳萬能便把龍燭和紅柑燈結合在一起，設計成「龍燭柑燈」。</span>​<br></p>

龍柱燈：鳳毛

 Dragon Pillar Lamps

 Dragon Pillar Lamps: Gilin Hoofs

<p>The Dragon Pillar Lamp is a work created by the tin craft master Chen Wan-Neng, who innovatively transformed the traditional orange lantern (gan deng) into a new design. In Taiwan's traditional wedding customs, the groom is required to present the bride with a pair of dragon candles and a pair of red orange lamps. The orange lamp is a ceremonial item in Taiwanese folk beliefs, typically placed on the altar in temples to symbolize light. It is also placed in ancestral halls and family shrines, as the words “tin” (錫) and “ci” (賜) sound similar in Minnan (Hokkien) dialect, and “lamp” (燈) sounds like “ding” (丁), which represents men. Hence, the terms “tin lamp” and “ci ding” (literally “granting a son”) are used. The tin lamp is also known as the red orange lamp (gan deng), symbolizing a wish for the newlyweds to have children soon and for future descendants to be prosperous and abundant, like oranges (which represent many children, many descendants, and good fortune). Therefore, the lampbase is designed with a pair of large red lampshades shaped like oranges, with auspicious phrases like “phoenix feathers and qilin hoofs” inscribed, wishing for descendants to excel. To address the drawback of occupying too much space, Chen Wan-Neng combined the dragon candle and red orange lamp into a single design, creating the "Dragon Candle Orange Lamp" (Longzhu Gan Deng).</p><p><br></p><p><br></p>

(點我觀看)傳統漢式太師椅：茶几

(點我觀看)傳統漢式太師椅：太師椅

<p style="line-height: 24pt"><span style="font-size: 18px">「太師椅」是唯一以官銜命名的家具，此名稱正式用於明代，臺灣一般習稱為「交椅」。明人沈德符謂：椅之椅卷聯前者，名太師椅。</span></p><p style="line-height: 24pt"><span style="font-size: 18px"><br></span></p><p style="line-height: 24pt"><span style="font-size: 18px">一般文獻指出「太師椅」是興於北宋，據說「太師椅」名稱的最早記載見於宋代張瑞義的《貴耳集》，相傳是吳淵看到秦檜坐在椅上一仰頭，無意中頭巾墜落，便命人製做了一種荷葉托首，由工匠安在秦檜等人的椅圈上，而由此傳開此稱號。</span></p><p style="line-height: 24pt"><span style="font-size: 18px"><br></span></p><p style="line-height: 24pt"><span style="font-size: 18px">本組作品名為「漢式太師椅」，則為中原漢人所傳承之經典樣式、工法。由時年</span><span style="font-size: 18px">73</span><span style="font-size: 18px">歲之王漢松以深厚精湛的傳統細木作榫卯技術、雕刻技術製作各構件，以嚴絲合縫為基本要求，遵照傳統工藝的製作進程，精選臺灣檜木為製作材質，嚴謹的榫卯製作，以各種手工具逐序仔細製作。再以精緻的雕刻技術施作於各構件，以應用吉祥含意的題材，做為顯現祈祝圓滿的呈現。</span></p><p style="line-height: 24pt"><span style="font-size: 18px"><br></span></p><p style="line-height: 24pt"><span style="font-size: 18px">此作</span><span style="font-size: 18px">1995</span><span style="font-size: 18px">年榮獲臺灣手工業研究所舉辦之「第三屆台灣工藝設計競賽</span><span style="font-size: 18px">-</span><span style="font-size: 18px">金獎」。該作品為王漢松首次製作的原始之作，完全依循三大步驟「工料、工序、工法」進行製作，可說是王漢松本著泉州派之傳統榫卯技法所製之唯一太師椅作品。本作品是唯一製作有縮小比例版，僅受邀於總統府藝廊參展乙次，並成為海報的主題照，可見王漢松重視本作品的程度。</span></p><p style="line-height: 24pt"><span style="font-size: 18px"><br></span></p><p style="line-height: 24pt"><span style="font-size: 18px">此組作品得獎後，廣受好評及出現大量訂單，但王漢松僅仿此版型製作兩套，目前仿作一套為臺灣省文獻委員會典藏，另一套仿作為民間友人收藏。此組漢式太師椅在造型也具備深蘊人文內涵，主要用於新居入宅之廳堂兩側，供主人接待貴賓之用。造型接近明式官帽之樣款古意盎然；雕刻以透雕工法為主，紋樣係傳統花鳥圖「鳳凰朝牡丹」</span><span style="font-size: 18px">─</span><span style="font-size: 18px">鳳凰為三百六十鳥之長，牡丹花自唐始貴為國花，是百花之王，國色天香又稱富貴花。鳳凰來儀一伏擊祥富貴之景象</span><span style="font-size: 18px;color: rgb(0, 0, 0)">，</span><span style="font-size: 18px">加上官帽造型之極品豈不是完美的「一品富貴」吉祥文明。</span></p>

茶几/長40.5 x 寬30 x 高89 cm；太師椅/長60 x 寬47.5 x 高111.5 cm

傳統漢式太師椅

Traditional Chinese-Style Grand Tutor Chair: Table

Traditional Chinese-Style Grand Tutor Chair: Chair

<p>The "Grand Tutor Chair" is the only piece of furniture named after an official title. This name was officially used during the Ming Dynasty, and in Taiwan, it is commonly referred to as the "folding chair.(交椅)" Ming scholar Shen De-Fu stated: "The chair with its armrests connected to the front is called the Grand Tutor Chair."<br><br>General literature indicates that the "Grand Tutor Chair" originated in the Northern Song Dynasty. It is said that the earliest record of the name "Grand Tutor Chair" can be found in Zhang Rui-Yi's "Gui Er Ji"(《貴耳集》) from the Song Dynasty. Legend has it that Wu Yuan(吳淵) saw Chin Kuai (秦檜) reclining in a chair, accidentally causing his headscarf to fall off. He then ordered the creation of a lotus-leaf headrest, which craftsmen attached to the chair's frame for Chin Kuai and others, thus popularizing the name.<br><br>This set of works, named the "Han-style Grand Tutor Chair," represents the classic style and craftsmanship passed down by the Han people of the Central Plains of China. It was crafted by Wang Han-Song, then 73 years old, using profound and exquisite traditional mortise-and-tenon woodworking and carving techniques. Each component was made with precision and strict adherence to traditional craftsmanship processes, using carefully selected Taiwanese cypress as the material. The mortise-and-tenon joints were meticulously crafted with various hand tools, and intricate carving techniques were applied to each component, incorporating auspicious motifs to symbolize blessings and completeness.<br><br>This work won the Gold Award at the "3rd Taiwan Craft Design Competition" organized by the Taiwan Handicraft Research Institute in 1995. It was Wang Han-Ssong's first original creation, entirely following the three major steps of "materials, processes, and techniques." It can be said to be the only Grand Tutor Chair made by Wang Han-Song using the traditional mortise-and-tenon techniques of the Quanzhou school. This work is the only one with a scaled-down version, which was exhibited once at the Presidential Office Art Gallery and became the subject of a poster, reflecting Wang Han-Song's high regard for this piece.<br><br>After winning the award, this set of works received widespread acclaim and numerous orders. However, Wang Hansong only replicated this design twice. Currently, one replica is housed in the Taiwan Provincial Document Committee's collection, and the other is privately owned by a friend. This set of Han-style Grand Tutor Chairs also embodies profound cultural connotations in its design. It is primarily used in the hallways of new homes to receive distinguished guests. The design resembles the ancient Ming-style official hat, exuding a sense of antiquity. The carvings mainly employ openwork techniques, featuring traditional floral and bird motifs of "Phoenix Facing Peony"—the phoenix being the leader of all birds, and the peony, revered as the national flower since the Tang Dynasty, is the king of flowers, symbolizing wealth and prosperity. The imagery of the phoenix descending and the peony blooming represents an auspicious scene of wealth and nobility. Combined with the official hat design, this masterpiece is the epitome of "supreme wealth and nobility," symbolizing auspicious culture.<br></p>

Table/L 40.5 x W 30 x H 89 cm;  Chair/L 60 x W 47.5 x H 111.5 cm

Traditional Chinese-style Grand Tutor Chair

(點我觀看)傳統漢式太師椅

<p>​<span style="font-size: 18px">「太師椅」是唯一以官銜命名的家具，此名稱正式用於明代，臺灣一般習稱為「交椅」。明人沈德符謂：椅之椅卷聯前者，名太師椅。</span></p><p><span style="font-size: 18px">​</span></p><p><span style="font-size: 18px">一般文獻指出「太師椅」是興於北宋，據說「太師椅」名稱的最早記載見於宋代張瑞義的《貴耳集》，相傳是吳淵看到秦檜坐在椅上一仰頭，無意中頭巾墜落，便命人製做了一種荷葉托首，由工匠安在秦檜等人的椅圈上，而由此傳開此稱號。</span></p><p><span style="font-size: 18px"><br></span></p><p><span style="font-size: 18px">本組作品名為「漢式太師椅」，則為中原漢人所傳承之經典樣式、工法。由時年73歲之王漢松以深厚精湛的傳統細木作榫卯技術、雕刻技術製作各構件，以嚴絲合縫為基本要求，遵照傳統工藝的製作進程，精選臺灣檜木為製作材質，嚴謹的榫卯製作，以各種手工具逐序仔細製作。再以精緻的雕刻技術施作於各構件，以應用吉祥含意的題材，做為顯現祈祝圓滿的呈現。</span></p><p><span style="font-size: 18px">​</span></p><p><span style="font-size: 18px">此作1995年榮獲臺灣手工業研究所舉辦之「第三屆台灣工藝設計競賽-金獎」。該作品為王漢松首次製作的原始之作，完全依循三大步驟「工料、工序、工法」進行製作，可說是王漢松本著泉州派之傳統榫卯技法所製之唯一太師椅作品。且本作品是唯一製作有縮小比例版，僅受邀於總統府藝廊參展乙次，並成為海報的主題照，可見王漢松重視本作品的程度。</span></p><p><span style="font-size: 18px">​</span></p><p><span style="font-size: 18px">此組作品得獎後，廣受好評及出現大量訂單，但王漢松僅仿此版型製作兩套，目前仿作一套為臺灣省文獻委員會典藏，另一套仿作為民間友人收藏。此組漢式太師椅在造型也具備深蘊人文內涵，主要用於新居入宅之廳堂兩側，供主人接待貴賓之用。造型接近明式官帽之樣款古意盎然；雕刻以透雕工法為主，紋樣係傳統花鳥圖「鳳凰朝牡丹」─鳳凰為三百六十鳥之長，牡丹花自唐始貴為國花，是百花之王，國色天香又稱富貴花。鳳凰來儀一伏擊祥富貴之景象。加上官帽造型之極品豈不是完美的「一品富貴」吉祥文明。</span>​</p>

傳統漢式太師椅：茶几

Traditional Chinese-style Grand Tutor Chair: Chair

Traditional Chinese-style Grand Tutor Chair: Table

<p>​「太師椅」是唯一以官銜命名的家具，此名稱正式用於明代，臺灣一般習稱為「交椅」。明人沈德符謂：椅之椅卷聯前者，名太師椅。</p><p>​</p><p>一般文獻指出「太師椅」是興於北宋，據說「太師椅」名稱的最早記載見於宋代張瑞義的《貴耳集》，相傳是吳淵看到秦檜坐在椅上一仰頭，無意中頭巾墜落，便命人製做了一種荷葉托首，由工匠安在秦檜等人的椅圈上，而由此傳開此稱號。</p><p><br></p><p>本組作品名為「漢式太師椅」，則為中原漢人所傳承之經典樣式、工法。由時年73歲之王漢松以深厚精湛的傳統細木作榫卯技術、雕刻技術製作各構件，以嚴絲合縫為基本要求，遵照傳統工藝的製作進程，精選臺灣檜木為製作材質，嚴謹的榫卯製作，以各種手工具逐序仔細製作。再以精緻的雕刻技術施作於各構件，以應用吉祥含意的題材，做為顯現祈祝圓滿的呈現。</p><p>​</p><p>此作1995年榮獲臺灣手工業研究所舉辦之「第三屆台灣工藝設計競賽-金獎」。該作品為王漢松首次製作的原始之作，完全依循三大步驟「工料、工序、工法」進行製作，可說是王漢松本著泉州派之傳統榫卯技法所製之唯一太師椅作品。且本作品是唯一製作有縮小比例版，僅受邀於總統府藝廊參展乙次，並成為海報的主題照，可見王漢松重視本作品的程度。</p><p>​</p><p>此組作品得獎後，廣受好評及出現大量訂單，但王漢松僅仿此版型製作兩套，目前仿作一套為臺灣省文獻委員會典藏，另一套仿作為民間友人收藏。此組漢式太師椅在造型也具備深蘊人文內涵，主要用於新居入宅之廳堂兩側，供主人接待貴賓之用。造型接近明式官帽之樣款古意盎然；雕刻以透雕工法為主，紋樣係傳統花鳥圖「鳳凰朝牡丹」─鳳凰為三百六十鳥之長，牡丹花自唐始貴為國花，是百花之王，國色天香又稱富貴花。鳳凰來儀一伏擊祥富貴之景象。加上官帽造型之極品豈不是完美的「一品富貴」吉祥文明。<br></p>

傳統漢式太師椅：太師椅

Traditional Chinese-style Grand Tutor Chair:Table

Traditional Chinese-style Grand Tutor Chair：Chair

(點我觀看)毓秀-椅子

(點我觀看)毓秀-梳妝台

<p>工藝家以深厚的文化蘊涵為根基，兼以專業的家具設計能力及精湛的工藝技巧，讓本組作品呈現兼具傳統與現代感，造形優雅，質感秀雅，藝術感十足。作品含梳妝台及坐椅，雕製得十分雅致，相得益彰。另一方面又兼具實用，結合藝術與工藝，充份發揮藝術家的專業技藝特色，充份發揮工藝品味，堪稱具高貴氣質的平凡生活用品，是極具創意不可多得之工藝精品。<br></p>

毓秀

“Yu Xiu” Dressing Table Set with Chair: Chairs

“Yu Xiu” Dressing Table Set with Chair: Dressing Table

<p>The artisan, rooted in profound cultural connotations, combines professional furniture design skills and exquisite craftsmanship to present works that blend tradition and modernity. The designs are elegant, the texture refined, and the artistic sense is abundant. The works include a dressing table and a chair, both intricately carved and complementing each other. On the other hand, they are also practical, merging art and craftsmanship to fully showcase the artist's professional skills and craftsmanship taste. These are ordinary household items with an elegant and noble character, highly creative and rare masterpieces of craftsmanship.</p>

'Yu Xiu' Dressing Table Set with Chair

(點我觀看)毓秀

(點我觀看)毓秀：梳妝台

<p><span style="font-size: 18px">工藝家以深厚的文化蘊涵為根基，兼以專業的家具設計能力及精湛的工藝技巧，讓本組作品呈現兼具傳統與現代感，造形優雅，質感秀雅，藝術感十足。作品含梳妝台及坐椅，雕製得十分雅致，相得益彰。另一方面又兼具實用，結合藝術與工藝，充份發揮藝術家的專業技藝特色，充份發揮工藝品味，堪稱具高貴氣質的平凡生活用品，是極具創意不可多得之工藝精品。</span><br></p>

毓秀：椅子

“Yu Xiu” Dressing Table Set with Chair

<p>The artisan, rooted in profound cultural connotations, combines professional furniture design skills and exquisite craftsmanship to present works that blend tradition and modernity. The designs are elegant, the texture refined, and the artistic sense is abundant. The works include a dressing table and a chair, both intricately carved and complementing each other. On the other hand, they are also practical, merging art and craftsmanship to fully showcase the artist's professional skills and craftsmanship taste. These are ordinary household items with an elegant and noble character, highly creative and rare masterpieces of craftsmanship.</p><p><br></p>

'Yu Xiu' Dressing Table Set with Chair: Chair

點我觀看 毓秀

點我觀看 毓秀：椅子

毓秀：梳妝台

“Yu Xiu” Dressing Table Set with Chair: Chair

'Yu Xiu' Dressing Table Set with Chair: Dressing Table

<p>木雕作品，觀音身著竹葉衣，造形雍容華貴，面容慈藹，赤足半跏坐於禪床上，左手持甘露瓶澆滅紅孩兒瞋怒之火，渡化為善財童子。<br><br>觀音菩薩因「聞聲救苦」而名，以大慈大悲普度眾生，《妙法蓮華經》稱觀音有三十二化身，民間信仰中常見之觀音菩薩，大都為容貌姣美，神情慈藹之女神造形。西遊記中紅孩兒為阻擋唐僧一行取經，與孫悟空交戰失利，求助觀音，後被收服為善財童子。<br></p>

觀音-渡化

<p>This wooden sculpture depicts Guanyin, the Bodhisattva of Compassion, dressed in a robe made of bamboo leaves. Her graceful, dignified form radiates compassion, and her serene expression reflects her nurturing nature. She sits barefoot in a half-lotus posture on a meditation platform, holding a vase of nectar in her left hand to extinguish the fire of anger in the Red Boy (Hong Haier 紅孩兒), transforming him into the virtuous Child of Good Fortune.</p><p><br></p><p>Guanyin is revered for her ability to "hear the cries and relieve suffering," embodying great compassion and mercy. The Lotus Sutra describes her as having thirty-two manifestations, and in popular belief, Guanyin is often depicted as a beautiful goddess with a gentle and kind demeanor. In Journey to the West, the Red Boy, in an attempt to prevent Tang Seng and his companions from acquiring Buddhist scriptures, battles with Sun Wukong and is eventually subdued by Guanyin, becoming the Child of Good Fortune.</p><p><br></p>

Camphor Tree, Lacquer Thread, Gold Foil, Spray Enamel

Guanyin - Recurrence

<p><span style="font-size: 18px">中國自古有祀門習俗，門神反映了保護居住空間的心理要求；</span><span style="font-size: 18px">門神五花八門，發展到最後，為了因應各種吉祥需求，種類更多，但其中仍以西漢文獻就已提及的神荼、鬱壘，最資深有名。陳萬能此作，以錫結合銅等金屬，用雕塑手法呈現門神的英姿，可謂在傳統錫藝上另立創作蹊徑。</span><br></p>

錫、青銅、紅銅、錫臘、玉石、金箔、不銹鋼

門神 (神荼、鬱壘)

<p>The tradition of worshiping door gods in China dates back to ancient times, reflecting a deep psychological need to protect one’s living space. Over the centuries, the forms of these deities evolved to fulfill various auspicious purposes, resulting in a wide variety of representations. However, the most renowned door gods, Shenshu (神荼) and Yulu (鬱壘), have been referenced in historical texts as early as the Western Han Dynasty.</p><p><br>This piece by Chen Wan-Neng combines tin with other metals like copper, using sculptural techniques to present the heroic figures of the door gods. It represents a creative departure within traditional tin craftsmanship, blending cultural significance with innovative artistry in religious craft.<br></p>

Tin, Bronze, Copper, Jade Stone Copper, Tin and Gold Foil

Door Gods (Shenshu, Yulu)

<p><span style="font-size: 18px">本作品採絞編成形後再插入矢紋，形成立體條狀圖案，強調稜線與塊面。從上俯視可以看見六角形為本作品的基本形，從側面看籃體則可發現梯形與三角形塊面的轉折與交接，而整個中段的籃體都以猶如箭矢的矢紋為飾，矢紋接連成條狀後，有些向左，有些向右，形成轉折的趣味。配合籃體的稜線感，提把部分也將頂端拉成水平，以呼應稜線與塊面的基調。左右對稱的竹編造形讓矢紋紋飾創造精緻的紋理。整體造型饒富趣味，兼具藝術收藏及實用價值。</span><br></p>

矢紋花器

<p>This piece is crafted using tie-dye weaving, followed by the insertion of arrow patterns to create a three-dimensional striped design, highlighting ridges and surfaces. The hexagon forms the basic shape when viewed from above, while from the side, the basket reveals a dynamic transition between trapezoidal and triangular surfaces. The midsection is adorned with arrow patterns, some pointing left and others right, creating an engaging interplay of directions. The handle extends horizontally at the top, reinforcing the theme of ridges and surfaces. The symmetrical bamboo weaving enhances the intricate texture of the arrow patterns. This piece seamlessly blends artistic value with functional design, offering both aesthetic intrigue and practical utility. </p><p><br></p>

Bamboo Arrow Pattern Flower Vessel

<p><span style="font-size: 18px">本作品為顏水龍因應90大壽展而特別設計，並請李榮烈製作，於1994年在國立歷史博物館首展，其後在全省文化中心巡迴展出。設計脈絡為顏水龍傳襲歐洲美術工藝運動威廉莫里斯及日本民藝運動柳宗悅所推的生活工藝之家具設計樣式，並特別使用西方常用橡木與瓊麻材質，以能外銷美國為主要目的，故具有美軍駐臺時期與英國工藝美術運動作品的特色與歷史意義。</span></p><p><span style="font-size: 18px"><br></span></p><p><span style="font-size: 18px">作品以方便組裝、易收納、節省空間、實用，結合傳統與現代的風格為設計理念。桌面與桌腳可分開，桌腳折疊技法是中國傳統方法，組合方便，節省空間。高背椅坐墊以瓊麻繩捲繞椅面編織而成，整體設計融合「傳統現代化，作品生活化」之原則。材質使用西方引進至臺灣種植的瓊麻編織作為椅墊，易於透氣；木材選用西方常用來作為釀酒桶、造船與家具業常用的上等橡木，堅固耐用。以手工鑽取榫孔，直角榫接方式作結合，整組作品皆為榫接，無釘子，藉由傳統手工木工加工技法及部分機械工具，緊密地配合而成，類似泉州細木匠師流派技法。</span></p><p><span style="font-size: 18px"><br></span></p><p><span style="font-size: 18px">顏水龍設計許多竹管家具，但橡木家具極為稀少，完整保存者屈指可數，且此件作品是顏水龍及李榮烈雙大師合作的唯一一件大型木製家具，品質堅固精良，至今完好如初，無任何鬆脫、蟲蛀腐朽現象。</span><br></p>

木製餐桌椅：椅

<p>This work is designed by Yan Shui-Long for his 90th birthday exhibition and crafted by Li Rong-Lie, it debuted in 1994 at the National Museum of History. The design draws on the European Arts and Crafts Movement, influenced by William Morris, and the Japanese Mingei Movement, promoted by Yanagi Soetsu. It blends traditional Chinese techniques with Western craftsmanship, using oak and ramie for export to the United States.</p><p><br></p><p>The design emphasizes practicality, easy assembly, and space-saving. The table features detachable legs with folding techniques inspired by Chinese traditions, while the high-back chair seat is woven from durable and breathable ramie rope. The high-quality oak, traditionally used in Western barrel-making and shipbuilding, forms the structure, with dovetail joints ensuring strength and longevity.</p><p><br></p><p>This is one of Yan Shui-Long’s rare oak furniture pieces, with only a few surviving examples. As the only large-scale collaboration between Yan Shui-Long and Li Rong-Lie, it showcases exceptional craftsmanship and has remained in excellent condition, free from damage or decay.<br><br></p>

Wooden Dining Table and Chairs：Chair

<p><span style="color: black;font-size: 18px">臺灣竹材豐富，竹製器物為先民以來，無論衣、食、住、行、育、樂、農、漁業之使用，皆是方便周邊生活，安全生命、滿足社會禮俗之需求。</span><br></p><p><span style="color: black;font-size: 18px"><br></span></p><p style="line-height: 24pt"><span style="font-size: 18px;color: black">從事農務家事的婦女對於嬰幼兒的照顧，除背負在身上外，視線所及的範圍內有竹材的搖籃、乳母車、乳母椅乘載著孩子活動量與母親的安心感。</span></p><p style="line-height: 24pt"><span style="font-size: 18px;color: black"><br></span></p><p style="line-height: 24pt"><span style="font-size: 18px;color: black">顏水龍先生早於四零年代在臺南成立「竹藝工房」期間，即對乳母椅這重要的家庭用物有所發想，並由師傅製作成型，其中也多次為坐椅安全、穩定而修正。適用於乳哺期且稍能挺坐的嬰幼孩。孩子入座，拍拍座前的竹板，撥弄竹環擊出吸引的樂音。孩子抓取竹板上的玩具或食物，眼觀附近忙碌的大人身影，應該是一個孩子獨處的成長訓練。當哺乳時，母親抱起小孩，一手將原本處於坐姿的背面翻轉朝於上，則成了親子時間的坐椅。</span></p><p style="line-height: 24pt"><span style="font-size: 18px;color: black"><br></span></p><p style="line-height: 24pt"><span style="font-size: 18px;color: black">據顏先生時常提及：「德國工業設計師在</span><span style="font-size: 18px;color: black">50</span><span style="font-size: 18px;color: black">年代來臺參訪，很欣賞乳母椅的實用功能，多次翻轉椅面上下觀看，且駐足良久。」此椅正符合包浩斯一物多功能的設計概念。</span></p><p style="line-height: 24pt"><span style="font-size: 18px;color: black"><br></span></p><p style="line-height: 24pt"><span style="font-size: 18px;color: black">這張乳母椅由顏先生繪圖，與李榮烈先生商討後選材，委由許正師傅製作。</span></p>

竹製乳母椅

<p>Taiwan is rich in bamboo, and bamboo products have been used by the ancestors in all aspects of life, including clothing, food, housing, transportation, education, entertainment, agriculture, and fishing, providing convenience for daily life, ensuring safety, and meeting social customs.</p><p><br></p><p>Women engaged in agricultural and household work care for infants not only by carrying them on their bodies but also by using bamboo cradles, strollers, and nursing chairs within their sight, which accommodate the child's activity and provide the mother with peace of mind.</p><p><br></p><p> As early as the 1940s, Mr. Yan Shui-long established the "Bamboo Art Workshop" in Tainan and began conceptualizing the nursing chair, an important household item, which was crafted by artisans and repeatedly modified for safety and stability. It is suitable for infants and young children who are nursing and can sit up slightly. When seated, the child can pat the bamboo board in front, play with the bamboo rings to produce appealing sounds, and grab toys or food from the board while observing the busy adults nearby, serving as a solitary growth training. During breastfeeding, the mother can pick up the child and flip the backrest, originally in a sitting position, upwards, turning it into a chair for parent-child time. If the chair gets dirty, it can be cleaned with water and dried in the sun.</p><p><br></p><p> Mr. Yan often mentioned: "In the 1950s, German industrial designers visited Taiwan and greatly appreciated the practical function of the nursing chair, frequently flipping it to view from different angles and lingering for a long time." This chair aligns with the Bauhaus design concept of multifunctionality.</p><p><br></p><p> This nursing chair was designed by Mr. Yan, who discussed material selection with Mr. Li Rong-Lie, and was crafted by Master Xu Zheng.</p>

Li Rong-Lie, Yan Shui-Long (1997), Xu Zheng

Bamboo Nursing Chair

<p>藉由團隊運動突顯拉扯間人體的動量，順延繩子的貫穿使視覺面積不斷擴張與延伸，象徵一場生命能量的演出與挑戰。四種人物不同表情，隱喻著同儕之間常見的印象與特色，透過陶土獨有的氣質塑造出忠厚老實、投機取巧、固執成見和害羞怯懦的各種型態，藉由兒童的天真無邪更能詼諧地滿足人好奇心，以至牽引感情，重新反省人性的貪嗔癡。<br></p>

赤子

<p>In the pottery sculpture, four boys are depicted playing tug-of-war, their expressions and movements full of life. Through team sports, the pulling forces highlight the momentum of the human body, and the continuous extension of the rope symbolizes an ever-expanding and stretching visual area, representing a performance and challenge of life's energy. The four characters' different expressions metaphorically depict common impressions and traits among peers. Using the unique qualities of clay, they portray various types such as honest and sincere, opportunistic, stubbornly prejudiced, and shyly timid. Through the innocence of children, it humorously satisfies human curiosity, thereby evoking emotions and prompting a reflection on the greed, anger, and ignorance of human nature.</p><p><br></p><p><br></p>

“Infants” Pottery Sculptur

<p>工藝家李松林成長於木雕世家，作品廣泛，膾炙人口，畢生奉獻在傳統木雕藝術，作品深具傳統藝術精髓，執國內木雕藝術之牛耳。此尊觀音菩薩袒胸赤足，頭戴寶冠，肩搭披帛，胸披纓絡，坐於海石基座之上，其右足高曲，右手倚膝，左足下垂，左手撐扶座側，衣褶流暢自如，姿態閒適自在，造形取法宋朝觀音風格。此外，菩薩面形清逸秀麗，雙目下視，神情蘊藉內斂，深具人間性格又不失菩薩尊儀<span style="color: rgb(0, 0, 0)">，</span>堪稱當代大師木雕作品之翹楚。</p>

菩薩

<p>Artisan Li Song-Lin grew up in a family of woodcarvers. His works are extensive and widely acclaimed, dedicating his life to traditional woodcarving art. His creations deeply embody the essence of traditional art, holding a leading position in domestic woodcarving artistry. This Guanyin Bodhisattva is depicted bare-chested and barefoot, wearing a jeweled crown, a draped scarf over the shoulders, and a chest adorned with tassels. She sits on a sea rock base, with her right leg bent high, her right hand resting on her knee, her left leg hanging down, and her left hand supporting the side of the seat. The folds of her garments flow naturally, exuding a relaxed and leisurely posture, modeled after the Song Dynasty Guanyin style. Additionally, the Bodhisattva's face is serene and elegant, her eyes gazing downward, with an expression that is both reserved and introspective. She embodies a human-like character while maintaining the dignity of a Bodhisattva, making this a masterpiece among contemporary woodcarving works.</p>

Bodhisattva

<p>2002年，黃國書以玄奘大師遠赴印度為眾生取經時，途中所遭受的種種困境與磨難為主題，開始創作《難行能行》；玄奘大師獨越中亞大沙漠，雙腳踩在滾燙的荒漠上，萬里風沙，烈日焚風，為重現此景，黃國書長達年餘遍尋相關的文字圖片，研讀各種版本的玄奘大師傳記，並參考大師所撰的《大唐西域記》，日夜苦思。創作雕鑿時，他又想像自己置身於一千四百多年前的噬人狂沙之中，面對斷食缺水的困境，數次在生死邊緣掙扎，體會玄奘大師「寧可西進而死，絕不東歸求生」的心志願行。<br><br>在一120公分長的台灣楠木上，黃國書巧妙地將底座化為漠地沙丘，動物枯骨意味沙漠險境的無情，玄奘與馬匹頂著沙暴，逆風而行，創作者巧妙地以外象呈顯木雕人物的內在精神世界。<br></p>

難行能行

<p>In 2002, Huang Guo-Shu began creating " Triumph over Adversity," inspired by Master Xuanzang's journey to India to obtain Buddhist scriptures for all beings, during which he faced numerous hardships and challenges. Master Xuanzang crossed the vast Central Asian desert alone, stepping on the scorching sands, enduring endless windstorms and blazing sun. To recreate this scene, Huang Guo-Shu spent over a year searching for related texts and images, studying various biographies of Master Xuanzang, and referencing the "Great Tang Records on the Western Regions" written by the master himself, pondering day and night. During the carving process, he imagined himself in the dangerous desert 1,400 years ago. He envisioned facing the challenges of starvation and dehydration, repeatedly struggling on the brink of life and death, coming to deeply understand Master Xuanzang's resolve and aspiration: "Better to die advancing westward than to return eastward seeking survival."</p><p><br></p><p>On a 120-centimeter-long piece of Taiwanese camphor wood, Huang Guo-Shu skillfully transformed the base into desert sand dunes, with animal skeletons symbolizing the merciless dangers of the desert. Xuanzang and his horse braved the sandstorm, advancing against the wind. The artist ingeniously used external forms to represent the inner spiritual world of the figure.</p><p><br></p>

“Triumph over Adversity” Wood Carving

<p><span style="font-size: 18px">早期民間日用或習俗所需漆器，多仰賴大陸閩、粵生產，直至日據時期日本人自越南引進漆種，大量種植，採收漆料；並設學校培養人才，製作漆器，始建立臺灣品牌的漆藝。日據時期風行一時的「蓬萊塗」，即屬真正臺灣風格的漆藝。「蓬萊塗」除具備實用功能的器物外，還發展了純供觀賞如掛飾等漆繪作品。傳統的漆繪附屬於漆器內，而現代漆畫完全是純藝術，材料和工藝是傳統漆器所延續發展出來的，形式與創作理念則是西方繪畫的移植。以典雅、含蓄、深邃的方式表現藝術之美，而賴高山可說是國內精於漆畫的第一人。</span><br></p><p><span style="font-size: 18px"><br>賴高山此件《運河邊》，可謂典型代表作，主題表現馬來西亞麻六甲運河邊閩南式建築聚落風情；結合多種漆藝技巧，如在木板上雕刻圖案後，以生漆固胎，髹塗朱漆，再填色漆，貼貝殼砂、蛋殼，呈現如幻似真的美感，融合傳統技法及現代美感，並充份展現工藝家個人特色。</span></p>

運河邊

<p>Early daily-use or customary lacquerware relied heavily on production from Fujian and Guangdong in mainland China. It wasn't until the Japanese colonial period that the Japanese introduced lacquer species from Vietnam, cultivated them extensively, harvested lacquer materials, and established schools to train talent and produce lacquerware, thereby creating Taiwan's own lacquer art brand. The "Penglai Lacquer," which was popular during the Japanese colonial period, represents a truly Taiwanese style of lacquer art. In addition to functional items, "Penglai Lacquer" also developed purely decorative lacquer paintings, such as wall hangings. Traditional lacquer paintings were an accessory to lacquerware, while modern lacquer paintings are purely artistic. The materials and craftsmanship evolved from traditional lacquerware, while the forms and creative concepts were influenced by Western painting. They express the beauty of art in an elegant, subtle, and profound manner, with Lai Gao-Shan being recognized as the foremost expert in lacquer painting in Taiwan.</p><p><br></p><p>Lai Gao-shan's work "By the Canal" can be considered a quintessential masterpiece. The theme depicts the charm of Fujian-style architectural settlements along the Malacca River in Malaysia. It combines various lacquer art techniques, such as carving patterns on wooden boards, solidifying the base with raw lacquer, applying vermilion lacquer, filling with colored lacquer, and embedding shell sand and eggshells. This creates a dreamlike and realistic aesthetic, blending traditional techniques with modern sensibilities and fully showcasing the artisan's personal style.<br></p>

Wooden, Tree Lacquer, Shell Sand, Egg Shell

“By the Canal” Lacquer Painting

<p>作品名稱之「四季」指圖案內容的「四君子」- 春蘭、夏竹、秋菊、冬梅、梅在寒冬綻放、蘭花清秀、菊花淡香、竹子節節上升，加上對聯「池花春映日」「窗竹夜鳴秋」，合為六屏的表現形式。「屏」又與「平」同音，所以整組作品寓意四季平安或平平安安。<br><br>四屏各配以象徵長壽的「壽石」，取得整體合諧的藝術風格。「四君子」本是中國文人藝術中最重要的表現題材，藉以反映理想的人格。梅，有對抗寒冬的毅力，成為隱士象徵；蘭，有「王者香」之稱，喻優美資質；竹，也象徵清風高節；菊，代表幽閑，也是長壽象徵。作品展現傳統文人氣質，兼具溫潤自然質感，是完整而優美的木雕作品。<br></p>

平平安安(四季六屏)－池花春映日、冰肌玉骨、王者之香

<p>"Four seasons" on the name of the work refers to four gentlemen of the flowers in the content of the image- orchid in spring, bamboo in summer, chrysanthemum in autumn, and plum in winter. Plum bloom in the cold winter, orchid is delicate, chrysanthemum releases light fragrance, bamboo represents rising higher and higher on top of couplets of "Flowers on the pond vividly reflect the spring daylight" and "Nighttime bamboo-window chirps herald autumn" are the presentation on the six folding screens. "Screen" sounds the same as "peace" in Chinese, therefore the meaning for the whole set of work contains the meaning of safety in the four seasons or peaceful and safe in the four seasons.</p><p><br></p><p>The four screens for the four seasons all include "longevity stone," which is the symbol of long life to obtain an art style of harmony and coordination. "Four gentlemen of the flowers" are always the most important topic for presentation in Chinese literati art to reflect ideal human characters. Plum has the perseverance to fight against cold winter and it becomes the symbol for anchorite; orchid is known as "the fragrance of the crown" and it metaphors excellent natural endowments; bamboo also represents exemplary conduct and nobility of character; chrysanthemum is usually referred to serene and longevity. This piece of work demonstrates traditional literati characteristics and is with both warm and natural nature. It is a complete and beautiful wood carving work.</p><p><br></p>

L 114 x W 30 x H 3 cm (Overall Dimensions)

'Peace and Safety' Four Seasons Wood Engraving ( Six Plagues: Four Gentlemen with Couplets) 

<p>本作品描寫大樹主幹與分枝之局部表現，極為細膩。作者運用跨領域的工藝技巧以不規則之間插技法，表現樹皮之蒼老斑駁，整體呈現紛雜而不紊亂的編織功力，技法熟稔純熟。主幹下方之圓形規則圖形，象徵樹瘤，外圓內方讓人將樹與花果產生聯想，圓形外緣裝飾人字形環帶，圈內之方形作三度空間之立體表現，與間插樹皮的紛雜形成趣味性的對比。<br></p>

<p>This work depicts the partial representation of the main trunk and branches of a large tree with extreme delicacy. The artist employs interdisciplinary craftsmanship and irregular inlay techniques to portray the aged and mottled texture of the bark. The overall presentation demonstrates intricate yet orderly weaving skills, showcasing mastery and proficiency in technique. The circular regular pattern at the base of the trunk symbolizes a tree knot, with its outer round and inner square design evoking associations with trees and fruits. The herringbone-patterned band decorating the outer edge of the circle contrasts playfully with the three-dimensional square inside, creating an engaging juxtaposition with the intricate bark inlays.</p><p><br></p><p><br></p>

“Tree“ Woven Bamboo

<p>斂口、圓肩、瘦底、有圈足，器物沿口處有鈕，掛著圓環雙耳的竹編器，整個器型敦厚穩重，其製作乃利用桂竹篾以菊花紋編法起底，配合山道紋編製胴體，再以竹條斜插呈三角錐型的紋飾，整體環繞連續、疏密有緻，煮染染色再以生漆擦拭塗裝。<br></p>

三角錐型花器

<p>A bamboo-woven vessel with a constricted mouth, rounded shoulders, slender base, and a ring foot. The rim features knobs with circular ring handles. The overall shape is solid and stable. It is crafted using 桂竹篾 (a type of bamboo strip) with a chrysanthemum pattern for the base, combined with a mountain path pattern for the body. Bamboo strips are diagonally inserted to form triangular pyramid-shaped patterns, creating a continuous and well-balanced design. The piece is dyed through boiling and finished with a raw lacquer coating.<br><br></p>

Zize

Woven Bamboo Triangular Flower Vessel

<p>比起宋代已有之單層單色「剔釉」、「搔刻」陶作技法，多色層的「雕釉」則為蘇世雄所獨創。作者於1980年代開始進行多層雕釉系列的實驗，由於要上色前要考慮設計構圖，在未窯燒前則先進行6-8層的色釉雕刻，窯燒時又要控制多層釉的流動與融合，故20小時當中的燒成溫度、保溫與降溫均需嚴密控制，在多項困難的挑戰下，成功達成作者標準的成品往往僅餘一半。<br><br>此件在小口渾圓的器形上，施以釉色自內而外為鈦黃、赤茶、黃、褐、橘黃、黃等六層構成之菊花紋，空隙處則以斑狀地紋填實，呈現黃色系中之瑰麗色澤變化；與傳統雕漆之「剔彩」五色燦爛美感相比，可謂異曲同工。<br></p>

日本ONECEERA 26號白瓷土、自製高溫色料釉

雕釉黃底菊花紋瓶

<p>Compared to the single-layer, single-color "carved glaze" and "scratched" ceramic techniques that existed since the Song Dynasty, the multi-layered "carved glaze" was uniquely created by Su Shi-Hsiung. The artist began experimenting with the multi-layer carved glaze series in the 1980s. Since the design composition must be considered before coloring, 6-8 layers of glaze carving are completed before firing. During firing, the flow and fusion of the multiple glaze layers must be controlled. Therefore, the firing temperature, heat preservation, and cooling over 20 hours must be meticulously managed. Amid numerous challenges, only about half of the finished products meet the artist's standards.</p><p><br></p><p>This piece, on a rounded vessel with a small mouth, features a chrysanthemum pattern composed of six layers of glaze colors from the inside out: titanium yellow, reddish-brown, yellow, brown, orange-yellow, and yellow. The gaps are filled with mottled ground patterns, showcasing a splendid variation of yellow hues. Compared to the five-color brilliant aesthetic of traditional carved lacquer "carved polychrome," it can be said to achieve a similar effect through different means.</p><p><br></p><p><br></p>

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Carved Yellow Glazed Vase with Chrysanthemum Pattern

<p>珊瑚紅為傳統彩瓷色釉之一，類似珊瑚之紅，故名。此器以手拉坯成形，內外側以創新雕釉技法呈現各式花樣，顯蘊花開富貴，喜樂吉祥之視覺與人文意涵。因傳統紅色系列象徵興旺、吉祥、喜氣、多施以釉上彩繪；然此器則為雕釉，故有傳統與創新的風格特色。<br></p>

雕釉珊瑚紅底花卉紋缽

<p>Coral red is one of the traditional colors of ceramic glazes, resembling the red of coral, hence the name. This piece is formed using the hand-throwing technique, with innovative carved glaze methods applied to both the interior and exterior, displaying various patterns that symbolize prosperity, wealth, joy, and good fortune. While traditional red glazes are often associated with flourishing, auspiciousness, and happiness, typically embellished with overglaze painting, this piece, however, features carved glaze, thus showcasing a blend of traditional and innovative stylistic elements.</p><p><br></p><p><br></p>

Japanese ONTERA No. 26 White Clay,  Glaze

Glaze Carved Floral Pattern Bowl with Coral Red Background

<p>青瓷，這項歷史悠久的中國陶瓷工藝，在宋代達到了巔峰，至今仍廣受人們喜愛。</p><p><br></p><p>這件作品是林葆家晚年的創作，他以平和寧靜的心境，將傳統的太白尊轉化成小口鐘形的花器，其中蘊含著淡泊、深遠的哲學意涵。粉青的釉色，給人一種沉穩安定，卻又充滿無限可能的感覺。這也是他在80年代所倡導的陶藝「新古典主義」的代表作品之一。<br></p>

<p>Celadon, a time-honored Chinese ceramic craft, reached its zenith during the Song Dynasty and continues to be widely cherished today. </p><p><br></p><p>This piece is a late-life creation by Lin Bao-jia. With a serene and tranquil mind, he transformed the traditional Taibai vase into a small, bell-shaped flower vessel, embodying a philosophy of simplicity and profound meaning. The soft, pale green of the celadon glaze imparts a sense of calm stability, yet also evokes a feeling of limitless potential. This work exemplifies Mr. Lin's advocacy of 'Neoclassicalism' in ceramics during the 1980s.<br></p>