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1 | 2024-2025年「工藝遶境」1F 展品 (1+20件) | |||||||||||||||||||||||||
2 | 序號 | 作 者 | 作品名稱 | 材質 | 尺寸 (cm) | 組件 | 圖片 | 保險價格 | 作品說明 | 備註 | ||||||||||||||||
3 | 1 巡迴 | 顏水龍 Shui-Long, Yen | 彩繪盤 The Painted Plate | 陶瓷 Ceramics | 28.7 X 3.5 cm | 1件 | $2,400,000 | 八Ｏ年代正興起工藝藝術化之風潮，在新北市土城區的瓷揚窯主人林振龍先生邀請前輩畫家們，以已燒成的素面瓷器為畫布，釉上彩為色料，自在地彩繪於瓷器上，再由林先生燒製完成。畫家們對釉藥之掌握能力畢竟不似油畫顏料的自如，所以都從小盤子開始練習，再進階到大盤、燈座、甕、缸等，表現的畫作思維、手法，與一般傳統匠師彩繪氛圍有著截然不同的風味，很有收藏的價值。 彩繪此盤，就釉藥的特性，用筆帶過的簡單線條，描出花、葉、枝，有別於顏水龍先生一向在油畫上的精雕細琢。這盤可作裝飾、欣賞用，當然也可是裝水果、天婦羅的食器。 In the 1980s, a trend of artistic crafts was emerging. Mr. Lin Zhenlong, the owner of Ciyang Kiln in Tucheng District, New Taipei City, invited senior painters to freely paint on the porcelain using the fired plain porcelain as the canvas and the overglaze color as the color material. Then it is finished by Mr. Lin. After all, painters are not as comfortable mastering glazes as they are with oil paints, so they all start practicing with small plates, and then advance to large plates, lamp holders, urns, vats, etc. The painting thinking and techniques expressed are different from those of ordinary traditional craftsmen's colored paintings. The atmosphere has a completely different flavor and is highly collectible. To paint this plate, I used simple lines drawn by a pen to depict flowers, leaves, and branches based on the characteristics of glaze, which is different from Mr. Yan Shuilong's usual meticulous work on oil paintings. This plate can be used for decoration and appreciation, and of course it can also be used as a serving vessel for fruit and tempura. | 館藏編號199805001 | |||||||||||||||||
4 | 2 | 黃塗山 Tu-Shan, Huang 人間國竇 Taiwan’s Greatest Craftsman 2008國家工藝成就獎 2008 National Crafts Achievement Award | 三角錐型花器 The Triangular Conical Flower Utensils | 桂竹、生漆 Osmanthus bamboo, raw lacquer | 18 x 33 x 22cm | 1件 | $672,000 | 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‧ It is a bamboo braided vessel with a narrow mouth, rounded shoulders, a thin bottom, and ringed feet. There are buttons along the edge of the vessel, and there are rings and ears hanging on it. The whole shape of the vessel is thick and steady. It is made of osmanthus bamboo strips with a chrysanthemum pattern on the bottom. The carcass is woven with mountain road patterns, and bamboo strips are inserted diagonally into a triangular pyramid pattern. The whole body is continuous and dense, boiled and dyed, and then wiped and painted with raw lacquer. | 館藏編號200902002 | |||||||||||||||||
5 | 3 | 李榮烈 Rong-Lie, Li 人間國竇 Taiwan’s Greatest Craftsman 2013國家工藝成就獎 2013 National Crafts Achievement Award | 樹 The Tree | 桂竹、麻竹、漆 Osmanthus bamboo, Linen bamboo, lacquer | 48 x 36 x 51cm | 1件 | $1,350,000 | 作品描寫樹之主幹與分枝之局部表現，以不規則之間插技法，象徵樹皮之蒼老斑駁，呈現紛雜而不紊亂編打功力。主幹下方之圓形規則圖形，象徵樹瘤，外圓內方很容易與樹之花果產生聯想，圓形外緣裝飾人字形環帶，圏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。 The work depicts the partial expression of the trunk and branches of the tree, using irregular interpolation techniques to symbolize the old and mottled bark of the tree, showing the intricate yet chaotic weaving skills. The circular regular figure below the main trunk symbolizes the tree tumor. The outer circle and the inner square are easily associated with the flowers and fruits of the tree. The outer edge of the circle is decorated with a herringbone ring. The square inside the circle is a three-dimensional expression of the three-dimensional space, and the interspersed The variety of bark creates an interesting contrast. | 館藏編號201403001 | |||||||||||||||||
6 | 4 | 王清霜 Qing-Shuan, Wang 人間國竇 Taiwan’s Greatest Craftsman 2007國家工藝成就獎 2007 National Crafts Achievement Award | 豐收 Harvest | 天然漆、乾漆粉、顏料、金粉、金箔、銀粉 Natural lacquer, dry lacquer powder, pigment, gold powder, gold foil, silver powder | 45 x 36cm | 1件 | $1,800,000 | 921大地震，九九峰變禿了，但是檳榔樹卻仍屹立在農舍旁。金黃色的稻田一束束熟透彎揖的榖粒，讓人感受為人處世的哲學，百折不撓、滿招損、謙受益，學習稻穀謙虛的美德。 After the 921 earthquake, Jiujiu Peak became bald, but the betel nut tree still stood beside the farmhouse. The bunches of ripe and bent grains in the golden rice fields make people feel the philosophy of life, perseverance, full of losses and humility, and learn from the virtue of humility in rice. | 館藏編號200803002 | |||||||||||||||||
7 | 5 | 李松林 Song-Lin, Li 第一代授課老師 First Generation Substitute Teacher | 菩薩 Buddah | 樟木 Camphor wood | 18 x 23 x 43cm | 1件 | $2,700,000 | 此尊觀音菩薩袒胸赤足，頭戴寶冠，肩撘披帛，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，造形取法宋朝觀音造像風格。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。 This statue of Guanyin Bodhisattva is bare-chested and barefoot, with a crown on its head, silk draped over its shoulders, and a tassel on its chest. It sits on a seastone base. Its right foot is bent high, its right hand is leaning on the knee, and its left foot is drooping. The left hand is supporting the side of the seat and the pleats of its clothes. Smooth and free, the posture is leisurely and comfortable, and the shape is based on the style of Guanyin statues in the Song Dynasty. In addition, the Bodhisattva's face is elegant and beautiful, with his eyes looking down and his expression restrained. He has a deep human character without losing the dignity of the Bodhisattva. | 館藏編號201003001 | |||||||||||||||||
8 | 6 | 張繼陶 Ji-Tao, Zhang 2015國家工藝成就獎 2015 National Crafts Achievement Award | 羊蹄甲 (紫荊花) Mountain Ebony | 陶土、裂紋釉 Clay, cracked glaze | 31cm | 1件 | $900,000 | 生艷動人的紫荊花攀至枝頭高處，一抹紅潤夕陽漸漸地潛入作品根部，在半透明的古色礦石釉的包圍與浸濡之下，一切生靈帶來永恆的和諧。 The beautiful redbud flowers climb to the top of the branches, and a rosy sunset gradually sneaks into the roots of the work. Surrounded and soaked by the translucent antique mineral glaze, all living creatures bring eternal harmony. | 館藏編號201602005 | |||||||||||||||||
9 | 7 | 孫超 2018國家工藝成就獎 孫超 Chao, Sun 2018國家工藝成就獎 2018 National Crafts Achievement Award | 彩墨結晶瓷 Colored Ink Crystal Porcelain | 瓷土、高溫結晶釉 Porcelain clay, high temperature crystallized glaze | 15 x 15 x 5cm | 1件 | $225,000 | 地、水、火、風因緣合和，陶藝家運用宇宙間最原始的元素與力量解放自然。轆轤啟動藝術生命的輪迴，把坏體放入窯內，一切未可預知的火焰靈動，在數不清的升溫與散熱之間，徐徐開出一朵朵瑰麗晶花，碧綠而明澈，境界從絢麗中展開空靈。在烈火之熾熱、結晶之燦爛，從精美無瑕暈染間，青韻層次律節，結晶的美感相當絕對。 Earth, water, fire, and wind are in harmony, and ceramic artists use the most primitive elements and forces in the universe to liberate nature. The windlass starts the cycle of artistic life and puts the bad body into the kiln. All the unpredictable flames move. Between the countless heating and dissipation, magnificent crystal flowers slowly bloom, green and clear, and the realm changes from Ethereal unfolds in splendor. In the blazing heat of the fire, the brilliance of the crystal, from the exquisite and flawless smudge, the green rhyme is layered and rhythmic, and the beauty of the crystal is quite absolute. | 館藏編號201604001 | |||||||||||||||||
10 | 8 | 蔡榮祐 Rong-You, Cai 人間國竇 Taiwan’s Greatest Craftsman 2011國家工藝成就獎 2011 National Crafts Achievement Award | 包容 Tolerance | 陶 Pottery | 29.5 x 29.5 x 13.2cm | 1件 | $672,000 | 包容系列是作者經過六年的技術研發及試驗才得到突破的結果，以這一系列的作品表達族群融合、包容異己、平衡社會發展的理念。 以低溫軟土胚為基底，呈現自然的淺灰底色，只在頂面陶板施青花高溫厚稠釉藥，在高溫窯燒之下，產生流動的斑紋釉彩，覆蓋方形器璧的上部。這柔軟流動的釉彩、頂部硬線分割的留白對角線、錯開的菱形與中間靜止的圓形，極具時尚設計感，似乎是在呼籲以柔克剛、消彌對立相互包容的渴望。 The Tolerance Series is the result of the author's breakthrough after six years of technical research and development and experiments. This series of works expresses the concepts of ethnic integration, tolerance of dissent, and balanced social development. The low-temperature soft clay is used as the base, showing a natural light gray background. Only the top pottery plate is applied with a thick, high-temperature blue and white glaze. After being fired in a high-temperature kiln, a flowing pattern of glaze is produced, covering the upper part of the square utensil. The soft and flowing glaze, the white diagonal lines divided by hard lines on the top, the staggered rhombus and the static circle in the middle are very fashionable design and seem to call for the desire to overcome rigidity with softness and eliminate opposition and tolerate each other. | 館藏編號201202012 | |||||||||||||||||
11 | 9 | 施鎮洋 Zhen-Yang, Shi 人間國竇 Taiwan’s Greatest Craftsman 2009國家工藝成就獎 2009 National Crafts Achievement Award | 首 The Head | 台灣牛樟 Taiwanese small-flowered camphor | 45 x 36 x 12cm | 1件 | $1,050,000 | 全器以正面龍首為核心，四周纏繞如意形雲朵和火焰狀裝飾，採浮雕及透雕結合技法一體成形，表現作品內外空間與多層次美感，主題輪廓線條流暢，曲折宛轉，裝飾技術精湛，充分展現神龍見首不見尾的超絕威儀與藝術興味。 The whole vessel has a dragon head on the front as the core, surrounded by wishful-shaped clouds and flame-like decorations. It is formed using a combination of relief and openwork techniques to express the internal and external space and multi-layered beauty of the work. The theme contour lines are smooth, twists and turns, and the decoration technology is exquisite, fully It shows the superb majesty and artistic interest of the dragon. | 館藏編號201002004 | |||||||||||||||||
12 | 10 | 陳萬能 Wan-Neng, Chen 人間國竇 Taiwan’s Greatest Craftsman 2012國家工藝成就獎 2012 National Crafts Achievement Award | 龍龜檀香爐 The Dragon Turtle Sandalwood Burner | 錫、紅銅 Tin, red copper | 80 x 50 x 37cm | 1件 | $285,000 | 「龍龜」外型為龍頭龜身，相傳為「龍生九子」之一，具龍與龜兩種靈獸之特質。「龍」應用於風水上有；招貴人、制白虎(小人)及生旺財運的功用。另「龜」具長壽、祥和和化煞的作用。 The "dragon turtle" looks like a dragon head and a turtle body. According to legend, it is one of the "Nine Sons of the Dragon" and has the characteristics of two spiritual animals: dragon and turtle. "Dragon" is used in Feng Shui to attract noble people, control white tigers (villains) and bring about wealth and prosperity. In addition, "turtle" has the effects of longevity, peace and evil spirits. | 館藏編號201302003 | |||||||||||||||||
13 | 11 | 施至輝 Zhi-Hui, Shi 人間國竇 Taiwan’s Greatest Craftsman 2014國家工藝成就獎 2014 National Crafts Achievement Award | 觀音-渡化 The Bodhisattva – To Transcend | 牛樟、漆線、金箔、噴瓷漆 禪床：檜木 Taiwanese small-flowered camphor, lacquer thread, gold foil, spray enamel | 禪床42.5×18.3×21 cm 觀音19×15×31 cm | 1件 | $1,200,000 | 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。 Avalokitesvara Bodhisattva is famous for "hearing sounds and rescuing suffering", and saves all living beings with great kindness and compassion. "Miaofa Lotus Sutra" states that Avalokitesvara has thirty-two incarnations. Most of the Avalokitesvara Bodhisattva commonly seen in folk beliefs are beautiful in appearance and kind in expression. Goddess shape. | 館藏編號201502001 | |||||||||||||||||
14 | 12 | 蘇世雄 Shi-Xiong, Su 2010國家工藝成就獎 2010 National Crafts Achievement Award | 雕釉珊瑚紅底花卉紋缽 Carved glazed coral bowl with floral pattern on red background | 日本ONECEERA 26號白瓷土、自製高溫色料釉 Japanese Oneceera White Ceramics No. 26, homemade high temperature colored glaze | 31 x 35 x 31cm | 1件 | $262,500 | 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。 Coral red is one of the traditional colored porcelain glazes, which is similar to the red color of coral, hence the name. This vessel is hand-drawn, and innovative glaze carving techniques are used on the inside and outside to present various patterns, embodying the visual and humanistic connotations of blooming flowers, wealth, joy and auspiciousness. Because the traditional red series symbolizes prosperity, auspiciousness, and joy, it is often painted on glaze; however, this vessel is made of carved glaze, so it has both traditional and innovative style characteristics. | 館藏編號201102001 | |||||||||||||||||
15 | 13 | 陳啟村 Qi-Cun, Chen 人間國竇 Taiwan’s Greatest Craftsman 2020國家工藝成就獎 2020 National Crafts Achievement Award | 媽祖 Mahzu | 台灣牛樟木 Taiwanese small-flowered camphor | 25.5 x 21 x 75.5cm | 1件 | $3,900,000 | 媽祖身上的披肩、纓絡，到長袍的紋飾，以往匠師慣常使用的粉線作法，在此都被工藝家精細的雕工所取代。接近現實比例的身形，在側身微轉的姿態下，散發媽祖天后神格的尊榮與慈祥。 From the shawls and tassels on Mazu's body to the patterns on her robes, the pink thread technique commonly used by craftsmen in the past has been replaced by the fine carvings of craftsmen. The figure, which is close to realistic proportions, exudes the dignity and kindness of Mazu and the Queen of Heaven in a slightly turned sideways posture. | 館藏編號202007002 | |||||||||||||||||
16 | 14 | 葉經義 Jing-Yi, Ye 人間國竇 Taiwan’s Greatest Craftsman 2019國家工藝成就獎 2019 National Crafts Achievement Award | 蓄勢待發 Ready to Go | 牛樟 Taiwanese small-flowered camphor | 51 x 15 x 40.5 cm | 1件 | $2,400,000 | 以現代寫實的手法，取材臺灣牛樟木，將一匹舉足踏步、昂首揚尾，準備奔馳的駿馬神態，刻劃得栩栩如生，猶如一支引滿弓弦、只待放手射發的利箭，張力十足。 Using modern realistic techniques and using Taiwanese ox camphor wood, the image of a horse with its feet raised, its head held high, and its tail raised, ready to gallop, is vividly depicted, like a sharp arrow with a full bow string, just waiting to be released, full of tension. | 館藏編號202010002 | |||||||||||||||||
17 | 15 | 粘碧華 Bi-Hua, Nian 2023國家工藝成就獎 2023 National Crafts Achievement Award | 比翼乘雲 Riding In the Clouds | 銅鍍金 Gold plated copper | 23.5 x 23.5 x 0.5cm | 1件 | $20,000 | 以西漢馬王堆出土文物之紋飾為設計靈感。把遙遠的傳統藝術精神，用當代科技接通轉化為二十世紀的美感經驗.。 The design is inspired by the patterns of cultural relics unearthed from Mawangdui in the Western Han Dynasty. Use contemporary technology to connect the distant traditional artistic spirit and transform it into the aesthetic experience of the twentieth century. | 館藏編號199205013 | |||||||||||||||||
18 | 16 | 林添福 Tian-Fu, Lin 2016國家工藝成就獎 2016 National Crafts Achievement Award | 碟型瓶 The Disc-like Bottle | 陶瓷 Ceramics | 31 x 31 x 21 cm | 1件 | $675,000 | 飛碟造型、是工藝家長景瓶系列中少數短頸造型的作品。瓶身邊緣有工藝家慣用的「手指壓繩紋紋飾」。 The flying saucer shape is one of the few short-necked works in the long-necked bottle series of craftsmen. The edge of the bottle has the "finger-pressed rope pattern" commonly used by craftsmen. | 館藏編號201703001 | |||||||||||||||||
19 | 17 | 張憲平 Xian-Ping, Zhang 人間國竇 Taiwan’s Greatest Craftsman 2017國家工藝成就獎 2017 National Crafts Achievement Award | 洄 Circulation | 藤芯 Rattan core | 37 x 37 x 28 cm | 1件 | $600,000 | 以一條籐芯為軸心，採單旋螺捲編法，籐皮由中心往外圈繞，形成層層圖紋並構成密實的器體。在豐腴的器肩上，則編作鏤空套環紋樣，加上細長如彩帶、隨意起伏自然而流暢的編紋。都與基礎的器體相呼應，使整件作品造型顯得更優美。 With a rattan core as the axis, the single-spiral spiral weaving method is adopted, and the rattan skin is wound from the center to the outside, forming layers of patterns and forming a dense body. On the plump shoulder of the vessel, a hollow ring pattern is woven, plus a slender ribbon-like pattern that rises and falls naturally and smoothly. They all echo the basic vessel body, making the whole work look more beautiful. | 館藏編號201604002 | |||||||||||||||||
20 | 18 | 黃麗淑 Li-Shu, Huang | 身在林中不知處 Lost in the Woods | 孟宗竹、天然漆、銀箔 Mengzong bamboo, natural lacquer, silver foil | 160 x 122 x 72 cm | 漆器：1組14件 壓克力底座：1組4件 | $1,000,000 | 台灣中部山區常見終年常綠隨風搖曳的竹林，以台灣特有種，竹桿粗大且直挺的孟宗竹為胎體。藉著傳統髹漆技法，層層罩漆研磨，將竹材和大漆結合，呈現東方特有含蓄及華麗的色彩。如在月華光影中，林立一叢叢的竹林，遠近高低不同，或現實或迷失，處在當中，期望找尋到竹林的曼妙。 Bamboo forests that are evergreen and sway in the wind are common in the mountainous areas of central Taiwan. They are made of the thick and upright bamboo bamboo, a unique species in Taiwan. Using traditional painting techniques, layer upon layer of lacquer grinding, bamboo and lacquer are combined to present the subtle and gorgeous colors unique to the East. For example, in the light and shadow of the moonlight, there are clumps of bamboo groves, different in distance and height, either realistic or lost. When you are in it, you hope to find the beauty of the bamboo grove. | 工藝中心設計館 | |||||||||||||||||
21 | 19 | 張鳳英 Feng-Ying+B21:B23, Zhang 人間國竇 Taiwan’s Greatest Craftsman | 賽德克勇士服(Lukus Bale) | 苧麻線、棉線、毛線 Ramie thread, cotton thread, woolen thread | 上衣(長85寬145公分) 藤帽(直徑23高22公分) 頸飾(長50環徑5.5公分) 獵首袋(長120寬50公分) 披肩(長88寬70公分) 隨身袋(長23寬22公分) 番刀(長60寬5.5公分) 遮陰帶(長32寬20公分) | 全套 | $600,000 | 這是一套綜合賽德克族各種織布技法所織作出來的早年男士出草服飾。它的特色是在衣袖及後衣的下擺必須用紅色及黑色毛線浮織，因為這樣才能避邪驅魔，出草或打獵時才能平安順利。藤帽保護頭部，圓環頸飾表示這是位曾獵首成功的勇士，獵首袋上黑色苧麻線象徵被獵者的頭髮，披肩外出打獵時可當蓋被保暖，再加上煙袋和番刀裝備齊全，有勇敢冒險行動的男士才有資格穿上這套出草時的勇士服裝。從前男孩到了約十八歲的年紀就要出草，出草成功才能成為真正的勇士，受到族人的尊敬。現在不出草了，這套服飾應該正名為「賽德克勇士服」。 This is an early men hunting clothing with the combination of all weaving techniques of the Seediq tribe. It’s specialty lies in the red and black karaori on the bottom of the sleeves and the bottom hem. It is used to ward off evil spirits so that the hunting could go well. The rattan hat protects the head, the neck ornaments show that this is a successful warrior. The ramie thread represents the hair of the victim. The cloak can keep the hunters warm when out hunting. With the bag and knife, only the bravest men could wear this outfit. Boys used to hunt when they turn 18 and become a real warrior only if they succeed. Now that they don’t hunt anymore, this outfit should be named as the “Seediq Bravery Suit.” | 借展 | |||||||||||||||||
22 | 20 | 李秉圭 Bing-Gui, Li 人間國竇 Taiwan’s Greatest Craftsman 2022國家工藝成就獎 2022National Crafts Achievement Award | 蓮葉坐上觀音 Guanyin Seated on a Lotus | 樟木 Camphor | 68*30*25 | 1件 | $1,200,000 | 蓮花是佛門中聖花，〈觀音靈感真言-唵嘛呢叭彌哞〉 (六字大明咒)中的「叭彌」，意即蓮華，比喻心性清淨無染。此尊觀音座像以「半跏思惟坐」於蓮葉上，手持如意並低首冥想沉思，蓮葉的支撐設計，是以葉梗及水波自然托住，一氣呵成。 The lotus is sacred in Buddhism. 「叭彌」in the <Guanyin Inspiration Mantra > means lotus flower, a metaphor for a pure and untainted mind. This Guanyin looks as if it’s sitting on a lotus, meditating head low with a ruyi. The lotus is supported with the stem and the water with only one touch. | 借展 | |||||||||||||||||
23 | 21 | 陳三火 San-Huo, Chen 人間國竇 Taiwan’s Greatest Craftsman 2021國家工藝成就獎 2021National Crafts Achievement Award | 牛轉乾坤 All Will Turn Out Well | 陶瓷 Porcelain | 37X42X62 | 1件 | $600,000 | 以武者之姿來驅除疫情，右手持芭蕉葉配如意，意謂著招來萬事如意，左手持元寶花，意為財源不斷。 The warrior fights the epidemic. The right hand of the warrior holds a banana leaf with good luck. It means that everything will go well. The left hand of the warrior holds an Ingot. It means lots of money. | 借展 注意40公斤重 | |||||||||||||||||
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