Writings

In The End Is The Word

Nothing

The Infinite Nothing

The SIxth Seal

The Fifth Seal

The Fourth Seal

The Third Seal

The Second Seal

The First Seal

If You Don't Kill Him, He Will Kill You

Re-presenting Hakka/Taiwan/Oriental/Michael's Image In Various Way

Porn Painting

HE comes from The Sky ... or The Sea

I Love You More Than Anything Else

BLACK! BLACK! BLACK!

Revaluation of All Values

Dragon

Untitled - Hong Kong 2003

Interior

Ceramics

 

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泥 。土。地 ── 與人之精神性關連

曾建華

 

「耶和華用地上的塵土造人,將生氣吹在他鼻孔?,他就成了有靈的活人,名叫亞當。」(創世紀二章七節)

聖經中記載著神造人的過程,衪用泥土塑造了世上第一個人──「亞當」,這一節不單陳述了人的起源和來歷,同時亦隱現著人和塵土背後所?帶的關係。在基督教義的廣泛傳播及影響下,這點無疑在西方有著深遠的根植。而在東方,相近的看法,亦可見於「塵歸塵,土歸土」之中,間接地闡述了認為人乃塵土所造的想法。在不同的地方和文化下,人對於自身的由來,似乎都有著一種較為普遍及相近的看法。

泥土與人的精神性關連,一方面是與宗教信義有關,但同時亦與喪葬的習慣有不可分割的牽引。除少數的民族外,大部份民族都是將死去的人埋葬於土地之下。腳下的土地,是天/天堂之另一端,亦是前人、古人以及其他死去的人之歸宿。有趣的是,生與死這兩極,同時寄存於其中,與人?生不可分割的關係。

人能活於世上,無時無刻皆需依賴於大地和泥土所供給的。它所提供的,是不同類別之承托,物資、食物、甚至是物理上的托頂。藉著它,人得以立足於世,賴以存活。它,並同時寄存著前人以及他們所作、所發生的事物之跡痕。且縱然一切不復存在,但跡痕仍是會被無情地存載於其中。

一系列的陶板作品,便是利用泥土本身存痕、濕軟乾脆的特性及其所意函的生死終始,塑造不同姿態的人樣,寄存或擠壓於結構之內。既是單一個體,整合起來,又成一群組,顯現著抽象的圖陣(Pattern)結構。個體的獨特、差異,淹蓋於圖陣之下,而浮現或隱溺,則全繫於觀者之意在與否。殘缺古舊的跡象,反映時間之入滲及歷史的隱喻;亦反映著個體、以及其所形成的圖陣,在經歷時空漸演後所殘存的部面。而殘存的局面,提現著空洞的符證,予以後來者作不同的審視和詮譯。

Clay . Soil . Earth
& Its Spiritual Relationship with Man

TSANG Kin-Wah

 

“And the Lord God formed man of the slime of the earth: and breathed into his face the breath of life, and man became a living soul.” (Genesis 2: 7)

The Bible recorded the process of the creation of man by God who used the earth to form the first man in the world, Adam. This not only stated the origin and history of man, but also revealed the intimacy between man and earth. This undoubtedly has a profound impact in the West under the wide spread of Christianity while a similar idea also exists in the East, which indirectly suggested man is made from the earth. It seems that there is a similar and universal point of view about the component of man in different places and cultures.

On one hand, the spiritual relationship between man and earth/clay/soil has a linkage with the religious ideas and beliefs but at the same time, the burial customs also play a role in it. Apart from a small number of races and tribes, most of the people would bury the dead in the earth or under the ground. The earth, what they believed, is the opposite of the sky/heaven and is also the home of the ancestor and the dead. It is strange to know that the two opposites, life and death exist in the same thing, which also has a tight relationship with man.

Man has to rely on the earth at every moment and in many aspects in order to survive. It supplies different kind of resources, materials, foods and even the physical support to man as well. On its surface, man can stand, walk and survive while the earth records what man did and happened upon it. Everything would be kept under it and recorded pitilessly even though they don't exist anymore.

The concepts of the whole set of ceramic works are then based on the unique characteristics and spiritual meanings of clay and earth. When hydrated, clay is malleable and is able to record every mark caused by outside forces; when dehydrated, it becomes hard but fragile and can be broken down to dust and sand again easily. Every figure is squeezed and tucked, forming part of the artwork's structure. Every unit is a single entity although they could be lined up to form a group in which certain abstract patterns and structure are revealed underneath. Reading of the differences of every individual, which are immersed in the pattern and structure, would largely depend on the viewer's will and state of mind. The weariness and wreckage reveal the intrusion of time and the implication of history. It reveals the ruinous states of the individual, and, its pattern and structure through time passage. It poses different emptied and meaningless signs and evidence for the coming generations to make different judgements and interpretations.

 

 

 

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