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遷想妙得.樂在其中－觀陳銘堂竹雕個展
程代勒
對一位長期堅守傳統竹藝的雕刻家，需要努力創作多久才能準備一次個展，答案是七年，銘堂兄上回個展距今一晃眼七年了。
當今藝壇各類媒材紛呈，時人”喜新厭舊”已是常態，”竹”似乎被規入古老的歷史裡。雖然竹子在台灣分佈廣泛，產量豐富，竹子的加工品、生活用具並不匱乏，但由於從選料取材、防腐蒸煮等工作耗時費勁，且竹材質地堅硬，加上纖維組織密集，往往下刀受制於平行的纖維竹絲而難控制，不僅需強,而有勁的手臂，若無深厚傳統雕刻的根底是無法駕馭這種媒材，致使許多從事雕刻者望而却步，而銘堂兄却以堅毅無比的耐心走過了三十幾個寒暑。
陳銘堂出身農家，由於家境清苦，國小畢業即從師學藝。雖未進過學院，但他善於掌握任何學習的機會，虛心地向往來的藝術家請益，並珍惜各種相關知識，使其作品能跟隨時代的腳步，而不斷有新的創意。但是最重要的是他一貫的生活態度，不交際應酬，對生活的知足與感恩，對人生他有種細膩的體會，這才是他創作的原動力與源頭活水。喝口好茶隔絕俗世的塵囂，雖處鬧市，卻有紅塵不到我的悠閑自在，從山中拾來的野草也培養得枝繁葉茂，這種對生命的喜悅、對生活的品味，使他的作品中，”竹”不再只是客觀的材料，每片竹、每塊竹根部彷彿是有生命的，而他正小心翼翼的呵護，使其再現光華。
銘堂兄此次個展可略分兩個主軸，一是竹片部分，雖然竹片在材料上受限於竹子的弧度與厚度而沒有很大的揮灑空間，但他卻能突破此種限制，因勢制宜，發揮材料的特性而成為作品的特色，更在造型上細心規劃、反覆斟酌、揉合寫實與表現、極簡與抽象等元素，保留竹材的質性，佐以適性的刀法，從物象、肌裡的掌握到抽離，從題材的選擇到想像力的融通，更能從生活中出發，體驗一花一世界的自然之美，一草一木皆有情的人生境地，從新梳理古代工藝的當代美學觀。
同樣是竹，但是竹根的構造卻大不相同，它變化多端,而無相似。但銘堂兄卻善於取材，其竹根系列的作品往往能遷想妙得，化腐朽為神奇，對於竹根特殊的造型、紋理能善加運用，從盤根錯節中，以最精準的方式刪繁去簡，以洗錬的刀法來呈現物象之美，傳統工藝在他的作品中再次有了生機，有了時代的氣息。
與銘堂兄結緣近二十寒暑，我對傳統雕刻的知識也多半自與他閒聊泡茶之間，這是我為他第二次寫序，每回他的個展對我都是一大衝擊與驚嘆。要花多少的氣力才能克服媒材的侷限而做到如此的發揮，在竹雕道路上無怨無悔的付出令人動容，對每件作品從構思到完成，毎一步驟是如此慎重，競競業業的態度是值得欽佩的。
「傳統與現代」這是時下常討論又通常沒有結論的兩難課題，銘堂兄從生活出發，不矯飾、不說理，實在真誠地創作卻自有他的答案。他的個展將屆，辛苦耕耘當歡喜收割世人給予的肯定，付印專集之際，蒙邀為序，特贅數語以申敬賀之意。
」
Take Pleasure in Brooding Wonderful Thoughts—
Viewing Chen Ming-tang’s Bamboo Sculpture Solo Exhibition
Cheng Dai-le
How many years should a bamboo sculptor, who has been clinging to long-term traditional bamboo art, spend on creations to make an exhibition? The answer is 7 years. Chen’s present exhibition is 7 years after his last one.
Nowadays, various media for the works of art have emerged, and it’s normal that people love the new and dislike the old. Bamboo seems to be regarded as a historical material for creation. Bamboo is extensively grown in Taiwan, the crop being plentiful; therefore, the processed bamboo products or the bamboo supplies for daily use are quite popular. The processing of bamboo to make it a material for art works, the choice and obtainment of bamboos, the time consumed for boiling and preservation, and the difficulty in cutting the highly concentrated parallel fibers, all make this kind of material hard to manage. Without profound groundwork of traditional carving, one can never manage to use this material, and this is the reason why many sculptors feel nervous using bamboos. But Chen firmly has been clinging to his task for about 30 years.
Chen Ming-tang comes from a farming family. His family was poor but virtuous; he became a pupil of masters after he graduated from primary school. Though he never got a chance to enter college for education, he grasped each opportunity and remained open-minded and modest to learn from the artists he contacted. He treasures various fields of related knowledge, and makes effort to catch up the pace of time, producing unceasingly new ideas for creation. But the most important thing is his consistent living attitude: little social engagement, contentment and gratitude for present life. His refined experience toward life becomes the motive power and fountain for creation. Sipping a cup of nice tea, moving away from hubbub of the world, he enjoys the leisurely and carefree aura, and also the joy from cultivating the weeds he picked in the mountains into luxuriance. The delight and taste of life color his creations; bamboos are no longer objective materials for art, but every slice and piece of bamboo seems to have its life. Chen takes exceptional care for them to make them show their splendor.
Chen’s solo exhibition this time can be divided into two main parts, and one is the part of bamboo slice. Though confined to its arc and the thickness, bamboo is not adapted to a wide range of creation. But Chen broke this limit, taking actions that suits this situation, by develop the qualities of the material to become a character of the work. He designed its pattern elaborately, considered repeatedly, and made a fusion of realism and expressionism and of extreme simplicity and abstraction. He kept the quality of bamboo material, with proper technique of carving, to draw from the substance and its texture, blending the topic of his choice and his imagination. From real life, he experiences the beauty of nature by seeing a world in a grain of sand and a heaven in a wild flower. Thus he refreshes the modern aesthetics of the traditional art works.
Although a part of bamboo, the conformation of bamboo root is quite different, varying in shape and none of them being similar. Chen is good at obtaining the materials; therefore, the series of his creations on bamboo root, coming from the design which he has been brooding over, turning the plain into the splendid. He applies well the pattern and texture of bamboo, accurately simplifying the pattern from twisted roots, refinedly representing the beauty of the object. Traditional art works thus regain their vitality and the breath of time.
My friendship with Chen Ming-tang has lasted for almost 20 years. My knowledge about traditional sculpture mainly comes from his talks when we were making tea together. This is the second time I have been asked to write an introductory for him. Every one of his solo exhibition was a great wonder to me. It takes much effort to overcome the limit of the material to come into such elaboration. His devotion to bamboo carving is affecting. From conception to completion, he works so prudently on every step, and this conscientious attitude is admirable.
“The traditions vs the modern” is the often discussed issue of dilemma which usually comes to no conclusion. Based on the real life, Chen sincerely answers the issue in his own way, without pretense and preaching. His coming solo exhibition needs viewers’ appraise as the reward of his efforts. I hereby present this introductory to show my respect and congratulation for him.
程代勒
對一位長期堅守傳統竹藝的雕刻家，需要努力創作多久才能準備一次個展，答案是七年，銘堂兄上回個展距今一晃眼七年了。
當今藝壇各類媒材紛呈，時人”喜新厭舊”已是常態，”竹”似乎被規入古老的歷史裡。雖然竹子在台灣分佈廣泛，產量豐富，竹子的加工品、生活用具並不匱乏，但由於從選料取材、防腐蒸煮等工作耗時費勁，且竹材質地堅硬，加上纖維組織密集，往往下刀受制於平行的纖維竹絲而難控制，不僅需強,而有勁的手臂，若無深厚傳統雕刻的根底是無法駕馭這種媒材，致使許多從事雕刻者望而却步，而銘堂兄却以堅毅無比的耐心走過了三十幾個寒暑。
陳銘堂出身農家，由於家境清苦，國小畢業即從師學藝。雖未進過學院，但他善於掌握任何學習的機會，虛心地向往來的藝術家請益，並珍惜各種相關知識，使其作品能跟隨時代的腳步，而不斷有新的創意。但是最重要的是他一貫的生活態度，不交際應酬，對生活的知足與感恩，對人生他有種細膩的體會，這才是他創作的原動力與源頭活水。喝口好茶隔絕俗世的塵囂，雖處鬧市，卻有紅塵不到我的悠閑自在，從山中拾來的野草也培養得枝繁葉茂，這種對生命的喜悅、對生活的品味，使他的作品中，”竹”不再只是客觀的材料，每片竹、每塊竹根部彷彿是有生命的，而他正小心翼翼的呵護，使其再現光華。
銘堂兄此次個展可略分兩個主軸，一是竹片部分，雖然竹片在材料上受限於竹子的弧度與厚度而沒有很大的揮灑空間，但他卻能突破此種限制，因勢制宜，發揮材料的特性而成為作品的特色，更在造型上細心規劃、反覆斟酌、揉合寫實與表現、極簡與抽象等元素，保留竹材的質性，佐以適性的刀法，從物象、肌裡的掌握到抽離，從題材的選擇到想像力的融通，更能從生活中出發，體驗一花一世界的自然之美，一草一木皆有情的人生境地，從新梳理古代工藝的當代美學觀。
同樣是竹，但是竹根的構造卻大不相同，它變化多端,而無相似。但銘堂兄卻善於取材，其竹根系列的作品往往能遷想妙得，化腐朽為神奇，對於竹根特殊的造型、紋理能善加運用，從盤根錯節中，以最精準的方式刪繁去簡，以洗錬的刀法來呈現物象之美，傳統工藝在他的作品中再次有了生機，有了時代的氣息。
與銘堂兄結緣近二十寒暑，我對傳統雕刻的知識也多半自與他閒聊泡茶之間，這是我為他第二次寫序，每回他的個展對我都是一大衝擊與驚嘆。要花多少的氣力才能克服媒材的侷限而做到如此的發揮，在竹雕道路上無怨無悔的付出令人動容，對每件作品從構思到完成，毎一步驟是如此慎重，競競業業的態度是值得欽佩的。
「傳統與現代」這是時下常討論又通常沒有結論的兩難課題，銘堂兄從生活出發，不矯飾、不說理，實在真誠地創作卻自有他的答案。他的個展將屆，辛苦耕耘當歡喜收割世人給予的肯定，付印專集之際，蒙邀為序，特贅數語以申敬賀之意。
」
Take Pleasure in Brooding Wonderful Thoughts—
Viewing Chen Ming-tang’s Bamboo Sculpture Solo Exhibition
Cheng Dai-le
How many years should a bamboo sculptor, who has been clinging to long-term traditional bamboo art, spend on creations to make an exhibition? The answer is 7 years. Chen’s present exhibition is 7 years after his last one.
Nowadays, various media for the works of art have emerged, and it’s normal that people love the new and dislike the old. Bamboo seems to be regarded as a historical material for creation. Bamboo is extensively grown in Taiwan, the crop being plentiful; therefore, the processed bamboo products or the bamboo supplies for daily use are quite popular. The processing of bamboo to make it a material for art works, the choice and obtainment of bamboos, the time consumed for boiling and preservation, and the difficulty in cutting the highly concentrated parallel fibers, all make this kind of material hard to manage. Without profound groundwork of traditional carving, one can never manage to use this material, and this is the reason why many sculptors feel nervous using bamboos. But Chen firmly has been clinging to his task for about 30 years.
Chen Ming-tang comes from a farming family. His family was poor but virtuous; he became a pupil of masters after he graduated from primary school. Though he never got a chance to enter college for education, he grasped each opportunity and remained open-minded and modest to learn from the artists he contacted. He treasures various fields of related knowledge, and makes effort to catch up the pace of time, producing unceasingly new ideas for creation. But the most important thing is his consistent living attitude: little social engagement, contentment and gratitude for present life. His refined experience toward life becomes the motive power and fountain for creation. Sipping a cup of nice tea, moving away from hubbub of the world, he enjoys the leisurely and carefree aura, and also the joy from cultivating the weeds he picked in the mountains into luxuriance. The delight and taste of life color his creations; bamboos are no longer objective materials for art, but every slice and piece of bamboo seems to have its life. Chen takes exceptional care for them to make them show their splendor.
Chen’s solo exhibition this time can be divided into two main parts, and one is the part of bamboo slice. Though confined to its arc and the thickness, bamboo is not adapted to a wide range of creation. But Chen broke this limit, taking actions that suits this situation, by develop the qualities of the material to become a character of the work. He designed its pattern elaborately, considered repeatedly, and made a fusion of realism and ex
Although a part of bamboo, the conformation of bamboo root is quite different, varying in shape and none of them being similar. Chen is good at obtaining the materials; therefore, the series of his creations on bamboo root, coming from the design which he has been brooding over, turning the plain into the splendid. He applies well the pattern and texture of bamboo, accurately simplifying the pattern from twisted roots, refinedly representing the beauty of the object. Traditional art works thus regain their vitality and the breath of time.
My friendship with Chen Ming-tang has lasted for almost 20 years. My knowledge about traditional sculpture mainly comes from his talks when we were making tea together. This is the second time I have been asked to write an introductory for him. Every one of his solo exhibition was a great wonder to me. It takes much effort to overcome the limit of the material to come into such elaboration. His devotion to bamboo carving is affecting. From conception to completion, he works so prudently on every step, and this conscientious attitude is admirable.
“The traditions vs the modern” is the often discussed issue of dilemma which usually comes to no conclusion. Based on the real life, Chen sincerely answers the issue in his own way, without pretense and preaching. His coming solo exhibition needs viewers’ appraise as the reward of his efforts. I hereby present this introductory to show my respect and congratulation for him.
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