展期：2025-03-01 ~ 2025-03-16
地點：富錦街91號（敦煌藝術中心）
參展藝術家：孫福昇
『 春遊 孫福昇個展 』
Spring Reverie Fu Sheng Sun Solo Exhibition
▍展期：2025 /03 /01（六）- 03/16（日）
▍開幕茶席 ： 03/01（六）15:00
雲南古樹茶席 沈山人老師主持
文｜ 孫福昇
譯｜ 嚴仲唐
做陶的我，心中經常是純粹淨空的狀態，在創造的過程中體象漸具，而精神也越加矍鑠。有時我覺得自己不是在創造藝術，比較像是在呼喚出原本就會出現的東西，無須特別用力，當然這也許是因為我已經非常熟稔這個媒材創作的過程了，我幾乎與它相融。所以我並沒有特別想要表現什麼，就如心經「以無所得故」，無智亦無得，尤其是柴燒的過程，儘管窯位、火路設計都盡量做到最佳，但一但開始點火誰都沒有把握，窯溫是否能如預期，尤其銅紅釉是如此的難以掌握，所以何妨順其自然讓火的流動、土的本質與自性表現即足矣，如同莊子的「逍遙遊」般，唯有體認無名無功，不受外物牽累，則燒窯時心境自然可以逍遙物外，得到創作上的絶對自由。
木葉天目盞是中國陶瓷史上的一個傳奇，黑盞中一片殘葉，禪意無限，但宋代天目盞尚黑為襯托點茶的白色茶沫，以及便於分辨水痕，但現代飲茶喜好觀賞茶色，於是轉黑為白以白盞紅葉作為與當代茶藝的呼應。
恰好，這次封窯的時間就是今年的立春，一切就是這麼簡單碰巧，希望作品一如我對生命的嚮往，清新淡雅，能展現新年春人春景、銅紅、霽藍器物交織的和美景象。
Spring Reverie
As a ceramic artist, my mind is often in a state of pure emptiness. During the creative process, forms gradually take shape, and my spirit grows more invigorated. Sometimes, I feel that I am not creating art but rather summoning something that was always meant to appear—effortlessly, as if it requires no force. Perhaps this is because I am deeply familiar with this medium, so much so that I have almost become one with it. I do not set out with the intention of expressing anything in particular. As the Heart Sutra says, "With nothing to attain," there is neither wisdom nor gain. This is especially true in wood-fired pottery. Despite meticulously planning the kiln placement and fire path, once the firing begins, nothing is guaranteed. The kiln temperature may not rise as expected, and copper-red glaze is notoriously difficult to control. So why not simply let things take their natural course? Let the movement of fire, the essence of clay, and the nature of the materials speak for themselves. Like Zhuang Zhou’s Free and Easy Wandering, only by recognizing the nameless and meritless, free from external burdens, can one attain absolute creative freedom and transcendental serenity in firing ceramics.
The Yohen Tenmoku tea bowl is a legend in Chinese ceramic history—a single fallen leaf within a black-glazed bowl, embodying infinite conception of Zen. In the Song Dynasty, black-glazed Tenmoku bowls were designed to highlight the white froth of whisked tea and to make watermarks more visible. However, modern tea culture appreciates the color of tea itself, leading to a shift from black to white. A white bowl with a red leaf now resonates with contemporary tea aesthetics.
Coincidentally, the kiln sealing for this firing happened to fall on this year’s Lichun (the beginning of spring). Everything came together simply by chance. I hope my works reflect my yearning for life—fresh and elegant, capturing the harmonious beauty of spring’s renewal, interwoven with copper-red and sacrificial blue glazes.
