1949年出生於香港的黎志文，大學就讀國立臺灣藝術專科學校（今國立臺灣藝術大學）雕塑科，畢業後至義大利著名的世界雕塑中心卡拉拉石礦區亨魯石雕工作室學習雕刻，在工作室見習期間使其有機會接觸到如亨利．摩爾、野口勇、彼得．卡耶拿等國際著名藝術家。經歷了四年學藝生涯後，獲美國雕塑家羅伯．魯辛研究獎學金至美國懷俄明州攻讀碩士，並於1980年取得美國懷俄明大學雕塑碩士學位。之後則遠赴荷蘭遊學，於1982年取得荷蘭職業藝術家資格，正式展開專職藝術家生涯。黎志文同時身為臺灣現代雕刻學院系統第一代的教學開拓者，於1984年國立藝術學院（今國立臺北藝術大學）邀請其回臺於美術系任教以來直至2016年退休，奉獻於教授石雕藝術超過三十載。綜觀其石雕哲學，於材料自然的型態與質感加上人為意志的切割造境，以看似接近偶然的隨意，以及材質彼此關係營造所產生的天趣，是藝術家反覆與材料對話，經年累月推敲、去蕪存菁的心得體現，從中展現之從容的自信、清晰的永恆，代表了臺灣一整個世代雕刻美學的總結。

Born in Hong Kong in 1949, Lai Chi Man studied sculpture at the National Taiwan Academy of Arts (the predecessor of the National Taiwan University of Arts today). Afterwards, he went to Henraux at Carrara, the hub of sculpture in Italy known to the world, for sculpture learning. In the meantime, Lai had the opportunity to work with eminent world-class artists like Henry Moore, Isamu Noguchi, and Pietro Cascella. After four years of study, he was awarded the Robert‭ I. ‬Russin Fellowship in Sculpture‭ and further his education ‬in Wyoming‭, ‬U.S.A., thereby receiving his M.F.A. degree from the University of Wyoming, U.S.A. in 1980. Then, Lai went to the Netherlands for study. In 1982, he was admitted as a member of professional artists in the Netherlands and kicked off his career as an artist by trade. Being the forerunner for the first generation of the modern sculpture academic education system in Taiwan, Lai returned to Taiwan at the invitation of the National Institute of the Arts (the predecessor of the Taipei National University of the Arts today) in 1984 to teach at the Department of Fine Arts, until his retirement in 2016, with over three decades of his life dedicated to the education of stone sculpture art. Lai’s philosophy for stone sculpture employs the natural forms and textures of the material, along with the cutting of the personal will. The seemingly sporadic randomness, combined with the natural amusement from the relationships between textures, is the artist’s persistent dialogues with materials. It is an incarnation of his mind born from years of banging and shaping in an attempt to preserve essence, whereas the composed confidence as well as the vivid perpetuity manifested therein bears witness to the culmination of the sculpture aesthetics of the whole generation in Taiwan.‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬ ‬‬‬

黎志文 Lai Chi Man

關渡美術館位於國立臺北藝術大學校園內，依山而建，俯看關渡平原，是臺灣第一所藝術大學專業美術館，期待透過學術研究、專業教學與鼓勵創作的相互激盪，成為充滿開放性與年輕能量的跨界藝術領域，提供與眾不同的展覽詮釋。全館六層空間，包含九個展廳及兩個戶外廣場，室內外展覽空間共計有2400平方公尺，靈活有機的設計風格猶如一件當代藝術作品。隨著季節變換顏色的關渡平原是美術館的景深，來自藝術家爆發的創作能量，則成為美術館多元包容的精神核心。

關渡美術館本體建築於1996年竣工，2001年舉辦首展「千濤拍岸—臺灣美術一百年展」後，獲教育部補助進行內裝，並於2005年3月重新開幕。關渡美術館以積極、專業的展覽策畫為核心，經營具有特色、活力與創意的美術館，以達到大學美術館在展覽籌畫、研究典藏、藝術教育及國際交流之任務。我們也期許關渡美術館能成為容納藝術想像力與文化創造力的最大空間。

Kuandu Museum of Fine Arts (KdMoFA), situated within the campus of Taipei National University of the Arts, was constructed alongside the mountain slope, overlooking the Kuandu Plain. It is the very first professional museum operated by a university of arts in Taiwan. Through academic research, professional pedagogy, and mutual inspiration of creativity, KdMoFA is expected to be an inter-disciplinary realm of art, full of space and young energy, providing extraordinary interpretation of exhibition. A 6-story tall museum, comprising 9 galleries and 2 outdoor plazas, offers 2,400 square meters of exhibition space in total, with an organic style of flexibility as if it is a piece of contemporary art itself. The varied colors of the Kuandu Plain due to seasonal changes is the field depth of the Museum, while the eruptive energy of artists embodies the spiritual core of variety of KdMoFA.

The main construction of KdMoFA was completed in 1996. After its first exhibition "Waves Striking: One Hundred Years of Taiwanese Arts" in 2001, the Museum received funds from Ministry of Education for its interior design, and consequently reopened in March 2005. KdMoFA, with proactive and professional curating as its heart, maintains a unique artistic space rich in energy and creativity, so as to accomplish the missions as a museum of university in exhibition, research and collection, art education, and international communication. As such, KdMoFA shall be a sphere encompassing all the imagination of art as well as creativity of culture.

關渡美術館 Kuandu Museum of Fine Arts

共同體 Community

圓方 Circle and Square

向孔夫子致敬 Tribute to Confucius

石板與繩子 Slate and Rope

模型習作 Modeling Study

之間 Between

生命之樹 Tree of Life

太空探險 Exploring the Space

孩子不要哭 Kids Don't Cry

山水 Landscape

草圖 Sketches

房子 House

彩虹 Rainbow

主體性 Subjectivity

雲 Cloud

下雨 Raining

放輕鬆 Relax

家裡有人嗎？ Anybody Home?

屋子 House

空間的探索 Exploration of the Space

祭天 Gratification

土屋 Earthen House

雕塑家的筆山 Sculptor's Penholder

發現 Discovery

「美恆古不變，其變者人心，而心平則美。」──黎志文

在80年代以前，臺灣的雕塑創作大多是以紀念銅像、木雕神像、動物泥塑為主的寫實雕塑。解嚴前後，西方藝術思想大量傳到臺灣，與世界接軌的趨勢逐漸形成，加上自歐美回國的藝術家將現代雕塑的觀念帶到臺灣，他們在革新形式之餘，也試著將東方意識漸與土地、生活融合，最終發展出臺灣80年代的雕塑特色──具有東方情懷的抽象雕塑。

在這批藝術家之中，黎志文具有相當的代表性。這位出生於香港，曾在臺灣求學、在歐美生活、創作的藝術家有著東方哲學涵養，也熟悉西方藝術的表現形式，因此他在創作時便汲取東方意象，再轉化成現代雕塑語言，形成了個人的創作語彙。

黎志文曾說自己喜歡將兩種差異性安排在一起以產生新意念和形象，這種矛盾關係所產生的張力在東方語言中經常被使用著，例如：「有無」、「同異」、「生死」、「動靜」等。因此，當觀者在自然肌理與人為雕鑿之間來回觀看、撫觸時，兩者的「關係」既被凸顯也被連結，也更能感悟相應相生的東方哲理。

黎志文作品中的剛與柔、個別與一體、自然與人為等內涵都可以延伸至現實生活中種種的關係，透過黎志文的現代雕塑，這些古老的東方智慧得以感官的覺察方式融入現代生活空間。
文／鄭惠文　教授

“Beauty remains unchanged for good; it’s the human heart that shifts, whereas beauty shines through as the heart finds peace.” – Lai Chi Man

Prior to the 1980s, the sculpture works in Taiwan were mostly realistic sculptures like memorial bronze statues, wooden idols, and animal clay sculptures. After martial law was lifted, the philosophy of Western art flowed immensely into Taiwan. The trend that bridged to the world was taking its form. On top of that, the artists returning from Europe and America ushered in the idea of modern sculptures to Taiwan. Revolutionizing the forms aside, they sought to fuse the consciousness of the East with land and life. Ultimately, they gave birth to a kind of sculptures of Taiwan in the 1980s – abstract sculpture rich in oriental emotions.

Lai Chi Man is rather representative amongst these artists. Born in Hong Kong, educated in Taiwan, and living and working in Europe and the U.S., he is an artist cultivated with the philosophy of the East and familiarized with the presentations in Western art. As such, he draws the Eastern imageries before turning them into modern sculpture vocabulary, forming the creative lexicon unique to his own.

Lai remarked he is keen to juxtapose two contrasting existences together to give rise to new concepts and images. The tension born from this kind of contradictory relationship is often employed in the Eastern language, such as “with vs. without”, “same vs. different”, “life vs. death”, and “motion vs. motionless.” Hence, as spectators examine and caress betwixt the natural texture and artificial craftsmanship back and forth, the “relationship” between the two is highlighted and connected, which renders a better appreciation as to the Eastern philosophy of intergrowth.

The connotations of hard and tender, individual and collective, as well as natural and artificial in Lai’s works can all extend to all sorts of relationships in real life. Through the modern sculptures of Lai Chi-Man, this archaic Eastern wisdom shall find its way into the modern living spaces detectable via senses.

By Cheng Hui-wen

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黎志文個展

觀音石、繩子，200 × 27 × 12公分，1986。
Guanyinshan stone, rope, 200 × 27 × 12 cm, 1986.