設計：何忠堂
製作： 許慶福 何忠堂 吳昊澤 孫珮鈴
島嶼的樣貌，由土地、生活與時代層層堆疊而成；工藝，則是不同年代裡，人們對生活最真實的紀錄。
本裝置以工藝中心典藏的精緻陶瓷為核心。櫥窗內，一件件鳥類與動物陶瓷錯落其中，透過器物之間的排列、姿態與空間層次，構築出一幅充滿生命氣息的島嶼風景，也映照出人與自然、生活與工藝之間長久而細膩的關係。
1960 至 1980 年代，臺灣精緻陶瓷曾是重要的外銷產業，許多作品從這座島嶼走向世界，承載著當時的產業能量與生活美學。細膩的彩繪、溫潤的釉色，以及繁複而講究的裝飾工法，不只是工藝技術的展現，也映照著當時人們對生活與居家風景的想像。
這不只是一次靜態展示，更是一場跨越時空的對話。透過這些陶瓷作品，我們重新思考工藝與生活、文化消費及地方經濟之間的關係，希望讓工藝再次回到當代日常，成為常民生活的一部分。
Design: Zhong-Tang He
Fabrication: Ching-Fu Hsu, Zhong-Tang He, Hao-Tse Wu, Pei-Ling Sun
The face of an island is layered with landscapes, lives, and generations. Craft arts on the other hand, are among the most faithful records of everyday life across different eras.
This installation takes the delicate ceramics collected by NTCRI as its core. Within the display windows, ceramic pieces depicting birds and animals are carefully arranged. Through their layered placement and spatial composition, the work constructs a landscape filled with life, reflecting the long-term and delicate relationships between people, nature, daily life, and craft arts.
From the 1960s to the 1980s, decorative ceramics became an important export industry in Taiwan, with many works distributed worldwide. These objects embodied the industrial vitality and aesthetic sensibilities of the era. Their delicate paintings, warm glazes, and meticulous decorative techniques not only demonstrate exceptional craftsmanship, but also reflect people’s imagination of home and everyday living at the time.
This is not merely a static exhibition, but a dialogue that transcends time and space. Through these ceramic works, we reconsider the relationships between craftsmanship and daily life, cultural consumption and local economies. By doing so, we hope to bring craft back into contemporary life and make it once again part of ordinary people’s everyday experience.
