Interview with Iutian Tsai
商業周刊專題報導
凝固空中的書法筆觸：蔡育田的公共雕塑
藝術家蔡育田2023紐約藝術博覽會“居心流”展覽
ART REVIEW CITY
DESIGN RADIANT
MOOD MUSEUM DESIGN
中時新聞網
加拿大品位雜誌
ETtoday新聞雲：台灣第一人 蔡育田拿下倫敦藝術雙年展總會大獎
點子農場／重塑藝術市場生態系
商業周刊專題報導
凝固空中的書法筆觸：蔡育田的公共雕塑
藝術家蔡育田2023紐約藝術博覽會“居心流”展覽
ART REVIEW CITY
DESIGN RADIANT
MOOD MUSEUM DESIGN
中時新聞網
加拿大品位雜誌
ETtoday新聞雲：台灣第一人 蔡育田拿下倫敦藝術雙年展總會大獎
點子農場／重塑藝術市場生態系
THE NOBLE ART OF PURSUING HAPPINESS
Drawing wisdom and contentment from nature and ancient philosophy, artist Iutian Tsai finds deeper meaning in his works
Story by Cherry Chen English text by Charlene Co Photos courtesy of Iutian Tsai
The value of art extends beyond its visual elements to awaken our senses to profound experiences—such are the deeply held beliefs of Taiwanese artist Iutian Tsai. His work pays homage to ancient East Asian philosophies, enabling his audiences to develop a connection to the natural world and the vast universe.
At the prestigious London Art Biennale in 2023, Tsai’s sculpture, Galloping Ox, stood out amid a sea of nearly 80,000 artworks from around the globe. His piece earned him the esteemed International Confederation of Art Critics Award, with the sculpture’s powerful presence leaving art professionals and enthusiasts in awe.
Tsai’s inspiration for the piece emerged against the turbulent backdrop of 2021—the Year of the Ox—a time when the COVID-19 pandemic raged, economies faltered, and fear and anxiety gripped communities. Through his art, Tsai aimed to harness the ox’s symbolism to lift people’s spirits.
The essence of water and ink
Tsai’s artistic journey began with Chinese ink painting at Tunghai University where he studied under the guidance of renowned Taiwanese painter and author Chiang Hsun. After graduation, Tsai delved into crafting public art for his neighbourhood.
“My sculptures embody the fluidity of water, resembling a conductor’s graceful gestures or the changing seasons with its rhythmic flow,” he says.
Lao Zi wrote in the Tao Te Ching over 2,000 years ago, “The highest form of goodness is like water.” Water yields to everything, yet it can erode even the most solid rocks. Throughout Chinese history, water has carried profound philosophical connotations, which may explain why ancient Chinese scholars favoured water and ink as their mediums of artistic expression.
Ink, in turn, conveys an enduring pursuit of beauty and wisdom with its monochromatic yet elegant character. “Ink carries a profound philosophy and wisdom within it,” Tsai says.
As the artist’s delicate brush dips into the ink and alights upon the paper or silk, water permeates the fine fibres, which come to resemble tiny streams. The ink, as ethereal as smoke, embodies the essence of the pine from which it originates, finding its resting place along the path of water.
“This is why one must be in a state of ease when creating Chinese ink paintings,” Tsai says. “Go with the flow, let things unfold naturally, and your artwork will eloquently convey your state of being to the viewer.”
Whether in sculptures like Galloping Ox or Flow With the Spirit of Water, which earned him the Platinum A’ Design Award in Italy, Tsai’s creations exude the scholarly spirit of ancient China. They’re either elegant and poised or bold and vigorous. Displaying an array of intricate shapes and sizes, these works resemble calligraphic characters infused with so much energy that they seem to leap off the ground.
Tsai’s sculptures embody his carefree and unbridled spirit, seemingly liberated from the constraints of the mundane world. It’s as if the indomitable spirit of the ancient literati has been
solidified into formidable steel, allowing viewers to perceive a tangible, three-dimensional manifestation of the powerful flow of water and the aura of ink.
Contemporary sculptures with ancient wisdom
Every time Tsai embarks on a new public art project, he poses a fundamental question to himself: “What kind of influence and meaning can a piece of public art bestow on those who surround it?” For instance, when he set out to create Flow With the Spirit of Water for a modern office building, his first thought was to consider the needs of the building’s thousands of employees.
This thought process had become a habit for Tsai. In his youth, he endured a gruelling three-hour daily commute to attend an art design academy. Even as a young observer, he noticed that the hurried adults rushing to their destinations appeared far from joyful or energetic as they began each new day. Instead, fatigue dominated their demeanour, sparking Tsai’s curiosity about why people often failed to lead happy lives.
Despite living in an era characterized by unprecedented material wealth and advanced technology, people appeared no happier or content; instead, they were more mentally strained and anxious. From birth, they were expected to excel in school, acquire degrees, secure jobs, and toil relentlessly to build successful careers. It was as if they were trapped in a world of steel and concrete that stealthily eroded the innocent joys of childhood.
“We devote a significant portion of our lives to education and endure the pressures of exams, all to pursue a promising career after graduation. But do these endeavours truly satisfy us? Plenty of millionaires don’t feel satisfied or even happy, so how much wealth must we accumulate before we find contentment?” Tsai says.
Through his art, he continued to seek answers to these fundamental questions. In the process, he delved into the writing or scriptures of great historical figures like Lao Zi, Confucius, or the Buddha.
“Buddha’s teachings enabled me to see beyond this constructed reality and glimpse the true essence of things. Taoism has revealed to me the Way of the universe. Just like plants require water and sunlight to flourish, we mustn’t oppose this great Way or we’ll encounter conflicts and hardships. Meanwhile, the ethical principles of Confucianism guide us to live harmoniously within the social order, preventing us from straying from our roles due to selfish desires,” Tsai says.
His philosophical and thoughtful approach is perhaps what has resulted in his serene mindset and led his art to consistently win major international awards.
Connection with nature
According to Tsai, while modern education teaches people to establish themselves in the world, it falls short of imparting the skills needed to discover satisfaction and joy. However, when individuals transcend the world’s complexities and align their actions with the Tao, they naturally find happiness in the flow of life.
“Modern life has disconnected people from nature. Everything is artificial and lifeless. The simplest route to happiness is to immerse yourself in nature. The wind and water flow like lifeblood,” Tsai says.
As an integral part of nature, our bodies are connected to the natural world and sustained by every facet of its cycle. “That’s why, when you venture into nature, feel the breeze, and savour the fragrance of flowers and grass, you’ll begin to feel better without even realizing it.”
In response to the absence of nature in modern office buildings, Tsai strives to address this deficiency through his public sculptures. In a sense, the resulting creations serve as a portal to another realm, enabling individuals to resonate with nature and the cosmos. Those who encounter his sculptures may just feel a surge of energy as they momentarily break free from the world of metal and concrete to experience relief and satisfaction.
A universal language
In 2023, Tsai presented a solo exhibition titled In the Flow of the Spirit at Artexpo New York, where he received the “Best Sculpture” award.
A young woman and her friend joyfully conversed during the exhibition as they explored the artwork. When they saw the piece Flow with the Spirit of Water, the young woman suddenly burst into tears. She confided to Tsai that while she had also cried amid the ancient ruins of Greece and Egypt, this marked the first time a piece of contemporary art had moved her so deeply. Little did she know that Tsai’s work also drew from the wisdom of ancient civilizations.
At that moment, a bridge spanning millennia and cultures must have formed, touching her heart in a profound manner. That is the power of art that continues to move people across time and space.
導語:在蔡育田心中，藝術的價值在於“打破認知框架，啟發感受境界”，是生命中一扇探索世 界的窗口，從中尋找到他與自然和宇宙之間的同頻共振。
此心流處是安然
在2023年倫敦藝術雙年展上，國際藝術評論聯合總會大奬頒發給了一位來自台灣的雕塑家 —--蔡育田的作品《金牛奔騰》從全球八十個國家的近八萬件作品中脫穎而出，攜著來自東方 文化的古老意韻，如這座充滿內在蓬勃凝厚力量的金屬雕塑般，振奮了世界各地的藝術專業人 士和愛好者。
“《金牛奔騰》是我在2021年農曆牛年創作的，當時新冠病毒正在流行，社會經濟低迷，人心 恐慌不安。我想利用牛所象徵的力量振奮人心。”那時，蔡育田居住在一座稻田村落的老農舍 之中，每日靜聽黎明時清脆的鳥鳴聲，欣賞著雲霧籠罩的遠山，也面對那一片片陽光灑落的稻 田，感受到天地之間孕育萬物的偉大能量。“我從這片土地中獲得了一種滋養，這種滋養豐滿 了我的作品。”
水墨精神
在蔡育田的雕塑作品中，無論是此次在倫敦獲獎的《金牛奔騰》，還是他曾獲得有“設計界奧 斯卡”之稱的意大利國際設計大賽公共藝術類白金首獎的雕塑《水作精神玉作魂》，我們都可 以從中感受到一股濃郁的中國古代士人的水墨情懷。如毛筆那時而飄逸灑脫，時而雅麗端凝， 時而又雄渾蒼勁，變化萬千、豐富多姿的筆觸，揮灑在文字上，描繪在畫卷裏，仿佛將自然的 能量與氣息匯聚起來，又在鐵畫銀鉤的妙筆下氤氳升騰。
蔡育田的藝術之路正是始於水墨畫，並曾在台灣東海大學學習水墨畫期間師承台灣著名畫家和 作家蔣勳。畢業後，他參與到了社區規劃建造的工作中，機緣巧合之下走上了公共藝術創作的 道路。“我創作公共藝術最核心的東西，是把水做成精神。整件雕塑是一種水的流動，像音樂 流動的那種頻率，像指揮家的手勢，四拍的起承轉合，像是四季的變化。”
當老子在《道德經》中闡述了“上善如水”，並細述了水“利萬物而不爭”、“居善地”、“心善淵”等 美好品質之後，水便成為了中國人心目中最“故幾於道”的象征。中國文人們也選擇了水墨作為 書法和繪畫的主要媒材，在千年的時光中以一縷素雅飄逸的墨色抒發著心中於美、於道的不盡 追尋。
“這背後是有深刻的哲理和生命智慧的。”蔡育田細細解說著他關於水墨的思考。繪畫用的墨源 於松木燒成的煙灰，加水後仿佛恢復到了它當初煙氣繚繞的狀態。用柔軟的毛筆沾上墨水，落 筆在宣紙或是絲絹上，水浸潤了紙或絲那細密的纖維，如一條條微小的溪流在紋理間流淌，墨 色則似舟浮在水上，隨水而行。這一過程，如同一場人與自然之間天衣無縫的協作，那輕薄如 煙的墨跡是松木燃燒的氣息，又是水流淌過的路徑，是能量的流動，是自然的規律。
“所以畫中國水墨畫時人的狀態是自然的，無為而治、順天應人。那落下的筆跡會清楚地還原 作者彼時的狀態，透露給看畫的人。”當我們前往博物館觀賞中國古人的書畫作品，我們可以 從柳公權結構嚴謹、遒勁硬朗的楷書中感受到他剛正不阿、傲然風骨;從王羲之行雲流水、風 神靈動的《蘭亭序》中領略千古“書聖”的曠達灑脫、超然不羈。在元代畫家黃公望的《富春山 居圖》中隨他氣象萬千的筆法淡然款曼地走過春夏秋冬，縱情山水之間、超脫紅塵之外;也沉
浸在顧愷之《洛神賦圖》那旖旎浪漫的氛圍之中，隨他流轉自如、舒放酣暢的線條勾勒，去踏上一場飄逸奇幻的仙境之旅，轉眼歷經世間的驚喜與悲哀、無奈與惆悵。
這些流傳千古的水墨書畫作品恰如那些同樣雋永深長的東方詩詞，含蓄內斂，似瑩潤的玉石溫文爾雅、謙和純潔，似一杯清茶淡香怡人、回味無窮。將縷縷情思心緒寄託於那水墨流淌之中，看似素淡清雅卻蘊藏著回味無窮的內涵和餘韻。仿佛拋卻了表面的光怪陸離、喧囂繁華，留下最本真的心境印記，不因歲月的侵蝕而褪色，不因世事的變遷而斑駁。
“他們真正帶給我們的是精神的啟發。我們沿著他們的筆觸可以還原出他們當時不管身處何種 境遇，甚至是很低谷的時候，依然氣定神閒、瀟灑自若，這樣的人品氣度、生命狀態是令人敬 仰和憧憬的。”在蔡育田的雕塑作品中，那些古人們揮灑下的筆墨風度和精氣神采，像是被用 堅實的金屬凝固下來，並在一處更為廣大的三維空間中讓“墨色”酣暢淋漓的湧動流淌，令當下 的人們能更清晰的感受到其中所蘊藏的精神能量。
心流藝術
蔡育田在創作每一件公共藝術雕塑時都會思考這樣一個問題:“一件處於公共場域的藝術品會 為每日看到它、走近它的人帶來怎樣的影響和意義。”當他創作位於一座現代商業大廈之前的 《水作精神玉作魂》時，關於“那些日後在大廈中工作的數以千計的人們，他們需要什麼?”這 一問題自然浮現了出來。
這不是蔡育田第一次思考當代人的生活狀態，最早可以追溯至他中學時，甚至更年幼。那時， 他就讀於一所美工科學校，每天一大早要通勤三小時去上課。正是“少年不識愁滋味”的蔡育田 看著火車、公車上那些行色匆匆的成年人們，發現大多數人的臉上都沒有新的一天開始時的欣 喜和活力，反倒滿是困倦和疲憊，連笑容都難得看到一個，這讓他的心中不禁充滿了疑惑“這 世上的人為什麼都活得這麼不快樂呢?”
也許在有記載的這數千年的歷史中，我們當下所處的時代物質是很豐富的，科技也很發達。不過，人們的滿足感和幸福感卻似乎並沒有因此而增加，反倒是精神上前所未有的焦慮、不安和空虛。每個生活在現代社會中的人，幾乎從出生起便要面對種種有形無形的壓力，一路升學工作，拼搏事業，積累財富，像是被禁錮在又冷漠又堅硬的鋼筋水泥構建的盒子裏、軌道裏，逐漸習以為常，甚至不曾注意到自己孩提時期曾經擁有的自然靈性與純真快樂就這樣慢慢消失殆盡。
“我們讀了許多書，應付考試，為了畢業後找份好工作，生活下去。可這真的會讓我們安心 嗎?許多巨富過得都不安心，更談不上開心，我們又要積累多少財富才會安心呢?”在獲得了 數項國際大獎之後，蔡育田受到各方的關注越來越多，但他依然沒有把藝術當成一份產業去經 營，而是像年少時一樣，想從藝術中去尋找“人為什麼不快樂?如何才能快樂?”的答案。
“我如今是否接受一個項目，還是會看自己如果去做是否會感到安心，不會想是不是能得獎。” 蔡育田說自己之所以能保持如此淡然從容的心態，甚至能無求而自得的屢獲國際大獎，主要是 源於從中國儒、釋、道三家思想中汲取的生活和創作智慧。“讀歷史上老子、莊子、釋迦牟尼 的著作、經文，你可以感到他們是真正開心的，他們的話中有真正的智慧，可惜現在並沒有人 願意聽他們的話。”
“佛家的思想讓我透過現實的虛妄去看到本質;道家揭示著宇宙的大道，如同植物生長需要水 和陽光，你無法跟這樣的大道背道而馳，否則你就會矛盾和痛苦;而儒家的倫理次第，讓我們 更好地遵守社會的秩序，不會因私慾妄念而偏離自我的定位和角色。”在蔡育田看來，現代的 教育看似處處標榜如何讓人更好的安身立命，卻恰恰忽視了這些最重要的部分。當一個人能超 脫出現世的種種紛繁擾亂，去感受到世間運轉的大道，並遵循道去行事，自然會從安寧平順中尋找到屬於自己的那份快樂。
“最簡單的獲得快樂方式，就是走進自然。現代的生活都是在將人與自然割裂開，周圍都是人 造的、沒有生氣的東西。”這種生命的氣息在蔡育田眼中，正是中國風水理念中最重要的因 素。“風和水都是流動的，就像人的氣血。”它們攜帶著自然的元素，其中有一種生命本質的能 量。如一顆種子從冒芽到開花，最終再度結出果實重歸泥土，這生命輪迴的過程讓能量在大自 然中流轉不息，與人的身體產生著奇妙的共振，自動補充著人體所需要的養分，形成一個類似 充電式的化學反應。“所以你來到大自然中，吹吹風、聞聞花草香，不知不覺就會感覺心情舒 暢了。”
既然現代商業辦公區周圍無法擁有充溢著自然之力的環境，蔡育田便通過他的雕塑去彌補。他 將中華文化中最能代表天人合一、道法自然精神的元素—--內涵無窮力量的至善之水和象征謙 謙君子之風的玉的意韻融入進他的作品中，讓看到雕塑的人自然感受到其中能量的流動，暫時 從鋼筋水泥的方盒和機械的工作生活模式中掙脫出來，體驗到靈魂精神的紓解和滿足。
“這個宇宙生生不息的背後似是有一個意念在推動。那可以簡單說是一種愛、一種慈悲，因為 它是正向的。它推動著各種經歷、各種情緒、各種感受的流動，讓你從這愛的流動當中去體驗 生活，體驗人生的各種經歷。”這便是蔡育田提出的“心流藝術”的由來，是他希望這股愛與慈悲 的能量可以在世間萬物和無限宇宙中流轉不息、輪迴不止的祈願。
這股能量可以打破民族、國家與文化的界限，讓許多觀賞到蔡育田作品的觀眾產生一種內心深 處的莫名感動。2023年，蔡育田在紐約藝術博覽會上舉辦了題為《居心流》的個展。“一位西 方女孩和她的朋友有說有笑地來看展，但當她看到《水作精神玉作魂》雕塑時，眼淚突然止不 住的流了下來。”女孩說，她上兩次這樣情不自禁，還是在前往希臘和埃及看到那些古跡時， 這是她第一次看到現代藝術潸然淚下。“她不知道我的作品背後也是古老的文化和智慧在其中 ，她的心流頻率在那一刻與我的作品產生了同頻共振，不由自主地激動起來。”
最終，蔡育田在此次展會上榮獲了最佳雕塑獎。這一次次的獲獎經歷仿佛是他的“心流藝術”在 款款流過不同的場域，與不同的人發生著同頻共振的反應。這種反應在不斷的累積中會愈加強 烈而廣泛，逐漸由涓涓細流匯聚成無垠大海，為更多人送去一份讓心安寧平和下來的滋養和能量。
Drawing wisdom and contentment from nature and ancient philosophy, artist Iutian Tsai finds deeper meaning in his works
Story by Cherry Chen English text by Charlene Co Photos courtesy of Iutian Tsai
The value of art extends beyond its visual elements to awaken our senses to profound experiences—such are the deeply held beliefs of Taiwanese artist Iutian Tsai. His work pays homage to ancient East Asian philosophies, enabling his audiences to develop a connection to the natural world and the vast universe.
At the prestigious London Art Biennale in 2023, Tsai’s sculpture, Galloping Ox, stood out amid a sea of nearly 80,000 artworks from around the globe. His piece earned him the esteemed International Confederation of Art Critics Award, with the sculpture’s powerful presence leaving art professionals and enthusiasts in awe.
Tsai’s inspiration for the piece emerged against the turbulent backdrop of 2021—the Year of the Ox—a time when the COVID-19 pandemic raged, economies faltered, and fear and anxiety gripped communities. Through his art, Tsai aimed to harness the ox’s symbolism to lift people’s spirits.
The essence of water and ink
Tsai’s artistic journey began with Chinese ink painting at Tunghai University where he studied under the guidance of renowned Taiwanese painter and author Chiang Hsun. After graduation, Tsai delved into crafting public art for his neighbourhood.
“My sculptures embody the fluidity of water, resembling a conductor’s graceful gestures or the changing seasons with its rhythmic flow,” he says.
Lao Zi wrote in the Tao Te Ching over 2,000 years ago, “The highest form of goodness is like water.” Water yields to everything, yet it can erode even the most solid rocks. Throughout Chinese history, water has carried profound philosophical connotations, which may explain why ancient Chinese scholars favoured water and ink as their mediums of artistic expression.
Ink, in turn, conveys an enduring pursuit of beauty and wisdom with its monochromatic yet elegant character. “Ink carries a profound philosophy and wisdom within it,” Tsai says.
As the artist’s delicate brush dips into the ink and alights upon the paper or silk, water permeates the fine fibres, which come to resemble tiny streams. The ink, as ethereal as smoke, embodies the essence of the pine from which it originates, finding its resting place along the path of water.
“This is why one must be in a state of ease when creating Chinese ink paintings,” Tsai says. “Go with the flow, let things unfold naturally, and your artwork will eloquently convey your state of being to the viewer.”
Whether in sculptures like Galloping Ox or Flow With the Spirit of Water, which earned him the Platinum A’ Design Award in Italy, Tsai’s creations exude the scholarly spirit of ancient China. They’re either elegant and poised or bold and vigorous. Displaying an array of intricate shapes and sizes, these works resemble calligraphic characters infused with so much energy that they seem to leap off the ground.
Tsai’s sculptures embody his carefree and unbridled spirit, seemingly liberated from the constraints of the mundane world. It’s as if the indomitable spirit of the ancient literati has been
solidified into formidable steel, allowing viewers to perceive a tangible, three-dimensional manifestation of the powerful flow of water and the aura of ink.
Contemporary sculptures with ancient wisdom
Every time Tsai embarks on a new public art project, he poses a fundamental question to himself: “What kind of influence and meaning can a piece of public art bestow on those who surround it?” For instance, when he set out to create Flow With the Spirit of Water for a modern office building, his first thought was to consider the needs of the building’s thousands of employees.
This thought process had become a habit for Tsai. In his youth, he endured a gruelling three-hour daily commute to attend an art design academy. Even as a young observer, he noticed that the hurried adults rushing to their destinations appeared far from joyful or energetic as they began each new day. Instead, fatigue dominated their demeanour, sparking Tsai’s curiosity about why people often failed to lead happy lives.
Despite living in an era characterized by unprecedented material wealth and advanced technology, people appeared no happier or content; instead, they were more mentally strained and anxious. From birth, they were expected to excel in school, acquire degrees, secure jobs, and toil relentlessly to build successful careers. It was as if they were trapped in a world of steel and concrete that stealthily eroded the innocent joys of childhood.
“We devote a significant portion of our lives to education and endure the pressures of exams, all to pursue a promising career after graduation. But do these endeavours truly satisfy us? Plenty of millionaires don’t feel satisfied or even happy, so how much wealth must we accumulate before we find contentment?” Tsai says.
Through his art, he continued to seek answers to these fundamental questions. In the process, he delved into the writing or scriptures of great historical figures like Lao Zi, Confucius, or the Buddha.
“Buddha’s teachings enabled me to see beyond this constructed reality and glimpse the true essence of things. Taoism has revealed to me the Way of the universe. Just like plants require water and sunlight to flourish, we mustn’t oppose this great Way or we’ll encounter conflicts and hardships. Meanwhile, the ethical principles of Confucianism guide us to live harmoniously within the social order, preventing us from straying from our roles due to selfish desires,” Tsai says.
His philosophical and thoughtful approach is perhaps what has resulted in his serene mindset and led his art to consistently win major international awards.
Connection with nature
According to Tsai, while modern education teaches people to establish themselves in the world, it falls short of imparting the skills needed to discover satisfaction and joy. However, when individuals transcend the world’s complexities and align their actions with the Tao, they naturally find happiness in the flow of life.
“Modern life has disconnected people from nature. Everything is artificial and lifeless. The simplest route to happiness is to immerse yourself in nature. The wind and water flow like lifeblood,” Tsai says.
As an integral part of nature, our bodies are connected to the natural world and sustained by every facet of its cycle. “That’s why, when you venture into nature, feel the breeze, and savour the fragrance of flowers and grass, you’ll begin to feel better without even realizing it.”
In response to the absence of nature in modern office buildings, Tsai strives to address this deficiency through his public sculptures. In a sense, the resulting creations serve as a portal to another realm, enabling individuals to resonate with nature and the cosmos. Those who encounter his sculptures may just feel a surge of energy as they momentarily break free from the world of metal and concrete to experience relief and satisfaction.
A universal language
In 2023, Tsai presented a solo exhibition titled In the Flow of the Spirit at Artexpo New York, where he received the “Best Sculpture” award.
A young woman and her friend joyfully conversed during the exhibition as they explored the artwork. When they saw the piece Flow with the Spirit of Water, the young woman suddenly burst into tears. She confided to Tsai that while she had also cried amid the ancient ruins of Greece and Egypt, this marked the first time a piece of contemporary art had moved her so deeply. Little did she know that Tsai’s work also drew from the wisdom of ancient civilizations.
At that moment, a bridge spanning millennia and cultures must have formed, touching her heart in a profound manner. That is the power of art that continues to move people across time and space.
導語:在蔡育田心中，藝術的價值在於“打破認知框架，啟發感受境界”，是生命中一扇探索世 界的窗口，從中尋找到他與自然和宇宙之間的同頻共振。
此心流處是安然
在2023年倫敦藝術雙年展上，國際藝術評論聯合總會大奬頒發給了一位來自台灣的雕塑家 —--蔡育田的作品《金牛奔騰》從全球八十個國家的近八萬件作品中脫穎而出，攜著來自東方 文化的古老意韻，如這座充滿內在蓬勃凝厚力量的金屬雕塑般，振奮了世界各地的藝術專業人 士和愛好者。
“《金牛奔騰》是我在2021年農曆牛年創作的，當時新冠病毒正在流行，社會經濟低迷，人心 恐慌不安。我想利用牛所象徵的力量振奮人心。”那時，蔡育田居住在一座稻田村落的老農舍 之中，每日靜聽黎明時清脆的鳥鳴聲，欣賞著雲霧籠罩的遠山，也面對那一片片陽光灑落的稻 田，感受到天地之間孕育萬物的偉大能量。“我從這片土地中獲得了一種滋養，這種滋養豐滿 了我的作品。”
水墨精神
在蔡育田的雕塑作品中，無論是此次在倫敦獲獎的《金牛奔騰》，還是他曾獲得有“設計界奧 斯卡”之稱的意大利國際設計大賽公共藝術類白金首獎的雕塑《水作精神玉作魂》，我們都可 以從中感受到一股濃郁的中國古代士人的水墨情懷。如毛筆那時而飄逸灑脫，時而雅麗端凝， 時而又雄渾蒼勁，變化萬千、豐富多姿的筆觸，揮灑在文字上，描繪在畫卷裏，仿佛將自然的 能量與氣息匯聚起來，又在鐵畫銀鉤的妙筆下氤氳升騰。
蔡育田的藝術之路正是始於水墨畫，並曾在台灣東海大學學習水墨畫期間師承台灣著名畫家和 作家蔣勳。畢業後，他參與到了社區規劃建造的工作中，機緣巧合之下走上了公共藝術創作的 道路。“我創作公共藝術最核心的東西，是把水做成精神。整件雕塑是一種水的流動，像音樂 流動的那種頻率，像指揮家的手勢，四拍的起承轉合，像是四季的變化。”
當老子在《道德經》中闡述了“上善如水”，並細述了水“利萬物而不爭”、“居善地”、“心善淵”等 美好品質之後，水便成為了中國人心目中最“故幾於道”的象征。中國文人們也選擇了水墨作為 書法和繪畫的主要媒材，在千年的時光中以一縷素雅飄逸的墨色抒發著心中於美、於道的不盡 追尋。
“這背後是有深刻的哲理和生命智慧的。”蔡育田細細解說著他關於水墨的思考。繪畫用的墨源 於松木燒成的煙灰，加水後仿佛恢復到了它當初煙氣繚繞的狀態。用柔軟的毛筆沾上墨水，落 筆在宣紙或是絲絹上，水浸潤了紙或絲那細密的纖維，如一條條微小的溪流在紋理間流淌，墨 色則似舟浮在水上，隨水而行。這一過程，如同一場人與自然之間天衣無縫的協作，那輕薄如 煙的墨跡是松木燃燒的氣息，又是水流淌過的路徑，是能量的流動，是自然的規律。
“所以畫中國水墨畫時人的狀態是自然的，無為而治、順天應人。那落下的筆跡會清楚地還原 作者彼時的狀態，透露給看畫的人。”當我們前往博物館觀賞中國古人的書畫作品，我們可以 從柳公權結構嚴謹、遒勁硬朗的楷書中感受到他剛正不阿、傲然風骨;從王羲之行雲流水、風 神靈動的《蘭亭序》中領略千古“書聖”的曠達灑脫、超然不羈。在元代畫家黃公望的《富春山 居圖》中隨他氣象萬千的筆法淡然款曼地走過春夏秋冬，縱情山水之間、超脫紅塵之外;也沉
浸在顧愷之《洛神賦圖》那旖旎浪漫的氛圍之中，隨他流轉自如、舒放酣暢的線條勾勒，去踏上一場飄逸奇幻的仙境之旅，轉眼歷經世間的驚喜與悲哀、無奈與惆悵。
這些流傳千古的水墨書畫作品恰如那些同樣雋永深長的東方詩詞，含蓄內斂，似瑩潤的玉石溫文爾雅、謙和純潔，似一杯清茶淡香怡人、回味無窮。將縷縷情思心緒寄託於那水墨流淌之中，看似素淡清雅卻蘊藏著回味無窮的內涵和餘韻。仿佛拋卻了表面的光怪陸離、喧囂繁華，留下最本真的心境印記，不因歲月的侵蝕而褪色，不因世事的變遷而斑駁。
“他們真正帶給我們的是精神的啟發。我們沿著他們的筆觸可以還原出他們當時不管身處何種 境遇，甚至是很低谷的時候，依然氣定神閒、瀟灑自若，這樣的人品氣度、生命狀態是令人敬 仰和憧憬的。”在蔡育田的雕塑作品中，那些古人們揮灑下的筆墨風度和精氣神采，像是被用 堅實的金屬凝固下來，並在一處更為廣大的三維空間中讓“墨色”酣暢淋漓的湧動流淌，令當下 的人們能更清晰的感受到其中所蘊藏的精神能量。
心流藝術
蔡育田在創作每一件公共藝術雕塑時都會思考這樣一個問題:“一件處於公共場域的藝術品會 為每日看到它、走近它的人帶來怎樣的影響和意義。”當他創作位於一座現代商業大廈之前的 《水作精神玉作魂》時，關於“那些日後在大廈中工作的數以千計的人們，他們需要什麼?”這 一問題自然浮現了出來。
這不是蔡育田第一次思考當代人的生活狀態，最早可以追溯至他中學時，甚至更年幼。那時， 他就讀於一所美工科學校，每天一大早要通勤三小時去上課。正是“少年不識愁滋味”的蔡育田 看著火車、公車上那些行色匆匆的成年人們，發現大多數人的臉上都沒有新的一天開始時的欣 喜和活力，反倒滿是困倦和疲憊，連笑容都難得看到一個，這讓他的心中不禁充滿了疑惑“這 世上的人為什麼都活得這麼不快樂呢?”
也許在有記載的這數千年的歷史中，我們當下所處的時代物質是很豐富的，科技也很發達。不過，人們的滿足感和幸福感卻似乎並沒有因此而增加，反倒是精神上前所未有的焦慮、不安和空虛。每個生活在現代社會中的人，幾乎從出生起便要面對種種有形無形的壓力，一路升學工作，拼搏事業，積累財富，像是被禁錮在又冷漠又堅硬的鋼筋水泥構建的盒子裏、軌道裏，逐漸習以為常，甚至不曾注意到自己孩提時期曾經擁有的自然靈性與純真快樂就這樣慢慢消失殆盡。
“我們讀了許多書，應付考試，為了畢業後找份好工作，生活下去。可這真的會讓我們安心 嗎?許多巨富過得都不安心，更談不上開心，我們又要積累多少財富才會安心呢?”在獲得了 數項國際大獎之後，蔡育田受到各方的關注越來越多，但他依然沒有把藝術當成一份產業去經 營，而是像年少時一樣，想從藝術中去尋找“人為什麼不快樂?如何才能快樂?”的答案。
“我如今是否接受一個項目，還是會看自己如果去做是否會感到安心，不會想是不是能得獎。” 蔡育田說自己之所以能保持如此淡然從容的心態，甚至能無求而自得的屢獲國際大獎，主要是 源於從中國儒、釋、道三家思想中汲取的生活和創作智慧。“讀歷史上老子、莊子、釋迦牟尼 的著作、經文，你可以感到他們是真正開心的，他們的話中有真正的智慧，可惜現在並沒有人 願意聽他們的話。”
“佛家的思想讓我透過現實的虛妄去看到本質;道家揭示著宇宙的大道，如同植物生長需要水 和陽光，你無法跟這樣的大道背道而馳，否則你就會矛盾和痛苦;而儒家的倫理次第，讓我們 更好地遵守社會的秩序，不會因私慾妄念而偏離自我的定位和角色。”在蔡育田看來，現代的 教育看似處處標榜如何讓人更好的安身立命，卻恰恰忽視了這些最重要的部分。當一個人能超 脫出現世的種種紛繁擾亂，去感受到世間運轉的大道，並遵循道去行事，自然會從安寧平順中尋找到屬於自己的那份快樂。
“最簡單的獲得快樂方式，就是走進自然。現代的生活都是在將人與自然割裂開，周圍都是人 造的、沒有生氣的東西。”這種生命的氣息在蔡育田眼中，正是中國風水理念中最重要的因 素。“風和水都是流動的，就像人的氣血。”它們攜帶著自然的元素，其中有一種生命本質的能 量。如一顆種子從冒芽到開花，最終再度結出果實重歸泥土，這生命輪迴的過程讓能量在大自 然中流轉不息，與人的身體產生著奇妙的共振，自動補充著人體所需要的養分，形成一個類似 充電式的化學反應。“所以你來到大自然中，吹吹風、聞聞花草香，不知不覺就會感覺心情舒 暢了。”
既然現代商業辦公區周圍無法擁有充溢著自然之力的環境，蔡育田便通過他的雕塑去彌補。他 將中華文化中最能代表天人合一、道法自然精神的元素—--內涵無窮力量的至善之水和象征謙 謙君子之風的玉的意韻融入進他的作品中，讓看到雕塑的人自然感受到其中能量的流動，暫時 從鋼筋水泥的方盒和機械的工作生活模式中掙脫出來，體驗到靈魂精神的紓解和滿足。
“這個宇宙生生不息的背後似是有一個意念在推動。那可以簡單說是一種愛、一種慈悲，因為 它是正向的。它推動著各種經歷、各種情緒、各種感受的流動，讓你從這愛的流動當中去體驗 生活，體驗人生的各種經歷。”這便是蔡育田提出的“心流藝術”的由來，是他希望這股愛與慈悲 的能量可以在世間萬物和無限宇宙中流轉不息、輪迴不止的祈願。
這股能量可以打破民族、國家與文化的界限，讓許多觀賞到蔡育田作品的觀眾產生一種內心深 處的莫名感動。2023年，蔡育田在紐約藝術博覽會上舉辦了題為《居心流》的個展。“一位西 方女孩和她的朋友有說有笑地來看展，但當她看到《水作精神玉作魂》雕塑時，眼淚突然止不 住的流了下來。”女孩說，她上兩次這樣情不自禁，還是在前往希臘和埃及看到那些古跡時， 這是她第一次看到現代藝術潸然淚下。“她不知道我的作品背後也是古老的文化和智慧在其中 ，她的心流頻率在那一刻與我的作品產生了同頻共振，不由自主地激動起來。”
最終，蔡育田在此次展會上榮獲了最佳雕塑獎。這一次次的獲獎經歷仿佛是他的“心流藝術”在 款款流過不同的場域，與不同的人發生著同頻共振的反應。這種反應在不斷的累積中會愈加強 烈而廣泛，逐漸由涓涓細流匯聚成無垠大海，為更多人送去一份讓心安寧平和下來的滋養和能量。