典藏單位:國立中正紀念堂管理處

館藏編號:CR09300800

吳良斌

尺寸:152x127x10(含框)

吳良斌先生，1947年出生於新北市鶯歌鎮老街，祖籍福建省磁灶鄉，以製陶為業已歷21代之久，來臺5代仍繼承祖業。因生於陶藝世家，自幼與陶泥為伍，數十年間創作不輟，從象徵傳統陶業的鍋碗瓢盆等「日常陶」，走向精緻細膩的藝術陶藝「交趾陶」，開創自我路線及風格。雖然臺灣陶業時而興盛、時而沒落，但其從未興起轉換跑道的念頭，反而深度思索該如何轉型，成為傳統冶陶家之範式。
1978年中正紀念堂屋簷走獸及國家音樂廳龍頭飾型，皆為吳良斌膾炙人口的代表作，展現優異扎實的燒陶技巧；爾後，更以交趾陶工法，運用戲曲人物、臺灣獨特的陣頭文化以及古厝意象，呈現臺灣本土文化特色。
本作為2004年舉辦「陶色交藝─吳良斌經典交趾陶藝大展」時，贈送館方收藏的「四君子」系列作品之一的「菊」。菊花綻放於深秋霜凍之時，以其不畏霜寒象徵品德高潔隱逸，蘇軾〈初冬贈別劉景天〉即云：「荷盡已無擎雨蓋，殘菊猶有傲霜枝」。本作係將燒造完成的交趾陶鑲崁於木製基座上，設計如「門內窗」概念的屏風，美觀而實用。此種傳統建築上的「石窗」設計，四角為象徵福氣的蝙蝠，具有「賜福」之吉祥意義；中間為「八卦窗」，中央以樹幹與菊枝形塑窗欄意象，並有昆蟲數隻，整體畫面呈現秋爽清趣之感。（500字）

Mr. Wu Liang-Bin was born in 1947 on the old street of Yingge Town, New Taipei City. His ancestral home is Cizao Township, Fujian Province, and his family has been in the pottery business for 21 generations, continuing their ancestral trade for five generations in Taiwan. Born into a family of ceramic artists, he has been working with clay since childhood, creating tirelessly over the decades. He transitioned from making "everyday pottery" such as traditional pots, bowls, and plates, to crafting intricate and delicate "Koji pottery," developing his own unique style. Despite the fluctuating fortunes of the Taiwanese ceramics industry, he never considered changing his career path. Instead, he deeply pondered how to transform and become a model for traditional ceramics.
In 1978, his celebrated works included the ridge beasts on the roof of the Chiang Kai-shek Memorial Hall and the dragon head decorations at the National Concert Hall, showcasing his superb and solid pottery techniques. Later, using Koji pottery methods, he incorporated elements of opera characters, Taiwan's unique folk parade culture, and the imagery of old houses to highlight Taiwan's local cultural characteristics.
This work, "Chrysanthemum," is part of the "Four Gentlemen" series gifted to the museum during the 2004 "Ceramic Art of Color and Craftsmanship - Wu Liang-Bin's Classic Koji Pottery Exhibition." Chrysanthemums bloom in the late autumn frost, symbolizing noble and reclusive character, as expressed by Su Shi in "A Farewell Gift to Liu Jingtian in Early Winter": "The lotus withers, leaving no rain cover, the remaining chrysanthemums proudly stand in the frost." This work features Koji pottery mounted on a wooden base designed as a screen with the concept of a "window within a door," both beautiful and practical. This traditional architectural "stone window" design features bats at the four corners symbolizing good fortune, embodying the auspicious meaning of "bestowing blessings." The center has a "bagua window," with tree trunks and chrysanthemum branches forming the window grille image, along with several insects, presenting an overall scene of autumn freshness and charm.