典藏單位:國立中正紀念堂管理處

館藏編號:CR09400100

黃春貴

臺灣陶藝家黃春貴(1962-)，臺北人，國中肄業後，即出外工作，原職土水師傅，工作閒暇之餘，同事起鬨要做廟會舞獅用的獅頭面具，黃春貴的巧手讓眾人驚豔，其黏土模型也使士林一帶舞獅頭有了全新面貌。土水工作量減少後，黃春貴便走向了創作之路，以電燒窯製作陶器，其後慢慢領會出泥土變化，開始創作難度較高的柴燒窯。
柴燒窯不同於電窯的便利性，柴燒窯更需了解火的掌握度，火燒痕跡產生出的落灰，更是柴燒窯的特別之處；憑藉著巧手和對陶藝的熱誠，曾在住家附近的陽明山，建立臺北最大的柴燒窯。柴燒陶藝施作需耗費極大的體力和耐力，需長達四天三夜的顧窯掌控，才能升溫至恰到好處的火侯，在1230度的高溫下不斷投材，火焰直接在坯體上，留下自然的火痕，待燃燒後的灰燼落在作品上融化，產生自然的落灰釉。
完全燃燒的灰燼極輕，在受火痕與背火面所產生的陰陽變化下，色澤呈現溫潤且變化萬千。木灰中的鐵和陶坯上的鐵融合，變化出不同色彩的釉色，厚薄不均的釉面，留下火焰燻燒的痕跡，搭配上黃春貴的巧手，一件線條優美，質感細膩、呈現古樸氣息的陶藝品就此產生。此件作品的落灰釉厚實沉靜地躺臥於土坯表面，依循著變化萬千的釉色與釉面，呈現一如作者本人無以矯飾的敦厚樸實風格。(500字)

Ceramic artist Huang Chun-kui (1962- ) was born in Taipei, Taiwan. Without graduating from junior high school, he worked as a construction laborer. In his spare time at work, his colleagues goad the team in making lion-head masks for the temple dance. Huang Chun-kui's work amazed the crowd; his clay models gave a whole new look to the lion dance around Shilin district. After the construction workload decreased, Huang Chun-kui devoted himself to art. He started with an electric kiln to create ceramics, and then slowly learned the changes of clay material and adapted to the more difficult wood-fired kiln for his creation.
Differed from the electric kiln, the wood-fired technique requires mastery in the fire. The ash glazes on the resulted ceramic are wood-fired kiln's most remarkable quality. With his passion for ceramics, Huang Chun-kui built the largest wood-fired kiln in Taipei on Yangming mountain near his residence. Wood-fired ceramics requires a great deal of physical strength and endurance. It takes up to four days and three nights to heat up and fire to the right level. The artist needs to keep fueling the fire of 1,230 degree Celsius in order to maintain a constant and appropritate temperature. The fire leaves a naturally occurring glaze on the ceramic when the ashes fall on the work after burning and melting.
The burned ashes are incredibly light. The fires are everchanging. Likewise, the ceramic color appears warm and varied. The iron in the wood ash fuses with the iron in the pottery billets to create different tints of glaze. The uneven thickness of the glaze leaves traces of the flame on the art. With his mastery in fire and art, Huang Chun-kui clever techniques resulted in pieces of ceramic with beautiful lines and delicate texture. The ash glaze of this work falls quietly on the pottery. It follows the everchanging color and surface, presenting the same modesty as the artist himself.