典藏單位:國立中正紀念堂管理處

館藏編號:CR10000500

林振龍

林振龍（1955-），又名二谷，出生於南投縣鹿谷，1973年進王修功主持的漢唐陶藝廠學陶，1978年師從林葆家，1979年於土城成立瓷揚窯工作室。曾任德霖技術學院兼任副教授、文化大學講師、高雄市立美術館蒐藏委員、陶瓷博物館評審暨典藏委員、國家圖書館展演暨推廣審議委員等。1982年在春之藝廊「名家彩瓷聯展」中展出，1987年參加臺北市美術館新藝術展，1990年參加臺灣省立美術館工藝大展，1991年參加臺北市立美術館前衛與實驗二號公寓聯展，1992年參加阿普畫廊「本、土、性」特展。並在1989年以來陸續有個展邀約。
臺灣的現代陶藝自1960年代發萌，隨著1980年代經濟起飛而加以蓬勃發展，林振龍在這股潮流中，從陶藝技術出發，跳脫傳統的拉坯製陶的方式，將陶土如同現代雕塑一般，彎折、撕裂、切割、結合再造，並充分運用釉料與燒造的製陶技術，使現代陶藝在既有的技術美感下，發展出獨特的現代藝術美感，並開發出造型與技術上的更多可能。而在意境上，他在作品中賦予了實與虛、具象與抽象的美學思維。
本作品以四塊陶板拼組而成，上面再畫分出不同區域，塗布不同的釉料加以燒製，部分特意作出開裂的效果，開裂的痕跡宛如夜光下虯勁的樹枝，配襯上以釉料燒製而成的日頭或月亮，呈現出一種極富詩意的優雅情趣。(500字)

Lin Chen-Lung (1955 -), also known as Ergu, was born in Lugu, Nantou County. In 1973, he began studying pottery at the Han Tang Pottery Studio under Wang Xiu-Gong. In 1978, he apprenticed with Lin Bao-Chia, and in 1979, he established the Ciyang Kiln Studio in Tucheng. He has served as an adjunct associate professor at Delin Institute of Technology, a lecturer at Chinese Culture University, a collection committee member of the Kaohsiung Museum of Fine Arts, a juror and collection committee member at the Ceramics Museum, and an exhibition and promotion review committee member at the National Library. In 1982, he exhibited at the "Famous Artists' Painted Porcelain Joint Exhibition" at the Spring Gallery. He participated in the New Art Exhibition at the Taipei Fine Arts Museum in 1987, the Crafts Grand Exhibition at the Taiwan Provincial Museum of Fine Arts in 1990, the Avant-Garde and Experimental Apartment No. 2 Joint Exhibition at the Taipei Fine Arts Museum in 1991, and the "Originality, Locality, Identity" special exhibition at the Ap Gallery in 1992. Since 1989, he has been invited to hold solo exhibitions.
Modern Taiwanese ceramics began to emerge in the 1960s and flourished with the economic boom of the 1980s. In this trend, Lin Chen-Lung started from pottery techniques, breaking away from traditional wheel-thrown pottery methods. He treated clay like modern sculpture, bending, tearing, cutting, and reconstructing it, while fully utilizing glazing and firing techniques. This allowed modern ceramics to develop a unique modern artistic aesthetic within the existing technical beauty and explore more possibilities in form and technique. In terms of artistic conception, he imbued his works with an aesthetic thought that balances reality and illusion, the concrete and the abstract.
This work is composed of four ceramic panels, each divided into different areas and coated with different glazes before firing. Some parts are deliberately cracked, with the cracks resembling robust tree branches in the moonlight, accompanied by a sun or moon made from glaze. This presents a poetic and elegant charm.