典藏單位:國立中正紀念堂管理處

館藏編號:CR10000800

黃媽慶

尺寸:61x61x9(含框)

黃媽慶（1952-），出生於彰化縣鹿港，1966年起師事王錦宣，從事木雕技藝，1995年獲高雄市美展第一名，作品由高雄市美術館典藏，同年榮獲全省美展大會獎，作品由臺灣省立美術館典藏。1997年獲臺灣木雕創作比賽第一名，作品由木雕博物館典藏。此後陸續受邀各界展覽，包括各縣市文化中心、佛光山美術館、立法院國會藝廊、高雄市立歷史博物館、臺中港區藝術中心、臺灣工藝研究所、國立歷史博物館等。
黃媽慶的木雕創作，脫離過去以建築配件與妝佛為主的臺灣傳統木雕體系，轉向現代木雕，試圖將傳統技藝融入純粹藝術創造的精神，開創新形態的木雕語彙。其創作題材多以樸實恬靜的自然萬物為靈感，配合雕板厚薄，造型對稱而圓滿，有花果蟲獸、蓮花蓮葉、海洋生物、飛禽等，既有臺灣傳統木雕技術的傳承，又呈現臺灣社會自然萬物的真情流露，以浮雕、圓雕、透雕、陰雕等多種手法，表現在地的鄉土情懷。
本作品採透雕手法，刻畫荷花被強風吹動的模樣。荷花與荷葉被吹往畫面右方，後面的禾本科植物強化荷花的動向與風吹勁疾的感受。作者細膩刻出花瓣的脈紋與葉脈，荷葉翻轉的細節栩栩如生，使人忘卻此為堅硬的木質，帶有濃厚的寫實精神。整件作品保留原始木色，不加著色或上光漆，呈現材質的質感與紋路。(502字)

Huang Ma-Ching (1952 -), born in Lukang, Changhua County, began studying wood carving under Wang Jin-Xuan in 1966. In 1995, he won first place at the Kaohsiung City Art Exhibition, and his work was collected by the Kaohsiung Museum of Fine Arts. In the same year, he received the Grand Prize at the Provincial Art Exhibition, with his work collected by the Taiwan Provincial Museum of Fine Arts. In 1997, he won first place at the Taiwan Wood Carving Competition, with his work collected by the Wood Carving Museum. Since then, he has been invited to exhibit in various venues, including cultural centers in various counties and cities, the Fo Guang Shan Art Gallery, the National Assembly Art Gallery, the Kaohsiung Museum of History, the Taichung Port Art Center, the Taiwan Craft Research Institute, and the National Museum of History.
Huang Ma-Ching's wood carving departs from the traditional Taiwanese wood carving system, which primarily focused on architectural components and Buddhist decorations. Instead, he turned towards modern wood carving, attempting to integrate traditional techniques with the spirit of pure artistic creation, thereby pioneering a new vocabulary of wood carving. His creations often draw inspiration from simple and tranquil natural objects, featuring symmetrical and complete forms such as flowers, fruits, insects, animals, lotus flowers and leaves, marine life, and birds. His work not only inherits traditional Taiwanese wood carving techniques but also reflects the genuine depiction of nature in Taiwanese society. He uses various techniques such as relief carving, round carving, openwork carving, and incised carving to express local sentiments.
This work employs openwork carving to depict lotus flowers being swayed by a strong wind. The lotus flowers and leaves are blown to the right side of the composition, with the background grasses enhancing the sense of movement and the force of the wind. The artist meticulously carves the petal veins and leaf veins, with the details of the overturned lotus leaves vividly rendered, making the viewer forget that this is made of hard wood, embodying a strong realistic spirit. The entire piece retains the natural wood color without adding any paint or varnish, showcasing the texture and grain of the material.