目錄 · Yingge Ceramics Museum, presenting the beauty of Taiwan’s ceramics, has been to Porzellanikon – German Porcelain Museum in Bavaria State and subsequently to Karlsruhe

德國陶瓷工藝於歐洲瓷器發展上有著舉足輕重之地位，而新北市鶯歌區的陶瓷產

業為臺灣陶瓷發展之重要里程碑。近兩年，陶博館於德國巴伐利亞邦德國瓷器博

物館及巴登府騰堡邦卡爾斯魯爾行政總署展覽館分別展出「文化之光輝－臺灣

彩繪陶瓷藝術展」，臺灣陶瓷之美在歐洲正式綻放。延續美好的文化交流經驗，

2015 年新北市政府邀請德國來臺展出，讓國人體驗西方陶瓷藝術之獨特風采。

本展覽由邦立德國瓷器博物館提供德國名窯－羅森泰（Rosenthal）之經典作品，

而巴登府騰堡邦工藝師聯合會以公開徵件方式，徵選德國當代陶藝家之創作，共

計 61 組件。羅森泰瓷器創立於 19 世紀末，其擺脫傳統的束縛，以勇於嘗試創新

的自由精神，設計新潮的陶瓷工藝作品，比歐洲其他瓷窯更早踏上現代瓷器發展

之路。而經由當代陶藝家之發想與創作，延伸德國現代陶藝發展潮流，呈現不同

於以往歐洲經典陶瓷藝術，邀請您深刻體驗德意志文化的嚴謹、質樸卻充滿創造

力之美。

Contents

目錄

The significance of German ceramics to the development of ceramics industry in Europe is just like the ceramics industry in Yingge, New Taipei City to that of Taiwan. In the past two years, the touring exhibition “Glory of Culture: A Special Exhibition of Taiwan Painted Ceramics” from Yingge Ceramics Museum, presenting the beauty of Taiwan’s ceramics, has been to Porzellanikon – German Porcelain Museum in Bavaria State and subsequently to Karlsruhe Regional Council at Rondellplatz in Baden-Württemberg State, Germany. This year, to continue the fascinating experience of cultural exchange, New Taipei City government has invited our respected partners from Germany to demonstrate the exceptional splendor of ceramic arts from the West. The exhibits, 61 pieces in total, comprise selected quality works of a renowned porcelain manufactory – Rosenthal – from German Porcelain Museum and ones of contemporary ceramic artists from Baden-Württemberg Confederation of Artisans through open selection. Having been established since late 19th century, Rosenthal, with its bold and adventurous spirit, has endeavored to create more innovative porcelain craftworks that are distinctive from the conventional, which made Rosenthal more advanced in the development of contemporary ceramics than other manufacturers in Europe. On the other hand, contemporary ceramists stand further than the trend of classical ceramics and create modern ceramics with their very imagination and extraordinary artistic ideas. Here we would like to take this opportunity to invite you to experience the exactness in Deutsch cultural as well as its aesthetics that is simple but full of creativity and strong expressive power.

Exhibition Introduction展覽簡介01

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Exhibition Introduction展覽簡介

Porzellanikon – States Museum for Porcelain巴伐利亞邦德國瓷器博物館

Rosenthal Porcelain – From Its Beginnings Until Today

羅森泰瓷器－自始迄今

Rosenthal Porcelain Featured Works羅森泰瓷器精選作品

Association of Arts and Crafts Baden – Wuerttemberg/Germany

巴登府騰堡邦工藝師聯合會

Aesthetic of German Contemporary Ceramics關於德國當代陶藝美學

Contemporary Ceramic Artists and Their Works當代陶藝家及其作品

1

羅森泰是德國重要且知名的瓷器生產商。菲利浦一世．羅森泰（1855-1937）於 1879

年至塞爾布開設瓷器彩繪店，1891 年開始生產自己的瓷器產品，並很快地發展成國

際級企業，1897 年成為上市公司。1907 起，菲利浦一世在產品底部印上他風格化

簽名作為品管標誌，羅森泰瓷器產品的高品質遂逐漸受到世人矚目。

在 1908 年至 1910 年間，羅森泰特別設置了藝術部門，生產反映時代精神之具象

雕塑，在第一次世界大戰後至 1930 年代早期成為主流，此種富裝飾性的物品和

餐具造形不只有傳統性也兼具了時代性。

1950 年菲利浦一世之子－菲利浦二世．羅森泰（1916-2011）加入公司擔任

宣傳部經理，並於 2 年後開始負責產品設計。以其對產品、市場、行銷的敏銳

度，改變了羅森泰過去的形象，開啟新的產品路線－瓷器「新貌」－嘗試均

衡地融合包浩斯傳統與「腎形桌」風格（來自義大利實用造形的前衛設計）。並

於 1961 年成立羅森泰的工作室系列品牌，這些由國際藝術家、設計師創作的產

品，在造形及功能上皆反映時代下的精神。

1960 年代中期，羅森泰秉持「以藝術生活」的精神，持續將更多藝術融入日常生

活中。直至今日，超過百位來自各國的藝術家與設計師給予羅森泰源源不絕的生

命力，也反映出屬於時代的藝術運動。

Rosenthal Company is one of Germany's most important and known porcelain producers. Philipp

Rosenthal senior (1855-1937) moves to Selb in 1879. He first runs a porcelain painter shop, until

in 1891 starts production of his own porcelain. The business quickly becomes a company of

international standing. Transformation into a stock company is already made in 1897. Special

attention is given to the products' high quality. As from 1907 Philipp Rosenthal places his signature

in stylised form as a quality mark under each product.

A special art department is installed between 1908 and 1910. Figurative sculptures reflecting the

spirit of the time particularly dominate the range between the end of World War I and the early

1930s. Decoration articles and tableware are produced in traditional, but also in modern shapes.

In 1950, Philip Rosenthal junior (1916–2011), the founder’s son, he joins the company as a publicity

manager and takes over responsibility for product design two years later. With his instinct for

products, markets and publicity he changes Rosenthal AG’s previous image. He starts off with the

new Rosenthal line, the “new look” in porcelain, trying to equally integrate both, Bauhaus tradition

and “kidney-shaped table style”, as the avant-garde design for functional shapes coming from Italy

is called. As a result the Rosenthal studio-line brand is established in 1961. Created by international

artists and designers, the design shall in form and function express the spirit of the own time.

In the middle of the 1960s already, the company begins to integrate art more and more into daily

life, following Rosenthal’s motto “living with art”. In the period to come and till this day, more than

hundred international artists and designers keep the Rosenthal collection alive, making it a mirror

of artistic movements of our time.

若你想知道歐洲瓷器的歷史，請別錯過－德國瓷器博物館。這座位於德國巴伐

利亞邦東北方的博物館，以超過 20 萬組（件）的豐厚館藏訴說著自 1710 年麥森瓷

器工坊創立迄今的歐洲瓷器發展歷史。此邦立博物館分別坐落於巴伐利亞邦的兩

個城市：

德國小城塞爾布，曾是 1920 年代世界餐具生產之都，以羅森泰、德國獅牌及海

因里希等品牌聞名於世。置身在這前身為羅森泰瓷器工廠的博物館，除可來一窺

300 年來羅森泰瓷器生產美好的過往，更有許多以生動方式呈現的現代陶瓷多樣

面貌。在此，藝術與設計以特別的方式相遇，德國產業界最好的設計及自 1990 年

代迄今的潮流趨勢將讓你體會－瓷器也是種生活態度。

而到了埃格爾河畔霍亨貝格，則收藏從巴洛克時期、歷史主義、新藝術運動、裝飾

藝術、包浩斯風格到 1989 年止各式餐具、藝術品或時代的塑像，每樣產品皆獨特及

創新的呈現在世人眼前。

到訪過這兩個加總約 3,300 坪展館的民眾們無不為瓷器世界－無論從任何面向

進入－的迷人丰采而感到興奮。讓我們一起來趟難忘的瓷器之旅吧！

If you want to learn more about European porcelain history you should not miss the Porzellanikon –

State Museum for Porcelain. Placed in the northeast of Bavaria, Germany the museum with its more

than 200.000 items tells the story of the European porcelain tradition since the founding of the

Meissen manufactory in 1710. And there are two cities which are the home of this Bavarian State

Museum:

In a former Rosenthal factory in Selb, a small city which was known as the world capital of

tableware production in the 1920ies and famous for brands like Rosenthal, Hutschenreuther, and

Heinrich …etc. People can see a 300 years fascinating history of Rosenthal and also see advanced

ceramics displayed in a very lively way. Art and design meet here in a very specific way. The Best of

Design in German industry and tendencies since 1990 up to today will show you porcelain is also a

lifestyle.

Moving to Hohenberg an der Eger means entering a fully different world. The variety of porcelain

shown here is enormous: It starts with pieces of the Baroque period, goes through all the different

styles like Historism, Art Nouveau, Art Decó, Bauhaus style … and ends in 1989. Tableware, art ware,

figures of their time are presented in an attractive and innovative scenography.

People who came to see both places with all together 11.000 m² are excited about the fascinating

world of porcelain in all the different facets they dive into, a visit they never forget!

Porzellanikon – States Museum for Porcelain巴伐利亞邦德國瓷器博物館

Rosenthal Porcelain – From Its Beginnings Until Today 羅森泰瓷器－自始迄今

Wilhelm Siemen

Director of the Porzellanikon, Hohenberg a. d. Eger/ Selb巴伐利亞邦德國瓷器博物館館長

2 3

從一開始，菲利普一世．羅森泰重視的就是品質而非成本，因此造就了生活精品

與豪華瓷器。猶如他的格言「於形於飾保持創意與革新」，羅森泰總是仔細地觀

察藝術與手工藝的市場與趨勢。自 19 世紀末，歐洲的品味深受法國影響，羅森

泰的產品也因此受到如法國利摩日（法國中西部一城市，有法國景德鎮之稱）的

哈維蘭瓷器公司產品或是「新洛可可」風格的啟發。間隔連續的「rocailles」( 原

意為貝殼工藝品，後演化為洛可可的字源之一）風格鑲金花邊即為其瓷器的特

色，猶如本件作品所表現，其裝飾令人懷想起洛可可風格活潑、明亮、歡樂的魅

力。

From the start, Philipp Rosenthal considers the quality, not the price, the decisive factor for the creation of porcelain for daily use and luxury porcelain. True to the motto “in shape and decoration up to date always the most innovative”, he attentively observes markets and trends within arts and crafts. The French taste is predominant in Europe since the end of the 19th century and Rosenthal gets inspired by French products, for instance made at Porcelain Factory Haviland & Co in Limoges, and produced in the style of the “Neo-Rococo”. Relief designs called “rocailles”, which are strung together, are characteristic for this porcelain, like shape “Monbijou” clearly shows. The ornaments remind the cheerful brightness of the Rococo and its glamorous festivities.

新藝術運動的發展於 1900 年在巴黎舉辦的世界博覽會達到了巔峰。由於這場博

覽會，羅森泰公司約於 1899 年將產品風格定位於此。此後，公司開始採用新藝

術運動潮流下新的外型線條、裝飾及技法。1904 年在聖路易斯市舉辦的世界博

覽會，《波提且利》系列以心形葉的貼花裝飾，在造形與裝飾間取得可遇不可求

的巧妙組合，獲得空前的讚賞。此外，其中幾件作品底部以「達姆施塔特工匠聯

合會」的落款裝飾，可以看出本系列由小工作坊生產。

Probably with regard to the world exhibition in Paris in 1900, where Art Nouveau reaches its peak, Rosenthal Company orientates towards this style around 1899. New shape silhouettes as well as new decorations and decoration techniques take up the current trend of the Art Nouveau defining the look from now on. At the world exhibition in St. Louis in 1904, the set “Botticelli” with its heart leave decoration, partly painted with a stencil, already wins critical acclaim as it represents an outstanding example for the often required, but rarely reached unit between shape and decoration. Decoration implies production at a workshop, because some parts of the service carry the name of “Vereinte Kunstgewerbler Darmstadt” (United Craftsmen Darmstadt).

我的珠寶―茶具組波提且利―茶杯與茶托

Tea Set: Monbijou Cup and Saucer: Botticelli

羅森泰瓷器精選作品 Rosenthal Porcelain Featured Works

有蓋茶壺 Tea Pot with Lid：H 17.5 cm

牛奶盅 Creamer：H 12.7 cm

糖罐 Sugar Bowl：H 10.5 cm

茶杯 Cup：H 5 cm

茶托 Saucer：D 15 cm

1896

茶杯 Cup：H 7.5 cm

茶托 Saucer：D 10 cm

1903


4 5

本件塑像為雕塑家格哈德．施立普斯坦 (1886-1963) 製做，是羅森泰在 1925 年

萊比錫秋季博覽會所呈現的「留白」藝術品計畫中的典範之一。這是羅森泰第一

次將工藝品變成藝術品展現瓷器特性的嘗試。這個創新的想法由藝術部門的新總

監－馬克思．施奈德所提出。施立普斯坦的瓷器設計一開始著重瓷器自然的表

現，到了 1920 年中期，人形雕像的主題愈來愈常見，最後成為其創作的重點。

This figurine by sculptor Gerhard Schliepstein (1886-1963) is a remarkable example for the “art program” left white which Rosenthal presents at the Autumn Fair in Leipzig in 1925. It is the first attempt to turn away from arts and crafts onto an object of art and to reveal the porcelain’s character. This innovative idea in the artistic program is introduced by Max Schneider, the new director of the Art department. Schliepstein’s porcelain designs are first determined by their naturalistic expression. In the middle of the 1920s the stylised, human figurine becomes more important and finally stands in the focus of his creations.

到了 1930 年代，1920 年代的裝飾風格逐漸被摒棄，轉變為自然風格的動物造

形表現。雕塑組的設計師費力茲．海登萊希 (1895-1966) 在 1919 年加入羅森泰

藝術部門，以熟練的陶藝技法，擔任修整師負責細部裝飾。自 1934 年開始，他

專心於塑像設計，隨後以羅森泰知名的動物雕像為設計主軸。他的第一個系列

《神仙魚》在 1937 年世界博覽會獲得評審的青睞，其所創作的系列作品展現了

1930 年代流行的自然風格。

During the 1930s there is a turning away from the decorative style of the 1920s towards a naturalism which animal plastics clearly show. The designer of this sculptural group, Fritz Heidenreich (1895-1966), a skilled potter, first joins Rosenthal Art Department in 1919 as a retoucher. As from 1934 he concentrates on figurative designs and in the following years significantly characterises Rosenthal’s animal sculptures. His fish group “Scalare” receives an award at world exhibition 1937. Like all his models it shows the naturalistic design typical for the 1930s.

休憩的女人神仙魚

Ruhende (Woman at Rest) Scalare

H 23.5 cm, W 31.5 cm

1928

H 41 cm, W 27 cm

1981

羅森泰瓷器精選作品 Rosenthal Porcelain Featured Works 羅森泰瓷器精選作品 Rosenthal Porcelain Featured Works

6 7

羅森泰與美國設計工作室雷蒙．洛威 (1893-1986) 的合作款可謂一大成功。由

洛威與理查．拉薩姆 (1920-1991) 共同創作的《型號 2000》歷時兩年的研發，

於 1954 年漢諾威博覽會第一次公開發表，瞬間成為羅森泰最暢銷的產品。到了

1978 年，這款造形已經開發出 200 多種的不同裝飾花紋產品。織品設計師瑪格

麗特．希爾德布蘭創造出一種稱之為「絲綢」的裝飾，是當時常見的籐麻柳編織

樣式，令人想起 1950 年代廚房流理臺的石材紋理。這款造形與裝飾以「新貌」

作為宣傳，而「新貌」這個詞彙在 1947 年被時尚設計師克里斯汀．迪奧於戰後

用於命名其傳奇性的商品。

Collaboration with the American Design Studio Raymond Loewy (1893-1986) turns out to be very successful. “Form 2000” (shape 2000) created by him and Richard Latham (1920-1991), after two years of development time first presented in 1954 at Hanover Fair, becomes within a very short time the best-selling Rosenthal set. By 1978 it is offered in the collection with nearly 200 different decorations. Textile designer Margret Hildebrand creates a decoration named “Seidenbast“ (silk bast), a pattern of bast wickerwork typical for this time, reminding the laminate surfaces of the kitchens of the 1950s. Shape and decoration are publicized with promotional effects as “New Look”, a term which in 1947 was already used by fashion designer Christian Dior for his legendary post-war collection.

1962 年，羅森泰開始使用煤炭色色料，呈現似黑色玄武岩般的效果，稱之為「黑

瓷」，產品施以黑色無光釉的地方與留白的部份形成強烈的對比。

由塔皮歐．維卡拉設計的《變異》，是第一組由白與黑搭配組合而成的作品，將

有凹槽刻紋的白色蓋碗置於黑色的碗托上。1963 年，羅森泰以此作品獲得美國

室內設計師協會頒發的國際設計獎，而這件作品亦被紐約現代藝術博物館收藏並

視為設計典範之一。

Since 1962 Rosenthal uses an anthracite-coloured mass similar to known black basalt ware. Described as “porcelaine noire”, the matt or black glazed parts form a strong contrast to the ones left white.The set “Variation” designed by Tapio Wirkkala is the first shape for which black and white parts are combined. The white, f luted vessels are set on black, even bottom parts. In 1963 already, Rosenthal receives for this service the International Design Award of the American Institute of Interior Designers (AID). As an instance of exemplary design this shape is part of the collection at the Museum of Modern Art in New York.

絲綢系列―咖啡組變異―餐具組

Coffee Set: Shape 2000 Dinnerware: Variation

咖啡壺 Coffee Pot：H 23.5 cm

糖罐 Sugar Bowl：H 11 cm


咖啡杯 Cup：H 7.5 cm

杯托 Saucer：D 19.5 cm

1959-1977

蓋碗 Covered Bowl：H 10 cm

碗托 Covered Bowl Stand：H 4.5 cm, D 30.5 cm

鹽罐 Salt Shaker：H 5.5 cm

胡椒罐 Pepper Shaker：H 5.5 cm

1973


8 9

身為德國畫家、平面藝術家、工業設計師的馬汀．弗萊爾 (1909-1974)，為玻

璃和瓷器花瓶設計浮雕裝飾圖紋。浮雕對於瓷器來說，是一種古老且被長時

間遺忘的裝飾技法，因此瓷器工匠來說，把藝術家的浮雕設計真正落實在實

際物品上也非易事。浮雕可以有故事性，可以讓表面饒富意趣，甚至與眾不

同。本作品以洋蔥為造形，短頸花器瓶身上以強烈、不規則彎曲、垂直的浮雕裝

飾，無施釉亦無磨光。

German painter, graphic artist and industrial designer Martin Freyer (1909-1974) creates relief decorations for glass and porcelain vases. Reliefs in porcelain are an old, but long-time forgotten decoration technique. It is not always easy for porcelain technicians to transfer an artist’s relief design on to porcelain as a material. A relief can tell a story, it can make the surface more interesting or strongly change it. This vase with the shape of an onion, with short neck and strong, irregularly curved, vertical relief is on its outside not glazed or polished.

英國雕塑師亨利．摩爾 (1898-1986) 在現代雕塑上的特色與影響力可謂無

人能及。他為雕塑藝術帶來全新的風貌，讓雕塑跳脫出紀念碑式的具體造

形，並在國際上贏得許多獎項。在羅森泰的藝術系列中，摩爾作品當數最動

人之一，特別是他在材料、造形、大小上達到的完美平衡。兩個不規則、

微波浪狀的圓盤放在非常靠近的位置，盤下的短底向中心靠攏，固定在木

質基座上。圓盤的強烈凹陷給予作品不同的「樣貌」，一面看起來像抽象的

頭，而另一面則看起來像手。

English sculptor Henry Moore (1898-1986) has characterised and influenced modern sculptures more than anyone else. He brings a new dimension to the art of sculptures, releasing it from the shape of the figurative monument and received many international awards. His work belongs to the most convincing one among Rosenthal’s art series, in particular, since material, shape and size are well-balanced. The sculpture with two irregular, slightly undulating discs, closely put together and set on short necks flattened towards the inner side, is mounted on a wooden base. Due to their strong indentation, the discs have different “physiognomies”. One part looks like a stylised head the other one is rather similar to a hand.

花瓶月首

Vase Moonhead

H 15.5 cm, D 21 cm

1975

雕塑 sculpture：H 42 cm

基座 Stand：W 33 cm, D 23 cm, H 12 cm

1968


10 11

此花瓶造形於 1953 年由莫斯科的陶藝家與造形設計師艾莎．費雪－崔登 (1901-

1955) 所創作；而瓶身上彩色直條紋的貼花裝飾直到 20 年後才由自 1949 年開始

從事時尚設計的義大利設計師埃米利奧．普奇所創造。普奇曾為許多藝人如蘇菲

亞．羅蘭、葛麗絲．凱莉、瑪麗蓮夢露等製作美麗繽紛的時裝。而在 1961 年到

1977 年間，他接下了羅森泰工作室系列的案子，設計擺飾商品、餐具等圖樣。

The shape of this vase is already created in 1953 by Elsa Fischer-Treyden (1901-1995), ceramist and shape designer born in Moscow. The screen-printed full decoration of coloured surfaces applied all around the vase in vertical lines is developed not until 20 years later, created by Italian designer Emilio Pucci (1914-1992), who since 1949 is occupied with fashion. He makes colourful dresses worn by stars like Sophia Loren, Grace Kelly und Marilyn Monroe. As a free-lancer he creates from 1961 to 1977 pattern designs for adornment articles and table ware for Rosenthal studio-line.

芬蘭設計師提莫．撒塔涅瓦所設計的《芬蘭》造形靈感來自大自然中長時間由源

源流水細磨成形的碎石子。從作品可以發現他已經意識到當時大量製造的生活用

品對於品質的要求。除工業產量外，撒塔涅瓦對於設計上的技術與成本問題亦多

有用心。而《芬蘭》系列的把手即顯現結合異媒材的能力。

1976 年發表後，作品即榮獲義大利法恩扎舉行的國際陶藝競賽金獎。

Form “Suomi” of Finnish designer Timo Sarpaneva (1926-2006) is inspired by nature, by pebble stones in the course of time smoothly polished and formed round by the endless stream of the water. The shape shows that he is aware of the need for high quality of objects for daily use, produced in big quantities. Sarpaneva looks closely at industrial volume production as well as at technical and economic capabilities within design. The handles of shape Suomi show his ability to combine different materials. Shortly after its presentation in 1976, the shape is awarded the gold medal by the President of the Italian Republic in Faenza, where the most important international competition for porcelain and ceramics takes place.

花瓶芬蘭系列―咖啡組

Vase Coffee Set: Suomi

H 32.5 cm

1974

咖啡壺 Coffee Pot：H 20.5 cm


咖啡杯 Cup：H 6 cm

杯托 Saucer：D 15.5 cm

1977-1978


12 13

《芬蘭》系列的造形成為「餐桌上藝術」的基礎。在設計與實用造形之外，更重

要的是把藝術藉由特定物件（茶壺、咖啡壺、碗、蓋碗）帶到生活中。與羅森泰

合作之 6 位國際藝術家之一的普普藝術先驅－來自蘇格蘭的愛德華多．包洛奇

(1924-2005)，利用這個造形進行藝術創作，在造形與裝飾上取得實用與藝術性

的新結合。器身的圖案從包洛奇的手稿轉印而成，而這個設計讓人聯想到立體動

態的電路板。

Shape Suomi is the basis for the idea of „art on the table“. It is in most of its parts design and functional form, but actively brings art to daily life with some limited centre pieces (tea pot, coffee pot, bowl and bowl with lid). Six international artists, like Eduardo Paolozzi from Scotland (1924-2005), a pioneer of Pop Art, get in contact with the shape using it to support their artistic messages. They are successful in creating a new synthesis of shape and decoration, of object of utility and artwork. Original prints are made from the Paolozzi’s draft and applied on the form. Paolozzi’s design makes think of coloured computer circuits coming alive.

維多．瓦沙雷利 (1908-1997)，出生於匈牙利，後來居住在法國，是 20 世紀極

具代表性的藝術家，也是歐普藝術的先驅。以形狀與顏色組成的「可塑性動態造

形 (plastic unit)」為作品根基，並將此概念落實在他為羅森泰設計的產品中。原

本看似平面的設計，藉由動態般的外觀營造出一個在空間中延伸的圖像。他轉換

平面圖案的驚人功力，完全呈現在花器上，以非比尋常的角度與連續性，擺脫了

圖像的平面性並延伸於立體空間中。

Victor Vasarely (1908-1997), born in 1908 in Hungary and living in France, belongs to the leading artists of the 20th century. He is one of the pioneers of Op Art. The fundament of his works is a system of “plastic unit” which is based on the unit of shape and colour. Vasarely realises this concept in his works for Rosenthal. With the dynamic layout, his designs, initially two-dimensional, he opens up the room creating an image which seems to be spatially extended. His mastership in transforming graphic surfaces is shown in this object vase. With unusual perspectives and sequences he sets the image’s flatness free extending it into the space.

芬蘭品 1―有蓋碗花瓶

Bowl with Lid: Suomi-Object 1 Vase

H 21.5 cm

1977

H 28 cm, W 26 cm

1979


14 15

1940 年出生於義大利曼拖瓦的藝術家馬切洛．莫蘭迪尼，在構成主義藝術中佔

有重要的一席之地。作品表達了碎波浪的連續動態，讓觀賞者可以從作品的律動

中得到樂趣。自然的動態被切割成幾何圖形的連續變化，以構成式的方法並運用

精密的數學計算製作而成。作品開啟了瓷器美學表現又新又迷人的各種可能。

Italian artist Marcello Morandini, born in Mantua in 1940, has a significant position within constructivist art. In this object he reminds a breaking wave’s motion sequence, in which the observer can playfully intervene by swinging the object. Divided into geometric shape variations, the natural movement process seems to have a technically constructive approach and be realised with mathematical precision. This opens up new, fascinating possibilities to the porcelain’s aesthetic expression.

來自米蘭的馬力歐．貝里尼 (1935 年生 )，他的名字代表着卓越的義大利設計。

貝里尼為奧利維堤公司設計引領風騷的打字機、辦公室電腦及負責許多學校、工

業大廈複雜建案。他不僅身為多所設計學院教授，同時也獲得無數的國際獎項，

確立了他在義大利設計界中舉足輕重的地位。

貝里尼的《拱頂》餐具是新一代設計的展現，從美學表現宣告了設計的新時代。

功能性的細節設計，使簡潔大方的結構造形增添了些許雕塑品的層次。

His name symbolises “Design – Made in Italy” par excellence. Mario Bellini from Milan (born in 1935) creates trend-setting typewriters and office computers for Olivetti as well as complex architectural projects for school and industrial buildings. A large number of titles of professor from various design institutes and an impressive series of international awards show that he is one of the most significant Italian designers. Bellinis dinnerware “Cupola“ is expression for a new design. In its aesthetic expressive power it is a sign for a new time. Functional details give an almost sculptural character to the structural clearness of the basic shape.

後構築拱頂―餐具組

Onda Costrutta Dinnerware: Cupola

H 24 cm

1980

蓋湯盤 Tureen with Lid：H 23 cm

醬汁船型盤 Gravy Boat：H 13cm, W 23.5 cm

船型盤盤托 Gravy Boat Stand：W 24.5 cm

大盤 Plate：D 26 cm


16 17

Initiated by the English "arts and crafts" movement at the end of the 19th century, associations,

schools and museums dealing with this subject were founded all over Europe. In Germany’s

southwest region two associations were set up, in 1876 in Stuttgart and 1885 in Karlsruhe. Later

they were combined and merged to the existing BdK in 1947 with headquarters in Stuttgart, the

capital of the state Baden-Wuerttemberg in South West Germany.

BdK is a cultural non-profit organization with the aim to cultivate and support contemporary

applied arts. By organizing exhibitions and fairs, at regional and international level, we want to

draw the attention of the public to this unique topic and at the same time, support our members

in their wide field of challenges. Our members are specialized in the sector of arts, crafts, and

design. All of them are qualified in their professions through studies or apprenticeships, and they

work independently in their own workshops or studios. The results of their works have to be

sophisticated, of a high technical quality, and ensure a significant contribution to contemporary

applied art.

The BdK closely cooperates with museums, local authorities, and the ministry of finance and

economy in the state of Baden-Württemberg, so regular exhibitions can take place in the state

museums in Stuttgart and Karlsruhe, as well as in the famous castle of Ludwigsburg. Every two

years our members are invited to tender for the competition of the state’s award with following

exhibitions in various cities. It is important for us to set up and network relationships with artisans

from other countries or regions and invite them to join our exhibitions as guests or take part in

symposia on various topics and materials.

藝術與工藝運動於 19 世紀末起於英國並席捲歐洲，許多協會、學校與美術館紛紛

加入行列。德國於 1876 年在斯圖加特、1885 年在卡爾斯魯爾兩地成立工藝協會，

並於 1947 年合併為巴登府騰堡邦工藝師聯合會（BdK），總部位於德國西南部巴

登府騰堡邦之首都－斯圖加特。

BdK 為非營利文化機構，主旨為培育並推廣現代應用藝術，透過規劃地方與國際

性之展覽與活動，吸引大眾對藝術主題之關注，同時積極支持會員面對種種挑戰。

其會員為藝術、工藝與設計專長之專業人士，皆是接受專業訓練或實習合格之該

領域佼佼者，於獨立工作室進行專業創作，作品以其精緻度與高技術標準聞名，

對現代應用藝術貢獻不可小覷。

BdK 與許多美術館、當地政府機關、財政部與經濟部維持緊密之合作關係，經常

於斯圖加特與卡爾斯魯爾邦立博物館與著名景點－路德維希堡舉辦藝術展覽會，

每兩年也受邀參加邦政府之巡迴藝術展競賽，於德國各城市舉辦工藝展覽。重視

與其他地區或國家的藝術家進行交流、建立網絡，經常邀請海外藝術家到德國擔

任不同主題之講者或參展。

德國巴登府騰堡邦工藝師聯合會 Association of Arts and Crafts Baden-Wuerttemberg/Germany

1940 年出生於德國韋爾尼格羅德的奧特瑪．阿爾特，以別具特色的作品在現代

藝術中取得不可撼動的地位。他的作品為觀眾開啟了另一個視野，並賦予作品自

己獨特的故事。在阿爾特所設計的藝術杯之後，超過 20 款不同風格藝術家發表

的各式藝術杯，皆成為收藏家獨一無二的實用精品。

With his distinctive works Otmar Alt, born in Wernigerode (Germany) in 1940, obtained a steady position in modern art. His works open up an insight in another world, invite to associate, to invent own histories for his shapes and colours. His design for an art cup is the first one. It is followed by more than 20 other art cups, created by the most different artistic personalities to be exclusive collectors’ objects with substantial functional qualities.

1 號藝術家杯

Artist Cup No.1

杯子 Cup：H 9cm, W 12.5cm

杯托 Saucer：W 19cm

1987


18 19

每位陶藝家的特質與創作過程都不同，有人喜愛創作器具，有人偏好雕塑，每人

的技巧與窯燒方式也各具特色，若要細究陶藝創作與陶土媒材之運用，陶藝家之

間的相異之處可說無窮無盡。本次展覽中您會看到展現嫻熟陶藝技巧之作品，呈

現完美的拉坯、塑形與製作技巧，同時也可見到不規則形態的美學，猶如自然中

存在的不完美與不對稱，彰顯對材質與窯燒的本質所賦予之價值與自由度。

陶藝的世界裡，個人經驗扮演著重要角色，但對於所有技術原則的主觀與客觀判

斷也十分重要。相對於與生俱來的經驗，陶藝家還需要深入了解媒材與創作過程

中其化學與物理變化，陶藝創作中「賦形」之過程具有高度之挑戰性，陶藝家必

須做出許多關鍵決定才能達到預期結果。

當我們手持裝著茶或咖啡的精緻陶碗，或欣賞雖不具有實質功能但令人驚艷的陶

藝作品，心中的喜悅筆墨難以形容，讓我們不禁自問，陶藝若與美學脫鉤該如何

自處 ? 陶藝的視覺體驗還可以加入觸覺面向得以更加寬廣，於創作過程中，柔軟

平滑的陶土可塑性極高，但窯燒後作品變得無比堅硬，表面可能是光滑的、波紋

的、上釉的，無限可能。

但陶藝作品若脫離其特殊環境脈絡，沒有展覽、藝廊、或美術館等空間提供賞析

的機會，又該何去何從？鶯歌陶瓷博物館這次給我們的作品提供了一個恰當且完

美的展出環境，我要特別感謝館長陳春蘭女士，以及整體專案團隊的精心策劃，

讓德國巴登府騰堡邦工藝師聯合會得以在臺灣展出德國西南部的陶藝發展近況，

衷心感謝館方的邀請。

Different characters, different working process of the ceramic artists, different compositions from vessels to sculptures, as well as different techniques and ways of firing... this list can be continued and enlarged until we have covered all aspects of creating and working with the material clay.In this exhibition you will see technically perfect pieces, accurately wheel-turned, constructed and processed further, but also the aesthetics of the irregular, the asymmetry and the imperfection as found in nature. In this case a much higher value and freedom is given to the natural behavior of the material as well as to the fire.

In ceramic art not only the individual experience is important, but also the subjective and objective perception of all technical principles. In contrary to the naive experience it includes deep knowledge of the material and its chemical and physical behavior during processing. Formgiving as an element of design challenges the potter to take decisions in various ways in order to achieve the desired result.

The delight experienced when holding a beautiful bowl in your hand filled with tea or coffee in it and when your eye is caught by a piece that is completely without any technical function. What would ceramics be without aesthetic experience? I would like to widen this visual experience with a haptic experience. Especially with ceramic haptic is something very exciting: at first soft and smooth, sculpting in any direction and after the fire hard, rough, with a furrowed surface or plainly polished or covered with a special glaze.

But what would all the objects be without a special context or environment, without their appreciation in an exhibition, gallery or in a museum. The Yingge Ceramics Museum offers an appropriate and perfect surrounding for our pieces of ceramic art. We thank Mrs. Chen Cnun-Lan and the team for their initiative and help. At this exhibition we of BdK Bund der Kunsthandwerker (association of arts and craft) have received the opportunity to present the current state of ceramic art in the Southwest region of Germany. We cordially thank you for this.

Aesthetic of German Contemporary Ceramics

Heide Nonnenmacher

Head of BdK Bund der Kunsthandwerker Baden-Wuerttember德國巴登府騰堡邦工藝師聯合會會長

關於德國當代陶藝美學

曾於赫爾—葛倫豪森陶藝中心學習陶藝設計

於羅森海姆技術學院學習室內設計

自行成立與經營工作坊近 20 年

Study ceramic design at Ceramic Center Höhr-Grenzhausen.

Study Inter ior Design at a technical college in Rosenheim.

The experience to live and existe with a own Workshop since nearly 20 years.

透過《向茜茜公主致敬》系列作品，我向奧匈帝

國的伊麗莎白皇后（1837-1898 年）致敬。該時

代的經典裝飾藝術讓我的作品在裝飾的功能與意

涵之間擺盪思考，就像一場遊戲，一方面創造容

器的可塑性，另一方面在意義與記憶之間產生關

聯。我透過石膏模型創造茜茜（Sissi），刻意揉

合陶石與瓷兩種素材，藉由技術強調傳統與時代

精神間的關係。

"Hommage an Sissi" is my tribute to the Empress Elisabeth

of Austria-Hungary (1837 to 1898).The classicistic ornamental

art of this time provides the arc of suspense of my work

between function and meaning of the ornament. It is like a

game, which on the one hand creates the plasticity of the

vessel, and on the other hand generates the association

between the meaning and remembrance. The application

of "Sissi“succeeds by means of a plaster mould. A deliberate

mixture of the two materials, stoneware and porcelain,

means the technical emphasizing of the relation between

tradition and the “zeitgeist”, i.e. the spirit of today.

Ute Kathrin Beck

當代陶藝家及其作品 Contemporary Ceramic Artists and Their Works

向茜茜公主致敬 Hommage an Sissi9 x 9 x 16 cm2014

20 21

2005 作品《花瓶》獲德國伊茲南國際陶藝展覽會首獎

2005 作品《碗》獲義大利納圖爾諾國際陶藝展覽會首獎

德國卡爾斯魯爾－巴登博物館典藏數件陶藝品

2005 First prize- "The vase", International Ceramics Fair, Iznang, Germany

2005 First prize- "The bowl", International Ceramics Fair, Naturno, Italy

Several ceramics in the Badisches Landesmuseum, K ar ls ruhe, Germany

在獨特的拋光與柴燒過程中，我結合清透的造形

與光滑明亮的陶土表面，再加上各種柴燒窯火在陶

藝品留下的生動火痕。只要陶坯達到類似皮革的硬

度，我就運用滑石開始拋光表面，不斷增加表面密

度，直到陶藝品全乾為止，在初次窯燒之前，陶坯

便已如絲絨般平滑。柴燒過程裡，窯內包括個別陶

藝品與柴燒材料（木頭、木屑、樹枝等），用磚堵

住後就點火燒窯，藉由控制空氣的供給達到氧化或

減壓效果，約需在攝氏 900 度中維持 8 至 12 小時，

再搭配陶藝品在窯內位置巧妙的安排，產生色彩相

互作用的效果。

With my unique burnished and wood-fired ceramics, I combine the clarity of shapes as well as the smoothness and the brightness of these pure clay surfaces with the lively traces of fire which different wood firings impart to my ceramics. I start burnishing my ceramic pieces as soon as they are leather-hard. I keep increasing the surface density by treating it with smooth stones until it is bone dry and has this velvet smoothness even before the initial firing. For wood-firing, the kiln is stoked up with single ceramic pieces and firing material (wood, chipped wood, plant parts, etc.). I ignite the kiln after bricking it up. An oxidizing or reducing atmosphere is created by controlling the supply of air during firing which takes about 8 to 12 hours at 900°C. This, combined with the arrangement of ceramic pieces inside the kiln, produces interplay of colors.

他十分嚮往充滿嚴格的建築形式與幾何型態之

世界，近期更發現有更多融合這些元素之可能

性，塑造出形態更自由的物件。他並未使用幾

何做為揭露與理性的途徑，而是在看似微小的

結構中納入情感論點。

The artist's fascination is the world of strict tectonic built

forms, geometrical patterns and recently the possibility

to integrate these elements and shaping more free

styled objects. Manfred Emmenegger-Kanzler does

not use geometries as formal system of disclosure and

rationalization, but as encoding of emotional contests in

seemingly small structures.

1988 成為獨立雕塑家與陶藝家

1982-1988 在德國下萊茵高等專業學院學習陶藝設計

1979-1982 接受陶藝家教育

Since 1988 Self-employed sculptor and ceramist

1982-1988 Study FH Niederrhein Krefeld Ceramic-Design

1979-1982 Education for ceramist

Gabi Ehrminger Manfred Emmenegger-Kanzler

當代陶藝家及其作品 Contemporary Ceramic Artists and Their Works當代陶藝家及其作品 Contemporary Ceramic Artists and Their Works

雙層容器 Double-walled Vessel21 x 21 x 17 cm2014

巢 Nest51 x 51 x 23 cm2010

22 23

2015 德國慕尼爾 IHM 國際工藝展

2014 德國赫爾－葛倫豪森第13 屆歐洲陶藝獎

2014 德國卡爾斯魯爾「臺灣與巴登府騰堡瓷器展」

2008 法國瓦洛里駐村藝術家

"Meister der Moderne", IHM International Craft Fair 2015, Munich/Germany

"Europe an Cer amic s 13th Westerwald Prize 2014"

Hoehr-Grenzhausen/Germany; "Porcelain from Taiwan and Baden-Wuerttemberg", 2014, Karlsruhe/Germany Artist in Residence

Vallauris/France, 2008

秉持想像精神，把玩形式與功能。

擅長特殊表面雕塑，尤其是塑料人像。

Play with form and function in the spirit of imagination.

Sculptures in special surfaces – especially Portrait plastic.

使用拉坯製作白色或彩色利摩日瓷器，有各種尺寸

及形狀的容器，內部塗上一層透明釉，並以電窯燒

製而成。重點在於形態的美學質感，曲線延續至整

個容器外，在內部呈現光與平衡。我結合均衡與平

衡的層面（容器只以單點支撐，透過妥善安排維持

平衡）以及形貌的光亮與張力。這個系列的尺寸、

造形與色調都不同，以顯示物件個別的美學身分，

呈現一系列現代、純粹且優雅的容器。

My work is made from white or colored Limoges porcelain turned on the wheel. On the inside they are covered with a transparent glaze. They are burnt in an electrical kiln.The focus is on the aesthetical quality of the shape. The curve of the shape continues along the whole outside of the vessel and on the inside giving the impression of lightness and balance. I combine the aspects equilibrium and balance (the vessel rests on one point only, stability is reached by appropriate distribution of the porcelain mass), lightness and tension of the shape. This is applied to different sizes, shapes and shades of colors, thus supporting the aesthetical identity of each individual object. The result is a series of modern, purely, elegant vessels.

我運用陶土創作多年，喜歡陶土能夠舒展的柔軟

度，也將其展現在我所有作品中，即便從一球陶土

變形為成品，這種特質依然未變。在創造新型態的

實驗中，我喜歡內外形態各異的容器，長出腳或如

同蜘蛛網。我們看見形貌，但背後仍是謎，在你我

的想像中，容器有無重量並無分別。

During many years working with clay I still love the tenderness it spreads by clay. In all my works this tenderness spreads in it –still after the long way from a ball of clay by metamorphoses to the complete work. In experiments creating new forms I prefer these vessels with inside form and outside form, builder with “legs”- like a “spider-web”. We see the form and although the behind, as a mystery. In your imagination there is no weight-weightless vessel.

作品簡介或創作緣由簡歷

Hozana Gomes da Costa


Angelika Karoly


搖擺碗 ( 紅與深灰 ) Swinging Bowls (Red and Dark Grey)單件 Each 11 X 11 X 8 cm2015

容器群─大聖、圓、飛行、偉大、感謝 Vessel group: Great Divine, Circle, Flight, Grande, Grazie最大 Max. 48 X 24 X 15 cm2014

24 25

在學習木雕過程中在物件表面上刻出成品，並試圖在拉坯過程中呈現雕塑之美學。

以傳統柴燒窯製作物件，達到特殊的表面結構，展現個人的燒製技巧。投入嘗試雕塑及柴燒兩種技巧已有 25 年。

Study as a wood sculptor I cut my objects on the surface and by that try to give a sculptural aesthetics to the wheel-turned parts.

Fire objects in a classical wood kiln and thereby achieve the respective sur face structure, h a s l e d t o t h e i n d i v i d u a l technique of sagarfiring. Since more than 25 years working and experimenting with both techniques.

附蓋的盒子以拉坯創作並以手工製作及切割，之

後覆上含鐵泥漿及瓷土，再以特殊製程燒製，溫度

約達攝氏 1,250 度，經過減溫與氧化過程，呈現多

樣色彩，並產生土質與鐵質表面。盒子的壁面有兩

層，吸引觀賞者與蓋子及孔洞互動。

The boxes with lid are wheel-turned, handbuilt and cut, afterwards I coated it with iron-bearing slips and porcelain before the firing with a special sagar firing process at a temperature of approx. 1,250°C. The following reducing process and oxidation leads to the variety of colors, and to the earthy and iron surface.The boxes are constructed as double-walled boxes and shall invite the observer to play with the lids and the holes.

在作品裡，我既是陶藝家也是雕塑家，探究形式的純

粹與力量，從容器的形貌轉變為雕塑，樂燒賦予自己

生命。

In my artwork I am both Ceramist and Sculptor - my work is a search for the purity and power of form itself, in the shape of a vessel that transforms into a sculpture. Raku gives it its liveliness.

2014 AOH 布萊頓年度藝術家

2008 巴登府騰堡邦獎

2000 韓國釜山韓德陶藝工作坊

2014 Artist Of The Year, AOH Brighton

2 0 0 8 S t a t e A w a r d B a d e n -Württemberg

2000 Korea & Germany Ceramic Workshop, Pusan, Korea

Markus Klausmann Joachim Lambrecht


蹺蹺板 Seesaw41 X 41 X 33 cm2014

遊戲盒 Playbox19 X 19 X 15 cm2014

26 27

2015 與 Hama Lohrmann 在德國菲爾斯騰費爾德布魯克縣展出裝置藝術－自然與藝術

"Latitüden"- installations in Fürstenfeldbruck with Hama Lohrmann,

2015, nature and art

在作品《一號方舟－七位船員》中，7 個人緊靠

著彼此，既視覺又抽象，他們的下方是強烈的紅色，

這些人關係密切、必須溝通，好奇、注意、關心是

他們的表達方式，他們開著口，似乎在說話，強調

人性溝通層面。人們跨海逃離自己的國家，對生存

的恐懼串聯這群人，卻也保持距離。他們得彼此親

近，因此產生連結。當大家都坐在同一條船的時候，

團結就扮演了非常重要的角色。「七人一同」代表

著：溝通、在一起、並肩、為了彼此、對抗彼此、

相伴及一對一。

On this ark seven individuals are placed closely together next to each other, both in a visual and also abstract way. They are positioned on top of a strong red color. These people have a close relationship and the necessity for communication. Curiosity, attention, and care are their expression. Their mouths are open and they seem to talk, this underlines the communicative aspect. People flee from their countries over oceans, and the fear to survive links them together, also in the distance. The closeness is strongly required and creates the connection. “Seven people together“: communication - together - side by side - for each other - against each other - next to each other - one by one.

我使用傳統柴燒與鹽釉製造精緻的陶瓷茶具，鹽釉

瓷器的輕巧特性，對比使用穴窯燒製出粗糙厚實的

陶石質材，我用兩座窯燒了4 天，最高攝氏1,350 度。

我深受周遭自然的平靜與力量啟發，瓷器的細緻與

柴燒的勞動對比之下獲得平衡完整，雙手與窯燒對

我的創作影響同等重要。

I use the old tradition of woodfiring and saltglaze to create fine porcelain tea ceramics. The light appearance of the saltfired porcelain is highlighted by the coarse and heavy stoneware plate fired in the anagama kiln. I fire my two chamber kiln in four days up to 1,350°C. I'm inspired by the calmness and strength of the nature surrounding me. The contrast of the detailed work with porcelain and the physical work of woodfiring create a whole. The impact of my hands and my kiln are equally essential to my artistic work.

2014 威斯華德陶藝獎—鹽釉／陶石器與瓷器獎

2014 英國哈特福瓦倫泰陶藝同儕獎

2012 參與日本東京 Gallery Azur 展覽

Westerwaldpreis 2014, Award for Saltglaze/Stoneware and Porcelain, D

The Valentine Clays Peers Award 2014, Art in Clay Hatfield, UK

2012 Exhibition contribution Gallery Azur, Tokyo, Japan

Dagmar Langer Susanne Lukács-Ringel


一號方舟－七位船員 Ark One - Crew 758 X 17 X 12 cm2015

眾生茶 Tea for Everybody40 X 30 X 22 cm2015

28 29

德國赫爾－葛倫豪森技術學校研習陶藝設計並獲得陶藝碩士

與兩位藝術家在德國施瓦本格明德鎮經營藝廊，做為實踐應用藝術的場域

S t u d y c e r a m i c d e s i g n a t the Technical School, Höhr-Grenzhausen / Wester wald, Germany and qualifying as a Master of Ceramics.

Running a gallery together with two other artists in Schwäbisch Gmünd, Germany, a forum for Applied Arts.

我從事陶藝創作 30 年，從一開始就喜歡製作很小

的作品及日常的物品，幾年後我開始專注於小茶

壺。我在陶藝創作的每個階段、每個工作、每次展

覽，都會製作出新系列的小茶壺，很高興這次能為

鶯歌陶瓷博物館製作純白的瓷茶壺。每件茶壺具有

完整的功能性，包括壺嘴和上蓋，高度介於 1.5 至

4 公分之間，以方形陣矩陳列。

I have been a ceramist for 30 years and from the beginning I loved to make very small things along with the usual products. After a few years of making miniatures I concentrated on tiny teapots.Each phase of my ceramic works, every job, and every exhibition brought about a new series of its own little teapots, and so it was a great pleasure for me to create miniatures in the pure white of porcelain especially for the Yingge Museum.Each pot is fully functional with spout and removable lid. They are between 1.5 to 4 cm in height and are always arranged in a square.

靈感來自侏儸紀時期前期（1 億 4 千萬

年前）的海中珊瑚與放射蟲。放射蟲的

精緻生物結構大小其實只有幾釐米，但

是我特別將其在作品中放大處理，帶來

驚奇的效果。

Inspired by corals and radiolar iens of the underwaterworld from the Upper Jurassic period (140 million years ago) in my area, I developed those porcelain objects. The fine structures of those radiolariens that are only a few millimeters in size I create in a larger scale achieving surprising effects.

2014 巴登府騰堡邦獎與卡爾斯魯爾市獎

2003 日本滋賀駐村藝術家

1982 工作室成立

2014 State award of Baden- Württemberg and the city of Karlsruhe

2003 Rrtist and residence , Shigaraki, Japan

1982 Foundation of my studio

Angela Munz Heide Nonnenmacher


三十六壺 36 Teapots 30 X 30 X 3 cm2015

放射蟲 1 Radiolariens I42 X 8 X 9 cm2014

30 31

2015 多瑙艾辛根市藝術獎

2008 柏林史丹福大學陶碑裝置，描述「克拉瑪之屋」及其居民相關歷史

1995-1999 於赫爾－葛倫豪森學習藝術／陶藝

2015 Winer of the Art Award of the City Donaueschingen

2008 Stanford University/ Berlin: instal lat ion of c lay tablets, narrates the linked histories of the “house Cramer” and its habitants

1995-1999 Studied Fine Arts /Ceramics with distinction at the “Institut für Künstlerische Keramik und Glas”, Höhr- Grenzhausen

以點、線、面、體互動，由點連線，由線成面，由

面成體，體再拓展至空間。透過結合、連結與反覆，

作品兼具物質美學、形式精確、清透與簡潔。

Interacts with the combination of point, line, space and form: out of the point arise the line, the line defining the space, the space creates the form and the form wants to expand Into the room.By means of combination, connection and repetition she creates art which is convincing by its materialistic esthetic, formal rigor, clarity and simplicity.

我的作品是個人視覺語言，以多層影像堆疊而成，

詮釋著思維、印象與感受。形式以建築形態與尋得

物件為基礎，我於環境中蒐集特定材質的表面並記

錄過往記憶，拍攝特寫或印紋，再以陶土詮釋。我

結合印刷與文字，創作出晦澀難解又多層的抽象圖

像與符號，有些具有特定意義。我以陶土為畫布，

創作過程既隨興又具實驗性，也運用各種印刷技

巧，結合壓模與徒手成形。

My work is a personal visual language built up from collaged layers of imagery which interpret thoughts, impressions and feelings. My forms are based on architectural shapes and found objects. I focus on and collect specific textured surfaces and memories of the past from my surrounding by taking close up photographs or imprints which I then interpret in the clay. I combine this with printing and text to create unintelligible, layered abstract imagery and signs, some of which have a specific meaning. I use clay as a canvas and my process is very spontaneous and experimental. I am working with different techniques of printing in combination with press moulding and handbuilding.

英國伍爾弗漢普頓大學陶藝系畢業

Study abroad- BA (Hons) Ceramics, University of Wolverhampton, UK

Dorothee Pfeifer Annette Schwarte


黃色造形 Yellow Shape 42 X 42 X 10 cm2015

違背 Rompimiento 單件 Each 15 X 15 X 2.5 cm2014

32 33

德國蘭休特陶藝學校訓練

於 Calw 國際學院學習藝術治療與創意教學方法

1998 年起設立獨立工作室至今

Training School of Ceramics in Landshut

Studies art therapy and creative pedagogy at Int. College Calw

Freelances studio since 1998

在拉坯的過程中，我探究瓷器裡的對比與限制，在

延展的容器裡，強調從旋轉過程中產生的特殊表面

設計，在破碎、有缺口的表面中，透過容器半透明、

藍綠色的釉彩而達到平衡，讓人想一窺容器的內

部，如同海底的珊瑚礁般吸引人一探究竟。

I like to explore the contrasting characteristics of porcelain and its limitations in the turning process. For the expanded vessels I put the emphasis on surface design, which arises from the rotation process. The balance of the vessel with the broken, jagged surface is formed by the semi-transparent turquoise glaze, which gives the impression of taking a look into the interior of the vessel - reminiscent of coral reefs in the sea.

《收與藏》這個系列包括眾多小型的陶製壁掛

作品，表面上的小孔相當規律，部分填滿色彩

或纖維，呈現線條或不規則的圖案，其他作品

外加上幾塊陶土，填滿與外加的手法顯示出各

種意涵，模仿蒐集與儲藏的行為，就像工蜂撿

拾小塊植物運回至蜂巢，也代表蒐集知識和體

驗的過程，待適當時機運用。

"Collecting and storing" consists of a series of small wall pieces in clay. They show a regular pattern of holes on their surface. The holes are partly filled with color or fibers that show lines or irregular patterns. On others cast parts of clay are being attached. The filling and attaching is a mimesis of the act of collecting and storing in its wide range of meaning. It can be like the work of bees that collect small parts of plants and transport them to their honeycombs. It means also the process of collecting knowledge and experience to profit from it in the right moment.

2015 杜賓根藝術中心聯合展

2015 德國史陶芬陶藝博物館聯展

2014 受芬蘭設計協會之邀前往芬蘭

2015 Group-Exhibition at Arthall Tuebingen

2015 Group-Exhibition at Ceramics Museum Staufen

2014 Stay in Finland on invitation of ORNAMO Finland

Martina Sigmund-Servetti Elisa Stuetzle-Siegsmund


加勒比海之下 Subaqueous Caribbean 20 X 20 X 14 cm2014

收與藏 I Collecting and Storing 1 27 X 19 X 1 cm2015

34 35

2013 芝加哥 SOFA 展（雕塑、物件、功能藝術展）

2002 日本滋賀陶藝研究所駐村藝術家

2013 SOFA, Chicago (Sculpture, Object, Functional Art)

2002 Artist-in-Residence, Institute of Ceramic Studies in Shigaraki /Japan

作品使用利摩日瓷器創作，有些已上釉可供使用，

有些如同此次展出的碗型物件，使用山毛櫸灰二次

燒製而成。

Bowls out of Limoges Porcelain are casted, either glazed for use or here as Object bowls burned a second time in a capsule with ash of beech.

Amei Unrath-Ruof


碗型物件 Object Bowl 13 X 13 X 6.5 cm2012

Organizer: New Taipei City Government

Executive Organizers: Cultural Affairs Department of New Taipei City, New Taipei City

Yingge Ceramics Museum, Porzellanikon-States Museum For

Porcelain, Association of Arts and Crafts Baden - Wuerttemberg

/ Germany

Publisher: Chu Li-Luan

Editor in Chief: Lin Kuan-Yuh

Editor Supervisors: Yu Wen, Ji Shu-Jyuan, Weng Yu-Chin

Editor: Chen Chun-Lan

Editorial Committee: Chen Pao-Chien, Sun Hsuen-Hung, Cheng Wen-Hong, Chien

Hsiao-Shan

Supervisor: Chen Pao-Chien

Curators and Editors: Liu Po-Ya

Translators: Johnny Hsieh, Jennifer Shih

Proofreaders: Delia Lin, Kung Pi-chi, Sung Kai-Shan

Exhibition Design: Cheng Chien-Jung

Graphic Design: MUST Design Co., Ltd

Printer: New Taipei City Wecare Creative Printing Shelter Factory

Date of Publication: October 2015

Publisher: New Taipei City Yingge Ceramics Museum

主辦單位：新北市政府

承辦單位：新北市政府文化局、新北市立鶯歌陶瓷博物館、

　　　　　巴伐利亞邦德國瓷器博物館、巴登府騰堡邦工藝師聯合會

發行人：朱立倫

總編輯：林寬裕

編輯督導：于玟、紀淑娟、翁玉琴

主　　編：陳春蘭

編輯委員：陳寶珍、孫憲虹、程文宏、錢曉珊

專案督導：陳寶珍

策展編輯：劉博雅

英文翻譯：謝淳光、施彥如

校　　稿：林禎儀、龔碧琪、宋愷珊

展場設計：鄭建榮

美術設計：摩久設計有限公司

印　　刷：新北市維凱創意印刷庇護工場

出版日期：2015 年 10 月（初版）

出版者：新北市立鶯歌陶瓷博物館

Copyright © New Taipei City Yingge

Ceramics Museum

版權所有．翻印必究

36

Documents

目 錄 · Yingge Ceramics Museum, presenting the beauty of Taiwan’s ceramics, has been to Porzellanikon – German Porcelain Museum in Bavaria State and subsequently to Karlsruhe

目錄 · Yingge Ceramics Museum, presenting the beauty of Taiwan’s ceramics, has been to Porzellanikon – German Porcelain Museum in Bavaria State and subsequently to Karlsruhe