■ 射馬干、人鹿之戀 Princess and Deer, a Love Story in Kasavakan

2006 / 32 x 32 x 50 cm / bronze 銅

“射馬干”是台東卑南族建和部落的稱呼,部落流傳一段悲劇性的愛情神話故事
故事敘述卑南公主在田野發現一隻雄壯的公鹿，鹿角掛著一串串琉璃珠，走向公主面前以表示愛意,在熱戀的過程中，公鹿終究難逃公主父親的誤殺，公主因此每天對著鹿角垂淚，茶飯不思，直到有一天終於忍不住以柔弱的身軀撞擊鹿角，而結束了自己的生命。

Kasavakan is the name for the ethnic Puyuma (also known as “Beinan” in Mandarin) people in Jian-he tribe, where a tragic love story is constantly told. As the story goes, a Puyuma princess meets into a stag in the open country. This deer, with strings of glazed beads hung on his antlers, presents himself in front of the princess, expressing his admiration to her. They passionately fall in love with each other. Unfortunately, the buck is killed by the princess’ father by mistake. The princess gazes at the buck’s antlers, shedding tears day after day, without drinking or eating anything. One day, the princess cannot take it anymore, so she takes her own life by thrusting herself against the antlers.

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■ 小鬼湖之戀 The Love at Lake Little-Ghost

2006 / 36x27x48cm / bronze 銅

魯凱族原住民流傳著一則〝人蛇相戀 〞的神話故事，故事敘述魯凱族部落頭目的女兒和百步蛇化身的英俊男子，一見鍾情而私訂終身的愛情故事，男女熱戀的肢體語言代表文化傳承的延續性，神話故事是人類生活的智慧結晶，也是部落文化的表現，值得流傳在族人記憶中的文化，與其他族群、朋友分享。

The Lukai people have a myth regarding a love affair between a chief’s daughter and a hundred-paces snake incarnated in a handsome human form. Love at first sight takes place in this story, and the girl decides to elope with the snake. The body language expressed by this passionate couple represents the continuity of the tribal tradition.

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■ 夕陽紅 The Red Setting Sun

2005 / 48 x 29 x 59cm / bronze 銅

宛如楓紅將落的一抹美景，長日將盡的煦暖餘暉
在鄉間田埂上，一對老農夫婦留住了，他們最美的人生映像。

Just like a spectacular scene painted by the red maple leaves, the setting sun, after a long day’s journey, shines upon the footpaths in the field, witnessing the most beautiful profiles of an old farming couple.

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■ 蘭嶼風情 The Orchid Island Romance

2001 2件組 a two-in-one piece
父20x20x74cm, Father / 母子30x20x64cm, Mother / bronze 銅
蘭嶼島上的達悟族子民生性善良、純樸且自然大方，是我與達悟族第一次接觸的印象 。在熱情的招待中，深深感覺到人與人之間的情感交流是如此的自然無拘束，達悟族部落的生活，是感覺不到文明人的社會價值觀。

The Tao/Tau People in the Orchid Island .Kind, simple, and honest by nature, poised and dignified, these are my first impressions over the Tao people. From their passionate reception, I deeply experienced that the human relationship should be so free and without restraint.

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■ 山水子民 The Children of Mountain and Water

2001 3件組 a three-in-one piece 父20x52x104cm, Father
母28x22x45cm, Mother / 子16x15x43cm, Child / bronze 銅

遊走在泰雅族部落一座座高聳峻峭的青山如同父親舞動著健壯的身軀
清澈的溪水在山谷流動產生的迴音如同母親在笙歌
泰雅族子民就是在青山綠水的環境裏
接受山神的保護與大自然環境的洗滌，漸漸成長茁壯。

Sojourning in the Atayal region, I passed one mountain after another, each penetrating high into the sky, dancing like a healthy, vigorous father. The echo made by the river flowing through the valley sounds exactly like that of a chanting mother. The Atayal people, protected by the mountain gods and baptized by the natural environment, always manage to find a way to thrive.

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■ 頭目與他的情人 The Tribal Head and His Lover

2007 / 11 x 9 x 31 cm / 9 x 16 x 26 cm / bronze 銅 (2件組)

部落老人家說：固守文化傳統，如同倆老堅貞的愛情長長久久。
人說情歌總是老的好，走遍天涯海角忘不了，我說情人卻是老的好，曾經滄海桑田分不了。

The village elders say: “Sticking to our cultural tradition is just like the faithful love between an old couple—it lasts for a long, long time.” People used to say that a love song, especially an old one, is always more pleasant to the ears, for wherever you go you simply can’t forget it. I should say that a lover, especially an old flame, is always more unforgettable, for after all you have been through in this passing world, that flame still lingers on.

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■ 教父 “God Father”

2007 21 x 12 x 29 cm / bronze 銅 （小）

知本部落傳統，女性止步的〝男子聚會所〞是部落男子知識教育、文化傳承與嚴格訓練戰鬥勇士的場所。每位男孩的家人在他少年進入男子聚會所開始，會特別請一位年高德劭的老人當他的教父，終身指導少年成長，成為一個保衛家園的卑南族男人。

According to the Katatipul tradition, the Palakuwan (men’s training hut), which forbids female presence, is the place to educate, pass down culture, and train warriors for the village male. For each boy under training, his itumakakaman (family members) will send for an elder male as his “god father,” who will for his entire life mentor the teenager to be a worthy man that defends his Puyuma homestead.

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■ 獵鹿人 Deer Hunter

2007 / 28 x 10 x 36 cm / bronze 銅

知本部落傳統，俗稱〝獵鹿人〞的獵人，絕不僅僅是〝神射手一箭既出，百發百中的英勇神態〞，除了狩獵技巧、更懂得山林智慧、收穫不忘歸於神的賜福。小孩在這樣的山林文化中學習各種人生價值，逐漸懂得人生意義何在，完成人格形塑。

According to the Katatipul tradition.The deer hunter is not merely an archer that always hits the bull’s eye. In addition to hunting skills, he learns more about the wisdom of the forest, and would never forget to give credit to the blessings of the ancestors. Learning all sorts of values about life in this kind of forest culture, a Puyuma child will gradually understand the meaning of life, and will shape his integral personality.

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■ 山豬王 King of Mountain Hog

2007 / 21 x 12 x 29 / bronze 銅

知本部落傳統，封號〝山豬王〞的獵人，不是以獵物多寡為評量標準，是養成對獵獲物沒有私有權、依親疏關係分享的獵人。山豬獠牙摩擦過的傷痕，不只是表面的勇氣象徵，獵人不以陷阱牢靠而沾沾自喜，只有找到大自然的規律，才能找到山豬，代表獵人對大自然理解的程度與經歷過豐富的生命考驗。

According to the Katatipul tradition, a hunter is given the title “King of Mountain Hog” not because of the quantity of games he hunts down, but because of his values of sharing with friends and family. His wounds inflicted by the ferocious fangs of a mountain hog say something more than the skin-deep face value of brute strength. A true hunter never crows over his success achieved by a strong trap. Only those who have found the rhythm of Mother Nature are able to locate a mountain hog. This shows exactly which level the hunter is at and how abundant the ordeals of life he has been through.

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■ 勇士精神舞 Dance of the Warriors’ Spirit

2006 / 21 x 11 x 29 cm / broze 銅

知本部落傳統，部落男子主要任務在保衛家園及狩獵。
小米收穫祭，勇士繞街，展現卑南族人團結與英勇，部落成年男子身著傳統服飾， 手拿毛巾或樹葉，隨著前導的銅鑼聲繞著全部落的每一個家庭，為族人消災祈福， 是卑南族知本卡地布部落最具特色的一種舞蹈。
The main duties of the ethnic Puyuma male are, according to the tradition in Katatipul masilit (Zhiben village), homeland defending and game hunting. For celebrating the Millet-Harvesting Festival, warriors will circle through the village streets, showing the unity and bravery of the Puyuma people. The adult males, in their traditional attire, with towels or tree leaves in their hands, will follow the brass gong rhythm leading them, passing through each tatseklan (family) of the entire village, removing ill fortune and praying for blessings. Such is the most characteristic dance in the ethnic Katatipul village.

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■ 婦女幫團 Misahuy ( female group for agricultural mutual aid )

2006 / 12 x 10 x 29 cm / broze 銅

知本部落傳統，農事工作，由婦女負責。農忙時，需要大量人力投入，於是有了以家戶單位組成的農事互助團，俗稱〝婦女幫團〞。
上工前，婦女幫團會隨著前導的部落女長老敲擊銅鈴的叮噹叮噹聲、融合卡地布傳統歌謠，沿途往耕作地點前去。藉以發揚昔日互助合作的傳統精神與美德。

According to the Katatipul tradition, agricultural work falls on the shoulders of the women. A respectable sum of labor is needed during the peak season on the farm. What rises in response to this proper time is the Misahuy, an agricultural mutual aid group organized on a household basis. Prior to the commencement of their work, the Misahuy members will follow the clanging of brass bell made by a senior female, chanting traditional Katatipul folk songs on their way towards the farmland. This activity is meant to glorify the past traditional spirit and the beautiful virtues of mutual aid.

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■ 鄒族 Tsou People

2004 /20 x 20 x 75 cm / bronze 銅

分佈在阿里山上的鄒族男人

This is a male image of the Tsou people, a tribe dispersed over Mt. Ali, central Taiwan.

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■ 思念 Missing

2002 / 32 x 32 x 47cm / bronze 銅

卑南族民謠創作大師 陸森寶，寫了一首卑南民謠美麗的稻穗
在部落裏每個人都會唱，不會唱的人也都會哼，歌詞內容敘述兄妹之間的情感交流
在稻米採收之季，妹妹對祖靈感恩的同時，思念在金門前線服役，未能返鄉慶豐收的兄長
如此感動的故事若不讓稻穗女孩立體呈現在眼前，對於身為卑南族子民的我來說是一輩子的遺憾

Beinan folksong composer Lu Sen-bao’s “The Beautiful Ear of Rice” is known to most people in his tribe. For those who cannot sing the song, they can still manage to hum a few lines. Its lyrics depict the love between a brother and sister. Giving thanks to the ancestral spirits during the harvest season, the sister misses her elder brother very much. Her brother is not able to join the harvest celebration, for he is doing his military service in Quemoy island (also known as Chinmen, Kinmen or Jinmen), a military front west to Taiwan. This is a very moving story for me. And I myself, as a Beinan ethnic, will feel a life-long regret if I do not present this girl along with the beautiful ear of rice in a sculpture.


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■ 愛情來了 Love Comes with Rattling Bells

2007 / 45 x 26 x 58cm / bronze 銅

卑南族男子成年之後為了討好女人的歡心
藉著舞蹈舞動臀鈴鐺，看誰的鈴鐺響亮最大聲且讓女人心動
誰就有機會與心儀的對象交往成為夫妻

In order to impress a lady, a Beinan man dances so that the bells hanging off the belt on his backside ring vigorously. He who makes the loudest noise will have the chance to get close to the girl he admires and eventually become the girl's husband.

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■ 她、我的幸福 She – My Once Happiness

2008 / 20 x 30 x 56 cm / bronze 銅

從相見，相識直到相愛，我喜歡偷偷看她獨坐窗前思索我們的未來
看她眉目如畫，巧笑嫣然對著窗外，我內心便美滋滋地生出幸福的暖流， 那時候我會想，我為什麼這麼幸運地遇到了這麼好的女孩子呢？上蒼真是對我不薄啊! 如今想起往事只能回味，感謝妳給我的幸福。

Since our meeting, knowing, to our falling in love with each other, I used to enjoy peeping at her sitting silhouette by the windowsill, seemingly thinking about our common future. Her brows resembled two painted strokes. When she gazed out of the window, she always wore on her face a smile so exquisite and merry. Witnessing all this, I immediately felt a warm flow of happiness gushing forth from within my heart. It was at such a moment that I used to ask myself: 〝How come I am so lucky to have encountered such a nice girl? 〞 The sky above did treat me well! Now those remembrances of things past can only be recollected, and I cannot help but sigh for the vicissitudes of this mundane world. It is an encounter of a life, which I, alas, should be satisfied with﹗Thank you for all the happiness you had brought me.

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■ 女巫的美麗與哀愁 The Beauty and Sadness of a Psychic -healer

2005 / 50 x 180 x 60 cm / bronze 銅

在部落，一位正值青春年華的少女被指定為女巫的繼承人選時，
她自己知道這是一項神聖的祖靈指示，而且是為部落族群服務的工作。相對的，部落族人對她的尊敬是不可侵犯的， 她開始住進女巫修行獨處的居所，學習為族人治病與驅邪的巫術。

她將本身原有同年齡女孩般的活潑與迷人的風韻、轉化為為族人治病與驅邪所做的一切服務。

While an adolescent girl is designated as the successor to the tribal psychic -healer, she herself knows that this is a sacred vocation from her ancestral spirits, and her job is to serve her people. Through refraining from any infringement, her people accordingly pay homage to her. This chosen girl soon begins to take residence in the place where the former psychic -healer used to practice spirituality alone, learning spells about medical treatment and exorcism. This girl needs to transform her once charming youth into charitable curing charms.

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■ 勇士的落寞 The Aloofness of a Warrior

2001 / 42 x 39 x 68cm / bronze 銅

勇士是原住民對獵人的尊稱
事實上打獵對勇士來說”只是一項成年男子必備的求生條件”
勇士在部落的角色，除打獵的本能還必須精通手工藝、教育下一代
及防禦外來族群入侵的作戰能力等
如今面臨環境變遷的打擊，即將消失在各個部落的事實
勇士內心的慌恐及無奈的表情是他們唯一抗拒現實環境的方式。

Hunters are honored as warriors by the indigenous people of Taiwan. In fact, hunting is only one of the many necessary survival skills for each adult male. In addition to hunting, a warrior must master many other skills such as handicraft-producing, knowledge-passing, tribe-defending, etc. Now facing the fact that they themselves are soon to fade away from each tribe, the warriors can only fight against the cruel reality with a fearful facial expression.

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■ 小米豐收 Millet Harvest

2002 / 30 x 18 x 50cm / bronze 銅

過去台灣原住民，大多以小米為主食，原住民也用小米來釀酒，是招待客人的見面禮
老人家常說”小米是祖靈賜予的食物就像黃金一樣得來不易”
面臨風雨肆虐及老鼠、小鳥的偷吃
原住民總是習慣，樂觀的看待這一切祖靈的考驗，能收多少算多少，豐收之餘總不忘記感謝祖靈的恩賜

In the past, millet was the staple food for most of Taiwan's indigenous people. It was also used to brew millet wine, a drink to treat honored guests. The elder people in the tribe often say that millet is a food given by the ancestral spirits, and it is as hard to be obtained as gold. Though the millet harvest is sometimes affected by rodents and birds, indigenous people remain optimistic, viewing all this as an ordeal imposed by their ancestors. The millet growers simply harvest whatever is left there, without forgetting to show their gratitude towards the ancestral spirits.

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■ 台灣之美 The Beauty of Taiwan

2001 / 58 x 15 x 72cm / bronze 銅

早期原住民婦女的頂上功夫非常了得，原住民婦女左右手提著大小包，身後又背著小孩
頭上頂著陶瓷器的影像，內心燃起的感動，看到原住民婦女持家的勤勞美德與代代傳承的刻苦耐勞精神。

In the old days, indigenous women were extremely good at carrying goods on their heads. With parcels of all sizes grabbed in both of her hands, plus a tiny baby carried behind her back, she still has that earthenware jar balanced right on the top of her head. This is a scene that always enkindles moving feelings deep down in my heart. I can see their vivid virtue in maintaining a family and the spirit of self-sacrifice and hardship that have been passed down through generations.

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■ 大地之母 Mother Earth

2002 / 23 x 15 x 57cm / bronze 銅

女人的胸脯不僅代表妻子與母親
是家、是男人在外疲憊時想的那個家，是男人心靈得到慰藉的家
男人把女人看成母親，聽母親的話，討母親的歡心
女人疼男人，疼得極致
女人把男人看成兒子，滿足兒子的心，甚至寬恕兒子的錯。

The breast of a woman not only represents her roles as a wife and mother, it also represents a family, a family which a man misses so much while he is exhausted out there, a family from which a man regains his consolation. A man should view a woman as his mother, listening to her and trying to please her all the time. A woman should pamper a man like her child, satisfying his heart, and forgiving all his faults.

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■ 愛的教育 Education of Love

2001 / 2件組 a two-in-one piece
父20 x 20 x 58cm Father / 母子34 x 25 x 63cm Mother and Child / bronze 銅

父親傳授吹奏鼻笛的技巧給下一代
母親為子編織小孩長大後，結婚的禮服
部落親子之間的關愛與文化傳承
在部落是一件很自然的生活行為與教育

The father is teaching the nasal pipe skills to the younger generation.
The mother is weaving a wedding gown for her child.
This is the education of love in the tribe.

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■ 友情 Friendship

2005 / 35 x 60 x 53 cm bronze 銅

〝放牛吃草〞是許多年長一輩的台灣人，共同的童年回憶，在原住民部落開始引進農耕技術之後，小孩也就往往得負擔不少家中雜物，〝放牛吃草〞可說是責無旁貸的工作之一，想當然的放牛吃草變成幾個牧童伙伴培養學習人際關係的環境， 相對的牧童對水牛的情感來自於責任的生命共同體。與現代人對寵物的觀念是有很大落差的。

Cattle-grazing has been a common childhood memory for many Taiwanese people of the older generation. After cultivation skills were introduced to the tribes, soon the tribal kids had to shoulder quite a lot domestic chores, within which cattle-grazing was one of the many duties. Naturally, this duty had become an opportunity for the buffalo boys to practice their skills in developing personal relationships. A boy’s sentiment towards his buffalo was derived from the symbiotic responsibility between the human and beast. This is a concept very different from that of the present vogue of pet-raising.

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■ 心手相連 Hand in Hand, Heart to Heart

2005 / 55 x 24 x 40 cm bronze 銅

舞蹈的肢體動作是一種語言的表達方式，個體與個體的連接
猶如多元族群的融合，完成了一項不可能的任務。
在完美背後的整個過程中，有著我們不容忽視的學習與思考層面

The physical action in a dance is another form of linguistic expression. The connection of different individuals symbolizes the union of multi-racial cultures. A union as such is almost a mission impossible, but it is accomplished by the dance. There is much for us to learn and think about from this perfect dancing.

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■ 我還是頭目嗎？Am I Still a Chief ?

2004 20 x 30 x 45 cm Bronze 銅

經是有能力激發族人跟隨自己一起工作，以穫取共同目標的 頭目
過去頭目不可動搖的勇氣、自制力、正義感、果斷、堅定的心、愉悅隨和的個性、同情心、責任感以及合作精神，種種領導人的素質。
如今因為外來宗教與政治對原住民部落文化的破壞，加上部分族人本身對自己文化的輕視。頭目一肩承擔晴天霹靂的撞擊打壓，內心長期猶如跌得鼻青連臉腫，摔得頭破血流之後，頭目只有微笑著問自己:「我還是頭目嗎？」

The head of a tribe was once able to inspire his people to follow his leadership and to work with him for realizing a common goal. In the past, a chief was well equipped with required characteristics such as unshakable courage, self-control, sense of justice, resolution, determination, agreeableness and easy-going personality, compassion, sense of responsibility, and team-work spirit. These are all indispensable elements for leadership. Nowadays, due to the damage on the tribal culture caused by the imported religions and politics, plus the contempt of the tribal culture by some tribal people themselves, a chief can only shoulder these impacts by himself. It seems that after being heavily wounded and traumatized for a long time, the chief can only ask himself with a bitter smile: “Am I still a chief?”

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■ 桃園國際機場

桃園國際機場

桃園縣在地藝術家聯展 , 作者導覽解說

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■ 夢見公主 Meeting Princess in a Dream

2002 / 45 x 26 x 74 cm bronze 銅

公主我未曾見過，夢裡的公主因出身貴族

身上一定掛著象徵階級、身份而且是獨一無二的佩飾

加上身材姣好、楚楚動人一副聰明過人、自信美豔的臉孔
當我正陶醉夢境時，我的mu mu還特別告訴我
公主必須擅長編織、刺繡的長處，要不然公主是沒人愛的

I have never seen a princess except in my dreams. Due to her noble origin, the princess must have worn on her clothing some unique accessories that symbolize her social status. She must have a perfect stature, delicate and attractive, with a visage that is bright, beautiful and confident. As I still indulge in my daydream, I am reminded by my Mumu (grandmother) that a true princess needs to be really good at weaving and stitching, or no one in the tribe will adore her.

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■ 祈福 Praying for Blessings

2005 / 30 x 30 x 52 cm bronze 銅

佛說:在生生世世的輪迴中，我們和眾生都曾經相遇

所以說社會本是我們共同的家園
我們有責任和義務去關心和愛護身邊的人。

獵人說:祖靈賜予我們愛與被愛的權利

當獵人將愛心（獸獵）分享給族人的時候
我們也會感受到被愛（尊敬）的溫暖

這是一種幸福快樂的良性迴圈。

“During all of our reincarnated lives,” says Buddha, “we had an encounter with the masses and multitudes of all living creatures.” This means that society, in fact, is our common homestead, and we have the responsibility and duty to care about whoever stands close to us. “The ancestral spirits,” say some hunters, “have given us the right to love and to be loved.” When a hunter shares his catch with his people, we also feel the warmth of being loved. This is a benign circle of true happiness.

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