蘊菁陶釆—李仁燿陶藝創作三十年經典巡迴個展｜第28站
藝術家李仁燿以三十餘年的陶藝實踐，持續探索小口瓶造形的精神內涵與技藝極限。
「肚大、細頸」的小口瓶自古被視為聚福納祥之器，亦象徵包容與內斂的哲思。
李仁燿以氣功調息融入拉胚歷程，追求手與心的平衡，使瓶體比例與氣韻自然流轉。
作品從素燒到高溫焠燒，歷經噴釉、淋釉與柴燒等多重工序，在火與土的交融中展現細膩的釉彩層次與深厚的工藝修為。
近年李仁燿以小口瓶系列屢獲國際肯定，曾於日本東京都立美術館第26屆NPO國際書畫交流會展榮獲「金賞」殊榮。
其創作以極限成形與還原燒技法為核心，於細微處映現自然能量的節奏與東方哲思的靜謐之美。
本展為《蘊菁陶釆》三十年經典巡迴個展第28站，特於中原大學藝術中心展出，邀觀者於光影與釉色的流動之間，感受火與土共生的詩意與生命韻律。
The Grace of Clay: Jen-Yao LEE’s 30-Year Retrospective of Ceramic Art—Touring Solo Exhibition, Stop No. 28
With over three decades of dedication to the ceramic arts, artist Jen-Yao LEE has continually explored the spiritual essence and technical possibilities of the narrow-necked bottle form. Traditionally valued as a vessel that gathers blessings and invites harmony, this form—with its generous body and slender neck—also reflects a philosophy of restraint, receptivity, and quiet strength. Jen-Yao LEE integrates Qigong breathing techniques into the wheel-throwing process, seeking harmony between hand and heart. This mindful practice lends his vessels a natural balance of proportion and energy, allowing each curve to flow with grace. His works undergo a meticulous process—from bisque firing to high-temperature reduction, layered with spraying, pouring, and wood-firing techniques—each stage revealing delicate variations of glaze and the depth of his craftsmanship.
In recent years, Jen-Yao LEE’s narrow-necked bottle collection has earned international recognition, including the Gold Prize at the 26th NPO International Exchange Exhibition of Painting and Calligraphy at the Tokyo Metropolitan Art Museum. His approach, defined by extreme precision in form and mastery of reduction firing, embodies a rhythm of natural energy and the meditative beauty of Eastern thought. This exhibition marks the 28 th stop of The Grace of Clay retrospective tour, and is specially hosted by the Art Center CYCU. Audiences are invited to wander among shifting glazes and flickering light, and to experience the poetic life rhythm born of clay and flame in quiet conversation.
活動來源：連結
