造型象棋大觀

:::

1999 / 10月

文‧文:張靜茹



對大部分人,棋子當然是拿來下棋用的,對台灣報界名人高信疆,棋子的意義卻複雜多了。

民國七十六年,他賣掉一棟房子、自掏腰包請了一百位藝文界人士來創作造形象棋,從雕刻家吳榮賜、朱銘的大件作品,到洪義男、蔡志忠設計的卡通造型,一件件讓人愛不釋手。

找這麼多人一起來「玩」棋,除了早年便以才子姿態縱橫文壇的高信疆喜歡下棋外,一次偶然機會,他在國外博物館看到藝術家以西洋棋為題材創作的許多作品,充滿了創意與美感;反觀象棋,由於形制完成於講究空靈意象美學的宋朝,棋具逐漸由繁而簡,失去了具象的造型之美。造型象棋的點子,遂在充滿理想,又不免狂狷的高信疆手上轟轟烈烈落實。

百人創作,百種型態,這麼大手筆的玩棋,另一層意義,是為了抗議商業社會大量生產、複製各種廉價卻粗糙的器物,讓人忘記了生活用品也可以具有質感而不千篇一律。因為這樣的信念,展結束了,也就沒有大量生產、銷售,數量有限的許多組造型象棋在被買走後,如今已不復見,讓許多希望收藏的人士扼腕。矛盾的是,造型象棋未普及,在這個快速遺忘所有事情的年代,隨著活動結束,高信疆當年標舉的意義也很快被遺忘。

十二年後,高信疆搬出所剩的象棋,卻感嘆當年的衝動,對著諸多棋子,只能再一次進入琴棋書畫中,暫時忘記世事煩苦、時間囚牢,重新做一次神話式的遨遊……。

p.51

(圖.高信疆提供)

相關文章

近期文章

EN

Another Kind of Chess Set

Chang Chin-ju /tr. by David Mayer


For most people, the pieces in a chess set are naturally used for playing chess, but for the noted Taiwanese journalist Kao Hsin-chiang, it's a lot more complicated than that.

In 1987, Kao sold a house and used the proceeds to hire 100 artists to fashion Chinese chess sets in which the pieces could be recognized by their shape rather than by the Chinese characters that are normally printed on them. From the huge pieces by such sculptors as Wu Jung-tsu and Chu Ming, to the cartoon characters designed by Hung Yi-nan and Tsai Chih-chung, every single set is a true work of art.

Kao, who rose to literary stardom early in his career, has always been very fond of Chinese chess. His inspiration for bringing so many artists together came during a trip abroad when he happened to come across a museum exhibit in which all the items on display were modeled after Western chess pieces. The flat pieces used in Chinese chess, on the other hand, settled into their current abstract form during the Song dynasty, and have seldom been the subject of concrete artistic creation of this sort. When Kao came up with his idea for Chinese chess sets with upright pieces, the exhibit at which he displayed the finished sets created quite a stir.

This huge collection of Chinese chess sets also served as a vehicle of protest against the fact that mass production of low-priced, crudely made goods has made us forget that items of daily use do not have to be made in cookie-cutter uniformity. For this reason, the sets did not go to mass production after the exhibit finished. The works were sold off, and some of the ones that had been produced in extremely limited quantity can no longer be found. Many collectors were disappointed at the scarce supply, and the idea of using pieces of this sort to play Chinese chess never

caught on. In our present day

and age, everything is quickly

forgotten; as soon as Kao's exhibit came to an end, the idea that he was advocating disappeared into oblivion.

Twelve years have gone by since then. When Kao looks over the few chess sets that remain in his possession, he can't help but think back with a sigh upon his inspiration of yesteryear as he cruises through a landscape of his own creation and forgets, for a short while, the cares of the world and the relentless march of time.

p.51

(photo: courtesy of Kao Hsin-chiang)

X 使用【台灣光華雜誌】APP!
更快速更方便!