當不再只是被完成的物件，而是一種持續變化中的存在 …。


When it is no longer just a completed object, but a constantly changing existence…




「在非洲部落藝術作品中，發現了與東方日本侘寂（Wabi-Sabi）相似的美學緯度.. 」在這些作品


中，呈現出一種關於生活文化、秩序與宇宙觀的視覺表現。



侘寂（Wabi-Sabi）源自日本室町時代的茶道文化與禪宗思想，是一種關於時間、殘缺與自然變


化的美學觀看方式。


「侘」指向簡樸、安靜與不完美中的平衡；「寂」則描述歲月流逝後所留下的風化、磨耗與沉靜質


地。



侘寂並不追求完整與光鮮，而是在裂痕、留白與老化之中，看見事物更深層的存在感。侘寂後來


逐漸延伸至建築、當代藝術、攝影與空間設計之中，影響許多創作者重新思考「不完美」的價值。


本次的三件作品試圖將侘寂的觀看方式延伸至非洲部落藝術之中。那些經歷長年使用與自然風化


的木雕、面具，表面留下裂紋、缺損與粗糙肌理，這些痕跡並非被視為破壞，而是時間生活參與


作品後形成的另一種雕刻感。




伊博族的女性雕像 – 高度垂直化的人體比例，細長的軀幹與延伸的姿態，帶有強烈的精神性與儀


式感。緊握雙拳的姿態，呈現內斂的身體張力。雕像可見大量風化、裂痕與斑駁磨耗，呈現不同


的邊緣與自然缺損，訴說經歷的一切。



馬孔德族的頭型面具 – 以厚重而圓潤的寫實臉部量體構成，突出的鼻樑、半閉雙眼與厚實嘴部，


表情呈現沉穩。五官被大量簡化，形成近似現代雕塑的幾何語言。臉部輪廓帶有壓縮感與不對稱


結構，使人物介於真實與抽象之間，雙側的耳缺與下半臉頰的風化，更為作品帶來不同的張力


性。



巴烏雷族的鮮紅圓盤面具 – 雙角與面部呈現兩個對稱圓形、比例與突出的幾何構成，鮮紅和斑駁


呈現強烈視覺對比性，是部落慶典中最先登場的角色，它象徵原始自然力量的甦醒 ，如同雨滲破


網般的缺陷，為作品呈現出獨有的光影性與類圖騰感。



本展藉由非洲部落藝術與侘寂美學之間的對話，重新觀看那些被風化、磨損與歲月改變的物件。


當裂痕成為時間的線條，當殘缺成為形式的一部分，我們也開始理解：真正動人的美，或許從來


不在完整，而是在時間留下痕跡之後..。







When an Object Is No Longer Merely Finished, but Becomes a Continuously Evolving

Presence…

In African tribal art, one can discover aesthetic dimensions that resonate closely with the

Japanese concept of Wabi-Sabi. These works are not simply representations of individuals or

objects; they embody visual expressions of cultural life, social order, and ways of

understanding the world.

Originating from the tea culture and Zen philosophy of Japan’s Muromachi period, Wabi-Sabi is

an aesthetic perspective centered on time, imperfection, and natural transformation. Wabi

suggests simplicity, quietness, and a balance found within imperfection, while Sabi refers to

the weathered, worn, and tranquil qualities left behind by the passage of time.

Rather than pursuing perfection or polished beauty, Wabi-Sabi finds meaning in cracks,

emptiness, aging, and incompleteness. Over time, this philosophy expanded into architecture,

contemporary art, photography, and spatial design, inspiring creators to reconsider the value of

imperfection.

The three works presented in this exhibition extend the lens of Wabi-Sabi into the realm of

African tribal art. These sculptures and masks have undergone decades of use and natural

weathering. Their surfaces bear cracks, losses, abrasions, and rough textures. Such marks are

not viewed as damage, but as another form of carving—one created by time and lived

experience.

---

Igbo Female Figure

This Igbo female sculpture is characterized by its highly vertical proportions, elongated torso,

and extended posture, creating a strong sense of solemnity and presence. The tightly clenched

fists convey restrained physical tension and inner strength. Across the surface, extensive

weathering, cracks, and worn textures reveal incomplete edges and natural losses

, transforming the sculpture into a visible record of everything it has endured through time.

---

Makonde Helmet Mask

The Makonde helmet mask is constructed through a solid and rounded realism. Its prominent

nose, half-closed eyes, and full lips create a calm and contemplative expression. The facial

features are significantly simplified, forming a geometric language reminiscent of modern

sculpture. Compressed contours and subtle asymmetries position the figure between realism

and abstraction. The losses around both ears and the weathered lower cheeks further intensify

the visual tension of the work, emphasizing the beauty of transformation rather than

preservation.

---

Baulé Red Disc Mask

The Baulé red disc mask is defined by its symmetrical circular forms, expressed through both

the horns and the face. Strong geometric proportions and the contrast between vivid red

pigment and weathered surfaces create a striking visual presence. Traditionally appearing as

one of the first characters in community celebrations, the mask symbolizes the awakening of

primordial natural forces. Imperfections resembling tears in woven fabric allow light and

shadow to penetrate the surface, giving the work a distinctive totemic quality and a powerful

sculptural presence.

---

Through a dialogue between African tribal art and the philosophy of Wabi-Sabi, this exhibition

invites viewers to reconsider objects shaped by weathering, wear, and the passage of time.

When cracks become the lines of time, and incompleteness becomes part of form itself, we

begin to understand that true beauty may never reside in perfection, but rather in the traces

that time leaves behind.