閱讀吳卿

Wu Ching was born into a simple farming family of Chiayi, Taiwan in 1956. The only word to describe his youth is “wild.”

He was never interested in studying, and often skipped going to school and got into trouble much to the consternation of teachers and family.

While wild and rebellious, Wu Ching never took a wrong turn. Farming village life was pretty simple, giving him a most unfettered childhood and a far more genuine experience of life than most. Wandering amidst an abundant natural environment and an ardent and steady interest in art since middle school cultivated a strong affection for nature, deep love of life and keen sense of observation that became the basis of his art.

He first encountered carving at age 17 and developed his rudimentary technique from carving wood furniture. Without any formal training or schooling, he had his own unique style.

1984年台北市立美術館展出「螞蟻」系列
Before military service, Wu Ching roamed Taiwan three years learning carving techniques, hence his open-minded outlook. He displayed his ant series of woodcarvings in 1984 at the Taipei Museum of Art, gaining prominence after which he was invited to display in Japan.

1984年「螞蟻」系列特展，打開木雕創作界的知名度
He first attempted the delicate woodcarving series depicting ants after observing the ecology of ants at age 19. He was astonished that they worked together as a group to transport a gecko egg many times their size. He was so moved by this that this became the theme of his first woodcarving.

It took seven years starting 1978 challenging himself and developing the delicate woodcarving technique to complete woodcarvings of 25 ants.

With a solid and precise woodcarving technique, he could carve wood as thin as a cicada’s wing, for a stunning surreal effect, leaving observers gasping in amazement. This set new records for woodcarving and established his leading position in the art of minute woodcarving.

In 1980, looking for a new material with which to sculpt and to extend the value of his art works for subsequent generations, Wu Ching shifted from delicate woodcarving to sculpting metal. This presented an entirely new level of technical and expressive challenges.

Over the next four years, he developed the soldering and sculpting techniques to meet his own high standards, completing his first ant sculpted in silver in 1984.

Over 12 years between 1985 and 1997, the National Palace Museum exhibited his works from different periods, setting a record for the longest duration of personal exhibitions at the NPM in Taiwan.

開啟台灣當代金雕藝術的風潮
Seeking a more permanent medium for his artistry required choosing a perpetually durable material that could ward off the ravages of time. Thus, in 1989, he began a new trend in Taiwan of sculpting in 99.99 percent pure gold.

開啟台灣當代金雕藝術的風潮
He was universally regarded by the art community as a living “national treasure” for three major artistic accomplishments that have contributed to numerous cross-strait exchanges.

1996年金雕「瓜瓞綿綿」
His 1993 gold sculpture “Prosperous Descendants” was acquired by the National Palace Museum in Taipei for its collection. To date, this is the first time for a living artist’s work to be acquired by the NPM.

2007年金雕「鄉情」（生生不息）
Invited by the National Center for Traditional Arts to undertake an exclusive collection, he completed the gold sculpture “Country Sentiment” (Endless Proliferation).

2010年金雕「東吳大翼戰船」
Invited by the mainland’s China Maritime Museum in Shanghai to complete his gold sculpture of the Eastern Wu Large-Finned Battleship, which was the first ever rendition in gold of an historical relic.

木雕「無礙」
In 1987, he completed “Unhindered” which depicted a tiny bush piercing through the crevice of a wall, and symbolizing undaunted vitality. It also expressed his self at the moment, when mind and body were one and unfettered by obstacles.

木雕「行走的女人」
After completing “Zen” in 1986, Wu Ching’s mindset underwent a major shift as he began seeking themes beyond the mundane world. Key milestones were “Dreaming of Butterflies” in 1988, “Man or Butterfly?” in 1989, “Empty” in 1993, “Affinity of Life and Affinity of Death” in 1994, “Grief and Joy Intermingled” and his newest work in 1996, “Dharma Bliss”.

This chronicled the progression of his asking the most fundamental questions about life and emotion that led to Buddhist enlightenment.

He completed the wood carving “Woman Walking” in 1995, after two continuous years of carving. It only depicts a pair of underpants swaying as she walks, not her body. This represented a new milestone of creative technique and degree of detailed depiction. It also expressed in images a profound awakening of humorous reflection and limitless imagination.

In 1996, he completed his woodcarving, “Dharma Bliss” using himself as the model, with a flock of butterflies atop his head. Rich in Zen Buddhist meaning, they symbolize the metamorphosis of “truth, compassion, beauty and wisdom” leading to a state of mind replete with Dharma bliss.

The glory of life in the creature world is depicted detail by detail. With a sharp eye for minutiae, as the carving knife moves, the wonder of that beyond the physical world is conveyed.

Ex-director Taipei National Palace Museum

With much hardship and over a long period of time, he has refined his creative works of art until his sculpting has now reached a higher state.

Buddhist Master

Wu Ching was born into a simple farming family of Chiayi, Taiwan in 1956. The only word to describe his youth is “wild.”

He was never interested in studying, and often skipped going to school and got into trouble much to the consternation of teachers and family.

He first encountered carving at age 17 and developed his rudimentary technique from carving wood furniture. Without any formal training or schooling, he had his own unique style.

It took seven years starting 1978 challenging himself and developing the delicate woodcarving technique to complete woodcarvings of 25 ants.

Over the next four years, he developed the soldering and sculpting techniques to meet his own high standards, completing his first ant sculpted in silver in 1984.

Over 12 years between 1985 and 1997, the National Palace Museum exhibited his works from different periods, setting a record for the longest duration of personal exhibitions at the NPM in Taiwan.

Over the next four years, he developed the soldering and sculpting techniques to meet his own high standards, completing his first ant sculpted in silver in 1984.

Over 12 years between 1985 and 1997, the National Palace Museum exhibited his works from different periods, setting a record for the longest duration of personal exhibitions at the NPM in Taiwan.

木雕「無礙」

In 1987, he completed “Unhindered” which depicted a tiny bush piercing through the crevice of a wall, and symbolizing undaunted vitality. It also expressed his self at the moment, when mind and body were one and unfettered by obstacles.

This chronicled the progression of his asking the most fundamental questions about life and emotion that led to Buddhist enlightenment.