「我的小怪獸化身風獅爺，將安平人的在地連結、歷史、信仰文化的脈絡扣在一起，也因此讓這件作品變得更『大』了。」
"My little monster transforms into the Wind Lion God, connecting Anping residents with their local roots, historical narratives, and cultural beliefs. In doing so, this work becomes something much 'bigger' than just a creation."
享受陶土經過窯燒後帶來難以預期的美好，工藝家吳其錚因為畢業後搬到爺爺故鄉台南安平，進而從學院派的陶藝家開始接觸到民俗文化。在安平的歷史脈絡裡發現 「風獅爺」的存在，研究得知，風獅爺不只呼應台江內海風大的天候，也由於為數 不少的金門人選擇在安平落腳。據傳早年安平巷弄裡存在著為數不少的風獅爺，站 在屋脊上，成為建築物的守護者，如今寥寥無幾。 2013年發起《風獅爺復育計畫》，吳其錚沉浸於過往非專業匠人自行摸索拼湊捏製 風獅爺造型的生命力與創意，亦呼應自古以來東方人對於「獅」形體樣貌全來自於 神格化的想像，因而使得吳其錚創作的風獅爺形體就猶如小怪獸一般，一系列的風 獅爺作品也重回台南安平巷弄間、屋瓦之上。工藝家更在世界的角落如金門、沖 繩、雲南等地看見風獅爺文化的多元在地樣貌，藉此試圖擴大「風獅爺」宇宙。
Wu Chi-Zeng, an artist who delights in the unpredictable beauty of clay after kiln firing, discovered a connection to folk culture after moving to his grandfather’s hometown, Anping, Tainan, following his graduation. Within the historical context of Anping, he uncovered the presence of the Wind Lion God/Hong-Sai — a figure not only responding to the strong winds of the Taijiang Inner Sea but also linked to the significant number of Kinmenese who settled in Anping. Historical research revealed that in earlier times, many Wind Lion God statues stood atop rooftops in the alleys of Anping, serving as protectors of the buildings, though very few remain today. In 2013, Wu initiated the “Hong-Sai Restoration Project”. He became deeply inspired by the vitality and creativity of early non-professional craftsmen who sculpted and assembled these figures through intuitive experimentation. His work also reflects the ancient East Asian tradition of mythologizing lions, imagining their forms through divine lenses. As a result, Wu’s Wind Lion God creations take on the whimsical appearance of "little monsters," bringing these iconic figures back to Anping’s alleys and rooftops.Beyond Anping, Wu has observed the diverse cultural manifestations of the Wind Lion God in places like Kinmen, Okinawa, and Yunnan. Through these explorations, he seeks to expand the "universe" of the Wind Lion God, weaving together its regional variations and meanings.
吳其錚 Wu Chi-Zeng
1977年出生於臺北，成長於嘉義，2008年畢業於國立臺南藝術大學應用藝術研究所陶瓷組。以土為核心，揉捏自身的生活觀察與想像創作出具手感的陶雕塑，有的從在地野史長出，有些是造型來相找，擅長用陶說 故事、創造出各式陶獸、土偶、女神、風獅爺...等充滿孔洞、可裝情緒內外兼容的奇幻空間。 2013年於臺南發起《風獅爺復育計畫》，開啟以安平在地文化傳統為脈絡的《風獅爺》系列創作，近年陸續 與創作沖繩風獅爺(Shisa)之工藝家展開交流。2019年起於臺東都蘭進行三年駐村計畫後，近年持續在都 蘭以野土野燒方式創作。
Born in 1977 in Taipei and raised in Chiayi, Wu Chi-Zeng graduated in 2008 from the Graduate Institute of Applied Arts at Tainan National University of the Arts, specializing in ceramics. With clay as his primary medium, Wu transforms personal observations and imagination into tactile ceramic sculptures. Some of his creations draw inspiration from local folklore, while others emerge purely through the exploration of form. Known for his ability to tell stories through ceramics, Wu crafts an array of mythological creatures, figurines, goddesses, and Hong-sai (Wind Lion Gods). These works, often punctuated with holes, create a fantastical space that simultaneously contain and express emotions, both inwardly and outwardly.
In 2013, Wu launched the Hong-sai Restoration Project in Tainan, creating a Hong-sai series that celebrates the cultural traditions of Anping. In recent years, he has engaged in cultural exchanges with artisans from Okinawa, Japan. Since 2019, Wu has been participating in a three-year residency program in Dulan, Taitung. There, he continues to create works using natural earth and wild firing techniques, further deepening his connection to the local landscape and materials.
