Shimmering Waves and Graceful White Shadows (Heron at the Land Art Festival) Introduction
The ponds in Fugan are a prominent natural landscape, and the irrigation ditches unique to the Taoyuan area represent special topographical features. Initially created for agricultural irrigation, these ponds serve not only agricultural functions but also provide a rich food source for fish and shrimp, creating an excellent environment that attracts birds for foraging and nesting. This results in a close symbiotic relationship between agriculture, ponds, and natural ecology. However, in recent years, the number of ponds has sharply declined due to agricultural decline, fallow land, and land development, leading to habitat destruction and a consequent reduction in bird populations. The idyllic rural scenery, once part of the collective memory of residents, is disappearing before our eyes. The work "Shimmering Waves and Floating White Shadows" by artist Xu Zongjie uses the egret, which coexists with the ponds, as its prototype. In early agricultural society, the egret was considered a guardian of crops and a symbol of good fortune for the rural community, accompanying farmers from sunrise to sunset. During the spring planting and autumn harvest, egrets were often seen walking and foraging closely behind water buffaloes, creating a tranquil countryside landscape. Throughout history, the snow-white figure of the egret has been an inspiration for poets and scholars, as illustrated by the Tang dynasty poet Li Bai in "Egret" with the lines, "The white egret descends to the autumn waters, flying alone as if falling into frost. My heart remains but has not left, standing alone by the sandbar." This vividly and poetically captures the elegant posture of the egret. The artwork reaches a height of 8.5 meters, creating a visual focal point against the flat pond landscape. It attracts the attention of those driving along the outer ring road or taking the Taiwan Railways through Fugan. Positioned along the slope trail connecting the upper and lower ponds, the unique environmental characteristics of the ponds utilize reflections from the water surface, allowing people to leisurely admire both the artwork and its reflection from different angles along the lakeside trail, achieving the effect of borrowing scenery. The egrets' foraging actions cleverly link the visual aspects of the upper and lower ponds through the artwork, enhancing the overall integrity of the Sanlian Ponds landscape while seamlessly integrating with the pond scenery. The Fugan area is characterized by a plateau landscape, and the installation site is adjacent to the ponds. The surrounding terrain is gentle, but the northeast monsoon is strong, so the open design of the artwork surface reduces weight and wind load threats, while also allowing for visual permeability and a sense of lightness. The towering scale not only provides excellent viewing conditions but also creates a dramatic visual contrast with human proportions, highlighting the smallness of humanity and the need for humility towards nature. Historically, Fugan was a remote farming village until the establishment of Bogong Station in the fourth year of the Shōwa era during Japanese rule, which gradually led to the development of a town and a concentration of commercial activities near the old street. The construction of the railway not only facilitated transportation for the Fugan area but also opened up more diverse development possibilities for the industry following the establishment of new mechanical factories. This public art project draws inspiration from local elements related to Fugan and combines them with the landscape conditions of the area, hoping to bring a sense of collective memory and fresh cultural vitality to the people of Fugan through the locally coexisting egrets. (Source: Cultural Affairs Bureau of the government)
