Shimmering Waves and Graceful White Shadows (Landscape Art Festival - Egret) Introduction
The pond is a prominent natural landscape in Fugang, and the irrigation canals are unique topographical features in the Taoyuan area. Initially developed for agricultural irrigation, these ponds not only serve agricultural functions but also provide a rich food source for fish and shrimp, attracting various birds for foraging and nesting, creating a close symbiotic relationship between agriculture, ponds, and natural ecology. In recent years, the number of ponds has rapidly decreased due to factors such as declining agriculture, fallow land, and land development, leading to habitat destruction and a corresponding reduction in bird populations. The idyllic landscapes that were once collective memories of the residents are fading away. Teacher Hsu Tsung-chieh's work, "Glittering Waves and Fluttering White Shadows," features the white egret, a symbol of coexistence with the ponds. In earlier agricultural societies, white egrets were regarded as guardians of crops and symbols of luck in rural areas, accompanying farmers from dawn to dusk. During the spring plowing and autumn harvest seasons, white egrets can be seen walking and foraging closely behind water buffaloes, resembling a tranquil pastoral landscape. Since ancient times, the snow-white figure of the white egret has inspired poets and scholars, as exemplified in the poem "White Egret" by Tang poet Li Bai: “The white egret descends to the autumn waters, flying alone as if falling through frost. My heart hears yet has not departed, standing alone by the sandbar.” This captures the elegant posture of the white egret in a vivid and poetic manner. The work stands 8.5 meters tall, creating a focal visual point on the flat pond landscape, attracting both drivers on the outer ring road and passengers on the Taiwan Railway passing through Fugang. Positioned along the hillside path connecting the upper and lower ponds, it utilizes the unique characteristics of the pond environment, allowing visitors to leisurely appreciate the artwork and its reflection from different angles along the lakeside trail. The action of the white egret foraging cleverly links the visuals of the upper and lower ponds through the artwork, enhancing the overall coherence of the Sanlian Pond landscape. The work naturally integrates into the pond landscape. The Fugang region features a plateau topography; the installation site is adjacent to the pond, surrounded by gentle terrain but influenced by strong northeast monsoons. Therefore, the artwork's openness in design not only reduces weight and minimizes wind threat but also maintains spatial transparency and visual lightness. The towering scale provides excellent viewing conditions and creates a stark visual contrast with the human figure, highlighting the smallness of humanity and the need for humility towards nature. Historically, Fugang was a remote rural area until the establishment of the Bogong Station during the Showa era in 1929, following the northward expansion of the Taiwan Railways. Gradually, this area began to form a town, with commercial activities clustering near the old street. The construction of the railway not only facilitated transportation in the Fugang area but also paved the way for diverse industrial development with the future establishment of new manufacturing plants. This public art project draws from local elements as its installation spirit, hoping that the symbiotic white egret will bring a sense of memory and fresh cultural vitality to the residents of Fugang. (Source: Cultural Affairs Bureau of the City Government)
