Shimmering Waves, Graceful White Shadows (Landscape Art Festival - Egret) Introduction
Pond areas are a prominent natural landscape of Fugang, and the pond water channels represent the unique topography of the Taoyuan region. Originally developed for agricultural irrigation needs, these ponds serve not only agricultural purposes but also provide rich food sources from the fish and shrimp within, creating an excellent environment that attracts birds for foraging and nesting. A close symbiotic relationship exists between agriculture, ponds, and natural ecology. In recent years, the number of ponds has drastically declined due to factors such as shrinking agriculture, idle farmland, and land development, leading to habitat destruction and a corresponding decrease in bird populations. The idyllic rural landscapes once part of collective memories of the residents are gradually disappearing. The work "Glittering Waves, Fluttering White Shadows" by teacher Xu Zongjie uses the egret, which coexists with the ponds, as the prototype for the piece. In early agricultural societies, egrets were viewed as guardians of crops and symbols of good luck in rural areas, accompanying farmers in their daily toil from sunrise to sunset. During the spring plowing and autumn harvest seasons, egrets can be seen leisurely following water buffalo (also called "iron buffalo"), pecking for food, creating a serene and content countryside landscape. Historically, the snow-white figure of the egret has inspired many literati and scholars, as depicted in the poem "Egret" by Li Bai of Tang Dynasty: "The white egret descends to the autumn waters, flying alone as if fallen from frost. My heart still lingers, standing by the sandy islet." The piece reaches a height of 8.5 meters, creating a visual focal point on the flat pond landscape, attracting the attention of those driving on the outer ring road or taking the Taiwan Railways through Fugang. Positioned along the sloped path connecting the upper and lower ponds, the unique environmental features of the ponds allow for scenic views over the water surface, enabling the public to leisurely appreciate the artwork and its reflections from different angles while walking along the lakeside trail. The action of the egret pecking for food cleverly connects the visuals of the upper and lower ponds through the artwork, enhancing the overall unity of the Sanlian Pond landscape, allowing the installation to naturally blend into the pond scenery. The Fugang area is characterized by terraced landforms, with the setting point adjacent to the pond. The surrounding terrain is gentle, but the strong northeast monsoon necessitated a hollow design for the surface of the artwork. This not only reduces weight and the threat of wind but also maintains the piece's spatial transparency and visual lightness. The towering scale provides excellent viewing conditions and creates a stark visual contrast with human proportions, highlighting humanity's smallness and the need for humility towards nature. Historically, Fugang was a remote farming village. It wasn’t until the fourth year of the Showa era during Japanese colonization that the Bógōngkāng station was established after the northward expansion of the trunk railway, leading to gradual urban development. Commercial activities began to concentrate near the old street. The construction of the railway not only improved transportation for the Fugang area but also opened up diverse developmental possibilities in the future with the establishment of new factories. The public art project selected local elements from Fugang to serve as the spirit of its installation and combined with its landscape conditions, hoping to bring coherence of memory and fresh cultural vitality to the residents of Fugang through the coexisting egret. (Image source: Cultural Affairs Bureau of the local government)
