Glistening Waves and Graceful White Shadows (White Heron of the Land Art Festival) Introduction
Pond systems are a prominent natural feature in Fugang, characterized by their unique geographic and topographic attributes in the Taoyuan area. Initially developed for agricultural irrigation, these water reservoirs not only serve farming purposes but also provide a rich food source for fish and shrimp, creating an excellent environment that attracts various bird species to forage and nest. Thus, agriculture, ponds, and natural ecosystems are closely interwoven in a symbiotic relationship. In recent years, however, the number of ponds has sharply decreased due to the decline of agriculture, the abandonment of farmland, and land development, resulting in habitat destruction that has led to a reduction in bird populations. The idyllic rural landscapes that were once collective memories of the residents are gradually disappearing. The artwork "Dazzling Ripples, Graceful White Shadows," created by Professor Xu Zongjie, features the egret—a symbol of symbiosis with the ponds. In early agricultural societies, egrets were regarded as guardians of the crops and symbols of good fortune in rural areas, accompanying farmers from dawn to dusk. During the spring plowing and autumn harvest seasons, egrets can be seen leisurely walking and pecking for food alongside water buffaloes, embodying a serene pastoral landscape. The elegant and poetic posture of the egret has long inspired literary figures, as depicted in the poem "The Egret" by Li Bai from the Tang Dynasty: "The white egret descends into the autumn water, flying alone as if falling into frost. My heart hears but has not departed, standing by the sandy islet." The artwork stands at a height of 8.5 meters, allowing it to create a focal visual effect on the flat pond landscape. Whether driving on the outer ring road or taking the Taiwan Railways through Fugang, the giant structure of the artwork attracts the attention of passersby. Positioned along the sloped path connecting the upper and lower ponds, the unique environmental features of the ponds are utilized to create scenic reflections on the water's surface. This enables the public to leisurely appreciate the work and its mirror image from different angles along the lakeside walking path. The action of the egret pecking for food skillfully links the visuals of the upper and lower ponds, enhancing the overall coherence of the Sanlian ponds' landscape while naturally integrating into the pond scenery. Fugang's terrain is characterized as a plateau, with the installation site adjacent to the ponds. The surrounding area is relatively flat but subject to strong northeast monsoons; hence, the artwork's perforated design reduces weight and mitigates wind threats while allowing for spatial transparency and a sense of visual lightness. The towering scale not only provides excellent viewing conditions but also accentuates the disparity in proportion between humans and the artwork, creating a significant visual contrast that underscores humanity's smallness and the necessity of humility towards nature. Historically a remote farming village, Fugang began to develop into an urban area after the establishment of the Bogonggang Station in the fourth year of the Shōwa era, following the northward expansion of the trunk railway during Japanese rule. Commercial activities gradually concentrated near the old street. The railway's construction not only facilitated transportation in the Fugang area but also opened up diverse future industrial development possibilities with the establishment of new manufacturing plants. This public art project selects local elements from Fugang as its foundational spirit, combining them with the landscape conditions of the area, with the hope that the locally symbiotic egret will bring cohesion to the memories and vibrant cultural vitality to the people of Fugang. (Source: Cultural Affairs Bureau)
