海洋．島嶼．風-澎湖公共藝術系列報導-穿過那道「希望之門」
發佈日期：2025-08-08 00:00:00
發佈單位：澎湖縣
發佈部門：展演藝術科
原始連接：https://www.penghu.gov.tw/ch/home.jsp?id=10088&act=view&dataserno=11408080004
「公共藝術」觀念在20世紀引入臺灣，1992年文化部頒布「文化藝術獎助條例」；1998年通過「公共藝術設置辦法」，開啟臺灣公共藝術發展。公共藝術意指「以公共性為核心，重視場域精神、環境意識之藝術創作或方案」，並明定公有建築物及重大公共工程須辦理公共藝術，而公共藝術的設置計畫可涵蓋：藝術創作、美感培養、藝文體驗、藝術計畫、環境美學、策展、民眾參與、教育推廣、管理維護等多種形式。
澎湖公共藝術經歷二十餘年至今，已餘百件作品，實為本縣重要藝術資源，可謂雙十有成。為推廣本縣公共藝術教育及提升環境美學，文化局於本年度辦理本縣公共藝術普查及教育推廣計畫，即日起至2026年底止，每月擇一作品進行系列報導，帶領大眾進入公共藝術世界，擴大藝術接觸面向，實踐菊島公民美學。
行政院農業部水產試驗所漁業生物研究中心的公共藝術作品「希望之門」，由雕塑家廖文榮設計、蔡勝英施作，於民國95年（2006）完成。漁業生物研究中心位於嵵裡聚落東北方的青灣。民國91年（2002）農業部還稱為農委會，籌建「國家水產生物種原庫澎湖支庫」（簡稱馬公種原庫），此公共藝術作品-「希望之門」即應運而生。
1990年代，全球對於「物種種原」保存的重要性逐漸有共識，臺灣也在民國87年（1998）啟動國家水產生物種原庫計畫，選定青灣海域作為馬公種原庫主要基地，負責澎湖海域重要海洋生物種類之保種繁育與棲地維護、種苗放流等業務，以厚植臺灣水產養殖、海洋牧場與栽培漁業發展之根基。
澎湖作為臺灣漁業重鎮，馬公種原庫的建立意義非凡，漁業生物研究中心任重道遠，藝術家以「希望之門」作為創作理念，以兩個立方石柱為主體，形成「門」的象徵，石柱表面一則以粗糙、一則以亮面為處理方式，粗糙面表陽，亮面表陰，意在陽暖陰、陰陽調和，呼應陰陽為天地萬物起源之道。而兩石柱左右嵌合直立，構築成門，石柱間的狹縫表示此路的逆境，唯勇敢穿過這道象徵「希望」的門，不畏困境，才能在歷經磨難後成長、新生與茁壯，找到生命中的希望。
Ocean, Island, Wind: Report Series of Penghu’s Public Arts –"Gate of Hope"
(Official Translation & Context)
The notion of "Public Art" was introduced to Taiwan in the 20th century, becoming formally recognized with the government's "Culture and Arts Reward and Promotion Act" in 1992 and "Regulations on the Installation of Public Art” in 1998, which officially launched the development of public art across the nation. At its core, public art in Taiwan is defined by its public nature, with a deep respect for the spirit of place and environmental awareness. The law mandates that all public buildings and major engineering projects must incorporate public arts. These varieties of projects include artistic creation, aesthetic education, hands-on activities, cultural projects, environmental aesthetics, curations, community engagement, and management and maintenance.
After some twenty years of development, Penghu County has become home of more than one hundred public art installations, making a remarkable achievement in art and culture. To expand this development, the Cultural Affairs Bureau is launching a comprehensive survey and educational program, aiming to promote public art education and enhance the tase of environmental art. From now until the end of 2026, we will introduce one artwork every month, bringing you to the world of public art, opening your eyes to different forms of art, and making you a “Firewheel Islander” with great appreciation and discernment.
The star of this month is "Gate of Hope", a public artwork located at the Fisheries Biology Research Center, a research institute of the Ministry of Agriculture's Taiwan Fisheries Research Institute, situated in Qingwan, near the historic Shili village. This piece of work was designed by sculptor Liao Wen-Jung and constructed by Tsai Sheng-Ying, being completed in 2006. The sculpture was commissioned as part of the construction of the "Penghu Branch of the National Aquatic Organism Germplasm" in 2002, a time when the Ministry was still known as the Council of Agriculture.
The establishment of the Fisheries Biology Research Center was a response to the global consensus on preserving germplasm since the 1990s. In 1998, Taiwan initiated its national aquatic germplasm program and chose the pristine waters of Qingwan as their Penghu base. This center was assigned a vital role in conservation, breeding, habitat restoration, and hatchery release of key marine species in Penghu. Step by step, all the tasks laid the foundation of aquaculture, sea ranching, and sustainable fisheries in Taiwan.
Concerning Penghu is the cornerstone of Taiwan's fishing industry, the germplasm is profoundly significant. The artists therefore named their sculpture as "Gate of Hope" to describe the significant mission and exceptional foresight of the research center. This public art consists of two massive, cubic stone pillars that form a gateway. The surfaces of the pillars are highly contrasted: one is rough-hewn while the other is polished smooth, expressing the interplay and harmony of Yang (the rough, active, masculine principle) and Yin (the smooth, passive, feminine princ