海洋．島嶼．風-澎湖公共藝術系列報導
發佈日期：2025-08-19 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=11408190005

因應1992年的「文化藝術獎助條例」及1998年通過的「公共藝術設置辦法」，臺灣公共藝術進入了長足的發展，對公共藝術的定義幾經變遷，與時俱進。1992年「文化藝術獎助條例」第9條，明定公有建築物所有人與政府重大公共工程，應設置「藝術品」，美化建築物與環境；1998年的「公共藝術設置辦法」，則尚未明定設置計畫有哪些類型方案；2002年的「文化藝術獎助條例」，相關條文修正為公有建築物與政府重大公共工程應設置「公共藝術」，並進一步解釋公共藝術「係指平面或立體之藝術品及利用各種技法、媒材製作之藝術創作」，而由此可知，當時對公共藝術設置的認知，大抵為「藝術品」的概念。
澎湖2002年產生第一件公共藝術作品，由雕塑大師楊奉琛創作「海洋之母．哺育天地」，以鏤空不鏽鋼線條扭轉如海浪，內有漁網結構而成的魚形體，如數字8的造型意為無限大符號「∞」，表示海洋無垠、永無止境，反映澎湖以海洋立縣，菊島的精神亙古不墜。陽光下鏤空的不鏽鋼光澤耀眼，通透而動感，充滿扭轉的動能，作品位處港口突隄，守護著港口門戶，成為地景與港市脈動的連接點，亦是船舶進出港灣的地標意象；為當時公開徵選的首獎，至今仍昂然矗立於第一漁港出入口。
創作者楊奉琛（1955-2015）為雕塑大師楊英風之子，擅長景觀與光效雕塑、複合媒材及雷射藝術，以自然及天人合一思想為創作核心，作品蘊含東方哲學氣質，或現西方現代主義極簡風，常見對照與循環、對立與融合或是再生的手法，氣勢恢弘、雍容大度，具乃父遺風，享譽國際。
身為澎湖首件公共藝術作品，「海洋之母．哺育天地」意義非凡，2008年4月曾因強風吹襲而折損，經縣政府緊急進行修復，故能迄立至今，繼續成為船隻與旅人的記憶節點。

Ocean, Islands, and Wind: Report Series of Penghu’s Public Arts –“Mother Ocean, Nurturer’s Devotion”

Public art in Taiwan experienced significant growth after the "Culture and Arts Reward and Promotion Act " in 1992 and the "Regulations on the Installation of Public Art" in 1998 were enacted. Over time, the definition of public art became increasingly comprehensive: The 1992 Act’s Article 9 stipulated that owners of public buildings and major governmental construction projects should install "artworks" to beautify architecture and the environment. While the subsequent 1998 regulations did not yet specify the types of installation programs, the revised "Culture and the Arts Reward and Promotion Act" of 2002 clarified the requirements for installing "public art”, and further defined “public arts” as "graphic arts or three-dimensional art created using various techniques and media". This revealed the notion of viewing public art simply as "artwork" during that period.
By 2002, Penghu's first piece of public art was created. Titled "Mother Ocean, Nurturer’s Devotion", it was an artwork by the great sculptor Yang Feng-chen (aka Arthur Yang). This piece features a cut-out stainless-steel framework that curves in the form of flowing waves. Inside that framework, the fishing-net-like structure was composed of a school of fish. Shaped like the number 8, the sculpture represents the infinity symbol "∞", symbolizing the boundless ocean. It also implies that Penghu is a county nurtured by the sea, and the “Firewheel Islanders’ Spirit” shall never be forgotten. In the sunlight, one can see this stainless-steel sculpture gleams, creating a transparent and dynamic effect. After winning first prize in the competition, it was installed at the First Fishing Harbor’s pier tip, where it has been guarding the harbor entrance ever since. For years, this artwork has linked the static landscape with the vigorous port city, standing as an iconic landmark for every vessel entering or leaving the harbor.
The sculptor Yang Feng-chen (1955-2015) was the son of renowned sculptor Yang Ying-feng. He was an expert in landscape and light-effect sculptures, mixed media, and laser art. His creative philosophy was rooted in nature and the concept of Tian Ren He Yi (the unity of heaven and humanity). Each of his works embodies the essence of Eastern philosophy while often displaying Western modernist minimalism. He frequently employed techniques including contrast, circulation, opposition, fusion, and rebirth to explore various themes. His creations were known for their majestic and magnanimous presence, carrying on his father's legacy and earning him international acclaim
As Penghu's inaugural public artwork, "Mother Ocean, Nurturer's Devotion" holds extraordinary significance. Although it was damaged by strong winds in April 2008, the county government's swift restoration efforts ensured its preservation. Today, it stands resiliently as a memorable landmark for both sailors and travelers.