STONEVERSE_線上手冊

「風的輕咳和水的吻痕 在立霧溪兩岸的山壁上 塑出最完美的曲線

讓山川河海全都匯聚於花蓮

寫下夢與愛的諾言

讓整個臺灣驚艷」- 印象花蓮 向陽

宇宙是生命萬物的起源，神秘且尚待人們發掘，本次花蓮國際石雕藝術季以《石宇宙》為 名，冀望以此開展探索石頭猶如宇宙繁星般萬千的可能性。石材因其雋永之特性，在時光 的長河之下，不斷的衍生出豐富的樣貌，並對應著人類社會發展背景以及不同的需求。

花蓮因其特殊的地理位置，作為世界重要之大理石產地。為求在剛冷的切割線條外找尋柔 性的文化能量，近三十年來不間斷的籌辦藝術季以推廣石雕藝術，透過創作者的個人風格 與靈活巧思，為石雕帶來更多的敘事與符指。

「石宇宙」以時序與空間的斷點切片作為概念，以多維角度重新探討其根源至未來的想像。

期望觀眾能從回視石雕最根本之元素—石材。「石」可以成為一種觀念和方法，以此為本， 藝術季連結礦場、石材加工廠、藝術家工作室到展場台座，以時、空的擴延呈現媒材的豐 富應用，並發展出不同的命題、思考與內容。

架構在藝術季之下的雕塑主題特展「心形之爆」及其內含之「戶外創作營文件展」、周邊 各項衍生活動等，共計歐亞非十個國家，二十四位藝術家參與，冀望藝術季得以在探討石 礦的各種可能性之外，亦回應花蓮在地之特色，以創作打開藝術與花蓮在地居民對話的另 一種想像空間。

伴隨本次藝術季的跨領域以及多元應用的組織策略，從文化、產業、形象推廣、城市行銷 等手法實際應用於總體計畫上。更藉由搭起藝術家與技術產業鏈的橋樑，活絡地方經濟， 共創並推升產業榮景。此外，還與旅遊業合作，推出石材產業之旅，邀請民眾一起貼近石 材的發源地，讓觀者深入了解石材產業背後廣袤的歷史文化脈絡及地質環境發展；並將表 演藝術的跨領域融入相關計畫中，使其量能和空間激盪出多彩的風貌。

「2023年花蓮國際石雕藝術季」的規劃形式、內容以及執行方法上皆有著新的思維路徑與 企圖心，這都是以過去近三十年累積的在地與國際經驗作為基礎，提出創造性的變革精神， 開啟接續未來藝術思維的多重路徑，以呼應石雕發展森羅萬象的應許，創造我們共同的「石 宇宙」。

策展人 ｜ 胡朝聖

Gentle coughs of wind and faded kisses of water

Have carved the most perfect curves

That are the clifs along the banks of Liwu River. Hualien brings together mountains, rivers and the sea, A promise of love and dream

That flls the entire Taiwan with amazement.

— Hsiang Yang, “An Impression

of Hualien”

The universe is where life originated. It is mysterious and a treasure vault of the unknown waiting to be discovered. Titled Stoneverse, this edition of the Hualien International Stone Sculpture Festival marks the beginning of an exploration of the infinite possibilities of stone that are like the countless constellations in the cosmos. Due to its enduringness, the use of stone has evolved consistently and diversely in the passage of time and in ways corresponding to the developmental context of human society and its evolving needs.

Hualien, situated at a unique geological spot, is a major origin of marble stone in the world. In order to extract the soft cultural energy that lies beyond rigid cutting lines, Hualien has dedicatedly and continuously organized the stone sculpture festival over the past three decades, with the objective to promote the art of stone sculpture, and has introduced more narratives and meanings into stone sculpture with artists' personal style and brilliant creativity.

Stoneverse starts with the idea of “temporal-spatial breakpoints and slices” to re-explore the root of stone sculpture, and envision its future through a multi-perspectival approach. The objective is to accompany the audience to revisit the fundamental element of the art –stone. “Stone” can be a concept and a method. Following this line of thinking, this edition of the festival unveils the connection from quarries, stone processing plants, artist studios, to exhibition plinths, and showcases a rich range of the application of the medium through spatial-temporal expansion and extension to develop dissimilar topics, ideas, content.

The festival also includes a thematic sculpture exhibition, titled Detonation of Essence and Form and the concurrent Stone Sculpture Symposium Archive Exhibition, along with a program of related events and activities. In total, twenty four artists from ten countries in Europe, Asia and Africa will participate in the festival. As the festival explores the numerous possibilities of stone mines, it also aims to respond to Hualien's characteristics and open up an alternative space of imagination to initiate dialogues between art and the residents in Hualien through artistic creation.

Meanwhile, organizational strategies of interdisciplinary and diverse forms of application devised for the festival will be applied to the overall project in terms of culture, industry, image branding, city marketing, etc. The strategies also vitalize local economy by facilitating a connection between artists and the technical and industrial chains to co-create the prosperity of local industries. The festival also collaborates with the tourist industry to launch stone industry tours, ofering the audience an opportunity to explore the origin of stone, and gain a better understanding of the vast cultural-historical context and geo-environmental development involving the stone industry. At the same time, performing arts is not missing from the interdisciplinary collaborative programs of the festival, which will surely bring more energetic momentum and sparks into the festival.

The 2023 Hualien International Stone Sculpture Festival is organized through a fresh approach and ambition in terms of form, content, and production method. It is based on the local and international experiences accumulated over the past thirty years to put forth the transformative spirit informed by creativity, and unveil a multifaceted route that also echoes the all-embracing promise of the development of stone sculpture to create our collective “Stoneverse.”

珍保羅．查伯萊斯

Jean-Paul Chablais

《心靈與物質》Mind And Matter

物質是最基本的元素，從意義上闡述，他是獨立 於人而存在，但它很可能會因此備受關注。

Matter is the most elemental, in the sense that it is what exists independently of man, but which is likely to receive its mark.

作品尺寸Size of work＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿

140 x 110 x 320 cm 作品材質Material＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 白大理石 White Marble

文森特．博菲斯 Vincent Beaufls

《無限的運動》Infnite's Movements

此件雕塑作品是對人類和自然界製造出來的聲音 流動的一種致敬。

This sculpture is a tribute to the movement of sound made by human being and nature.

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160 x 70 x 300 cm

作品材質Material＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 白大理石 White Marble

瑪林諾．普羅斯佩羅 Marino Di Prospero

《成為動力》Dynamism in Becoming

雕塑代表一種移動中的形式，在凸雕與凹刻遊戲 中輕盈地在空間中發展。當舞者的身體以充滿活 力及和諧的旋轉在空中不停地盤旋，無形之中成 就了精神上的提升。

Sculpture represents a form in move, developing in space with lightness in concave and convex game. It's spiritual elevation of dancer's body hovering in air with dynamism and harmonious gyrations.

作品尺寸Size of work＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 250 x 120 x 335 cm

作品材質Material＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 白大理石 White Marble

法蘭西斯柯．馬索塔

Francesco Mazzotta

《氣息的舞動》Dancing Breath

兩具身體被帶著音樂節奏的氣息擊中，敲擊石頭 的律動，將不同個體揉和在一段感性的舞蹈。音 樂長久的影響著人類的生活，呼吸，最先參與， 然後是...心，從那裡開始，整個身體都牽制於它。

Two bodies are hit by the breath that carries music. The sound of the stone unites them in an emotional dance. Music influences the life of the human being. Breath is the frst to be involved, then the heart ... and from there, the whole body is subject to it.

作品尺寸Size of work＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 180 x 135 x 220 cm

作品材質Material＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 白大理石 White Marble

拉斐爾．貝友 Raphael Beil

《動態轉換》Dynamic Transformation

一個建構過程，組合上百個簡單元素，創造出一 個複雜的系統。意義獨立於媒材之外，不位於整 體的最小部分。經過詳細規劃的系統中，平凡的 小小螺絲才能發揮功能，成就顯而易見的不平凡。

A process leads to the composition of simple elements which create a system of complexity. Meaning is independent of the medium and it is not located in the smallest part of the whole. Only in the system does the superordinate become visible.

作品尺寸Size of work＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿

200 x 130 x 195 cm

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奧羅拉、白大理石 Aurora, White Marble

Germany

羅蘭．霍夫特

Roland Hoeft

《動態關係》Dynamic Relation

受自然、人類形態和建築線條的啟發，一個生動 的建築概念出現了。一句話紀錄了一對熱舞中的 情侶的記憶。一座雕塑創造了空間、昇華了情感 和堆疊了記憶。

Inspired by nature, human forms and architectural lines, a lively architectural concept emerges. One line creates a memory of a dancing human couple. The sculpture creates space, emotions and memories.

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126 x 102 x 205 cm

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White Marble, Black Granite

艾奔娜．米艾洛娃

Albena Mihaylova

《門》Gate

自古以來，城門、牌樓都是榮耀、名望、勝利和 繁榮的象徵。“門”是精神、價值觀和理想的象徵。

Since ancient times the gates, arches are a symbol of glory, fame, victory and prosperity. The "Gate" is a symbol of the Spirit, Values and Ideals.

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240 x 55 x 210 cm

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白大理石 White Marble

保加利亞 Bulgaria

茲德拉夫柯．茲德夫拉科

Zdravko Zdravkov

《無重力》No Gravity

作者想透過這件作品創造一種錯覺，就好像形狀 在空間中升起，彼此分開並開始無盡的飛行，一 次超越時間與空間的心靈旅程。

The idea of the project is to create the illusion as if the shapes are raising in space separating one from another and beginning an endless flight. It is a spiritual traveling beyond space and time.

作品尺寸Size of work＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 200 x 160 x 440 cm

作品材質Material＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 奧羅拉 Aurora

伊朗 Iran

貝南．莫漢洛

Behnam Akharbin

Moghanlou

《太陽》The Sun

驚奇的一刻！ 傾刻之間，天地間充滿了驚奇！ 時間和心跳都在加速...... 世界在等待奇蹟！

At the moment of wonder!

All of a sudden the sky and the earth was full of wonder! The time and the heart pulse was beating fast... The world was expecting a miracle!

作品尺寸Size of work＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 200 x 100 x 225 cm 作品材質Material＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿

White Marble, Black Granite

赫達雅特．薩萊伊 Hedayat Sahraei

《樂器》Musical Instruments

建築在世界上被稱為神話概念之一，這件雕塑作 品將傳統建築的細節與樂器結合，呈現出一種現 代感的狀態。這些建築雕塑或音樂術語中的任何 一樣都可以單獨產生影響，但是將它們結合起來 提供了另一種新形式的雕塑。

Architecture is known as one of the concepts of myth in the world. This sculpture combines details of traditional architecture with musical instruments and takes on a modern stat. Each of these architectural sculptural or musical terms can all have an impact on their own, but combining them offers a new form of sculpture.

作品尺寸Size of work＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 90 x 90 x 250 cm

作品材質Material＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 白大理石 White Marble

A . Dillon Marsh 狄龍．馬什（南非）

B . Lee Sisan 李時山（韓國）

C . 大和田俊 Shun Owada（日本）

D . 平川祐樹 Youki Hirakawa（日本）

E . 展望 Zhan Wang（中國）

F . 吳孟璋 Wu Meng-Chang（臺灣）

G . 吳瑋庭 Wu Wei-Ting（臺灣）

H . 陳為榛 Chen Wei-Chen（臺灣）

I . 張永達 Chang Yung-Ta（臺灣）

J . 曾彥翔 Sean Tseng（臺灣）

K . 詹士泰 Chan Shin-Tai（臺灣）

L . 廖昭豪 Liao Chao-Hao（臺灣）

M . 劉玗 Liu Yu（臺灣）

N . 賴金池 Lai Chin-Chih（臺灣）

服務台 Information Desk

心 形 Detonation of Essence and Form 之 爆

現今廣泛得到科學及觀測研究支持的「大爆炸」理論，描述了宇宙及萬事萬物誕生初始的 本源。而宇宙在人類漫長的歷史及文化進程中，不斷作為宗教、文藝作品中對應個人心境 的浪漫化參照：試著想像一個無垠廣袤的天空，世間的一切只是滄海一粟。我們可能無法 輕易理解自然科學所談論的天文或物理知識，卻可以不斷援引宇宙的「概念」，創造各種 對於人生哲理的心靈式思考，也擴展了各式各樣、屬於不同人的微型宇宙。

「2023花蓮國際石雕藝術季—石宇宙」主題特展，便以「心形之爆」為題，期望重塑既 定認知的石雕意象，如同一場對於人們傳統藝術形式認知的「大爆炸」，復返語意的原初 狀態，在所指與能指的鍵結外重新找到對應的另類渠道，形塑「觀念」石雕的可能性。 石材本身有其令人著迷之處，無論是原始沈積物或化合物質，在歷經千萬年複雜的地質與 風化作用後形成，因高溫劇烈擠壓，形變出紋路細緻、色澤豔麗的各式礦種。堅硬耐久的 質地特性，不僅滿足於史前社會中不可或缺的功能性工具，亦作為人們為對抗時間、保存 過去的理想媒材，伴隨而生的同時也是美術工藝的發展，以及介於戒律與記憶的紀念性建 築與雕像。

或許因為媒材的特質，以及藝術史的書寫視角，造就大眾對於石雕藝術的傳統印象：一件 皎白巨大的大理石雕塑聳立於翠綠的草皮上。然而，當代雕塑的範疇隨著當代藝術觀念的 發展正不斷被顛覆以及擴大，年輕藝術創作者以不同的形式與議題詮釋造形在當代的可能 意義與特質。過去被視為傳統美學形式的雕塑，其定義、邊界以及面貌正不斷模糊—雕 刻與敲打之外，石礦還能有什麼樣的藝術呈現與延續？對照一個舉辦時間即將邁入三十載 的石雕藝術季，過去主題式的命名除了作為推廣石雕藝術與振興產業的附加意義外，在當 今世代如何能回應我們對於藝術與時俱進的想像與思考？

策展人 ｜ 胡朝聖

The theory about a Big Bang event as the origin and birth of the universe and everything in it has received extensive support from the fields of science and observational study. Through the history and cultural development of humanity, the universe has continuously served as a romanticized reference for the individual state of mind in religion as well as in literary and artistic creations. Imagine this: under the boundless frmament, everything in this world is but a small grain of sand. We might not be able to easily comprehend the astrological or physical knowledge discussed in natural science, but we are free to constantly employ the “concept” of the universe as a way to formulate diferent spiritual and philosophical thinking about life, which also expands the lives of individuals into micro cosmoses.

The thematic exhibition of the 2023 Hualien International Sculpture Art Festival –Stoneverse, re-defines the current conception and image of stone sculpture. Like a powerful “detonation” of our understanding of this traditional art form, the exhibition revisits the original state of stone sculpture, and uncovers alternative correspondences beyond established connections between the signifer and the signifed so as to shape the possibility of “conceptual” stone sculpture.

Stone is a fascinating material. Whether ancient sediments or chemical compounds, the wide range of stone is created by millions of years of complex geological and weathering process, and is given exquisite veining and vibrant colors through extreme temperature and compression. Solid and enduring, stone was not only indispensable for making functional tools in prehistoric times, but has also been an ideal medium that stands the test of time and enables the preservation of the past. Furthermore, it has become intertwined throughout the development of fne arts and craft, and has been used for monumental architecture and statutes in relation to discipline and memory.

Perhaps because of its material properties as well as the writing and perspectives of art history, people's impression of traditional stone sculpture has always been associated with alabaster, monolithic marble sculptures erected on lush, green meadows. However, as contemporary sculptural paradigms have been repeatedly subverted and expanded by the development of contemporary art, a younger generation of artists has approached stone sculpture through dissimilar forms and topics to interpret the possible meanings and characteristics of plastic form in the contemporary time. The defnition, boundary, and appearance of stone sculpture, though viewed as a traditional aesthetic form in the past, have become blurred—in addition to carving and chiseling, how else could stone be artistically presented and continued? How does a stone sculpture festival – one that is about to usher in its thirtieth anniversary – respond to our evolving imagination and thinking about art apart from the additional meaning of promoting the art of stone sculpture and revitalizing related industries through its thematic title?

Curator｜Sean C.S. Hu

主題特展「心形之爆」邀請了臺灣及國際共14名藝術家，以三個子題：石本、石心、石形 探討「岩石」在不同藝術語境下的意義，冀望以多樣化的思考探討石雕的特質，並圍繞「石」 之主題呈現各異的美學面貌。期望藉由一場來自心象的內爆，在一座由過去所堆積而成的 礦場中，細細鑿刻出想像中的當下與無盡未來。

自然、環境與人的關係密不可分，並形塑著區 域人們的生活方式。若以石的起始與生成作為 詮釋視角，重新觀看與其肌理或孔隙所對應的 人類活動足跡，我們是否能在其中閱讀出不一 樣的敘事角度？上述三者之間又會交織出什麼

樣的景觀？

石本

The Foundation

面對「石」這項媒材時，藝術創作者們往往無 可避免的需要透過大量重複性勞動，反覆加工 線條細節與質地，這類攸關美學的個人技術延 展了作品與勞動狀態的相互滲透，對映著藝

術家無處不在的「在場」以及內在的精神，並

透過創作的感性狀態回應材質本身的物質性思 考，反思造形的另一種呈現方式。

石心

The Essence

物質的塑形一直是石雕創作非常重要的方法。 在本子題中，便是嘗試藉由材質的擬仿、解構 和破壞，重探雕塑的可能性，通過藝術家的創 作與想像，賦予石材新的形態和意義。並期望 觀者思考形上與形下之所見，及其與真實之間 的關係。

石形

The Form

Detonation of Essence and Form features fourteen artists from Taiwan and abroad, and explores the meaning of “stone” in various context of art through three subtopics, unveiling a diverse inquiry into stone sculpture and its characteristics, while displaying dissimilar aesthetic appearances revolving around “stone” as the central theme. Through the detonation of the mental image, the exhibition will thoroughly carve and shape the imaginary present and infnite future in this valuable quarry accumulated from the past.

The inseparable relationship between nature, environment and human has shaped the lifestyle of inhabitants in different regions. If we could use the origin and formation of stone as an interpretive perspective to review the traces of human activities that correspond to stone texture or crevices, would we be able to find different narrative angles therein? What kind of landscape would emerge from the interweaving interaction between nature, environment and human?

When dealing with “stone” as a medium, artists cannot avoid extensive, repetitive labor as they continuously work on the lines, details, and texture of their creations. Their techniques and skills informed by personal aesthetics extend the mutual permeation of the works and their labor. This refects the artists' ubiquitous “presence” and inner spirit. Meanwhile, they also respond to the material thinking about the medium itself through the sensitivity-based processes of artistic creation, and reconsider alternative ways to engage with plastic form.

Molding and shaping material have been crucial approaches in the art of stone sculpture. This subtheme re-explores the potentiality of sculpture through imitating, deconstructing, and damaging of the material. Through the creation and imagination of artists, stone is given new forms and meanings, while prompting the audience to contemplate on what they have perceived, both metaphysically and physically, and its connection with reality.

狄龍．馬什 Dillon Marsh

《石頭的總和》 A Sum of Stone

1981年生於南非。狄龍．馬什走訪南非各地 礦場捕捉影像，並透過 CGI （電腦生成圖像，

Computer-generated imagery）技術，以視覺 化的方式呈現該地所開採的礦產總量，產生強烈 視覺衝擊。

採礦行為作為分散開採和分配資源的過程，讓台 灣大理石散佈在全球扮演著不同的角色。馬什透 過結合攝影和電腦生成圖像《石頭的總和》，創 建一個虛擬的大理石球體，並將其合成回來源的 礦場中。通過將這種提取的資源作為一個整體來 展示，藝術家希望收集台灣大理石於世界中流離 的認同，使之成為一座提供新視角的紀念碑。

Dillon Marsh (b. 1981, South Africa) has visited various quarries in South Africa to create his image works. Using computer-generated imagery, he visualizes the sum of materials extracted from these places to create a strong visual impact.

Mining, as a process of decentralized extraction and resource allocation, has enabled Taiwan's marble to play various roles around the world. Using photography and computer generated imagery, Marsh creates a virtual marble sphere and photoshops it back into the quarry where the marble is quarried. Through displaying the extracted resource as a whole, the artist aims to collect the drifting identity of Taiwan's marble, and transforms this work into a monument that ofers a new perspective.

125 x 100 cm，共8件｜噴墨印刷 Inkjet Printing｜2023

이시산 Lee Sisan

《石頭的比例》Proportions of stone

1995年生於韓國，李時山（이시산）的作品主要 探討過去與現在、自然與人工、原始與現代等相 互衝突的關係，試圖從中尋找和諧共存的連接點。

在代表作《石頭的比例》中，藝術家不遵循於設 計的規則與順序，所有桌子、椅子和其他家具的 形狀、尺寸和功能都是由大自然中的石頭決定的。 李時山全神貫注於強調自然本身完整的思想，在 作品中，特性相反的天然石材和鋼材在結構上相 互支撐，反映了藝術家對平衡自然與人工製品之 間關係的實踐。

Through his practice, Lee Sisan (b. 1995, Korea) investigates conflicting relations between past and present, the natural and the artifcial, as well as the primal and the modern, from which he attempts to uncover the nexus of harmonious coexistence.

In his signature series, "Proportions of Stone", the artist moves beyond traditional design rules and order, and allows natural stones to determine the shape, size, and function of tables, chairs and other furniture. Concentrating on highlighting the thinking of nature itself, he renders natural stone and steel, which carry opposite characteristics, structurally supportive of each other. Such approach also reflects the artist's practice founded on a balanced relationship between nature and manmade objects.

A：Stone pagoda_Level 5：64 x 59 x 110 cm、B：Proportions of stone_Low table：96 x 96 x 35 cm、

C：Proportions of stone_Chair：96 x 96 x 35 cm、D：Proportions of stone_stool 1：36 x 36 x 45 cm、

E：Proportions of stone_stool 3：36 x 36 x 45 cm｜不鏽鋼、石頭 Stainless Steel, Natural Stone｜2023

日本 Japan

大和田俊 Shun Owada

《發掘／史前太平洋》Unearth/paleo-pacifc

1985年生於日本。大和田俊熱衷於探索聲音與事 物感知之間的關係。藝術家的作品包含聲音裝置 藝術以及程式聲響的電子音樂結合表演與作曲。

史前海洋生物屍體堆積，在地質力量的作用下變 成了石灰石。在《發掘／史前太平洋》中，藝術 家將檸檬酸滴在這些石頭上使其發生化學反應， 數億年前的二氧化碳也被釋放到現在的大氣中； 與此同時，傳來非常微小的氣泡破裂聲，這些聲 音被麥克風拾取、放大並發送到展覽空間中，使 觀眾靠近就可以聽到遠古時代的聲音。

Shun Owada (b. 1985, Japan) is passionate about investigating the connection between sound and the perception of things. He works with sound installation and combines programmed electronic music with performance and music composition.

Sediments of the corpses of pre-historic marine life become limestone due to the working of geological forces. In "Unearth/paleo-pacific", the artist drips citric acid unto the rocks to trigger a chemical reaction that releasees carbon dioxide from hundreds of millions of years ago into the modern-day atmosphere. Meanwhile, the release also causes extremely faint sounds of bursting bubbles. These sounds are picked up by microphones and amplifed in the exhibition space, enabling the audience to hear sounds from the ancient times.

石頭尺寸不定Dimensions Variable｜點滴袋（最多六個）、麥克風架、小型電容麥克風、喇叭 花蓮工廠石頭 Limestone from Hualien Factory, Acid, Microphones, Speakers｜2023

日本 Japan 平川祐樹 Youki Hirakawa

《身軀》Torso

1983年生於日本。平川祐樹在創作中結合了東方 哲學中的極簡禪意與西方多元的藝術風格，激盪 出跨文化的創新思維。

針對本次展覽，藝術家的全新創作《身軀》由古 羅馬大理石的雕塑所啟發，在天然岩石形成的雕 塑下將人體雕像描繪成一名從黑暗中出現的攀岩 運動員。攀岩者逐一克服石頭的考驗，漸漸鍛鍊 出魁梧的身材，並在石壁上憑著堅強的精神開闢 出一條屬於人類的道路，呈現了人體在攀岩運動 中，透過時間與心靈淬鍊出的極致樣態。

Youki Hirakawa (b. 1983, Japan) combines the minimalist Zen in Eastern philosophy and the diverse artistic style from the West, sparking the intercultural, innovative thinking in his practice.

In this exhibition, the artist's brand-new work, "Torso", is inspired by ancient Roman marble sculptures. Made of natural stone, the human body sculpture depicts a rock climber emerging from darkness. The rock climber develops a brawny fgure as he conquers the rugged trial step by step, and unfolds a path for humanity with persistence and strength on the rock cliff, demonstrating the ultimate human physique forged by time and will through rock climbing.

Zhan Wang

《假山石#111# 》#111#

Artifcial Rock (Jiashanshi) No.111

《飛來石No.3 》Flying Stone No.3

1962年生於北京。展望是著名的中國當代藝術 家，他自文人傳統、神話與世俗生活中汲取養分 回應當代生活，並以不鏽鋼材料創作的超寫實雕 塑聞名。

從1995年開始，以不鏽鋼材料製作的《假山石》

系列成為展望的最重要代表作品。展望在傳統文 人石周圍包上不鏽鋼板，並打磨每個起伏的表面， 直到它具有高度的反射性， 迫使觀眾思考人類對 自然世界的物質影響。

《飛來石》是用不鏽鋼板在石頭上直接鍛造而成， 它被安裝在一塊撞碎的鏡子上面，展示了石頭飛來 落地的瞬間，創造了一個虛構的，不存在的破碎。

Zhan Wang (b. 1962, Beijing) is a renowned Chinese contemporary artist. He draws inspiration from the ancient literati tradition, mythology and secular life to formulate his responses to contemporary life, and is known for his hyperrealist stainless steel sculpture.

Since 1995, "Artificial Rock" (Jiashanshi), a series of stainless steel sculptures, has become Zhan's most iconic work. He wraps traditional scholar's rocks with stainless steel before thoroughly polishing the uneven surfaces to make them highly reflective, compelling the audience to reflect on how humanity has infuenced the material in nature.

The Flying Stone series is created by directly forging stainless steel plates on rocks. The work is installed on a broken mirror, creating the landing moment of a flying stone and a fctitious, non-existent smash.

吳孟璋 Wu Meng-Chang

1971年生於台灣高雄。對吳孟璋來說，石雕創作 是一種自我完成的過程，從其中修習生命課題與 對應外在環境的關係，藉以求能達到定慮致靜的 狀態。

在創作上著重自然型態與人為意志的並存調和， 吳孟璋常依順著石材原初的狀態與特質，從直覺 感知與生命經驗累積下的體悟感受試著去提顯石 材的特性。作品中保留的斷裂面，是石材在壓力 下裂解所產生相應的質感痕跡，亦是藝術家與石 材之間的一種對話方式。作品與自然互存，擴展 無形的精神空間。

To Wu Meng-Chang (b. 1971, Kaohsiung), the creation of stone sculpture is a process of selfcompletion. The making of stone sculpture plays a subtle infuence on him, teaching him to address the topics in life and cope with the external environment, through which he is able to achieve a state of tranquility and equilibrium.

In his work, the artist focuses on creating a balanced coexistence between natural form and human will. He often follows the raw condition and characteristics of stone, drawing from his intuitive perception and understanding informed by accumulated life experiences, to formulate his responses to highlight the qualities of stone through piercing, carving, polishing, cracking, and joining. The fracture surfaces kept in his work indicate textural traces resulting from pressure-induced breaks of stone—to the artist, it marks a way of conversing with stone. As his work coexists with nature, it also expands the invisible space of spirituality.

喻：A. 58 x 50 x 82 cm｜安山岩 Andesite｜2011

B. 121 x 12 x 12 cm｜玄武岩 (自然現成物) Basalt (natural found)｜2011

處─ 7：65 x 55 x 45 cm、基座 Base：150 x 80 x 6 cm｜安山岩 Andesite｜2017

界：95 x 93 x 78 cm、基座 Base：140 x 140 x 6 cm｜安山岩 Andesite｜2020

滄：A. 108 x 92 x 13 cm、B. 108 x 92 x 7 cm｜花崗岩 Granite｜2022

滄─ 3：A. 203 x 118 x 14 cm、B. 204 x 90 x 14 cm｜花崗岩 Granite｜2023

Wu Wei-Ting

《3.14 I 1/60》

1996年出生於台灣雲林。吳瑋庭藉由思考空間、 場所、展成與日常的連結，誘導觀者在空間行走 時，深入探討作品帶出來的想像和指涉。

觀察自身創作石材雕刻的時空關係，藝術家創作

I 1/60》，以每秒在圓周上的距離 等份製作石材的轉動軸。石粉在推移，堆積、破 壞與復原的變化中因而產生了「積、線、面」的 空間結構關係。吳瑋庭將元素形塑的空間稱為一 種雜訊干擾的現場，如雕刻石材的粉末飛揚，在 經過變化後，最後回到冷靜的狀態。

Wu Wei-Ting (b. 1996, Yunlin, Taiwan) contemplates on the connections between space, site, display, and everyday life to guide the audience to probe into the imagination and signification introduced by his work as they walk through a certain space.

Having observed the spatial-temporal relation embodied his stone sculptures, the artist creates "3.14 I 1/60". He frst creates the stone spin axes based on the distance of every second on the circumference. Through moving, heaping up, spoiling and restoring, the stone powder produces spatial and structural relations involving “piles, lines, and planes.” Wu calls such space shaped by these elements a site of noise interference. Like flying dust produced by carving stone, the work will eventually return to a state of calmness after these changes of spatial relations.

Dimensions Variable｜卡拉拉白大理石、 石粉、動力裝置 Bianco Carrara, Stone Powder, Power Installation｜2017-2023

1993年生於台灣。陳為榛透過對現成物、挪用等 概念的實踐與再思索，將物質材料以不同於日常 被規訓後的功能、意義、及指涉性被看見。

陳為榛在作品《美耐板系列》試圖在立體的雕塑 中創造平面性視覺，藉由材質的真實性與造形的 數位感產生視覺的錯視與分離。另外，美耐板一 材料作為台灣早期以相對低成本的塑料達到對西 方大理石建材的品味擬仿。本系列作以大理石對 美耐板的造假邏輯做反向的模仿與學習，並投射 了對自身文化的矛盾情感。

Chen Wei-Chen (b. 1993, Taiwan) highlights materials in ways different from their disciplined functions, meanings and connotations in everyday life through the practice and re-consideration of ideas, such as readymade and appropriation.

In Melamine series, Chen attempts to create a two-dimensional visuality using threedimensional sculpture. Utilizing the realness of the material and the digital quality of plastic form, she produces an optical illusion and a visual separation. Furthermore, melamine was used as a cost-saving plastic material in Taiwan to simulate the Western aesthetic taste created with marble. The series serves as a reverse imitation and learning of the faux logic embodied by melamine, and hints at the artist's somewhat conficting feelings towards her own culture and

reality.

張永達 Chang Yung-Ta

《scape.unseen_sample T》

1981年生於臺灣。張永達透過對於聲音、材質、 科學、資料數據之間的實驗和研究，意圖在視覺 導向的環境之下，喚起用身體其他感官去觸診與 開發這個世界。

藝術家以太魯閣峽谷立霧溪流域為主體，透過對 流域內三個關鍵區觀測站2018年起數據採集的 分析創作了作品《scape.unseen_sample T》， 作品共有九件雕塑，呈現了在過往展覽期間，大 理石岩心經模擬碳循環運行後取出的侵蝕紀錄結 果，也作為經歷時空壓縮後具有時間軸的雕塑。

Chang Yung-Ta (b. 1981, Taiwan) experiments and researches on sound, material, science, and data to engage the audience in exploring this world with other senses in today's largely visually oriented environment.

The artist focuses on the Liwu River drainage basin in the Taroko Gorge, and creates "scape. unseen_sampleT" based on the analyses of gathered data from three key observation stations in the area since 2018. This work includes nine sculptures that show the results of erosion records from the simulations of carbon cycles in previous exhibitions. It is also a series of sculptures that has embodies a timeline after the compression of space and time.

Sean Tseng 《躁動的遠方》The Unsettled, the Distant

1995年生於台灣。曾彥翔常藉由交錯使用工業材 料和自然中採集的材料探索之間的互動，並在空 間意象中層層疊出韻律、探索感知的深度。

此次展出的新作《躁動的遠方》試圖在展覽現場 引領視線與身體在空間中徘徊，進而喚起自然中 萬物群集的感知經驗。另一方面，作品將透過不 同物件的擺放回應自然中獨特的空間與間隙，並 以此思索作品如何建立起如自然中和萬物相互共 鳴的關聯，進而呼應石頭在時間上的深邃浩瀚與 在地流動的獨特景色。

In his work, Sean Tseng (b. 1995, Taiwan) often mixes diferent industrial materials with materials sourced from nature to investigate their interaction, while layering out a sense of rhythm in spatial imagery and exploring the depth of perception.

"The Unsettled, the Distant", a new work featured in this exhibition, guides the audience's line of vision and body to linger in the exhibition space, and evokes the sensory experience of the constellations of things in nature. On the other hand, through the placement of different objects, the work responds to the distinctive space and fssures in nature, through which the artist ponders on how his work generates resonating connections with nature and further echoes the temporal profoundness embodied by stone and the unique, fuid local landscape.

Shih-Tai 《無題》Untitled

1971年出生於台灣。詹士泰的石雕造形簡約，除 了理性的現代主義建築線條與幾何形狀，仔細觀 察，作品紋理內也飽滿藝術家手工雕刻的溫暖。

本次展出作品系列皆以《無題》命名，一方面標 示著藝術家對於石材創作無意展現或意旨任何附 加意義，一方面也因此賦予石材更廣闊的面向。

因為對於材料的真心喜愛與尊重，使藝術家能夠 在專注於石材原本的狀態下，進一步在材質與自 我之間取得平和的共識，而作品的雛形也在這樣 的過程中逐漸形成。

Chan Shih-Tai (b. 1971, Taiwan) is known for the elegant, simple form of his stone sculpture. In addition to its rationally modernist architectural line and geometric shape, a closer look at the texture of his work reveals a sense of warmth produced by hand-carved marks.

The series works showcased in the exhibition are all named "Untitled". On the one hand, this shows that the artist has no intention to convey or refer to any additional meanings through the stone sculptures. On the other hand, it also opens up a more expansive aspect of stone. Because of his love and respect for the material, he keeps the original condition of stone, and concentrates on observing the characteristics of his material while exploring the self. It is through such a process that his sculptures begin to gradually take form.

1990年生於台中。廖昭豪的作品主要以絞碎的紙 漿仿擬台灣人為地景風貌，於此展現藝術家對人 為開發於自然與環境保護議題上的反思。

現代性地景是由人造物與自然物不斷的融入與消 弭後創造出的各種地景奇觀。最新創作《後石頭》 以現代性地景的迴圈關係為思考，擬仿隱身於河 床的混凝土石頭，作品表層除了有混凝土顆粒的 特徵外，也呈現裸露鋼筋順著水流凹折的形象， 乍看如同石頭長出毛髮，宛如河流中的新肌膚。

Liao Chao-Hao (b. 1990, Taichung) uses paper pulp to create his work that simulates the artifcial landscape in Taiwan and conveys the artist's reflection on artificial development in relation to the issues of natural environment.

The so-called modern landscape indicates a range of spectacles of landscape resulting from the integration and erasure of artificial and natural objects. Exploring the loop of modern landscape, Liao's latest project, "PostStone", simulates the cement rocks hiding on riverbeds. Apart from the granular texture of cement, the surface of the work also shows exposed steel rods bent in the water current. At frst glance, they look like hair growing from the stone, as if a new layer of skin had grown in the river.

198 x 185 x 115 cm、140 x 129 x 102 cm、135 x 150 x 90 cm｜ 紙漿、發泡劑、木材、鐵、棉繩、顏料 Pulp, Pu, Wood, Iron, Cotton Rope, Pigment｜2023

1985年生於台灣。劉玗的創作主要關注空間屬性 的變化和隱匿在社會結構下的族群，牽起時代和 市井人物之間令人意想不到的連結。

在美國駐村和在地研究的累積下，劉玗交織出以 金礦為主題的創作計畫。《凹凸史》展出藝術家 自2016年底開始著手進行的創作計劃，內容包 括了在美國西岸的駐村研究，以及在台灣金瓜石 九份地區的數次訪調，透過被遺留下的人、事、 物，藝術家抽絲剝繭探究正史未載的一面，也企 圖形塑貫穿礦物與人物之間慾望的等價物。

Through her practice, Liu Yu (b. 1985, Taiwan) focuses on the variation of spatial properties and the community concealed in the social structure to introduce unexpected connections between diferent times and common fgures.

Drawing inspiration from her residency and research in the United States, Liu has launched an art project featuring the subject of gold mine. "The history of the concave and the convex" is launched by the artist at the end of 2016, which comprises the artist's residency research on the U.S. West Coast as well as her various feld trips to Jinguashi in Jiufen, Taiwan. Through tracing the people, events and things that are left behind, the artist unravels what is not documented in ofcial history, and shapes the equivalents to the desire that pervades the minerals and fgures.

尺寸依場地而定

單頻道錄影、雙聲道、彩色 Single Channel Video Installation, Stereo, Color｜2017、2018

Dimensions Variable｜

The history of the concave and the convex

《23.98951, 121.62837》

1993年生於台灣。賴金池的創作藉由檢視其在人 類活動內的座標與環境，摸索存於日常縫隙中非 人稱的空間生態。

存在於道路邊緣的石塊，因長時間受自然及人 文環境的外力影響而被動地流於此地。這些物 體成立的方式如同岸邊被各種因素沖刷並推積 的石頭，以此想像，都市系統亦如同一片大海， 或另一種自然。在這次為展覽全新創作的作品 (23.98951, 121.62837) 中，藝術家把路邊石塊重 新視為一種自然物，撿拾、蒐集並將它們匯集於 一處，使之成為可再被經驗之片段。

Lai Chin-Chih (b.1993, Taiwan) examines the coordinates and surroundings of his work within human activities to explores the impersonal spatial ecology in the everyday crevices.

Roadside rocks are passively moved to where they are due to consistent external forces from nature or cultural environment. The way that these objects exist is similar to the rocks that are washed and piled up on the shore due to various factors. Following this line of imagination, the urban system is like the vast sea or an alternative nature. In (23.98951, 121.62837), a brand-new work created for this exhibition, the artist sees roadside rocks as a type of natural objects. He collects and gathers them to a certain spot, turning them into snippets that can be re-experienced.

空間互動雕塑 400 x 500 cm｜數件石塊推砌於規範空間Space Installation｜ 花蓮市區路邊石塊 Natural Stone in Hualien｜2023

戶外石雕創作營 文件展: 行星取樣

Stone Sculpture Symposium Archive Exhibition: Sampling from the Stars

石文化，是花蓮生活的日常。

這是本次文件展想要傳達的訊息，石文化的日常孕育了石雕藝術季，而石雕藝術季繼續豐 富了花蓮的石文化生活。

本文件展回顧從1995-2023年石雕藝術季戶外創作營的歷程。戶外創作營的緣起來自 1995年民間與縣府發起的「花蓮國際石雕戶外創作公開賽」，舉辦場地在鹽寮國小（現址 為花蓮縣洄瀾國際文教會館）。1997年之後，由官方主辦，每2到3年舉辦大型徵件，邀 請國內外傑出石雕藝術家齊聚花蓮。藝術家現場戶外創作，互相觀摩競技，讓花蓮石雕創 作享譽全世界。

近30年歷史的戶外創作營，共有28個國家的石雕藝術家創造出170件大型石雕創作，矗 立於東海岸大山大水之中，為花蓮留下珍貴的文化資產。

Stone culture is part of the everyday life in Hualien.

This is the message that this archive exhibition wishes to convey. Stone culture gave birth to the Stone Sculpture Festival, and it has been all the richer for it.

This archive exhibition revisits the journey of the Stone Sculpture Symposium hosted concurrently with every Stone Sculpture Festival from 1995 to 2023. The frst symposium dates back to the Hualien International Stone Sculpture Symposium held collectively by the public and private sectors of Hualien County at Yanliao Elementary School (now Hualien County Hledu Hotel) in 1995. The Hualien County government became the ofcial organizer of the symposium in 1997. Ever since then, a large-scale open call has been held every two to three years for the symposium, which has invited outstanding artists from Taiwan and abroad to gather in Hualien and create large stone sculptures outdoors. In turn, artists have seized the opportunity to observe, learn and compete. This is how Hualien's stone sculpture has become internationally reputed.

The symposium saw 170 large-scale stone sculptures by artists from twentyeight countries across a span of thirty years. Standing mightily amidst east coast's mountains and rivers, these stone sculptures are the most valuable cultural legacy of Hualien.

作為回望石雕藝術季近30年歷史的文件展，本展借用音樂領域用語「取樣 (Sampling) 」

的概念，以時間、圖像、聲音、空間脈絡取樣歷屆的石雕作品，以當代的視覺語彙闡釋石 雕的美學風格以及創作理念。同時，結合AR技術，將石雕作品線條方塊轉化為虛擬互動 內容，提供觀眾深入認識石雕藝術季的視角與思維。

以13張海報形式的表現手法，依時序向觀眾介紹第一屆（1995年）到第十三屆（2023年） 的主題、藝術家、以及作品。展場上的石雕原件縮小模型，是藝術家參展時提供給主辦單 位的作品，與戶外大型作品同樣是藝術季的重要文件。

本文件展是觀看花蓮城市石雕作品的起點。誠摯邀請民眾在世界座標中跟著漫遊地圖找尋 石雕、在日常生活中與作品相遇，啟程一場自己與這座城市的石雕之旅。

The archive exhibition looks back into the thirty years of the Stone Sculpture Festival. Sampling from the Stars borrows the concept of “sampling” from the feld of music, taking the stone sculptures from previous editions as samples based on the context of time, image, sound, and space. These samples are then analysed and interpreted using contemporary visual vocabulary to express the aesthetics and creative concept of the original sculptures. The further use of AR technology transforms the lines and shapes of the stone sculptures into virtual interactive content, providing the audience with a deeper understanding and thinking of the stone arts in a new angle.

The archive exhibition showcases the themes, artists, and works of the first (1995) to the thirteenth (2023) festival with thirteen posters displayed in chronological order. The miniature models of the original stone sculptures on view in the archive exhibition were provided by the artists to the organizer when entering into the festival. They are also an integral part of the sculpture festival like their large-scale outdoor counterparts.

This archive exhibition is the gateway to the stone culture in Hualien. We sincerely invite the public to follow the map marked with the coordinates for the stone treasure, and have an encounter with the artworks in daily life. Come and embark on a wondrous journey of stone sculptures and be immersed in the beauty of this city.

Editions of the Stone Sculpture

1995

花蓮國際石雕戶外創作公開賽 ／ 18件

Hualien International Outdoor Stone Sculpture Symposium ／ 18 pieces

1997

花蓮的石頭在唱歌 ／ 12件

The Stone in Hualien is Singing Out Loud ／ 12 pieces

1999

雕塑春天 ／ 12件

Spring is for Sculpture ／ 12 pieces

2001

磊舞山海 ／ 12件

Celebration of Stones Between Mountains and Sea ／ 12 pieces

2003

石雕雙城會 ／ 10件

A Party For 2 Stone City ／ 10 pieces

2005

點石成金 ／ 12件

The Midas Touch ／ 12 pieces

2007

踏石築夢•樂活洄瀾 ／ 12件

Rock the Dream•LOHAS Hualien ／ 12 pieces

2009

雕塑印象 ／ 12件

Neo Impression ／ 12 pieces

2011

自然石尚 ／ 17件

Nature Stone in Vogue ／ 17 pieces

2014

藝術向東 ／ 11件

ARTEAST ／ 11 pieces

2017

大石代 ／ 16件

Grand Stone Era ／ 16 pieces

2020

石動曼波 ／ 16件

Stone Mambo ／ 16 pieces

2023

石宇宙 ／ 10 件

Stoneverse ／ 10 pieces

共13屆、28個國家

共170件大型戶外石雕創作

13 editions of the symposium and artists from 28 countries

A total of 170 large-scale outdoor stone sculptures

參觀請依規定購票。

觀展時除特定互動展品，一般展品請勿觸摸。

館內禁止吸菸、飲食。

館內禁止奔跑、勿大聲喧嘩。

館內禁止寵物入內，導盲犬除外。

洽公者請依櫃台人員指引前往行政區。

● 門票資訊

全票｜20元

一般參訪民眾

半票｜10元

1. 軍、警、學生，參觀時請出示證件以備查驗

2. 20人以上團體

免費

1. 花蓮縣民、榮譽志工、身心障礙者及其必要陪伴者一人

2. 12歲以下兒童與65歲以上長者

3. 以上參觀時請出示證件以備查驗

● 同期展覽

「淬鍊．複合．異次元空間─郭清治雕塑展」

台灣創價學會

時間｜2023年8月2日至2024年1月12日

週二至週日09:30-17:00（週一、中秋休館）

地點｜創價美術館 花蓮館（花蓮縣花蓮市富裕五街71號B1）

相生─山海之際

花蓮縣石彫協會

時間｜2023年9月30日起常設

週二至週日09:00-17:00（週一休館）

地點｜花蓮縣石雕博物館二樓常設展區（花蓮縣花蓮市文復路6號）

● 計程車

美崙計程車03-822-4074

國聲計程車080-033-7337

● By taxi

Meilun Taxi Service: 03-822-4074

Guosheng Taxi Service: 080-033-7337

● 火車 花蓮火車站下車後， 可轉乘公車至【石雕博物館】

● By train

Take the train to the TRA Hualien train station and get the bus to the Hualien Stone Sculpture Museum.

● 公車｜統聯客運1123

自【花蓮火車站】搭乘1123公車， 前住【石雕博物館】

花蓮火車站發車時間：

● By bus｜Ubus 1123

Take Bus 1123 from the TRA Hualien train station to the Hualien Stone Sculpture Museum.

Buses depart from the train station at 06:20, 07:20, 08:00, 09:30, 11:00, 12:00, 12:50, 13:30, 14:50, 15:30, 16:20, 17:30, 18:40, and 19:40

*無障礙班次採預约制，

請於乘車日（不含乘車當日）三日前 預約，花蓮站服務電話 (03) 831-0192。

* For the wheelchair-accessible bus, please reserve seats three days in advance (not including the day of your trip) by calling the Ubus service line for Hualien train station service at (03) 831-0192

｜Hualien Buses

● 自行車道｜兩潭自行車道

往七星潭方向，可從【美崙濱海公

園】、【洄瀾望海海濱公園】處行經階 梯、或【江口良三郎紀念公園】處行 經行人出口道，連接193線海岸路前 往石雕博物館。

● By bike｜On the Two Lakes Bikeway

While riding in the direction of Ci Sing Tan, you will pass by the Meilun Seaside Park and reach the stairs of the Hualian Wanghai Seaside Park, or you can proceed to the pedestrian exit at Jiangkouliang Sanlang Memorial Park. From either of those places, connect to coastal route 193, which will take you to the museum.