島谷織流合作聯盟成員介紹_日昇之屋

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在台灣的最南端，有一座日昇之屋，他們的祖先來自東部，崇敬太陽神，他們是排灣族的「Mavailu」家族。日昇之屋是以陶藝、木雕和刀作多種媒材為創作素材，由父女三人共同組建的工作室，華伊達身為家中長女，有著接下家族事業的始命。

「因為是長女，在文化上面我會比較需要負責。」華伊達說，談起責任卻沒有沉重之感，有的只是對家族、對藝術創作的認同。

在學習創作的道路上，是由父親而起。因為父親是文化工作者，對工藝的藝術表現形式很感興趣，她從小就跟在父親身邊當小幫手，用父親剩下的邊角料作一些小陶偶，就是華伊達藝術之路開端。「我很喜歡那些小東西，從我的手中逐漸成形的樣子。」她有些靦腆地笑說。

在父親身邊學習，逐漸掌握創作技巧後，華伊達開始向外自己摸索，她最喜歡的創作類型是雕塑，享受在從零到有，把自己腦中所想實體化的過程。「如果沒有看到自己喜歡的，那就動手把它做出來，把想像變成現實，是一個很有趣的過程。」華伊達總笑說自己是理工腦，對於力學、結構上的問題，會花上許多時間思考和研究，這些細節也體現在她的立體雕塑作品上。

然則，創作的路上總是會遇到困頓，華伊達講起和父親、妹妹一起合作做的陶藝作品，因為在風乾後變得脆弱，在進窯燒之後可能會裂開變形，已經是耗費許多心力去捏塑的成品，卻一次又一次的失敗的時候，她也曾灰心喪志，在與家人間相互配合的時候，也常常會碰到意見不合，有所爭執的時候，但面對這些考驗，她卻樂觀以待。

「但我覺得這樣的衝突是好的，就因為有衝突，所以你可以看見自己的盲點，才會有進步的空間。」讓她跨越衝突的正是她冷靜理智的思考，是一位藝術家為追求卓越而能夠擺脫情緒影響，共同討論、相互配合做出更完美的作品。

在華伊達的印象中，一件父親的木雕作品深深影響著她，那是一個老人抱著小孩的木雕，以華伊達和她的奶奶做為原型。「我的奶奶很早就走了，但你好像可以透過這個作品去懷念與她共度的時光。」那些人與人之間最單純的互動，也成為了她創作的核心。

在島人藝術空間展出的陶器作品，是跟妹妹共同合作而成，是她們與花蓮這塊土地的連結產出，除了有原住民的圖像之外，也有著許多流露而出的自然形象。

生活在國境之南，華伊達和花蓮的緣分其一是在東華念書的經驗，她在就學期間創作了一座人像，以漂流木為媒材做的作品，名稱是祈禱。旨在傳達在大學中遇到了各式各樣的人，他們給予了許多啟發和照顧，想要向這些相遇表達感謝之意。從這樣的創作中不難發現，華伊達的創作始終圍繞著情感。

她的雕塑作品中，有許多是在描述她的家鄉，「因為我發現，現在人對部落的印象跟我是有落差的，就覺得很寂寞。」為了想將當時的技藝呈現出來，她寄託自己的情感在雕塑作品中，期待著有著共同記憶的人，也能夠心有戚戚焉，知道還有人跟自己有著相同的記憶跟感受。「我希望我的作品，呈現出來的都是正向的，可以讓人感覺被支持和鼓勵的。」華伊達對自己的作品有著傳達能量的期許。

在一個原住民身分被定義為一個標籤的時代，華伊達表示自己並不把排灣族當作是一個自己要強調的主題。「我生長在恆春半島，這裡是一個多元的文化和族群交流的地方，是一個航道。」無法用學術、語言說明清楚的東西，華伊達讓作品代言，呈現出自己與環境互動的感受，排灣族不需要特別的去強化，是很自然的一個元素，呈現在作品及生活裡面。

華伊達認為，許多議題與文化，都只是外表長得不太一樣，本質上相差無幾。「最終人與人的互動還是會回歸到你是一個怎麼樣的人，而不是你來自什麼族群。」因為生長的環境不同，就會有習慣上的差異，就會需要透過交流、互相認識和了解，這樣的態度也呈現在她的作品中，陶器作為器皿，容納得下許多和它不一樣的質地，如同她包容沉靜的態度。

「因為我覺得其實真正活著的創作，是跟生活相關的。」在日昇之屋的創作中，呈現出的山海，也是她眼中和親身體驗的積累，華伊達的創作還在繼續著，並會隨著她的生活，跟著她走進人生百態，歲歲日常。

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At the southernmost tip of Taiwan stands the House of Sunrise, where ancestors hailing from the east, venerating the sun god, belong to the Paiwan tribe’s “Mavailu” family. This studio, established by a trio of father and his two daughters, specializes in ceramics, woodcarving, and knife artistry as mediums for creative expression. As the eldest daughter, Hua Yida bears the responsibility of carrying forward her family’s artistic legacy.

 

“As the eldest daughter, I feel a cultural responsibility,” Hua Yida explains, though she carries this burden lightly, driven by her deep connection to her family and their art. Her journey into art began alongside her father, a cultural worker deeply interested in the expressive forms of craftsmanship. Starting from a young age, she assisted him with leftover materials, crafting small clay figurines, marking the beginning of Hua Yida’s artistic path. “I loved seeing those little things gradually taking shape in my hands,” she says shyly.

 

Learning under her father’s guidance, Hua Yida gradually mastered her artistic techniques and began exploring independently. Her favorite form of creation is sculpture, reveling in the process of materializing her thoughts into tangible forms from scratch. “If I don’t see what I like, I make it myself. Turning imagination into reality is such a fascinating process,” she adds with a smile, describing herself as having a scientific mind, often dedicating time to ponder mechanical and structural challenges, reflected in her three-dimensional sculptures.

 

Yet, the creative path is fraught with challenges. Hua Yida recalls instances where collaborative pottery pieces with her father and sister, despite meticulous efforts, became fragile after drying or deformed after firing in the kiln. These setbacks occasionally led to discouragement and disagreements within the family, but Hua Yida remains optimistic. “I think conflicts are good because they show you your blind spots, creating space for improvement,” she reflects calmly, demonstrating her ability to rise above emotional influences as an artist pursuing excellence through collaborative discussions and mutual understanding.

 

One of Hua Yida’s most impactful memories is a wooden sculpture by her father depicting an elderly person holding a child, modeled after Hua Yida and her grandmother. “My grandmother passed away early, but through this piece, I can cherish the time spent with her,” she shares. These pure interactions between individuals have become central themes in her artistic creations.

 

Exhibited at the Islander Art Space, her ceramic works, created in collaboration with her sister, reflect their connection to the land of Hualien, featuring indigenous imagery and natural elements.

 

Living in the southernmost region of Taiwan, Hua Yida’s affinity with Hualien began during her studies at Dong Hwa University, where she created a driftwood sculpture named “Prayer.” This piece symbolizes her encounters with diverse individuals during her university years, who inspired and supported her, expressing gratitude through her artwork. Throughout her creations, it is evident that Hua Yida’s art consistently revolves around emotional expression.

 

In her sculptures, many of which depict her homeland, Hua Yida aims to bridge the gap between people’s perceptions of tribal communities and her own experiences. “I feel a sense of loneliness because people’s impressions of tribes differ from mine,” she explains. Through her art, she hopes to evoke shared memories and emotions among those who have similar experiences. “I want my works to convey positivity and make people feel supported and encouraged,” Hua Yida expresses her aspirations for her art to radiate positive energy.

 

Living in an era where indigenous identity is often labeled, Hua Yida does not emphasize her Paiwan heritage as a defining theme. “I grew up on the Hengchun Peninsula, a place of cultural and ethnic diversity and interaction,” she explains. Unable to fully articulate through academia or language, Hua Yida lets her artwork speak, portraying her interactions with the environment and her experiences naturally incorporating Paiwan culture into her life and art.

 

Hua Yida believes that many issues and cultures are essentially similar beneath their superficial differences. “Ultimately, interactions between people return to who you are as a person, not just your ethnic background,” she reflects. As her attitude is reflected in her works, ceramics serve as vessels capable of accommodating various textures, embodying her composed and contemplative demeanor.

 

“I believe that true artistic expression is closely related to life,” Hua Yida concludes. Through the creations at the House of Sunrise, depicting mountains and seas accumulated from her firsthand experiences, Hua Yida’s artistic journey continues to evolve, accompanying her through the myriad experiences of life, year after year.