2 3 4 內在之庭 萆絍ই The Inner Garden Secrets to be shared Cynthia Sah 憙ኴ犥क़牧萆絍ইጱ̿獉ࣁԏସ̀ 砰෈／絮㮖娣ূ．֡໒ ⋯⋯「這是我的一個秘密，再簡單不過的秘密：一個人只有用心去看才能看見一切。因為真正重要的東西，只用 眼睛是看不見的。」⋯⋯ 「是你為你的玫瑰花所花費的時間使你的玫瑰花變得如此重要。」⋯⋯ 「一般人常常忘了這個道理，但是你千萬不能忘記。你永遠對你所馴養的負責，你對你的玫瑰花有責任⋯⋯」⋯⋯ 摘錄自安東尼．聖艾修伯里著《小王子》 萆絍ই癲覿౯㮉蝱獈甇ጱ「獉ࣁԏସ」，ࣁᮎସ瑼愊ಅ磪ጱ聅অ緡ࢩ甇ᘒਂࣁ；萬蔩疑አ甇ጱ奈፥、甇ጱ߽ ֢ߝ獺֢吚ӥጱ穢ک௏、甇ጱ胼ᰁ犥现ਂࣁ，獺蝨ԧ蝡Ӟ獥。፡憎甇ጱ֢ߝই種޾蘂瑿珊匍，౯㮉୿䕣胼眤ݑ ࣁྯӞ璸褺紝౮犋ݶ֢ߝጱय़ቘᎪӾ，᮷槼聱茐้妿ᆙ犝萬蔩疑螐ࣁल೉姘๝（Seravezza）ጱૡ。ێ瑻膏眤礕 侨蔭ᶎ犖螭ኸ茐ᮎ犚ᤩ槓طٌ，碸ᆙ茐㴟螂荕给จ绚ጱ篷碍จ斝、้穹窜ࣁ瓲෭޾ᆘጱำ఺Ӿ้、ط֢ਰጱॠ ݄ጱᎪ๭箒苽ጱ盏瓃。 獉ࣁԏସ」愊ጱྯկ֢ߝ᮷ฎ加Ӟ篷ԫ，֕ݶ碻݈痀ෝݶӞ㮆獺֢Ԇ氂、ྯӞկ֢ߝ᮷ฎਡ薪獺֢ጱӞ蟂」 虏篷肨篷୵ጱ޾、ێጱ֢ߝဳ獈矸㵕ጱኞ޸ڜ獤。加粬ࠔӞ㶴胼ݳᘒ傶Ӟ，蝡䰬悳统㶴݈ፘ਻ጱ粬搡傶蝡㮆羬 蘂ԏ聅ℂᘒ珊匍。 ࣁ「獉ࣁԏସ」Ӿ，౯㮉蚎獈ԧ萬蔩疑磧窼䍅ጱ獉ஞӮኴ。ᮎฎ㮆෈ਁ葄觽犋ٚ᯿ᥝ、ᘒ奈羅ኧ眐姼膏眤Ꭳಅ ᔰಅ䯤缱ᘒ౮ጱӮኴ。磧奰，ࢩ傶萬蔩疑硯ӥزԆ疩ጱಅࣁ，Ӟ㮆萬蔩疑㰆哴ኞ޸Ӿ妿稲ጱӞ獥聅অ膏ዳ舚傶 ᔰ、蝚螂甇ጱᎣزԧ獥蛪誢涢螂ጱӞ獥，ෝฎ奰胼疥Ӟ獥硯獈֢ߝӾ。ྯӞկ֢ߝ᮷ฎ萬蔩疑螀አ甇ጱ眐眤傶 ᔰ棬榙ᘒ౮，ྯӞկ֢ߝ᮷ฎ萬蔩疑ℂ獉ஞӮኴ玱薟矐疨ᘒ㬵ጱ獺碝覄眤，藗拙継ኞᔴ坌ጱز憽膏Ꭳ胼疥ಅ磪 。౮ᆧ獺֢承䕍ᘒ஑犥ம䋿誢匍 「獉ࣁԏସ」ฎ㮆虏Ո஑犥ਞ蛪ጱ皅虁ಅ，অ穉ฎӾӮ夵෈๜Ӿಅ藯「膏Ӯᵍ妃ጱସ瑼（hortus conclusus）」： Ո㮉ݢ犥ࣁٌӾ٥మ穹௏，膏ᛔ૩ጱ覄諃螭磪懿䛂窼蒂ጱ硲Ԫ䌘扖，䌀覌瑿加蒂ᘒ犋ݑଗ硑。篷୵Ӿ，蛪傶薪 。唰ጱ౯㮉膏蝡犚֢ߝୌ缏蚏ᐺੂጱ蝫奾，萞種౯㮉ࣁ֢ߝӾ薪ᆙ஑憎૩蛪膏覄諃ጱׯ୽ 3 萬蔩疑။梤ጱฬ眻，ᮎฎ萬蔩疑ℂ甇獥蛪ह蝽Ӿ穹俤ᘒ㬵ጱ奾ส，犖ฎ甇አ఺ڊ萆絍ইࣁ甇ጱ褺य獺֢Ӿ窕襷 ᪃犥玱碸獉ஞӮኴ䌀覌ጱ୵虡，膏ٌ֢ߝڊ盢膏瓵మಅᥝ蝍穩篷褖ݢ胼ጱ誢匍。妿螂蝡䰬ጱ獺֢稲纷，甇獺蝨 窼穹ᘒமෝ፥౯ጱ粬搡ፘ԰斝碸。 ࣁᴨฦਞᴨ凟ܑේઊ玟（Apuan Alps）1 愊葏萢茐Ӟ粙窼ईጱ䌌萢，ᮎฎࣁઊ脁ᵇ蚏ኞ౮碻ℂၹ皈窼蒂܋蚏ጱ妃Ӯ 紸䌌。ࣁ蝡粙纀脁Ӿ，ྯӞ璸य़ቘᎪ᮷ฎ加Ӟ篷ԫጱ。萬蔩疑้藯：「獺֢य़ቘᎪ褺磧聅অጱ螂纷疰ฎ咳യྯӞ ӾጱྯӞկڜᔰ。ྋࢩই種，「獉ࣁԏସ」羬ز璸Ꭺ๭ጱ粬搡。」蝫ݶᎪ๭ጱ犋ਠ聅犖᮷ฎीႲ掘੄䰬ᨩጱ䌌揫 ᰁ膏萬蔩疑㰆ဳጱ胼ᰁ。萆絍ইጱ櫕ಋٍ猋纼ێ㬵ጱ加粬；ྯӞկ֢ߝ᮷ݶ碻葏珀茐य़ᛔ簁ጱק֢ߝ᮷磪ٌ膏ኞ 搝膏ದ蔩，虏甇胼裾碻樌䌕ဳ瑿ಭ獈褺य獺֢。1989ଙ，珂य़禂้藯：「獉ࣁጱ胼ᰁᥝ犋樌䥁瑿獊ᐟ揢ဳࣁ螂纷 ӾጱྯӞկ֢ߝ᮷妿ڜੲ揢盔ࣁӞ膐Ӟ㵕ԏ樌」，ᘒ蝡ྋฎ獺֢胼ᰁጱ羊ᥝಅࣁ。蝡羬کጱྯӞ㮆㵕֢Ӿ，ℂ毣 ጱێ螂萬蔩疑裾碻樌ጱ褺紝膏಑繬；ࣁ篷肨ጱ螂纷Ӿ，萬蔩疑疥ٌӞ獥箑ဳࣁ֢ߝ愊，ྯӞկ֢ߝ᮷ฎ碻樌膏ஞ ，膏ዜ玈窞裾盌絑ጱ誢匍。Ӟկ֢ߝ，瞚斉茐萬蔩疑獺֢吚ӥጱ፜௏ጱݶ碻ێ奾ส、羊ᐟ膏蛪誢玈㵕ጱ౮ຎ、誢 ᘒ加粬ጱ橕狌，萬蔩疑ࣁ獺֢ጱ吚ӥ疥ڰ咳మ，萬蔩疑ࣁ獺֢螂纷Ӿ޾獺֢ᔰ๭ୌ缏蚏窼ط犖ฎӥӞկ獺֢ጱ覄 ֢ߝ，ᘒ֢ߝ疥ࣁஃ盅犥犋ݶጱ୵ୗ旉玕౮傶ݚӞ圵癨य़ጱ胼ᰁ㬵რ。萆絍ইአᘔஞ޾甇裾ڊ旉ಭ獈叨ێ羊ᐟ誢 ෝ裾๗ጱ獺ۑ֢ߝ。甇ጱ櫕ಋԏಅ犥胼羊伛䁆ᤈ獉ஞጱమဩ，ᴻԧ稳ڜଙ獺֢ጱஞ஑㬵聹聼「獉ࣁԏସ」蝡Ӟ羬 ֢妿涢ᔴ坌，ๅฎࢩ傶甇䌕ဳෝᛔ蛪、䌕ဳෝྯ㮆獺֢ጱ吚ӥ。甇ࣁ獺֢ጱ螂纷Ӿ皃Ԓ૪箑ဳԧᛔ૩ጱӞ蟂犩ࣁ 澕ጱ薪ᘏ。ইوӞկ֢ߝ愊，ෝฎ֢ߝ಍胼ই種ம䋿竃ศ瑿玱碸甇ጱ߽௏、甇ጱ承䕍，㪔珅୚ྯӞ֖膏甇磪ಅྯ 娄Ӿོ搕蝡犚֢ߝ，౯㮉疥篷ဩ眤طӾ聅অጱٌڊຎ犋้አஞ眤ݑ、犋้斕砬螂甇ጱ֢ߝ、犋้ࣁӞ螇᪃犥碸ᆙ ᣅ蒶窕㵕ࣁ绚کஞᐟ、篷ဩ眤ݑێݑ萬蔩疑獺֢吚ӥጱ羊ᐟ制眲、篷ဩ眤ݑ甇አ瞲੠ࣁ֢ߝӾ獟梤箑ဳጱ碻樌羊 樌Ӿ膏֢ߝӾጱ㵕眲眤。֕獡獺֢఺盢掘ညᘒ磪԰㵕௔ጱ褺य֢ߝ，ਙ㮉胼䄪ࣁ膏Ո憙娄矑藉ጱӞ縣樌膏薪ᘏፗ 矑瑿䌘扖；䷱磪Ո胼䄪篷憙蝡䰬ጱ֢ߝ，֢ߝ๜蛪疰胼珅୚薪ᘏ、Օ獈薪憙ԏӾ、㪔Ӭ膏ԏ䌘扖。ݝᥝ憎螂萆絍 ጱ娄礿皃Ԓ胼皤֐ێෝ๜胼瑿篷ဩ؊ྊ傶ԏ௏ᔱ、紝繬֢ߝጱ୵ୗ膏娄礿，ᮎ媼礖㶴݈磪ڊইጱ褺य，౯㮉皃Ԓ 癲磪䔶篇羊ᐟ௔ጱ֢ߝ૪妿᩻᩼ԧ萬蔩ߝጱ䍅稞、䥮苉傶ٍ磪胼ڜ౯㮉ጱ獉ஞ窼蒂、藉现覄諃ጱ໐ஞ。蝡Ӟ羬ک ，ࣁ䌘扖膏԰㵕Ӿ。طᰁጱᒧ蒈：౯㮉᩼ฎ窼獈矑藉蝡犚֢ߝ，ਙ㮉疥ࢧ䛑౯㮉ๅग़ጱ加粬ᘒ篷ݢݷ制ጱ胼ᰁ膏覄 。蝡犚֢ߝ౮傶౯㮉ኞ޸誢涢ጱӞ蟂獤，౮傶羊ᐟӤጱ皅虁ಅ、胼ᰁጱ笔笔რဣ。磧奰，蝡犚֢ߝ᮷疥౮傶࿞盱 4 萆絍ইࣁ獺֢Ӿ旉玕ԧ櫞犥᥺藢、ݷ傶「ኞ޸」ጱ胼ᰁ，Ӟ圵࿞盱ᘒ礬๜ጱ覍ᇔ搡胼ᰁ；萬蔩疑萞ኧᛔ૩ጱ֢ ，ጱ֢ߝྯӞկ᮷ฎ加粬ጱ，ᘒྯӞկ֢ߝአ羊ᐟ膏఺盢ஂ種޷䛑茐ڜᰁጱ懿䛂。蝡Ӟ羬ێߝ傶౯㮉琉蠣ኞ޸ 。Ӟใ޾蘂ጱԻ段禼ڊԻፘ䛑޾挻 ڥෝ玖嬝य़֖ 1 5 The Invisible of Cynthia Sah’s Inner Garden Text / Valentina Fogher […] “And now here is my secret, a very simple secret: It is only with the heart that one can see rightly; what is essential is invisible to the eye.” […] “It is the time you have wasted for your rose that makes your rose so important.” […] “Men have forgotten this truth,” said the fox. “But you must not forget it. You become responsible, forever, for what you have tamed. You are responsible for your rose… “ […] from The Little Prince by Antoine de Saint-Exupéry Cynthia Sah leads you in her Inner Garden, where everything you see belongs to her, to her nature, to her philosophy, to her way of being, to her energy. Her works, displayed in a harmonious way, make us live the atmosphere in which they have been created. In the marble, unique for each one of them, has been captured the light of the vast studio in Seravezza where the artist has worked, on them has passed through the night with its vault of millions of stars, has skimmed the Versilia warm summer, has remained imprinted the dust that did not become sculpture. Every sculpture of the Inner Garden is unique and unrepeatable, but at the same time it is part of a body of works, its “contemporaries”, with which it makes live and pulsate the silent and invisible, but palpable, harmony of a whole. In the Inner Garden you enter the artist’s deepest intimacy, where words no longer have value, but exist only emotions and feelings. It is like a place inside of the artist where she puts many “ingredients”, many WKLQJVWKDWFRPHIURPWKHH[SHULHQFHLQFOXGLQJVRUURZDQGKDSSLQHVVDQGWKHQȴQDOO\VKHOHWVWKHP go: her works are composed by all of these ingredients, these feelings mixed together, blended by the awareness and by the know-how. It is an inner expression dictated by a constant, very personal research, in creating something always new, but at the same time faithful to the artist’s already mature language. 6 The Inner Garden is also a place where you can take shelter. It is a medieval “hortus conclusus”, where it is possible to meditate peacefully, where we meet and face our souls, from our depths, which we keep recondite and protected, with our story and memories, in serenity, certain that no one will come to disturb us. From this intimate engagement, we find ourselves and our souls reflected in her sculpture. By means of her sculptures, Cynthia Sah emanates a felt wisdom, the result of a spirit of acquiescence to what surrounds her and an expression of her desires and dreams of possibilities. Through this process, she creates shapes that offer inner tranquility, reflecting the depth and integrity of her work. As eternal guardians of a potent secret inside of their depths, the Apuan Alps arose powerfully from the marine abyss, bringing with them all the more marvelous they could assume within. For this reason, HYHU\YDULHW\RIPDUEOHLVVRGL΍HUHQWIURPRQHDQRWKHUDQGDVWKHDUWLVWVD\VȊ7KHEHDXW\WRZRUNZLWK WKHPDUEOHLVWRȴQGWKHSHUVRQDOLW\RIHDFKRQHȋZKHUHDOVRWKHGHIHFWVFUHDWHWKHSUHFLRXVQHVVRIWKH diverse. Consequently, every work of the Inner Garden is unique in its own way. Each one of them encloses the power of the naturally generated matter and the energy that the artist has impressed in them with hours of work. Cynthia Sah’s hands had the luck and the skill of dedicating themselves for hours and hours to her sculptures. In 1989, Wu Ta-Yeh said: “Continuity of the internal energy without interruption from movement to movement and moment to moment throughout the entire form:” This generates the essence of the energy. They have modeled and smoothed for very long periods each one of these sculptures, in a silent osmosis of energy and time, of thought and continuous action, of weariness and regenerated energy, of new ideas for other sculptures and afterthoughts for the present one, in a special and strictly personal relationship with the material that offers itself, while the artist WUDQVSRVHVKHUVHOILQLWOLYLQJLWDWDODWHUWLPHLQDUHȵHFWHGZD\DVDQHQRUPRXVVRXUFHRIHQHUJ\ 7 In her Inner Garden the artist has cultivated with patience and constancy a know-how of many years of activity, which automatically passes from her heart to her hand, because she is concentrated on herself, on what she is doing, donating to each work a great part of her being, in such a way that every sculpture would reflect then her philosophy, in a clear and limpid language, attractive for everyone who has a similar sensitivity to listen to her. If you do not pay attention to it, if you do not caress one of her works, if you do not look carefully at them with that ray of light that can turn on so much a marble, you won’t perceive her thoughts while she, bent over, was smoothing her sculpture, you won’t feel the time - that became marble itself - passing through the fingers spent in conferring a soul to the sculpture, you won’t understand the sinuosity of the shape, which dynamically inserts itself in the space, thanks to the fluidity which continues to flow inside of it. Sculpture, if powerful and communicative, as in this case, establishes a direct dialogue with whom look at it. It cannot leave unresponsive, but it communicates, attracts and involves. Once seen her sculptures, our mind continues to ponder about them, to revisit the lines of these forms, so delicate and at the same time so present and dynamic, which are able to touch the most interior cords of our being. Cynthia Sah’s sculptures are no longer works of art, but by now they have transformed themselves in talismans, which the more we touch them the more they transmit to us that undefined aura that characterizes them and makes them unique. And they reassure us. They become part of our life, a shelter and a source of energy. They become eternal. &\QWKLD 6DK WUDQVPLWV WKDW LQGHȴQDEOH YDOXH ZKLFK LV FDOOHG ȋOLIHȋ DQ HWHUQDO OLIH QRW PDWHULDO EXW essential, intimate and fundamental. Cynthia Sah with her sculptures recalls this to us. Each one of them LVGL΍HUHQWEXWLWUHFODLPVWKHHVVHQFHRIWKHSUHYLRXVRQHIRUPLQJLQWKLVZD\RQO\RQHV\PSKRQ\ 8 9 10 11 12 13 14 15 16 ਜਦńń萆絍ইጱ褺य萬蔩کℂ仗င 砰෈／皰碿෈ 1. ݣ傀疰捝聅㾴䋊໊，ᘒ盅ࣁ聅㾴ਠ౮ԧय़䋊膏کӞ䵇碻ࢧ܈，䵇褰疑Ո螠੷ᛗ෭๜م，ኞෝ詂჈ڊ萆絍ই1952ଙ Ꮈ绗ಅ硽胍。萆絍ই継禂ෝ羴夹ߢ盓融㫎羳螈凟૬盓䋊ᴺ（Bard College Annandale-on-Hudson）ஞቘ羬，1976 聅㾴ᛔኧጱ䋊蔩觓穥୽کଙ獈珠㮖穉㫎य़䋊萬蔩膏硽胍䋊ᴺᎸ绗ಅ，㪔Ӭෝ1979ଙਠ౮嘛ॊ䋊֖。य़䋊๗樌，ݑ 䋊ڥ段，犖้皞ာ矑藉硢୽、ᵄ萬、粚向、褺य缛獺֢୵ୗ，ࠔ加䌘Ꭺ褺粬獨茐蝈。1978ଙ，甇้Ꭸ䧙獮ஃ嬝य़ 盓೉礱璼（Pietrasanta），ℂ種，甇ጱՈኞ袏ஂڥ聜Ꭺ褺盅蜴聅，ኧෝ䌘褺य萬蔩ጱ籆眐，1979ଙٚଶ獮ஃ嬝य़ ल೉姘๝（Seravezza）ጱӞ樌य़ࣳૡ֢ਰኞၚڥෝᎪ褺獺֢。甇ፓ獮ࣁ嬝य़ێੜ椆，ಭ獈ಅ磪ஞڥਧࣁ蝡㮆嬝य़ 。膏ૡ֢，蝡樌ૡ֢ਰฎኧӞଷୌ缏ෝ1830ଙդ獮ૡ禂玕碻๗ጱय़ቘᎪ蒂ቘ皜硬ୌᘒ㬵 ౲稨聅ݱ瑿，犖้ग़稞蜴ࢧݣ傀㷢搴、疻薩。1983ଙ12์ڥԏ盅，萆絍ই獺֢咳蔭ጱ䁰ऒ犋褖ෝ嬝य़ڥਧ੷嬝य़ ݣ玖૱缏聅蔩記౮缏，㪔褢媲蝚螂皃殻դ蔭௔疻薩ୌ䯤ٌ匍դ萬蔩ྩ璤ጱ稗শ௔瑿֖，ٌӾ「Ӿ苉࿆㾴褺य碝疻 。磭」ฎ吚碻匍դ褺य疑埈蝛ጱ᯿ᥝ膚ݣ，萆絍ইԽ้ࣁӾ苉࿆㾴ᒫӞ䌵匍դ褺य疻糷஑Ḓ糫 ጱ萆絍ই๚้Ӿ䥁ࣁݣ傀ጱ獺֢咳蔭，1990ଙդ綍ᛗࣁ向ୁጱവՕԏӥ，้ෝݣ玖ڥଙ㬵，裾๗碟੷嬝य़܈蜱ࢥ 笠褷敒膐旰ӣ稞㮆疻1，ᛗ犡㶴๚憎朼䌘ٌ獺֢ጱ獊ᶎ௔Ꮈ绗౲獺֢ਧ֖ጱ戺䥁。蝡౲战蟂獤ݢ犥稳ࢩᛔ1990ଙդ 犥盅，ݣ傀ጱᎪ褺獺֢ᶎ屷吚դ獺֢๭搡獤觊ዅኴᏈᴻጱ撉玊，匍դ玕ጱ᥺藯蝛侅蝐֖，碝Ӟդ獺֢ᘏ羸羸琲手犥 」ጱ薪讨᯿碝藢朰褺यጱኴऒ，綍ᛗ2000ଙԏ盅ࣁ䋊ᴺԏӾ，Ꭺ褺ጱ獺֢Ոݗ蝛侅仂蝐2。蝡犚胙วֵ஑زๅ傶ग़ 褺य」蝡Ӟ獺֢觊ࣳࣁ吚դ萬蔩覿ऒӾಅ糷஑ጱ懵抷、ࣁݣ傀聅蔩ݥጱ䨗䌃Ӿ，ፘ斃ෝٌ犢蔭匍୵ୗ౮傶Ӟ㮆ፘ䌘 螲翣Ӭ抷蝄犋᪃ጱ覿ऒ。ፓ獮傶ྊ，ࣁݣ傀甿誢ಅᔴ坌ጱ、橕ෝ萆絍ই㮆Ո獺֢ጱ萬戺䌕抷，缰ଏԽፘ吚磪褖。ᘒ ݚӞොᶎ，萆絍ই櫒簁้妿౮裾ෝݣ傀、獺֢咳蔭ෝݣ傀，篷皑ᗝ綡瑿౮傶ݣ傀聅蔩ݥ抷蝄ጱ䌘虡ԏӞ，㶴ࢩ傶ٌ Ԇᥝၚ㵕䁰ऒ犥稨聅傶໐ஞ，萬蔩疑㮆ՈࣁӮኴ萬蔩䁰ऒӾᤩ蜣蘷ጱ蛪獤，犋ฎݣ傀萬蔩疑，ๅग़ฎᤩ犥Ӟ֖苉Ո 萬蔩疑㬵፡盃。 㱑ᓕই種，萆絍ইࣁ1980ଙդݣ傀匍դԆ嬝褺यṛଶ咳疻ጱଙդ，้犥դ蔭௔ጱ֢ߝ䌃獈ԧݣ傀匍դ聅蔩ጱݥ殷 訏ଙ܈萬蔩ጱ戔ᗝ，ٌ獺֢ጱ᪃撪Խ౮傶ԫوԏӾ，ᘒ1990ଙդӾ๗犥盅，甇毱耆瑿㷢膏ݣ傀ጱᎪ褺獺֢籧、獍 。௔㰷独覎硛ጱ拙ग़憎挨ԏֺو㬵蟂獤吚դ褺यݻ獍 17 2. Milo）ظ萆絍ইࣁ聅㾴珠㮖穉㫎य़䋊硽胍䋊ᴺ穩䋊碻๗，樄তԧ䌘Ꭺ褺ጱ槑Ꮈ。1975ଙ蚏，甇ࣁ罡၎．೉๝ታ姘 羴ک蛪，֕ࣁ羴夹๗樌，甇碻ଉڊLazarevic）槹ӥݑٌ瞲疩，蝡ฎ甇Ḓ稞޾Ꭺ褺ጱፘ蝽。㱑ᓕ萆絍ই㪔覍萬蔩ᑀ紑 夹匍դ聅蔩記、䌕禂ጱ向ୁ㷢薪疻薩，獅䋿ᛔ૩䌘匍դ萬蔩、吚դ萬蔩ጱ藨蘷。「౯粬獨ݑ૲๔䓚ᥜ（Constantin