鐵甲元帥－靖思村 Marshal Tie Jia - Jingsi Village
單頻道錄像裝置 single-channel 4K ultra HD video，10'，2013本作品為台北市立美術館的委託製作
Commissioned by the Taipei Fine Arts Museum
By drawing out unusual conversations between the frog god Marshal Tie Jia and the artist, this Marshal Tie Jia project is an attempt to map the creation and disappearance of myth, image, culture, and history from both the contemporary modernist context and a more ancient and mysterious perspective.
Marshal Tie Jia, who was born more than 1000 years ago in Jiangxi, China and lost his temple in the Wuyi Mountains during the Cultural Revolution, is currently exiled to Turtle Island, a tiny islet between Taiwan and China that came under the jurisdiction of the former after Chiang Kai-Shek retreated to Taiwan. After an accidental encounter with Marshal Tie Jia, Chia-Wei Hsu decided to unfold the conjunction of modernity and myth. The first stage of this work, Marshal Tie Jia – Turtle Island is, depicting the island where Marshal Tie Jia currently resides in daylight, and Marshal Tie Jia - Jingsi Village is its second stage, presenting the pond where the frog god was born in the night and accompanied by both Nuo dance, an ancient exorcism ritual that shares the same roots as the frog beliefs.
This area is the birthplace of the frog beliefs and Nuo dance. After the cultural revolution, these beliefs were categorized into monsters or ghosts and were forbidden. The Nuo dance troupe was forced to disband, and the masks and costumes were burned by fire. Many scraped old embossments, and paint-covered walls can be found in the village. The power of modernity removed the ancient memory shortly in a few years. In the film, Chia-Wei Hsu represents the ancient exorcism ritual with local villagers based on the description recorded on an oracle bone scripture in Shang Dynasty.
As the difference between fact and fiction seems to disappear, and the modern nation-state’s appropriation of history and memory is revealed through discovering a living myth, Hsu creates narratives through image, text, and installation to untether the formation of cultural identity from its preceding attachments, which become critical elements of the structure of the new artistic myth of Marshal Tie Jia: the magical stories and political background ebb away, and the narrative becomes a means to transcribe an imagination of life.
鐵甲元帥創作計畫是由青蛙神鐵甲元帥和藝術家之間一段不尋常的對話所開展，以現代性的脈絡以及遠古神祕文本的雙重透視切入，彼此相互映照，譜繪出神話、影像、文化與歷史的消逝和形成。
鐵甲元帥在一千四百多年以前出生於中國江西，其駐於武夷山的廟宇在文化大革命的時期遭受毀壞，目前流落到在中國和台灣本島之間的龜島上。該島在蔣中正退守台灣以後，正式歸為台灣管轄。在一場意外的相遇後，許家維決定展現此現代性和神話的交錯節點，第一階段的作品《鐵甲元帥－龜島》是以日景捕捉其現居地的島嶼，而《鐵甲元帥－靖思村》則是第二階段的創作，以夜景描繪青蛙神出生地的池塘，並與青蛙神信仰同根源的驅魔儀式儺舞一起呈現。
此地區是中國青蛙信仰與儺舞儀式的發源地，但在文化大革命之後，這些信仰均被歸類為牛鬼蛇神而被禁止，戲班被迫解散，面具與戲服則被焚毀。村子裡到處可見的是被刮除的浮雕或是被油漆覆蓋的城牆，這些古老的記憶在短短的幾年就被現代化的力量所抹除。在影片中，藝術家參考了商朝的一塊甲骨文石版所描述的驅魔儀式，並與當地村民再次演繹了一場遠古的驅魔過程。
在挖掘這則現存神話的過程中，事實與虛構的差異顯得微小，而現代國家對於歷史與記憶的挪動支配結構則表露無疑。藝術家透過拍攝行動產生出新事件與新敘事，逐步解開文化認同背後所隱藏的結構，並成為作品《鐵甲元帥》這則新藝術神話的基石：神祕魔幻的故事與政治背景隨海潮褪去，敘事成為譯寫生命想像的憑介。
By drawing out unusual conversations between the frog god Marshal Tie Jia and the artist, this Marshal Tie Jia project is an attempt to map the creation and disappearance of myth, image, culture, and history from both the contemporary modernist context and a more ancient and mysterious perspective.
Marshal Tie Jia, who was born more than 1000 years ago in Jiangxi, China and lost his temple in the Wuyi Mountains during the Cultural Revolution, is currently exiled to Turtle Island, a tiny islet between Taiwan and China that came under the jurisdiction of the former after Chiang Kai-Shek retreated to Taiwan. After an accidental encounter with Marshal Tie Jia, Chia-Wei Hsu decided to unfold the conjunction of modernity and myth. The first stage of this work, Marshal Tie Jia – Turtle Island is, depicting the island where Marshal Tie Jia currently resides in daylight, and Marshal Tie Jia - Jingsi Village is its second stage, presenting the pond where the frog god was born in the night and accompanied by both Nuo dance, an ancient exorcism ritual that shares the same roots as the frog beliefs.
This area is the birthplace of the frog beliefs and Nuo dance. After the cultural revolution, these beliefs were categorized into monsters or ghosts and were forbidden. The Nuo dance troupe was forced to disband, and the masks and costumes were burned by fire. Many scraped old embossments, and paint-covered walls can be found in the village. The power of modernity removed the ancient memory shortly in a few years. In the film, Chia-Wei Hsu represents the ancient exorcism ritual with local villagers based on the description recorded on an oracle bone scripture in Shang Dynasty.
As the difference between fact and fiction seems to disappear, and the modern nation-state’s appropriation of history and memory is revealed through discovering a living myth, Hsu creates narratives through image, text, and installation to untether the formation of cultural identity from its preceding attachments, which become critical elements of the structure of the new artistic myth of Marshal Tie Jia: the magical stories and political background ebb away, and the narrative becomes a means to transcribe an imagination of life.
鐵甲元帥創作計畫是由青蛙神鐵甲元帥和藝術家之間一段不尋常的對話所開展，以現代性的脈絡以及遠古神祕文本的雙重透視切入，彼此相互映照，譜繪出神話、影像、文化與歷史的消逝和形成。
鐵甲元帥在一千四百多年以前出生於中國江西，其駐於武夷山的廟宇在文化大革命的時期遭受毀壞，目前流落到在中國和台灣本島之間的龜島上。該島在蔣中正退守台灣以後，正式歸為台灣管轄。在一場意外的相遇後，許家維決定展現此現代性和神話的交錯節點，第一階段的作品《鐵甲元帥－龜島》是以日景捕捉其現居地的島嶼，而《鐵甲元帥－靖思村》則是第二階段的創作，以夜景描繪青蛙神出生地的池塘，並與青蛙神信仰同根源的驅魔儀式儺舞一起呈現。
此地區是中國青蛙信仰與儺舞儀式的發源地，但在文化大革命之後，這些信仰均被歸類為牛鬼蛇神而被禁止，戲班被迫解散，面具與戲服則被焚毀。村子裡到處可見的是被刮除的浮雕或是被油漆覆蓋的城牆，這些古老的記憶在短短的幾年就被現代化的力量所抹除。在影片中，藝術家參考了商朝的一塊甲骨文石版所描述的驅魔儀式，並與當地村民再次演繹了一場遠古的驅魔過程。
在挖掘這則現存神話的過程中，事實與虛構的差異顯得微小，而現代國家對於歷史與記憶的挪動支配結構則表露無疑。藝術家透過拍攝行動產生出新事件與新敘事，逐步解開文化認同背後所隱藏的結構，並成為作品《鐵甲元帥》這則新藝術神話的基石：神祕魔幻的故事與政治背景隨海潮褪去，敘事成為譯寫生命想像的憑介。
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