《有教無類》(2010)

涂維政 Wei-Cheng Tu

《有教無類》，雕塑(人造石)，267×117×10 cm，2010。

《有教無類》是2010年6月《夫子跳曼波》展覽其中最重要的展出作品之一，也是涂維政(1999)《 孔夫子系列》的重製版。

《有教無類》以自身面容的孔子造像面對或背對觀眾，有著一種神秘或面壁思過的聯想。象徵學生的各式公仔被整齊並置在一起，呈現一個看似唐卡或敦煌石窟的神聖造像，又隱含著某些滑稽又深沉的寓意。「宗教」和「教育」成為作品中的兩個重要圖像元素的結合，在人類進化歷程中都扮演著重大的影響力，兩者立意之善無須質疑，但也最容易被扭曲詮釋甚至誤用。好的影響造福人群，壞的影響可能導致眾人觀念錯誤、封閉或價值觀扭曲。

這個作品有鑑於教師身分對整體環境與世代觀念的落差及不合乎潮流的自省，而做出的自我解嘲。從反思批判自我教學出發，並以自己的面容的孔子造像，既聖化但卻又用各種滑稽的動作和表情去輕謬並顛覆它的神聖不容侵犯。作品也因為自身涉入教育體系及使用孔夫子形象及符號而提出對藝術教體制的省思。

Education for All, Statues (Artificial stone), 267×117×10 cm, 2010.

In Education for All, a figural statue of Confucius seeming to face or turn his back to the audience gives us a sense of mystique or an association that one is repenting his folly. Its composition in which various action figures symbolizing students are well organized and juxtaposed with this Confucius figure not only reminds us of Thangka or Dunhuang Caves but also implies a signification of ridiculousness and profoundness. Hence, religious and education, playing crucial roles in the process of human evolution, are two significant pictorial elements combined in this work. Although there is no need to question the beneficial intention to establish these two concepts, they are most easily to be distortedly interpreted, even to be falsely manipulated. Based on the perspective of teachers, this work is a self-mocking reflection toward the discrepancy and inconsistency among the socio-political environ, generation gap, and current trend. Out of self-reflexive and self-critical aspects, in this work, the ridiculous movements and facial expressions of these action figures show contempt toward teachers’ identities and simultaneously subvert the holiness of them.