MYTHS IN THE MAKING · VOL.10 · 36 PHOTOGRAPHS

豐盛不是金幣

《神話未完成》第十冊|Abundance Cannot Be Kept

36 張 · 9 章 · 圖片可點開放大,用左右鍵逐張看 · 每張都附 Flickr 連結

史旺姬《豐盛不是金幣》第17幅,第5章「不是每個人都在同一條隊」

創作理念 · STATEMENT

讓牆重新成為一把米。

吉祥天走進由糧食築成的房間。穀粒緊密地站立,成為牆、圓筒與高座;每一道完整的輪廓,都讓一把米變得難以取走。她逐一鬆開金屬箍,讓向下的重量重新屬於穀粒。有人拿來杯子,有人推來托盤,也有人從最低的一圈開始。豐盛在這裡發生於物件改變形狀、人的手終於可以參與的時刻。

Read the statement in English

Let the wall become a handful of grain again.

Lakshmi enters rooms built from food. Packed grain stands as walls, cylinders and a raised seat; each unbroken outline makes a handful harder to take. She loosens the metal bands, returning the grain to its downward weight. Someone brings a cup, someone pushes a tray, and someone begins at the lowest ring. Abundance happens as objects change shape and other hands find a way in.

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01牆不是牆A Wall That Is Not a Wall

02從圓形裡取出一把A Handful from the Circle

03把向下還給穀粒Returning Grain to Gravity

04量器不再證明所有權Beyond the Measure

05不是每個人都在同一條隊No Single Line

06最下面的一圈The Lowest Ring

07通路不需要她站在中央A Passage Without Her at Its Centre

08她也不能留下自己的圓Letting Go of Her Own Circle

09彼此不再保管彼此No Longer Keeping One Another

後記 · AFTERWORD

最後要鬆開的,是她自己的座位。當包圍木板的穀粒落下,座位仍由鋼腳支撐,卻不再需要一圈糧食替它劃出位置。人們可以帶走需要的部分,也可以留下空杯。她退回通路的一側,讓彼此的相遇不再以保管與索取開始。

The last band surrounds her own seat. As its grain falls away, steel legs still support the wood, but food no longer has to mark out her place. People can carry away what they need or leave an empty cup. She steps to one side of the passage, allowing an encounter to begin without custody or a claim.

STORY · 故事與改寫

故事與改寫

這一冊從哪一則故事出發,又改寫了什麼。

《Sri Sukta》對吉祥的召喚包含財富、食物與滋養;吉祥天的圖像傳統也以蓮花、金色與豐饒相連。本冊從這份豐盛出發,把黑米、金屬箍與夜間工作場域組成一連串開放的動作:一種曾被維持的形狀,逐漸成為可以使用、也可以離開的事物。

來源與參考

故事參考:Sri Sukta — Swami Krishnananda(https://www.swami-krishnananda.org/invoc/in_sria.html);Lakshmi, 1894 — The Metropolitan Museum of Art(https://www.metmuseum.org/art/collection/search/78264)

The Sri Sukta invokes prosperity through wealth, food and nourishment; Lakshmi’s visual tradition also connects her with the lotus, gold and plenty. This book begins with that abundance, arranging black rice, metal bands and workplaces at night into a sequence of openings. A carefully maintained form gradually becomes something people can use, and something they are free to leave.

Sources

Story references: Sri Sukta — Swami Krishnananda (https://www.swami-krishnananda.org/invoc/in_sria.html); Lakshmi, 1894 — The Metropolitan Museum of Art (https://www.metmuseum.org/art/collection/search/78264)

史旺姬 × SWANKY · MYTHS IN THE MAKING

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36 張依定稿順序排列,分 9 章;可以到 Flickr 逐張看,也可以接著讀系列的其他冊。