人類自古以來所發生的戰爭與衝突,有許多源自於宗教的差異。世上所有的宗教所強調的無非是無我、互愛、互助等信念,但令人驚訝的是,不同宗教間,卻經常使用暴力的方式來相互溝通。這個矛盾的現像,促使人們思考,究竟一個人內在靈性的善念與塑造這些善念的外在機制之間有著什麼樣的落差?
回顧藝術的發展歷史,可以得知,藝術創作的主體曾經深受宗教思想的影響。而各個時代的藝術家也都不斷嘗試用各種型式的創作闡述宗教思想。美國華裔畫家成瑞嫻在過去20年的創作歷程中,受到不同的文化歷史與宗教的啟發;她特別感興趣的是各民族間所共有的一種的宗教熱誠。她同時發現,這種無法量化的熱誠,在當代社會中正漸漸消失,導至當代人的靈性生活越發貧寂。
回顧藝術的發展歷史,可以得知,藝術創作的主體曾經深受宗教思想的影響。而各個時代的藝術家也都不斷嘗試用各種型式的創作闡述宗教思想。美國華裔畫家成瑞嫻在過去20年的創作歷程中,受到不同的文化歷史與宗教的啟發;她特別感興趣的是各民族間所共有的一種的宗教熱誠。她同時發現,這種無法量化的熱誠,在當代社會中正漸漸消失,導至當代人的靈性生活越發貧寂。
If we look at the areas currently war-torn, we find that religious difference is at the heart of the problem. It is staggering to think that all religious purport to promote altruism, love and brotherhood and yet killing is the means of communication and resolving differences. What is the connection between the spiritual aspects of finding god in oneself, and in others and the institutions created to formalize these ideas?
In looking at art history the majority of art has been commissioned by religious institutions or inspired by religious thought. For the last 20 years, the imagery in Emily Cheng’s work has come from religious sources from many cultures and periods. Emily Cheng is particularly interested in a quality that is hard to quantify, which is the element of devotion. It can be witnessed in particular objects that were made with great care and imagination. This quality is seldom talked about or seen in contemporary life. Emily Cheng is interested in finding, and transforming the visual artifacts we still have which possess these tender life-giving moments.