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《Soil Security》藉由土壤的關懷,展現臺灣的大學對社會責任之實踐

Soil connectivity makes university social responsibility practice in Taiwan

(藉由土壤的關懷,展現臺灣的大學對社會責任之實踐)

Abstract

This paper describes examples of actions taken for the connectivity between soil and society to inspire soil awareness in Taiwan, particularly by the practices of university social responsibility (USR) including workshops of soil survey education in Taiwan (WOSSET) carried out from 2015 to 2019, the Farmers Academy, soil profiles diagnoses for crop growth, the soil museum, and soil art applications. In the WOSSET, the students learned the skills of soil description, classification and interpretation on the impacts of soil management, suitability classes of crop production and land uses. The students considered the experience from the WOSSET as positive impacts on their professional careers making them “seed-spreaders” for soil connectivity between scientists and the general public by promoting their dedication to future practices of USR. In the program of the Farmers Academy, soil concepts related to soil properties, fertilizer, plant nutrition, compost and soil management have been taught by speakers from university faculties; thus the trained young farmers are able to obtain new knowledge of soil science even through the simple observation of soil profile morphology, which are helpful links among crop root growth, soil management and climate change. Inspired by the visual impact from the visits to soil museum in the university, soil was applied as pigments by artists on artistic practices such as painting and fabric. The actions of soil connectivity enable the general public and students to understand soil functions and soil security as well as construct the knowledge foundation of communication on the Sustainable Development Goals (SDGs).

期刊摘錄

Art application based on soil knowledge

Soils are the consequence of the interactions of parent materials, climate, biota, topography, and time. As aforementioned, through soil science courses within universities, workshops of soil survey education and agricultural practices, the connotation of soil science can be passed on within scientific community and society. On the other hand, instead of digging into scientific theories, crafts people and artists emphasize the esthetic properties of soils and visualized pedogenic processes with an intuitive approach, i.e., utilization as artistic media in visual arts (Toland and Wessolek, 2014).

The application of soils as pigments in artworks is one of their most common roles in artistic practices throughout history (van Breemen, 2010). For instance, Austronesian Taiwanese paint “ipanitika” (a traditional wooden fishing vessel) is made with autochthonous red soils of the Orchid Island, an offshore island of Taiwan. In the systematic records of painting materials, there is a specific database The Color of Art Pigment Database which archived the Color index Number of all pigments (Gottsegen, 1993). Soil pigments or earth pigments are classified as nature pigments, which include inorganic mineral/earth pigments made out of minerals or rocks and organic lake soil pigments made out of soils which were dyed by biological effects. Usually, the first code of their color index numbers is N representing the word natural. For instance, the color index number of NBr8 (Van Dyke Brown) is a brown pigment made of peat soils (Myers, 2016). Nevertheless, numerous pigments have been used considerably throughout history which do not use N in their color index numbers. Some examples include: PW19 (Kaolin) is a white pigment made of kaolinite, PG23 (Terre Verte) is a green pigment made out of celadonite and glauconite (both minerals from mica group), PR102 (Terra di Sienna) is a red pigment made out of soils with high iron oxides level and PY43 (Yellow Ochre) is a yellow pigment made out of limonite (Myers, 2016). 

Dr. Hao-Lun Hung, one of authors in this paper, a local artist and experienced art educator, has been inspired by the diverse appearance of soils and created a series of high-chroma soil pigments using soils collected throughout Taiwan (Fig. 5a). For example, he made a brownish pigment out of soils with andic soil properties from Yangmingshan National Park, Taipei, a pale green pigment out of soils with periodic waterlogging from paddy fields in Ilan, a crimson pigment out of soils with high iron oxides content from a lowland montane in Nantou, a black pigment out of Mollisols from Taitung. In addition to his artistic practices, Dr. Hung is also trying to raise awareness about soils among the university students by giving lectures on how to produce soil paints for various purposes (e.g., oil painting, watercolor painting, ink washing painting, Nihonga, pastel painting, and encaustic painting) (Fig. 5b), and by introducing different visual arts and soil paints along with specific painting skills (Fig. 5c). For example, the egg tempera, a painting medium which was prevalent in renaissance period using soils as pigments to provide colors, can be applied to teach the cross-hatching painting skill. Moreover, students supervised by Dr. Hung have developed a series of products using soils as the main ingredient, such as dyes, nail polishes, crayons, and watercolors basing on their sensory comprehension of soil properties. It is worth mentioning that the watercolors product “Knowing Our Land And Its Colors“, which were made out of eight types of soils with different colors collected around Taiwan, has won the recognition from the Red Dot Award 2021.

Yun-Chu Chen, a local fabric-dyeing artist, applies Dr. Hung's the knowledge of soil pigments with resist dyeing techniques such as tie-dye and ikat using rope and/or clips and created a series of earth-tone soil-dyeing fabric. Through workshops and lectures of soil art and artistic commodification, contemporary artists invent innovative approaches to introduce the rich connotation of soil science outside of scientific community and create the opportunities of social engagement in soil science education.


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