中國工藝美術大師 廖洪標
廖洪標(1936-)先生是石灣陶藝傑出藝師，幼承家中父兄學習陶塑的生產製作，開始泥釉火的技藝特點，並在父親的引導下，臨摹前輩作品，為創作打下了重要的基礎。他於形象造型之外，更能鑽研陶瓷生產中有關泥、釉、火的技術，以親自調配胎土和釉料的配方，配合作品特定的造型，力求取得最佳的藝術效果，表現了他一絲不苟的敬業精神。
觀其早年作品，承襲前輩潘玉書、劉傳等人手法，嶄露頭角。然做為藝術家，自不止於隨人作計，而能「以我為主，博取眾長」，於作品中既體現地方特色，更得見作者藝術特點。是以繼承石灣傳統陶塑氣韻生動特點的同時，刻意吸收西洋雕塑塊面結構的手法，強調體積感，凸顯自己豪放潑辣、蒼勁樸拙的藝術風格。猶如《悟法禪宗》、《李逵》等作品，都能藉由陶泥的肌理，強化人物的性格，形象鮮活，更帶有震撼心弦的衝擊力。此外，其創作意旨，亦多獨闢蹊徑，猶如《釋迦牟尼》一作，不是闡述成佛後的悠然自得、從容優雅，而刻畫其修行時的堅忍不拔、刻苦剛毅，使作品的內涵更具新意。
廖洪標的作品，不僅具備石灣陶本身予人親切感受外，更蘊含著靈氣與藝術家自身的天賦，他的陶塑結合了工藝美術（形、神、意）、立體空間及釉變藝術（泥、釉、火），透過專業技術（如造型、結構、雕塑質感…的表現），精彩呈現作品的內在深度與廣度。他不僅是當代石灣陶塑藝術最有代表性的人物，更是中國傳統工藝美術中難得的雕塑大師。綜觀廖洪標一生對藝術的執著與苦心追求，正如北宋王安石的一首詩：「看似尋常最奇倔，成如容易卻艱辛」。
2013年佛山電視台來台訪問張譽騰館長時，他說：廖洪標是首位在國立歷史博物館舉辦個展的中國工藝美術大師，這個展覽，深具時代意義。
Liao Hongbiao persistence in the pursuit of art is as steady as Buddha Sakyamuni's determination to practise Buddhist rules. This statue has been claimed as the best manifestation of Liao's devotion of his life to art.
廖洪標執著於藝術的追求猶如釋迦虔誠修行的精神，此《釋迦牟尼坐像》塑像被喻為是廖氏一生奉獻藝術的最佳寫照
1990 First Class Prize of the Baihua Prize for Items of Arts and Crafts of China（Beijing）
1990 First Class Prize in the National Exhibition of Ceramic Art Silver Cup Prize of the“The Cup of Porcelain Capital （Luoyang）
1990 Jingdezhen”in the first International Competition of Exquisite Ceramic Works.（Jingdezhen, Jiangxi）
1990 中國工藝美術品百花獎一等獎（北京）
1990 全國陶瓷藝術展評會一等獎（洛陽）
1990 首屆「瓷都景德杯」國際陶瓷精品大獎賽銀杯獎（江西景德鎮）
1990 First Class Prize of the Baihua Prize for Items of Arts and Crafts of China（Beijing）
1990 First Class Prize in the National Exhibition of Ceramic Art Silver Cup Prize of the“The Cup of Porcelain Capital （Luoyang）
1990 Jingdezhen”in the first International Competition of Exquisite Ceramic Works.（Jingdezhen, Jiangxi）
1990 中國工藝美術品百花獎一等獎（北京）
1990 全國陶瓷藝術展評會一等獎（洛陽）
1990 首屆「瓷都景德杯」國際陶瓷精品大獎賽銀杯獎（江西景德鎮）
Presenting the figure’s mental journey: kindness – ascetic life – the Buddha (the enlightened), and his image of perseverance, piety and nobleness.Such a poise reveals the core value of Buddhism: to enlighten all living creatures, and the action to realize this core value is “doing good”.
體現人物善良一苦行一佛陀（覺悟者）的心路歷程，與堅定、虔誠、高潔的形象。行善的《釋迦牟尼立像》對比著悟道的坐像，右手提衣襬，右腳跨出，正是佛家核心價值「普渡眾生」的體現。
1984 Participated in international exhibitions International Exposition in Tsukuba in Japan 1990 Exhibition of the Art of Contemporary Masters of Shiwan Ceramics 2013/9/1 At the Beijing Poly Auction, 402.5 million RMB has been sold (including commission)
1984 代表參加日本筑波國際博覽會展覽 1990 石灣當代名家陶藝展其中「自在羅漢」為澳門賈梅士博物館購藏 2013/9/1 在北京保利拍賣會已402.5萬人民幣成交（含佣金）
Cracked Yellow Glaze
In contrast with the sedentary Buddha Sakyamuni who tries to attain enlightenment, the standing Buddha is doing good. He holds the hem of his gown with his right hand, and his right foot strides forward. Such a poise reveals the core value of Buddhism: to enlighten all living creatures, and the action to realize this core value is “doing good”. The statue tells the viewer that after having finished his arduous contemplation and attained enlightenment, the Buddha is going to enter the world to rescue people from the abyss of misery. Such an image expresses the profound philosophical thinking of the figure.
開片黃釉
行善的《釋迦牟尼立像》對比著悟道的坐像，右手提衣襬，右腳跨出，正是佛家核心價值「普渡眾生」的體現，動作是「行善」，已由苦思悟道進而入世，救人脫離苦海。藉由形象表達了豐厚深刻的內在哲學思維。
Turning clay into artistic treasures
—On Liao Hongbiao’s Shiwan ceramic figures
Huang Duwei
Artist of Chinese Calligraphy and Chinese Painting ;
Former Deputy Dean of the Guangdong Huayuan
When we evaluate an art work, we do not just look at how its ideas are expressed; what we most value is the spiritual entity of the work, because we believe that form and contents should be integrated in a perfect manner. When we look at Liao Hongbiao’s “Avalokiteśvara” (“Guanyin”), we appreciate that the artist is not only apt at using the traditional techniques of Shiwan ceramics but has also ingeniously absorbed the strengths of certain realistic techniques of western sculpture in order to express more realistically the texture and lines of the muscles of this female figure. “Venus” has always been regarded as the model of the beauty of western women. I regard Liao’s statue of “Avalokiteśvara” as the model of the beauty of eastern women. Natural and dignified, elegant and poised, with plump muscles and smooth drapery, the figure expresses feminine beauty to the fullest extent. Her limbs are poised in such a calm manner that one is impressed by the sense of freedom and comfort that she conveys. It is a pleasure of appreciating her beauty, and one would rather believe that this statue depicts a beautiful lady in real life than think that this is a statue of Guanyin. This is indeed a perfect and charismatic art work that is hard to come by.
變泥土為藝術瑰寶 —談廖洪標石灣陶塑人物 黃篤維 中國書畫家 前廣東畫院副院長
評價一件藝術作品，不完全取決於它的表現形式，而著重作品的精神實質，形式與內容應是完美的結合。在廖洪標的作品〈觀自在菩薩〉〈觀音〉像中，我們可以領略到作者不僅善用石灣陶塑傳統的表現手段，同時巧妙地吸取了西方雕刻的一些寫實手法長處，更好的表現了這位女性形象的肌肉、線條質感的真實性。人們常把「維納斯」像視為西方女性美的代表，我認為廖洪標所創作的這座觀音像，更顯出東方女性美的典型。人物優美的自然形態，端莊典雅、雍容華貴，那豐滿的肌膚、流暢的衣紋充分表現出女性美，特別手足姿態的處理顯得那麼安詳舒適，更能突出人物自在的精神，給人一種美的享受，與其說是一座觀音菩薩，不如說是生活中一位美女，實在是一件相當完美具有藝術魅力不可多得的作品。
Transparent Glaze
As Guanyin has always been considered amiable, easy to access, magnanimous and merciful, there are certain generally recognized traditional rules that can never be violated when one makes his artistic endeavors. For example, pungent-looking features such as a widow’s peak and sharp nail tips are not acceptable; too much robustness is not allowed when the drapery, bones and muscles are presented. It is not enough if only a beauty or an idol is made; all the qualities embraced by Guanyin should be depicted.
The Buddha embraces human nature and man possesses the Buddha nature. Liao Hongbiao presents the mercy and compassion of Avalokiteśvara with a pure and perfect image. Meanwhile, he also expresses his attachment to the pursuit of perfection. By means of the resonance aroused by his art, he has shortened the distance between the Buddha and himself. His work enables the viewer to feel the thoughts and emotions that it is supposed to convey, to be enlightened with the wisdom of “feeling comfort in one’s heart”. Embedded with such aura, one will naturally achieve the status of unearthliness in which one “observes himself, observes those around him, observes sounds in the world”. Ultimately, he will reach the far shore (the Paradise of Buddhism) – obtaining the genuine spiritual freedom and comfort.
透明釉
觀音親近世人及包容慈悲的屬性，在藝術創作上有一定公認的傳統標準不能破壞，例如不能有尖剋相出現，如美人尖、指甲尖等；衣紋處理與骨感肌體表現不能太過陽剛等，要表達出觀音慈悲親近世人的屬性，並非只是塑造一位美女或一個偶像。
佛具有人性，人亦皆有佛性。廖洪標以清淨完美的形象塑出觀自在菩薩的慈悲，也塑出自己對完美的執著，藉由藝術創作共鳴，拉近佛我之間距離，感受作品內在思想感情，領悟其「內心自在」的智慧，使人在此氣氛中自然地產生一種「觀自我，觀身邊的人，觀世間聲音」的超脫感，進而達到智慧的彼岸，精神上真正的「觀自在」。
Liao’s statue of “Guanyin” regard as the model of the beauty of eastern women. 這件廖洪標的觀自在菩薩，被學者公認是東方女性美的典型。
Transparent Glaze
“Avalokiteśvara” was a work produced at the peak of Liao Hongbiao’s creativity. In order to show how responsible he was, the mould was smashed after a limited edition of works made with extra care had been produced so that the issue of intellectual property was taken into consideration and the quality of the work could be guaranteed. As the original work had been damaged to such an extent that it could never be recovered, Liao Hongbiao produced the original work of “Guanyin”.
There was no big difference between the creative forms of “Avalokiteśvara” and “Guanyin”, because when Liao worked on “Avalokiteśvara”, he had already given a perfect interpretation of the figure’s features, poise and hand gestures.
With the intention to differentiate “Guanyin” from the works of the deity made with extra care, Liao produced the original work of “Guanyin” with a bigger size, a more solemn expression and a sitting poise at a higher level. Details of the accessories such as necklaces of jade and pearls, arm bracelets and wrist bracelets have also been slightly changed. Three lines instead of two lines are found on the neck. More straight lines are found on the drapery. By making the above changes, a sense of solemnity is injected into the calm-looking original work of “Guanyin”.
透明釉
《觀自在菩薩》與《觀音像》創作形式差異不大，因廖洪標創作《觀自在菩薩》時，已將人物法相、坐姿、手印等都做了完美詮釋。
為了與精品觀音有所區別，原作《觀音像》的尺寸較大，神韻略顯肅穆些，坐姿也較高，許多細部上如瓔珞、臂釧、手環等配件也都稍做變化，頸部二道改為三道，衣紋採較多直線條，使原作《觀音像》於自在祥和的氣韻中增添些肅穆感。
Liao’s statue of “Guanyin” regard as the model of the beauty of eastern women. 這件廖洪標的觀音像，被學者公認是東方女性美的典型。
Liao’s statue of “Guanyin” regard as the model of the beauty of eastern women. 這件廖洪標的觀音像，被學者公認是東方女性美的典型。
Liao’s statue of “Guanyin” regard as the model of the beauty of eastern women. 這件廖洪標的觀音像，被學者公認是東方女性美的典型。
Blue Jun Glaze
With strong magical power and a kind heart, he loved helping the underprivileged and rescuing the threatened. He has been a popular folk hero and a legendary figure who behaves in a ridiculous and eccentric manner, derides the dignitaries and ignores rules.
The shabbily dressed Ji Gong sits with one knee bent, with a gourd in his right hand and a grass fan in his left. Such an image makes him shrewish and lively, natural and forthright. The irregular patterns of the Flambé Blue Jun Glaze and those of the drapery lines reveal Ji Gong’s slovenliness, humour, the jauntiness of his deity, and his personality of liveliness and simplicity.
藍鈞釉
他舉止如狂，人稱濟癲，法力高深，心地善良，濟困扶危，好抱不平，常以詼諧放蕩佯作癲狂，嘲弄不仁權貴，是不受戒律約束的傳奇人物，深受中國民間百姓喜愛。
此原作品塑於1982年。濟公屈膝而坐，右手握葫蘆，左手執草扇，衣衫襤褸，造型潑辣生動，形象自然率真。不規則的藍鈞釉變及衣紋線條，體現濟公不修篇幅、快活神仙的風趣神態，也反應濟公內在活潑又樸拙的性格。
1988 Gold Medal in the National Exhibition of Exported Products of Light Industry To express the subject matter of “Great kindness, sharing happiness with all flesh.”
全國輕工業出口產品展覽獲金質獎。
取題表現：大慈與一切眾生同樂。
This original piece was created with the features of Shiwan ceramic art, liveliness and delicateness, and with boorish and vigorous artistic techniques to express the subject matter of “Great kindness, sharing happiness with all flesh…” (Great Treatise on the Perfection of Wisdom). Shaking tambourines and scampering about, Ji Gong is having fun with children. This work was created in 1982 for sale for the cause of fund-raising for the Fund of Children’s Welfare in the city of Foshan. In 1988, fine works of the “Gospel Ji Gong” won the Gold Award in the Exhibition of Exported Products of China’s Light Industries, and was selected as collection items in the National Arts and Crafts Museum in Beijing.
此原作以生動細膩的石灣陶塑藝術特點與潑辣粗獷的藝術手法創作，取題表現於「大慈與一切眾生樂…」（智度論）。塑造濟公手弄鈴鼓，蹦蹦跳跳與兒童耍樂的情趣形象。1982年為捐贈佛山市籌備兒童福利基金會籌款創作之義賣作品。1988年，《福音濟公》精品在中國輕工出口產品展覽中獲金質獎，並獲選入北京中國工藝美術館珍藏。
To express the subject matter of “Great kindness, sharing happiness with all flesh.”取題表現：大慈與一切眾生同樂。
1991 Exhibition of Shiwan Ceramic Art in Hong Kong To express the subject matter of “Great kindness, sharing happiness with all flesh.” 1991 在香港石灣陶塑展覽展出 表現：大慈與一切眾生同樂。
Blue Jun Glaze
The cheerful Ji Gong is sitting on a big stone, holding a piece of dog’s meat in one hand and directing the gourd to his lips with the other. Without any traditional smooth lines, the drapery of this figure is depicted with freehand techniques in a rugged and acerbic manner. In combination with Shiwan’s traditional blackish Blue Jun Glaze, Ji Gong’s shabbiness, jocularity, debauchery, craziness, freedom and ease are brought to life. This is a rare masterpiece that intelligently integrates the principles of human anatomy applied to western sculpture and the traditional arts of the east.
藍鈞釉
濟公斜坐在一塊大石上，神態喜悅，一手拿著一塊狗肉，一手托起葫蘆送向嘴巴，作品拋棄傳統衣紋的流暢線條，運用粗獷、苦澀的手法及大寫意的衣紋線條，配合石灣傳統黑底藍鈞釉，把濟公的衣衫襤褸，詼諧放蕩，狂野灑脫的性格表現得活靈活現。是一件把西方雕塑的人體解剖結構及東方傳統藝術靈活地融合在一起的藝術珍品。
Cracked Green Glaze
Compassionate and merciful, he is ready to sacrifice his own opportunity to become Buddha, but he enjoys himself in the endeavors of bringing happiness and kindness to the mass. There are two meanings of the term “the enlightened arhat”. The first is “ishvara”, the highest form of wisdom in Buddhism, or the freedom or comfort revealed in artistic self-expression.
In people’s mind, the arhat is an image of enlightenment, which symbolizes the relief of sufferings and disasters and the virtue of putting compassion and mercy into actions.
This smiling arhat looks cheerful and sits quietly in meditation. The upper part of his body leans slightly forward and his hands are on his knees. The drapery lines are simple and natural. The figure looks kind and wise and reveals a strong sense of Chan (zen) and Buddha nature. The beauty of body structure of easterners is completely and accurately expressed with the arhat’s naked upper body in a sitting poise. His inner qualities of compassion and mercy are depicted by means of his proportionate and perfect body.
The Cracked Green Glaze is applied on the figure’s clothes, the primitive colour of the biscuit is used to depict muscles of the body, and the Red Glaze is applied on the small incense burner. The three colours match well to produce an appealing visual effect and a very scholarly ambience. The viewer is led into an unearthly and elegant state of Chan (zen).
開片綠釉
他以慈悲為懷，犧牲自己成佛的機會，以求大眾之福之善為樂。自在羅漢有兩種含義：一是佛教中最高智慧的「大自在」或藝術上表現自我的一種自在；二是自己反省自己，自我觀照的境界。他在人們心目中是一種禪覺的意象，象徵著救苦救難，大發慈悲的美德。羅漢不止一位，因此在造型創作上較自由，不受具體情節及人物故事所侷限。
此作品羅漢面帶微笑，表情歡愉，靜坐禪觀，上身前傾，雙手置於膝上，衣紋線條簡約自然，形象慈祥睿智，造型深具禪意和佛性。藉羅漢裸露上身的坐姿，完整而精確地表達東方人體結構。以一種勻稱完美的體態，刻劃羅漢內心自在的慈悲精神。
The beauty of body structure of easterners is completely and accurately expressed with the arhat’s naked upper body in a sitting poise. His inner qualities of compassion and mercy are depicted by means of his proportionate and perfect body.
藉羅漢裸露上身的坐姿，完整而精確地表達東方人體結構。以一種勻稱完美的體態，刻劃羅漢內心自在的慈悲精神。
1990 The enlightened arhat collected by Museu Lúis de Camões, Macau 澳門賈梅士博物館購藏另一件《 自在羅漢》
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This is a piece of delight. The figure’s naked chest signifies his magnanimous attitude towards life. With a rain hat on his back and a crane held obliquely, he strolls with his head up and looks into the distance. With a natural poise and a cheerful and free manner, the figure admires nature and looks relaxed and pleased. His genuine emotions are expressed naturally by his jovial image.
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藉羅漢裸露上身的坐姿，完整而精確地表達東方人體結構。以一種勻稱完美的體態，刻劃羅漢內心自在的慈悲精神。
1990 The enlightened arhat collected by Museu Lúis de Camões, Macau 澳門賈梅士博物館購藏另一件《 自在羅漢》
Cracked White Glaze
Liu Hai lived in the Five Dynasties. He was a successful candidate in the highest imperial examinations and became the prime minister in the Liao dynasty. Enlightened by Lü Dongbin, he became a fairy. He was well-known as “Haichanzi”, which was his Taoist title. People regarded a toad as an auspicious object that kept them safe from five diseases, put down the evils, facilitated growth, brought them fortune, and embodied supernatural elements. The character “toad” was in his title, and accordingly a legend went around. It was believed there was a big three-legged gold toad that had practised Taoism for years. Liu Hai brought it under control by tricks. The gold toad spit out gold coins. Liu teased it and it spit out coins wherever he went. In this way, many poor people were relieved from misery. Liu Hai had thus become the embodiment of the God of Fortune.
Liu Hai is portrayed as a humbly-clothed, smiling fairy with naked breasts and bare feet. Holding a string of gold coins, he is bending over and teasing a three-legged gold toad. The figure appears natural and leisurely, and his drapery is presented with simple and smooth lines. This is a life-like figure with fairy temperament and human emotions.
開片白釉
劉海是五代時人，曾為遼朝進士，後為宰相，受呂洞賓度化成仙，道號“海蟾子”，以此道號聞名。當時人們把蟾蜍當成避五病、鎮凶邪、助長生、主富貴、有靈氣的吉祥物。劉海既以“蟾”為道名，相傳他用計收服了一隻修行多年的三足大金蟾，劉海戲金蟾，金蟾吐金錢，他走到哪裡，就把錢撒到那裏，救濟不少窮人，劉海儼然成為財神的替身。
作品塑造一個肩披布衣、袒胸露乳、笑容滿面的赤足仙人劉海，正手執一穿繩的金錢，俯身戲逗一隻三足金蟾。作品神情怡然，步態從容，衣紋簡練流暢，使作品既有神仙的風骨又有凡人的感情，十分生動傳神。
Maitreya Buddha holds his prayer beads in one hand and a tree branch tied to a baibaodai (literally a bag of a hundred treasures) in the other, and walks towards the viewer with a smile on his face. On watching him, one is immediately oblivious of his own worries. The piece is a wonderful expression of the wish for joy, optimism, brightness and safety for all generations.
作品塑造一個開心佛的形象，一手拿著念珠一手挑著一根繫有百寶袋的樹杆，笑眯眯的向前走來，使人一見忘卻煩憂。作品寄予一種開心歡樂、美好幸福、代代平安的意願。
開片黃釉
藍軍釉
Deity-Man dialogues of self-knowledge and facility—Appreciation of Liao Hongbiao’s ceramics
Liu Jushang Chief Editor of “Xiangshanbao”； Cultural celebrity in Zhongshan
Liao Hongbiao’s creative works of the same kind are different. They express a deity-man dialogue which is conducted with self-knowledge and facility. What he wants to depict are the great men who deserve our respects instead of images worshipped with burning incense. He has integrated his own interpretation and even his ideals with his works. Thus, in comparison with his predecessors, his works may have achieved something at a higher artistic level and may serve as a landmark of the artistic accomplishments of our time.
This is the strong impression that one gets when he views Liao’s works, particularly when he looks at the artist’s works in a series. Liao has made two statues of Bodhidharma: one practising meditation and the other realizing the truth. With the aim to preach Buddhism, Bodhidharma came to China from India. Emperor Liang Wu treated him with high respect but offered no support to his cause. He then went to Song Shan and decided to stay there to practise Buddhist rules and to preach Buddhism. Let us look at the statue of meditation. In front of the stone wall of today’s Shao Lin Monastery, Bodhidharma sits on a layer of leaves on the ground. He is not sitting cross-legged -- the decent poise that the Buddhists usually take -- but sitting on the ground as casually as the common people. Wearing a serious expression, his eyes tell us that he is contemplating but yet he remains perplexed despite much thought. All these show that there are fierce conflicts in his mind. In the end, Bodhidharma made up his mind with great determination. He stayed in Song Shan for nine years, and facing the wall every day, practised meditation. He was determined to enhance and glorify Buddhism in China, and it was on the basis of such great determination that the Shao Lin Monastery and the Chan (Zen) school, which were of utmost importance in the history of Buddhism in China, were founded. The second statue depicts the state of suddenly enlightened of Bodhidharma, who had realized the truth after having faced the wall for nine years. With his face up to the sky, his arms extending, his broad sleeves stirred to the fullest extent by the vigor that circulates throughout his body, his chest opening wide to the world, it seems that Bodhidharma is now in the highest state of mind – the heaven and the man are together in oneness. No one can be spared from being shocked by this mentality of devoting oneself to the pursuit of truth.
See, Liao has expressed the most important achievement in Bodhidharma’s life and his iconic image by only two statues.
自覺•自如的人神對話—廖洪標陶塑作品欣賞
劉居上 《香山報》總編 中山文化名人
廖洪標的同類創作卻是一種自覺、自如的人神對話。他所要塑造的是理應受人尊敬的一代賢人，而不是用香火供起來的人造的偶像，他把他自己的理解甚至理想融合進其中，因此，與前輩相比，他的作品就有可能攀上一個新的高度，從而標誌著我們這個時代的藝術高峰。
觀看他的系列作品，尤其可以強烈地感到這一點：他塑造了兩尊分別是參禪和悟道的達摩。前一尊刻劃的是達摩為了宣揚佛教，從天竺（印度）到了中土，他得到梁武帝的禮遇，卻得不到梁武帝的支持。達摩選擇了嵩山為修行和傳道之所。這尊達摩的造型是這樣的：在今天的少林寺所在的石壁前，達摩以樹葉舖地，就像一般的百姓平民那樣隨便地席地而坐，而不是佛教徒慣常的正經八兒的結跏趺坐，他面色凝重，沉思的眼神裡略顯出一種百思不得其解的茫然，顯示出內心的激烈的矛盾與鬥爭。終於，他以堅定的信念為自己作出抉擇，就留在這裡，面壁九年，一定要將佛法發揚光大，在中國佛教史上有重大影響的少林寺和佛教禪宗就這麼創建起來了。第二尊塑像刻畫的是達摩「面壁九年」後豁然悟道的情景，他仰面朝天，雙手平展，寬大的袍袖為渾身周轉的氣血所鼓蕩，敞開胸懷，面向世界，彷彿已進入「天人合一」的最高境界，這種為求索真理而獻身的精神是不能不令人為之震撼的。
瞧！總共只有兩尊塑像，就已把達摩一生最主要的業績和整體形象塑造出來了。
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The piece has a peculiar form. It expresses the Bodhidharma’s dysphoria when he is frustrated. In low spirits, he is contemplating his own situation. Ultimately, his strong faith prompts him to strive energetically to achieve his goal.
表達人物遇到挫折時所表現內心的躁動，於矛盾狀態下，思考自身的處境，終究堅定的信念，激勵他發奮圖強的一種思想感情表現。
1992 Exhibition of the Art of Contemporary Masters of Ceramics of Shiwan in Hong Kong
香港石灣當代名家陶藝展展出
This is a dynamic state where the universe and he become one – there is no boundary between the universe and the founder of the Chan Sect, because he fully understands nature.
表現達摩氣貫山河、神悟自然、天人合一的禪宗創始者形象。
1989 First Prize of Product of Excellence of Ceramic Figures in Groups in the Competition of Excellent Products by the Ministry of Light Industry
輕工部優質產品評比 獲集團陶塑人物 優質作品第一名
Cracked Yellow Glaze
With the image of an arhat (luohan) in a pensive mood after tasting the pills of immortality that he has made in the remote mountains, the piece depicts the mentality mercy that one embraces when he has the courage to taste the pills he has made and when he has the determination to save all living creatures with the pills. The figure’s bones and muscles are expressed with meticulous craftsmanship. This is a work rich in traditional features of Shiwan’s biscuits.
開片黃釉
作品通過塑造一個羅漢在深山煉藥，煉成仙丹後嚐丹沉思的一個姿態，表現一種為普救眾生，保人平安而煉丹嘗藥的慈善心態。這件作品工藝精細，著重表現人物的骨骼肌肉，是一件有濃厚石灣傳統胎骨特點的作品。
Blue Jun Glaze
This is a piece of the scenario where the highly cultivated Buddhist Monk De Fa is studying a sutra quietly and he can see the fairyland of Penglai in the sutra. In an exaggerating manner, Liao Hongbiao depicts a highly cultivated monk, sitting cross-legged, holding a sutra in his hands and reading it in concentration. So attentive, he has the illusion of the lofty and gorgeous fairyland of Penglai appearing in three dimensions from the sutra that he is reading.
藍鈞釉
作品表現禪師悟法高深，靜讀經文，在經書中能看到蓬萊仙境的一個場景。廖洪標用誇張的手法塑造一位得道高僧，雙盤而坐，手捧經書專心品讀，把禪師悟道的蓬萊仙境的壯麗景色立體地浮現在經書上，呈現一種如夢似幻境界。
