2025-05-22
山蘊計畫
｜從一株台灣原生種茶開始，山蘊計畫試圖透過文化參與，探索具備氣候韌性的風土實踐。 作者：陳宥希 / 山蘊計畫發起人、茗茗康普茶香檳創辦人在氣候變遷的壓力下，許多「地方」正迅速失去它們原本的節奏——自然的節奏、耕作的節奏，甚至那些原本透過身體經驗與生活勞動代代相傳的地方記憶節奏。這些節奏的喪失不只是技術性的失調，更是一種文化韌性的削弱。山蘊計畫，是一場以茶為路徑的風土行動。它不僅關乎一個茶種的保存或應用，更是一種以「地方作為方法」、以「植物作為存有者」的共生提問。所謂「風土行動」，並非將自然視為背景、土地視為素材，而是將地方視為共生知識的對話者、參與者，和共創者。本計畫以台灣首個具命名系譜的原生山茶品種「山蘊」（臺茶24號）為軸心，召喚氣候劇變之際，我們對「生態智慧」、「農業記憶」、「地方勞動」、「品味認知」的再想像。我們期待它不是一種民族主義式的、對傳統或血統的一昧懷舊，而是一場面對新氣候條件下，地方知識如何被重新組織、感官如何被重新認知的行動。從原生茶葉的風土政治，到飲食文化與產地身分的建構，再到生產者與更廣泛的文化參與者共學、共作，與對話，山蘊計畫希望成為一種活的系統：一張在自然、土地與人之間不斷生成與回聲的網絡。這張網絡並不尋求固定的展示形式，而在於展開理解、努力轉譯，並重構與自然關係的可能性。這不是一場「關於自然的純粹再現」，而是一種對風土知識尚未被充分發掘的範圍進行的臨界探問。我們所說的「茶是媒介，山與田是場域，人則是參與者」並非隱喻，而是指涉一種知識分布與參與實踐的再分配過程——而風土，則是一種氣候挑戰下正在消逝中的集體記憶與集體技藝：難以譯成概念，僅存於氣味、身體、氣候與生活習慣的共時性之中，需要以行動來發掘、保存、回應、延續。山蘊計畫不是為了提出一個答案，而是為了打開更多提問的空間——關於風味的民主、地方知識的權力，以及氣候世代下，藝術與文化實踐如何不再只是土地的詮釋者，而成為其共構者與回應者。 山蘊計畫，邀請您的進一步關注與參與！註：ShanYunProjectTW 是 Shan-Yun Initiative 在社群中的對應標籤，歡迎參與及追蹤我們的行動軌跡。 The Shan-Yun Initiative| Beginning with a native Taiwanese tea, the Shan-Yun Initiative seeks to explore climate-resilient place-based practices through cultural participation.Author: Celine Chen / Initiator of the Shan-Yun Initiative, Founder of MinMin Kombucha ChampagneUnder the pressures of climate change, many “places” are rapidly losing their original rhythms—rhythms of nature, rhythms of cultivation, and even the rhythms of memory that were once passed down through bodily practice and seasonal labor. This erosion is not merely technical disruption, but a deep weakening of cultural resilience.The Shan-Yun Initiative is a place-based movement using tea as its pathway. It is not simply about preserving or applying a specific tea variety, but about raising symbiotic questions that take “place as method” and “plants as presences.”This initiative does not treat nature as background or land as raw material. Instead, it recognizes place as a dialogic, participatory, and co-creative bearer of shared knowledge.At its core is “Shan-Yun” (TTES No. 24), the first officially named native wild tea variety in Taiwan.Through this tea, the initiative calls forth new imaginations of ecological wisdom, agricultural memory, local labor, and sensory cognition in a time of escalating climate volatility.We do not see this as a nostalgic return to tradition, heritage, or nationhood. Rather, it is a working-through of how local knowledge systems might be reorganized, and how the senses might be redefined, under new environmental conditions.From the politics of native tea, to the construction of culinary cultures and origin-based identities, to processes of co-learning and collaboration among producers and broader cultural participants, the Shan-Yun Initiative aims to function as a living system—a network of ongoing resonance between nature, land, and people.This is not a fixed exhibition, but an attempt to generate understanding, foster translation, and reconstruct possible relations with nature.It is not a “representation of nature,” but a critical inquiry into the terrain of place-based knowledge yet to be fully excavated.When we say “tea as medium, mountains and fields as field, humans as participants,” we are not speaking metaphorically—we are referencing the redistribution of knowledge and modes of participation.Place, in this view, becomes a form of collective memory and craft at risk under climate crisis: not easily translatable into concepts, but embedded in scent, body, weather, and custom—requiring action to be revealed, preserved, responded to, and carried forward.The Shan-Yun Initiative is not about offering answers, but about opening more generative questions—questions about the democratization of flavor, the power of local knowledge, and how artistic and cultural practices, in the climate age, might shift from interpreting land to co-constructing and responding with it.We welcome your continued attention and participation.Note: #ShanYunProjectTW is the social media hashtag corresponding to the Shan-Yun Initiative. Join and follow our unfolding trajectory of place-based action.
