礦物是作品的起點，也是作品的主體。

創作之前，先閱讀晶體的形態、重心、完整性、包裹體、母岩與共生關係。作品的方向，應從這些已經存在的條件中產生，而不是要求礦物配合預先完成的構圖。

有些礦物具有清楚方向，只需要穩定支撐。

有些礦物的內部結構仍能向外延續。

另一些礦物本身已經完整，不需要任何介入。

因此，並不是每一件礦物都必須成為作品。

創作成立的前提，是介入後能使原有結構更容易被看見，而不是被遮蔽或取代。

The mineral is both the beginning and the primary subject of the work.

Before intervention, its form, centre of gravity, integrity, inclusions, matrix, and associated minerals must first be observed. The direction of the work should emerge from these existing conditions rather than forcing the mineral into a predetermined composition.

Some minerals possess a clear direction and require only stable support.

Some contain structures that may continue outward.

Others are already complete and require no intervention.

Not every mineral must therefore become a work.

Creation is justified only when intervention allows the existing structure to become more visible rather than concealed or replaced.

底域的介入主要包含四種方式：

支撐｜Support

使礦物取得穩定而適合觀看的位置。

支撐不只是防止傾倒，也包含角度、方向與視線高度。正確的支撐應讓礦物自身的生長勢與主要結構自然顯現。

延續｜Continuation

將礦物內部、母岩或表面的方向向外延伸。

延續不是模仿礦物，而是讓原本中止於晶體邊界的線條、層次或地勢，在作品中繼續存在。

對位｜Juxtaposition

讓不同材質、形態或狀態彼此形成關係。

完整與殘缺、光滑與粗糙、透明與不透明，可以共同存在，但對位不應為了製造衝突而壓過礦物本身。

留白｜Restraint

在不需要介入的位置停止。

留白不是尚未完成，而是承認礦物已經具備足夠內容。創作的完整，有時來自沒有增加更多東西。

DIYU intervention generally takes four forms:

Support

To give the mineral a stable and appropriate viewing position.

Support concerns not only physical balance, but also angle, direction, and viewing height. It should reveal the mineral’s natural growth and principal structures.

Continuation

To extend directions already present within the mineral, matrix, or surface.

Continuation does not imitate the mineral. It allows lines, layers, and terrain that end at the mineral boundary to remain active beyond it.

Juxtaposition

To establish relationships between different materials, forms, or states.

Completeness and fracture, smoothness and roughness, transparency and opacity may coexist, but contrast should not overpower the mineral.

Restraint

To stop where intervention is unnecessary.

Restraint is not incompletion. It recognises when the mineral already contains sufficient content.

底域的底座不是單純承載重量的附屬物。

它同時處理礦物與地面、空間及觀看者之間的關係。

支撐可能使一顆原本平躺的晶體重新顯示向上方向，也可能讓母岩的坡面、晶簇的高低差或雙尖水晶的延伸被完整看見。

連結則處理礦物與底座之間如何過渡。

底座不應像一個獨立舞台，把礦物放置其上；也不應偽裝成天然母岩，使人工與自然的界線消失。

底域所尋找的是介於兩者之間的關係：

可以辨認人工介入，卻不使介入中斷礦物的結構。

部分作品採用可拆卸設計，讓礦物可以在個人持有與空間展示之間轉換。底座提供位置，但不取得礦物的所有權。

A DIYU base is not merely an accessory that carries weight.

It also organises the relationship between mineral, ground, space, and viewer.

Support may allow a crystal that once lay flat to reveal an upward direction, or make the slope of matrix, the height of a cluster, or the extension of a double-terminated crystal fully visible.

Connection addresses the transition between mineral and base.

The base should not become an isolated stage upon which the mineral is placed, nor should it imitate natural matrix so completely that the boundary between nature and intervention disappears.

DIYU seeks a position between the two:

human intervention remains recognisable without interrupting the mineral’s structure.

Some works are removable, allowing the mineral to shift between personal holding and spatial display. The base provides a position without claiming ownership over the mineral.

材料的選擇，依據它是否能回應礦物原有的質地與方向。

天然石、礦皮、頁岩、石英砂與顆粒材料，可以建立層次、坡面與地表感；塑形與黏結材料則負責結構、重量與穩定性。

表面處理可能包含礦化、霧化、顆粒覆蓋與局部色彩調整，但目的不是製造逼真的天然岩石。

人工材質不需要完全消失。

真正需要避免的，是材料與礦物彼此分離：底座形成自己的造型，而晶體只是被附加其上。

工藝的作用，是讓材料退到適當位置，使礦物、底座與空間形成同一個觀看結構。

Materials are selected according to their ability to respond to the mineral’s existing texture and direction.

Natural stone, mineral skins, slate, quartz sand, and granular materials may establish layers, slopes, and ground-like surfaces. Forming and bonding materials provide structure, weight, and stability.

Surface treatments may include mineralised textures, matte finishes, granular coverings, and restrained colour adjustment, but their purpose is not to create a convincing imitation of natural rock.

Artificial material does not need to disappear completely.

What must be avoided is separation: a base developing its own independent form while the mineral is merely attached to it.

Craft allows material to occupy an appropriate position so that mineral, base, and space become one viewing structure.

底域不以介入程度衡量作品價值。

增加更多材料、製作更複雜的底座，並不必然使作品更完整。

創作的邊界包括：

• 不偽裝成天然母岩；
  
• 不遮蔽重要晶面、包裹體與生長痕跡；
  
• 不為了造型破壞原有晶體；
  
• 不將所有礦物改造成箱庭或固定敘事；
  
• 不讓底座成為凌駕礦物的視覺主體；
  
• 不在礦物已經完整時勉強增加介入。
  

創作並不是證明人可以改變自然。

它更接近一種協調：理解自然已經完成了什麼，再決定人應該承接哪一部分。

DIYU does not measure the value of a work by the degree of intervention.

More material and greater complexity do not necessarily create a more complete work.

The boundaries of creation include:

• not imitating natural matrix;
  
• not concealing important crystal faces, inclusions, or growth records;
  
• not damaging the original mineral for compositional effect;
  
• not transforming every mineral into a miniature landscape or fixed narrative;
  
• not allowing the base to dominate the mineral;
  
• not forcing intervention upon a mineral that is already complete.
  

Creation is not proof that humans can transform nature.

It is closer to coordination: understanding what nature has already completed, and deciding what human intervention should carry forward.