福佬客文化的追溯、再現與傳承－以成美文化園為例

本文以彰化永靖的清朝國子監生魏尚瑩（1845-1901）故居「成美公堂」為例，探討魏氏家族在修復成美公堂及籌備成美文化園的歷程中如何喚醒福佬客的記憶，為了保存家族歷史文化而開始了對家鄉的探索，從其生活習慣、宗教信仰、建築藝術等層面開始追溯與檢視其福佬客的背景與認同，成為其家族福佬客文化再現的契機與靈感。首先經由修復的過程中一一追溯出成美公堂建築的原貌，並理解其中的福佬客文化線索，讓原本已被家族遺忘的客家背景有機會重現，且透過建築修復展現被遺忘的客家元素，藉由當代的保存技術及展示方法而得以延續。此外，本文也分析修復完成的成美公堂所規劃出來的常民生活博物館—「成美文化園」，如何由私宅轉變為博物館的發展過程中，在博物館的場域裡透過回溯、研究、論述與展示來重構與詮釋福佬客文化，以喚醒永靖地區的客家文化意識，並與原鄉連結，彰顯其福佬客文化特色來形塑與傳承其福佬客文化的遺緒。

關鍵字

福佬客文化；客家文化；成美公堂；永靖；文化資產保存

並列摘要

This research focuses on the Cheng Mei Ancestral Hall in Yongjing, Changhua County, which is the former residence of Shang-ying Wei (1845-1901), a directorate of Imperial Academy in Qing Dynasty. It aims to investigate how the Wei family retraced and reconstructed their long forgotten Hoklorized Hakka (fulao ke, 福佬客) legacy during the conservation process of the family mansion in conjunction with the incubation of Cheng Mei Cultural Park. The Hoklorized Hakka culture is a hybridization of Hakka and Minnan cultures. The tracing process of their Hoklorized Hakka inheritance and identity was initiated by preserving the family history and culture, and then extended to the exploration of their hometown of Yongjing, including aspects of lifestyle, religious beliefs, art and architecture. Through the conservation process, this family's forgotten Hakka roots were acknowledged and interpreted after the original architecture styles and construction details were revealed. Furthermore, this article also analyzes how a private residence, Cheng Mei Ancestral Hall transformed into a museum-Cheng Mei Cultural Park following its restoration. The Hoklorized Hakka culture was reconstructed and interpreted through museum exhibitions, which have resulted in the reshaping and passing on Hoklorized Hakka cultural heritage in Taiwan.