台灣地區廟宇彩繪畫師傳承研究—以台南春源畫室為例

The Inheritance of Traditional Paintings of Temples among Taiwanese Craftsmen of Painting--In the Case of Chun-Yuan Studio, Tainan

潘彥之(Yen-Chih Pan)

指導教授 ： 黃位政

中原大學/設計學院/室內設計研究所/碩士(2005年)

https://doi.org/10.6840/cycu200500795

摘要

台灣地區廟宇彩繪承自大陸閩粵一帶，落地生根後呈現出台灣獨特的地域性風格。春源畫室歷經日據初期至今，為臺灣畫師家族之一，開基祖潘春源為自學起家的畫師，除了廟畫工作外，更以豐贍的詩文見長；第二代潘麗水承襲先人，門神畫之造詣卓犖不凡，顛峰至極，在全台無論質或量均堪稱一絕，罕見其匹；第三代潘岳雄則在廟畫工作之餘，傳承先人之彩繪技藝不遺餘力，突破傳統師徒制，以協會交流、官辦薪傳外，更嘗試由學院式教育，為廟宇彩繪延續生命。本研究從春源畫室之傳承過程與時代背景為主軸，嘗試爬梳台灣地區廟宇彩繪之傳承脈絡，進而看出春源畫室在台灣廟宇彩繪的藝術史上之關鍵地位。全文計分為五部份：

一、 緒論：闡述研究動機與目的、相關研究回顧、研究範圍與方法，及架構進度；

二、 台灣傳統廟宇彩繪形式與時代背景：台灣彩繪歷史淵源與今日台灣廟宇彩繪演變；

三、 春源畫室習畫背景與彩繪廟宇特色：分述春源畫室三代養成階段、傳承階段，以及畫作特色；

四、 廟宇彩繪教育傳承過去與未來：以春源畫室傳承與畫作風格演變，分析台灣廟宇彩繪之時代性以及傳承方式變遷；

五、 結論：綜合前述研究，分別就近代台灣廟宇彩繪發展、春源畫室廟宇彩繪定位，以及傳統廟宇彩繪傳承發展作一探討。

關鍵字

春源畫室 ； 廟宇 ； 彩繪傳承

並列摘要

Taiwan’s traditional paintings of temples inherited from the coastal provinces of Fukien and Canton, yet have planted and born fruit of its own regional uniqueness and fashion since then. Chun-Yuan Studio is one of the famous families of artists since Japanese colonized period. Chun-Yuan Pan, who studied by himself and then founded the studio, was also expert in poetry besides paintings. Li-Shui Pan, the second generation, following the ancestor, attains high quality and regard on oil paintings on the main gates of temples. Yue-Syong Pan, the third generation, not only endeavors to pass on the painting arts, but breaks the master-and-apprentice system. He continues the paintings of temples through communications among associations, official culture promotion or even through academic educations. This paper is focused on the study of traditional paintings of temples in Taiwan in the case of the backgrounds and the hereditary process of Chun-Yuan Studio. The thesis consists of five sections:

1. Introduction: explaining the research motive and aim, briefing the related studies in the past, and then my methods, and process of the structure.

2. The backgrounds and forms of the traditional paintings of temples in Taiwan: studying the history, origin and development.

3. The backgrounds of Chun-Yuan Studio and the characteristics of temple paintings: depicting the three generations of forming, inheriting; and the features of Chun-Yuan Studio.
4. The past and future of educational temple paintings: analyzing the spirit and changes of temple paintings in Taiwan, based on the heredity and changes of styles in Chun-Yuan Studio

5. Conclusion: integrating the studies above and discussing the development of temple paintings in modern Taiwan, the relocation of Chun-Yuan Studio, and the inheritance of traditional paintings of temples.

並列關鍵字

Chun-Yuan Studio ； traditional paintings of temples ； inheritance

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