鹿港木工岫：家族企業頭家與木工師傅的關係生產

岫（siū）在臺語字面上有著風水寶地之意，木工岫是鹿港本地的家具業者描述此地為何為發展木工產業的生動譬喻。鹿港的木工家具產業有著悠久的發展歷史，然而隨著1990年代後新自由主義全球化市場的影響下，鹿港鎮內多家老牌家族企業接連倒閉，家具工廠陸續外移至鎮郊與鄰近農村地區繼續生產。此時國家部門透過文化治理來調節市場與社會，卻在鎮內形塑一群有別於傳統產業市場的藝師階級。這本論文藉由深入觀察家族企業中頭家與木工師傅生產關係，試圖描繪當代鹿港在地的社會網絡如何支持家具產業的運作，從中歸納出工廠頭家的生存之道，以及木工師傅們的技術轉化與自我認同。

關鍵字

鹿港；木工家具產業；家族企業；木工師傅

並列摘要

Siū signifies a niche of blessed Feng-shui in Taiwanese dialect, and a carpentry Siū, commonly referred by Lukang’s handicraft artisans and practitioners, vividly manifests how local furniture industry has evolved and carved out its trademark. Yet the long history of Lukang’s furniture manufacture confronted serious competition from its rivals in the global market, particularly in the wake of the sprawling neoliberal economy of the 1990s. Many local family businesses of furniture manufacture have closed down, and some of the factories chose to relocate themselves in the rural side or the suburban areas to resume their modes of production. The state intervened to moderate the market through the mechanism of cultural governance, but its special recognition of the masterful hands created and privileged an artisan class among the traditional division of labor. This thesis intends to interpret how Lukang’s social network of furniture manufacture has supported the maneuver of the industry by an ethnographic investigation of the production of the relationship between the bosses of the family businesses and the craftsmen working under the guidance of the masters. It illustrates the ways of survival of the business bosses in times of challenges, and thence the concomitant skill transformation and self-identification of the furniture craftsmen.