- 期刊
臺灣寺廟人物負重造形燭臺圖像溯源－戇番抬厝角或洋人托寶圖像？
Tracing the History of Load-Shouldered Figurine Candlesticks in Taiwan Temples: The Image of ＂A Dull Strong Man Raising the Corner of the House＂ or ＂A Western Figurine Holding the Treasure＂?
摘要
燭臺是漢人日常生活中常見的用品。在臺灣民間宗教用器中，燭臺常以「五供」套組中的組件配套出現。明清時代逐漸被民間轉借祭祀神佛、祖先之供器。在臺灣傳世燭臺中，有一種採用人形承燭盤造形燭臺，造形鮮明，人物外觀似非漢人，常被認為是寺廟裝飾中常見的「戇番抬厝角」形象。透過圖像與文獻的耙梳，這類以異域人物形象的燈座，一方面不排除承襲外來圖像如佛教文化流行下的影響，其後在建築中逐漸採用「耐重」或「角神」等稱呼這種人物承重構件；同時，這也和漢代以來人物型燈之傳統有關。若仔細觀察臺灣寺廟這批19世紀的人物負重燭臺，主要是著衣而非裸體，著褲、上衣著杉，領口繫結，胸口服裝扣子對開，與漢人右衽樣式不同，表現著外來文化，呈現19世紀到20世紀初寺廟文化交流與藝術表現。本文透過比較，指出這類燭臺最早來自胡人承燭圖像，也受到18世紀以降的洋人托寶銅胎琺瑯器一類文物之影響。
並列摘要
Candlesticks are commonly items in the daily life of the Han Chinese. In Taiwan, among the folk religious utensils, candlesticks are often found as a part of a ritual set « Wu Gong 五供 (five offering)». During the Ming and Qing dynasties, candlesticks were gradually borrowed by the people to worship gods, Buddhas and ancestors. Among the candlesticks handed down in Taiwan, there is a particular type of candlestick in a shape of a distinctive figurine in the image of carrying a load on shoulders, who however does not look like Han people. It is often considered to be the common image of ＂jhuang fan tai cuo jiao 戇番抬厝角＂ in temple decorations. By studying the related images and reviewing literature, we get to know that this type of candlestick with exotic figurines, on the one hand, does not rule out the influence of an inheritance of exotic images, such as from Buddhist culture; thus such figurines were gradually adopted in the architecture as bracket decoration, namely in Chinese « Nai Jhong 耐重 (load-bearing) » or «Jiao Shen 角神 (corner god) ». On the other hand, it may be also related to the tradition of figurine candlestick since Han dynasty. If we look closely at these 19th-century figurine candlesticks in Taiwanese temples, we can see that they are mainly clothed rather than nude, wearing trousers and button-down tops with bow ties, different from Chinese clothing costumes tradition with the left collar crossing over the right one. This specific characteristic of figurine candlesticks reflects a particular cultural meaning under the influence of temple culture exchanges and artistic expression through 19th to 20th centuries. After comparing the images of different figurine candlesticks, this study found that these candlesticks may also have been influenced by figurine artifacts from western cultural relics, such as the copper western figurine holding treasure in painted enamels from the 18th century onwards.