臺灣廟宇文化資產屋頂剪黏修復資料建立

文化資產修復與保存議題歷經921大地震後的省思，逐漸由「量性」趨向「質性」。建築工藝於現今臺灣文化資產整體修復過程中，無論是文獻史料亦或當今法令環境等，相關研究與調查資料諸多內容皆著墨於匠師生平、作品風格、流派等，鮮少針對單一作品進行較完整性調查，且針對剪黏作品調查時標的範圍亦較為大略，通常以部位區劃損壞程度作為評判，使參考損壞等級對應的修復原則也相較簡易。本研究欲透過文化資產修復各階段工作中，在各步驟進行相對應的資料建立、留存，以利剪黏作品於未來其他修復工作階段所對應的價值操作都能有更為完整性的保存、詮釋，也利於未來學術研究、他案修復或對於民眾進行的教育推廣等參考資料在應用性上更為全面。盼以建立剪黏作品資料紀錄、其價值，於未來的修復、保存過程中，有更為完整且真實之資料考據，以利剪黏作品完整性價值的保存與詮釋。剪黏作品完整性價值應由「有形價值」與「無形價值」組成，瞭解其後方能更明確訂定修復、保存目標與方針，因此本研究藉以布蘭迪《修復理論》與國際重要憲章探討有形遺產的保存原則與觀念，再以16處國定古蹟廟宇屋頂剪黏修復工程案例，探討、分析我國在廟宇屋頂剪黏修復常見原則、手法，並將上述內容結論，回饋本研究後續針對剪黏作品修復前價值評估操作與實際修復工作、觀念等原則建立。再以高雄歷史建築代天宮之屋頂剪黏作品作為研究成果實用對象。本研究以高雄歷史建築代天宮屋頂剪黏作品為例，於修復工程期間，針對尚未開始修復之剪黏作品進行現況調查、記錄後建立個檔，逐一進行個別剪黏作品損壞現況統整、分級後，再對應損壞層級並予以初步修復原則及建議。民國97年登錄為歷史建築的高雄哈瑪星代天宮（以下簡稱-代天宮）肇建於民國40年，當年由廟方委託剪黏名師-葉鬃(1902-1971)與其領派下門徒合力完成其剪黏工程。代天宮屋頂剪黏分別於民國59至60年間及民國66年賽洛瑪颱風後進行部分整修、翻修，透過民國109年修復工程進行時，藉由其修復等痕跡可知，前期修復觀念與價值認知相較薄弱，也因此未留存早期影像與相關紀錄。

關鍵字

文化資產；高雄代天宮；剪黏工藝；價值紀錄；調查研究；損壞分級

並列摘要

The issue of restoration and preservation of cultural assets has gradually moved from "quantitative" to "qualitative" after the 921 earthquake. In the process of restoration of Taiwan's cultural assets as a whole, the relevant research and survey data, whether in terms of literature and history or the current legal environment, are mostly focused on research resultsthe biographies of artisans, styles and genres of works, and rarely focus on a single work to conduct a more complete survey, and the scope of targets for the survey of cut and glued works is relatively simple. The damage is usually judged by the degree of damage of the part, so that the restoration principles corresponding to the reference level of damage are also relatively simple. This study aims to create and retain corresponding data at each stage of the restoration of cultural assets, so that the value of the cut and paste craft can be preserved and interpreted in a more complete way in the future restoration of other stages, and so that the reference data for future academic research, restoration of other cases, or education and promotion of the public can be more comprehensive in application. We hope to establish a record of the data of cut and paste works and their value, and to have more complete and real data in the process of restoration and preservation in the future, so as to facilitate the preservation and interpretation of the integrity value of cut and paste works. Therefore, this study uses Brandy's "Restoration Theory" and important international charters to explore the principles and concepts of preservation of tangible heritage, and then uses 17 cases of national monument temple roof cutting and restoration projects to explore and analyze the common principles and methods of temple roof cutting and restoration in China, The above-mentioned conclusions will be fed back to this study for the establishment of the principles of value assessment operation and actual restoration work and concepts before restoration of the cut-and-stick works. The research results are then applied to the roof the cut and paste craftof the Daitian Temple, a historic building in Kaohsiung. During the restoration project, a file was created for the cut and paste craft works that had not yet been restored by investigating and recording their current conditions, and the damage of each cutout work was consolidated and graded one by one, and then the initial restoration principles and suggestions were given to the damage levels. The Kaohsiung Hamasung Dai-Tien Temple (hereinafter referred to as "Dai-Tien Temple"), which was registered as a historical building in 1997, was built in 1940, and was entrusted by the temple authorities to a famous gluing master, Yip Man (1902-1971), and his disciples to complete the gluing project. The roof of the temple was partially renovated and refurbished from 1959 to 1960 and after typhoon Seloma in 1966.