以遷徙的文化形象論官將首之形象詮釋

臺灣民間陣頭團體依各地信仰不同，演化出多且附有在地文化意涵的表演團體，其中開面類陣頭以彩繪臉譜及獨特的表演形式，於現今遶境祈福隊伍中，經常是引人注目的團體，開面類陣頭包含八家將、什家將、官將首等。官將首因臉譜色彩鮮豔、文化元素神秘而吸引人，常是文創商品、藝術表演之創作元素。但因相關歷史文獻闕如，梳理官將首學術文章顯為稀少，創作者涉及官將首設計論述時，多只能淺談即止，實為可惜。研究者認為文化形象透過遷徙的過程，而每個時代均有其文化形象展現，因此官將首之文化形象演變不應僅是神格設立初期之形象，應包含現今官將首於社會偏見下所構成之文化形象。鑑於此，本研究認為官將首之文化形象應追溯其根源，重建官將首之歷史文化形象之遷徙路徑，並深究現今官將首之文化形象，以建構出官將首完整文化形象之路徑，並且透過設計的角度分析官將首形象如何應用於文創商品中進而探討，宗教性文創商品之功能與神明形象的呈現。因上述之論點，本研究先以內容分析法進行文本分析、歷史研究等進行資料研探，針對官將首的歷史背景、本質意涵、文化形象演變進行研析，並從社會學、心理學、人類學等學術領域中尋根探源，建構出官將首傳承自商周儺文化方相士之形象遷徙路徑。再透過訪談法進行專家訪談，進而比對分析現今專家學者與民眾對官將首文化形象之看法，除了釐清社會大眾對官將首偏見的產生原因外，更尋出官將首除了以暴制暴的舊有形象外，該重視其暴烈之氣下的慈悲心，最終再以商品設計之角度探究宗教性文創商品的文化意涵與應用設計。以上研究所獲，冀望能成為各領域人士進行官將首設計應用上，不變本質與多變創新的礎石。

關鍵字

官將首；文化形象；遷徙的形象；宗教性文創商品

並列摘要

The performances delivered and local cultural meanings embodied by Taiwanese parade troupes vary across troupes according to different religious beliefs. Among parade troupes that go on pilgrimages, the open-face type parade troupes frequently attract attention because of their painted faces and unique performances. Examples of kaimian-type parade troupes include Ba Jia Jiang, She Jia Jiang, and Guanjiang Shou. Guanjiang Shou fascinates people because of its troupe members' colorful painted faces and its mysterious culture, and is often the source of inspiration for cultural and creative products and art performances. However, there are few Guanjiang Shou related historical documents and academic papers, and most designers cannot go into detail when talking about their Guanjiang Shou designs. Also, cultural images evolve from era to era, so the study on the Guanjiang Shou cultural image should include not just the deities Guanjiang Shou has represented but today’s public social prejudice against it. Accordingly, to paint a full picture of the Guanjiang Shou cultural image, this study identifies its origin, investigates its evolution, and examines its social image today. This study also, from the perspective of design, analyzes how Guanjiang Shou’s deity image is applied to today’s cultural and creative products, and discusses its religious functions as well as its deity image presentation. Therefore, this study analyzed relevant text by using the content analysis method; obtained related data by conducting a historical research; explored the historical background, implications, and cultural image evolution of Guanjiang Shou; and identified the origin of Guanjiang Shou by using sociology, psychology, and anthropology, presenting the Guanjiang Sho cultural image evolution. Subsequently, this study conducted expert interviews and compared the views of experts and scholars on Guanjiang Shou cultural image with those of the public, thereby clarifying the causes of the public’s prejudice against Guanjiang Shou. Finally, this study investigated the cultural implications and current situations of cultural and creative products from the perspective of product designs. The results of this study may be referenced by relevant personnel when producing Guanjiang Shou designs, ensuring that Guanjiang Shou values remain unchanged and that innovative Guanjiang Shou designs continue to be introduced.