原型與變異－試論戰前大溪木器產業的源起與開展

Prototype and Variety: An Analysis of the Origin and Development of the Woodwork Production in Ta-hsi Region before 1945

賴明珠(Ming-Chu Lai)

《民俗曲藝》 152期 (2006/06) Pp. 9-84

https://doi.org/10.30157/JCRTF.200606.0002

摘要

依據文獻及地方耆老所敘述，大溪木器業的萌生與清末咸豐、同治年間(1851-1874)，鄉紳豪族相繼興建宅第有關。當時大木匠、小木匠師多由唐山原鄉被敦聘來臺監造建築主體大木構造、小木裝修及後續的家具製作，而製作的材料也都不惜鉅資，遠從中國西南沿岸渡海運臺，因而此時期在大溪地區流傳通用的祭祀木器或木製家具，一律都以原鄉清式漢體的形式典範，作為製造的依歸與準則。
光緒二十一年(1895)滿清將臺灣割讓給日本，隨著大和文化與西洋文化的輸入，大溪的木器產業在生產結構、產業文化與作品形式風格上產生流動異變。日治時期，漢、和、洋多元混搭的形式風格，取代了上一個世紀單一的傳統漢式原型，藉由機械的輔助、新裝飾材料的引入與交通網絡的建立，大溪傳統的木器產業，在二十世紀前葉進入分工、量產的新紀元。
大溪從晚清至日治時期，在歷經百年歲月的淬煉後，透過代代傳承的衍生，業已積澱出自成系脈的文化軌跡。而這份有形、無形的資產，則於戰後六○、七○年代趁勢崛起，並轉化為展露風華的原動力。本文旨在探討大溪木器產業，在達顛峰前（戰前），其源起與開展的草創歷程，在分析從晚清到日治時期，大溪木器形式風格演化時，同時也嘗試將人、社會、宗教、文化及藝術思潮等環境背景因素，交織到木器工藝的發展脈絡中，以再現大溪居民與木器文化密不可分的生命圖譜。

關鍵字

原型 ； 單一型 ； 變異 ； 木器產業 ； 有形與無形的文化資產

並列摘要

According to the written and oral sources, the woodcraft industry in Ta-hsi started to prosper during the Ch'ing dynasty, from 1851-1874. This arose as a result of the house building by influential families. At that time, the craftsmen of major carpentry (tamutchiang) and minor carpentry (shiaumutchiang) were mostly invited from Fujian and Guangdong Provinces (Tangshan) to supervise the house construction and furniture making. All the materials of woodwork were imported at great cost from the southeast coast of China. Therefore, both the religious woodwork and ordinary furniture popular in the Ta-hsi region were modeled after the styles prevailing in Tangshan, the motherland.
After 1895 when Taiwan was ceded to Japan, the colonial government imported Japanese and Western cultures to Taiwan and accordingly Ta-hsi's woodwork production changed gradually in terms of construction, industry culture, and styles. During the colonial rule, a mixed style of multi-culture replaced the traditional Chinese monotype adopted in the last century. In the first half of the 20th century, the traditional woodwork production in Ta-hsi, by means of mechanic assistance, importation of new decorative materials, and the setup of transportation system, turned to a new epoch featuring division of labor as well as mass production.
From the late Ch'ing period to the colonial rule, the art of woodcraft of Ta-hsi having been passed down from generation to generation for one hundred years, developed into a systematic cultural form. Then during the 1960s through the 1970s, the woodwork production of Ta-hsi as both tangible and intangible cultural heritage, was transformed into a dynamic art form. This paper aims to discuss the origin and development of the woodcraft production of Ta-hsi before 1945 when it reached its zenith. It will analyze the evolution of characteristics of Ta-hsi's woodcraft from the late Ch'ing period to the colonial rule in its social, religious, cultural and artistic context, so as to demonstrate the close connection between the townspeople's life and woodwork production.

並列關鍵字

prototype ； monotype ； variety ； woodwork production ； tangible and intangible cultural heritage

參考文獻

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