自90年代開始,文建會推行社區總體營造至今,相關文化政策口號不斷被提出;在國家文化政策的導引下,以及公部門的各項補助政策挹注下,各地區工藝不論是被動或主動進行傳習工作,都進一步吸納社區居民,進行地域資源整合,企圖以地方特色文化包裝工藝品,進行文化產業化,也就是藉由文化的商品化來發展地方文化產業。 然而,傳統工藝的再生是否可以藉由文化產業化的方式再生,並且進行所謂的文化產業化,使得工藝品真的成為一種商品,甚至成為一種「產業」?這是筆者極欲探討的問題。再者,當傳統工藝朝向產業化生產時,所面臨的難題為何?是否可以藉此達到傳承的目的,或者反之破壞了傳統?又傳統工藝變身為可販售的文化商品時,工藝本身產生的變化為何?是傳統,還是創新,或介於兩者? 於是,本研究欲藉由象鼻部落泰雅染織、三峽藍染兩個案例的深入研究,從組織及領導人個人的文化傳承歷程,從中窺看其中各自面臨的困境,並進一步分析比較染織工藝這項傳統工藝在不同傳統文化脈絡下,各自隱然成形的發展機制,試圖尋求未來可能共通的發展機制,最後討論染織工藝未來朝向「文化產業」發展的可能性。
Since the of 19th century, Council for Culture Affairs had started introducing to the community, about the re-raising issues of the relevance of the culture slogan policy; Under the lead of the country culture policy, and the help of funding of public departments, every other regions, no matter its been initiative by the people or been forced to process the traditional learning assignment, it was a step to attracted the local residents, to began combining region sourcing, attempted to promote the specialization of arts and industrial. In another words, throughout these products, the attempt was to expend the local culture industry widely. However, can the tradition of crafts really turn into an “industry”? That is our question to confer. So when the tradition arts turn into manufacturing productions, what problems may comes to face? Can the massage really passed on by this? Or wrecking the tradition? When the arts becomes valuables culture goods, what changes may be caused? Is this tradition or innovate? Or both?! Thus, this thesis will use the 2 studies of Tayal Weaving&Dyeing in Shian-bi village and Sansia Indigo Dyeing, in depth research, to see and understand more deepness of the organization, and personal culture contiguous. Though the difficulties that they are facing, more analytical reports of comparison will be made. And lastly, we will discuss the possibility of Weaving&Dyeing Crafts which towards the development of cultural industry.