剪花司傅陳天乞研究

剪花，為陳天乞一派用語，即一般所稱的剪黏、泥塑和交趾陶之統稱。在傳統建築上，剪花多位於屋頂的脊頂、脊堵、含靈堵、規帶、牌仔頭和串角，亦位於牆面的壁堵和水車堵。透過各式人物花鳥等題材，傳遞寺廟教化人心的重要，亦展現人們對於富足生活的渴望。陳天乞，1906年生於中國泉州，1990年卒於北縣三重。在1918年隨表姊夫洪坤福來臺，於大龍峒保安宮開始學習剪花工藝。1928年起獨自承包工程，作品多位於南部，但戰爭爆發期間，寺廟工程多半停頓，便改作土水工程，維持家計。戰後承包的工程不斷，尤以1961年開始收徒弟後達到高峰，直到1975年最後一次施作剪花。透過本研究，得到以下發現。一、重建陳天乞的史料：陳天乞啟蒙於洪坤福，人稱「五虎將」。剪花作品北至基隆，南達林園，東至吉安，共計三十五間建築，多數為寺廟，另各有一間宅第、祠堂和日本長崎的海外作品。二、探討陳天乞作品的工藝價值：剪花功夫尚包括持筆作畫的退黑紅手法，施作於門額和水車堵邊框；作品特色在於重架勢，賦予每件作品生命力，更以熱鬧豐富的構圖布局為動作進行的瞬間留下紀錄。

關鍵字

陳天乞；剪黏；交趾陶

並列摘要

Tsián-Hue -- commonly known as Jian-Nian, Ni-Su, and Jiao- Zhi Pottery -- is a term coined by Chen, Tian-Chi's school of thought. In traditional architecture, Tsián-Hue is normally found in Tsik-Tíng, Tsik-Tóo, Hâm-Lîng-Tóo, Kui-Tuà, Pâi-á-Thâu, and Thâu-Kak of the roof, as well as Piah-Tóo, and Tsuí-Tshia-Tóo on the face of a wall. These unique styles, through subject matters comprising a diverse combination of people, objects, flowers, and birds, convey not only the significance of temples edifying the masses, but also the common folks' longing for an abundant life. Chen, Tian-Chi was born in Quan-Zhiou, China in 1906 and died in San-Chong, Taiwan in 1990. In 1918 he came to Taiwan with his brother-in-law Hong, Kun-Fu and started learning Tsián-Hue handicraft in Baoan Temple in Taipei. He had begun contract work on his own since 1928, with the majority of his work found in southern Taiwan. When the war broke out and forced most temple construction projects to be put on hold, he turned to civil engineering in order to provide subsistence for his family. After the war, with contract work in construction aplenty, he returned to do Tsián-Hue handicraft. His work reached the peak after he started training apprentices in 1961; it was the year of 1975 when he worked on his last Tsián-Hue project. The author has found through research the following: 1. Uspon further analysis of historical data on Chen, Tian-Chi, it was discovered that though Hong, Kun-Fu was a figure of great influence on Chen, Tian-Chi's craft when he first started, Su, Yang Shui's work had an even greater impact. Chen, Tian-Chi completed a total of thirty-five buildings, a majority of which being temples, spanning from Keelung to Linyuan to Jian. His work also includes one residential dwelling, one ancestral hall, and an overseas project in Nagasaki, Japan. 2. Regarding the cultural significance of Chen, Tian-Chi's work, one may examine Tsián-Hue skills including a painting technique called Thè-oo-âng which is typically applied to Men-E and frame of Tsuí-Tshia-Tóo. An air of grandeur is characteristic of his work and instills life into all his workpieces that employ rich design to capture the liveliness of the subject matters' movements across space and time.