打石司傅聶祥生研究

早期民間對從事與石頭相關工事，統稱「打石」，臺灣的打石的源頭與大陸有密不可分的關係，從清代到日治時期，就陸續有大陸匠師渡海至臺承接工事的記錄，匠師的技藝隨著早期的漢人移民衍傳下來，傳統石作技藝也隨著環境的影響及長時間轉化呈現出不同的地域性風格，從早期的唐山師父來台施工到後來傳習給在台的弟子，而弟子在學到這項技藝後，所要面對的是建築型態與石材的改變，這些變化也造成近代臺灣石匠師的技術與作品風格具有不同的階段性樣貌及個人特色。然而近來令人擔憂的是現存傳統打石匠師在專業知識承傳上的斷層；由於這些匠師大多年事已高，其所承載的知識體系將隨著年老逝去而凋零。因此，本文以近代臺灣石雕司傅聶祥生為研究對象，聶先生1943年生於臺北三重，15歲師事臺北天福石店李圍庭先生，18歲開始從事石雕工作，25歲開始獨自承攬，44歲兩岸開放，開始前往大陸發展，至退休前仍堅持手稿創作及現場監督指導。足見證戰後至八零年代間臺灣打石產業的興盛與產業的沒落外移。本研究以透過口述訪談與相關文獻蒐集建構其生命史、習藝過程、時代背景，現存作品的題材、風格、造型與分布，以及工匠組織、工程承攬等面向。期望能多了解記錄戰後臺灣本土石雕司傅的傳習系統脈絡，也藉此了解聶祥生在臺灣打石司傅中的定位。

關鍵字

打石；石雕；打石司傅；聶祥生

並列摘要

In early periods, the folk term for stone-related business is “stone-carving.” The origin of stone-carving in Taiwan is closely related to China. From Ching dynasty to Japanese colonial period, there were records about Chinese stone-carving master coming to Taiwan for business. The skills of stone-carving masters were passed down by the early Han immigrants, and the traditional stone-carving arts demonstrated various regional styles due to the influence of the environment and the long-term transformation. The early Tangshan masters came to Taiwan for business and then passed down the skills to the apprentices in Taiwan. After acquiring the skills, the apprentices in Taiwan had to face the changing of construction materials and styles. These variations resulted in the different styles and features of the works made by Taiwanese stone-making arts. However, the gap in the inheritance of professional knowledge is the most concerning recently. The knowledge system held by the traditional stone-carving masters might fade away since they are getting older and older. As a result, the subject of the study is the stone-carving master Nie,Xiang-sheng. Mr. Nie was born in Sanchong District, Taipei city. At the age of fifteen, he worked as the apprentice for Wei-ting Lee in Taipei. He started the stone-making business when he was eighteen years old. He worked as an independent contractor at twenty-five, and he began going to China for business at forty-four. He insists on his manual creation and on-the-scene supervision. He is the best example of the prosperity of stone-carving business in nineteen eighties and the degeneration of the business. Through oral interviews and relevant references, the research is aimed at constructing such aspects as the life history, the procedures of acquiring the skills, background, the themes of the works, the styles of the works, the organization of the works and the business contracting. It is hoped that the post-war Taiwanese local traditional system and context of stone-carving maters can be recorded as much as possible.and his manipulation of stones in various subject matters so as to understand his position as a stone-carving master in Taiwan.