大溪木器匠師體系研究-以吉新家具李彥忠為例

大溪家具產業在臺灣工藝領域中是廣負盛名的家具產品，其技藝需匯集榫接、雕刻、鑲嵌、漆工等多樣工藝專業，才可呈現出高品質的木器作品，從中不但可以看到臺灣家具的歷史軌跡，更可感受到匠師在作品中投入的心思，見證大溪匠師們運用不同的工具與材料，在技藝的傳承與傳統的習俗中，結合自身的人生經歷與美學造詣，製作出屬於自身的作品與代表當下的流行文化，更是創造出屬於當代家具的結晶。大溪從晚清經過日治時期到現今，在歷經百年歲月的淬鍊後，透過代代傳承與衍生，木器技術已沉澱出屬於大溪的文化資產。而這份文化資產及技藝傳承，在民國50年代左右，大溪木器師傅融合西式家具與明清家具的特點，發展出有別於清式漢體的將家具形式，並在民國60、70年，以其札實的木工技藝，結合機器及新技術的幫助下，加上創新及藝術化的設計，創造出不同於中國傳統家具，融合中西、具台灣文化內涵的精美家具。大溪木匠師李彥忠，以傳統的榫接工法施作，將大溪的木器家具製作與雕刻技法，融合當時西式家具的比例美學與人體工法，適性地將不同的裝飾圖案安排在各種樣式的構件上，並依業主需求設計出符合現代家庭的神桌及家具。在民國70年代，李彥忠憑藉優秀的技藝，吸引臺灣一貫道南投天元佛院與臺南濟德佛院的邀請，聘請李彥忠製作大型神桌，陳列在佛院內供信徒祭祀時使用，此神桌作品成為李彥忠先生家具的技藝代表作品，並陸續製作出各式家具及木器用品，成為大溪著名的木器匠師。在民國80、90年代，大溪家具產業的式微，李彥忠仍堅持不懈的設計適用於現今室內空間的家具與搭配。更是希望能藉由在保留傳統的技術下，搭配現今的工具與技術，讓工法不斷的改變與應用。根據紀錄李彥忠木器家具的製程過程與內容，從中了解大溪神桌的製作程序與技藝的內容。藉此分析李彥忠製作神桌時所使用工具與技藝的內容，讓其木器技藝保存下來，記錄李彥忠製作時所使用的手法與工具，瞭解匠師們在30-40年的執業生涯，處在7、80年代社會快速的變遷中，如何發展出屬於吉新木器家具作品的設計理念，並不斷研發出新式家具作品，並賦予新的想法與功能，讓客戶口耳相傳，使得吉新家具在大溪的印記下，施作出屬於自身的獨特作品，並流傳至今。

關鍵字

大溪；家具；神桌；木匠；李彥忠

並列摘要

Wooden furniture from Daxi is well-known in Taiwan. It requires professional techniques like tenoning, carving,inlaying and lacquering to create these high-quality Daxiwoodworks.People not only can see the history through Daxi wooden furniture, but also can observe the creativity that craftsmen put into.As woodworking craft and traditions passing on by generations, craftsmen in Daxistarted using various tools and materials and they combinedaesthetics with their life experiences into the furniture.Therefore, they createda golden age of wooden furniture in Daxi. Daxi has been through Ching dynasty and Japanese colonial period, meanwhile, the woodworking craft was developing as time passing. Now, the woodworking craft becomes an important culture heritage in Daxi.Back in 1940s, Daxi craftsmen started integrating western features and Chinese style in the furniture.In 1950s to 1960s, with the improved mechanization and the influence from the West, Daxi wooden furniture were produced faster and more delicate。 Li Yan-Zhong, a woodworking craftsman in Daxi, designs credence and furniture with traditional woodworking skills and ergonomics.In 1960s, Nantou Tian-Yuan Buddhist temple and Tainan Ji-De Buddhist templenoticed Li’s talent and hired him to make credence for them.These credence became Li’s representative works and helped Li build his reputation in Daxi.When Daxi wooden furniture started waning in 1970s, Li designed furniture that fit the modern family and matched wooden furniture with interior decorating.However, Li hopes that traditional woodworking skills can be passed on and be compatible with the modern machines and tools. The wooden furniture working progress of Li Yan-Zhong is recorded in this studyin order to realize the procedure of making credence and to recognize Li’s woodworking craft.By documenting Li’s skills and his jobs, people can understand how Li run his furniture shop, Ji-Xin wooden store, when the society was changing fast in 1960s and1970s. Furthermore, people can find out what makes Ji-Xin wooden store well-known now and then.