從差異到認同—臺灣工藝的產業轉型與產品消費之間

臺灣工藝從手工業朝向文創產業脈絡發展，肇於工業發達而大量機械製造，使得工藝產品缺乏競爭力。由於政治解嚴帶來文化覺醒，傳統工藝在文化政策的羽翼保護下，工藝從業人員近乎皆傾向於工藝美術路線發展。本論題是以國立臺灣工藝研究發展中心相關計畫為例說，以文獻資料詳加分析，佐證整體工藝產業轉型過程為客觀的「現象差異」，進而務必建立在個體消費者主觀的「詮釋認同」之上。基於國際貿易比較利益原則，臺灣工藝產業以「生活工藝產品」進行目標市場定位。生產端建立機械協作輔助傳統技藝之模式，提升工藝的文化價值；設計端透過文化轉譯及個人化創作，提升工藝的設計價值；而銷售端藉由行銷策略運作，驅策「生活工藝產品」的品牌價值。本論題利用現象學與詮釋學交相應用的方法論，除了蒐集、回顧文獻之外，也訪談國立工藝研究發展中心業務相關人員及多位工藝師、設計師，透過親身田野實作並現地考察工業產業之轉型「差異」現象，瞭解工序演變及自造者運動如何提升生產效能，檢視各項提升「生活工藝產品」附加價值作法，以期爭取消費「認同」之助益。應用情感設計模型論說與需求層級理論，得證臺灣工藝從產業轉型差異到產品消費認同的過程，工藝生產面向介於工業與工藝之間，工藝設計面向介於文資與文創之間，而工藝品牌面向則介於有形產品與無形銷售氛圍體驗之間的結論。

關鍵字

產業轉型；消費認同；自造者運動；情感設計；設計與品牌加值

並列摘要

The development of Taiwanese craft has shifted from the handicraft industry to the cultural and creative industry as a result of the mass production enabled by industrial development. However, this has rendered a noncompetitive position for handicraft products. Due to the cultural renaissance brought by the lifting of martial law, traditional crafts, under the protection of cultural policies, saw an upsurge of practitioners developing a career in artistic craftsmanship. This study draws from examples of relevant projects at the National Taiwan Craft Research and Development Institute. A detailed analysis of the literature reveals that the transformation of the overall craft industry is an objective “difference in phenomenon” that must be constructed on a subjective “interpretation of identity” for individual consumers. Based on the law of comparative advantage in international trade, Taiwan’s craft industry targets the market for “living crafts”. For the production end, a model is established in which traditional techniques are assisted by machinery, enhancing the cultural value of the craft. On the design end, the design value of the craft is elevated through cultural translation and personal creation. On the sales end, the brand value of the “living craft” is boosted by applying marketing strategies. This study employs a methodology of phenomenology and hermeneutics. In addition to collecting and reviewing the literature, it also interviews relevant personnel from the National Taiwan Craft Research and Development Institute as well as several craftspeople and designers. Through fieldwork investigating the "difference" in phenomenon of the craft industry transformation, this study sheds light on the evolution of the work process, how the Maker movement improves production efficiency, and the various ways to add value to "living crafts" to help shape consumption "identity". By applying the theory of emotional design model and Maslow's hierarchy of needs, this paper concludes that from industrial transformation to the shaping of its product consumption identity, Taiwanese craft lies between industry and craft on the production end, cultural asset and cultural creation on the design end, and tangible product and intangible atmospheric sales experience on the branding end.