台灣畫框產業發展之研究-以畫框材料、技術、與形式為例

摘要台灣的畫框，在六十至九十年代有過輝煌的成就，曾經在世界的舞台上引領風騷數十年。但，畫框產業發展三十年來，歷經風風雨雨，卻少有相關完整的紀錄及報導。本研究望能藉由研究的動機為起點，概略介紹歐洲及台灣畫框的歷史及形式與應用的演變。並將台灣畫框產業的經驗與自己擁有的工作歷練彙整並加上未來創新模式的歸納整合，詳盡的紀錄關於台灣畫框產業歷史的研究。台灣過去皆以製造生產畫框出口為主要，而今，為了因應現今潮流，製造業的專業經驗將漸漸變成各種多角式的經營模式，且把傳統與跨領域相互結合。本研究達到以下研究三大項重點：第一點是探討台灣畫框興衰史，第二點是台灣框業的發展現況，第三點是結合古今中外的畫框形式及機能做為今後台灣畫框產業的發展基礎及願景。本研究主要著重在西式畫框部分，故中式裱畫裝框與裱褙方式就僅是隨時代潮流帶過而不列在本研究之中。至於研究方法方面，採用以下幾種方式進行研究：一、文獻、圖錄分析法二、田野調查與實地採訪法三、參予式觀察法。希望透過以上三種方法的整理、比較、分析、歸納，嘗試建構一個較為清晰的台灣框業演進脈絡。本文冀望能利用抽絲剝繭的層層剖析，暢談任何與畫框具有相關的材料技術及知識，以達到多元、多面相的觀察及最真實的紀錄。關鍵字：畫框、跨領域經營、中式裱畫、西式畫框

關鍵字

畫框；跨領域經營；中式裱畫；西式畫框

並列摘要

Abstract Frame in Taiwan, reaching its peak in the 1960s and 1990s, has been leading the world over the decades. In the past 30 years, however, the frame industry in Taiwan, weathered through ups and downs, was short of any wholesome record or report. This study attempts to introduce the history and the transformation of the frame styles and applications developed in Europe and Taiwan, as a motivation. Then adding my own work experience as a part of the frame industry in Taiwan, together with the innovative modes for the future, I would hopefully present a detailed record of the frame industrial history solely belonged to Taiwan. In the past, the frame industry in Taiwan was mainly for export. At that time, its domestic market was also prosperous. Gradually, as the demand for arts decreased with unstable economy and floating foreign exchanges, the styles of frame industry, either domestic or international, turned from merely manufacturing to creativity. To meet the trend, the professional experience in manufacturing was gradually turned to diversified and creative cross-fields management. It desperately needed a cooperation between traditional industry and relevant industries in different fields. This study tries to capture the following three items: the first is on the ups and downs of the frame industry in Taiwan. The second is on the present development of the frame industry in Taiwan. The third is uniting the styles and functions of frames designed in the past as a base to envision the Taiwan frame industry development in the future. This study focuses itself on the western frames, so the Chinese paiting backups or frames are excluded. As to methodology, here are three mostly used: the first is analysis on writings and catalogues, the second is through field research and interviews and the third is through involved observation. Hopefully, these three methods can give a clear developing picture of the frame industry in Taiwan through collecting, comparing, analyzing and concluding. Key words：Frame, Cross-fields management, Chinese painting mounted, Western picture frame