辟邪文創商品開發設計創作研究-以新港奉天宮虎爺為例

辟邪文化是人類社會發展過程中重要的一環，在早期醫療水準及科學水平知識低下之時，人民習慣以辟邪物來面對疫疾及未知物，衍生至今日發展成各有特色的宗教信仰。而宗教文化一直以來跟臺灣人民密不可分，信仰自由也造就了許多香火鼎盛的廟宇以及傳統信仰中神明與人民互動的佳話。本研究使用文獻探討法釐清辟邪文化發展至宗教文化之脈絡，並以宗教文化中的動物信仰作為切入觀點，選擇虎爺信仰中最具代表性的新港奉天宮虎爺作為研究對象。後續使用個案分析法剖析市面上現有的虎爺宗教文創商品，列舉出宗教文創商品必須有明確的客群、清楚明確的所求之事、相對應的神靈外觀塗裝，接著使用次級資料分析法分析新港奉天宮虎爺之元素，如觀天青眼、如意鼻、火焰眉、白肚皮以及上下大門牙，而後使用本研究提出之設計方法，將個案分析的結果結合奉天宮虎爺元素，設計出區別於傳統香火袋功能的全新虎爺多功能皮革香火袋以及虎爺特色符令，打造更貼合市場需求的虎爺創新宗教性文化商品。本研究將虎爺文化做為辟邪與宗教文化的分析切入點，並提出相對應的設計方法，希望讓未來投入相關產業的設計者能更有效率、有原則的進行宗教文化商品設計，在使用此方法進行設計工作的同時，讓設計出的宗教文化商品能更貼合信徒的信仰需求，也能讓更多非原客群的人了解虎爺信仰文化的多面意涵，將臺灣富有濃厚民俗特色的宗教文化色彩推向國際的同時，也讓更多設計師繼續深根於臺灣的宗教文創設計產業當中。

關鍵字

新港奉天宮；虎爺；文化創新設計

並列摘要

In the early days when medical standards and scientific knowledge were low, people used to ward off evil spirits to face epidemics and unknown objects, which has developed into religious beliefs with their own characteristics. Religious culture has always been inseparable from the people of Taiwan, and the freedom of belief has led to many temples with strong incense and good stories of interaction between the gods and the people in traditional beliefs. In this study, we use the literature research method to clarify the development of the development of the culture of warding off evil spirits to religious culture, and use the animal beliefs in religious culture as the starting point. Then, we used secondary data analysis to analyze the elements of the Tiger God in Fengtian Temple in Xingang, such as the blue eyes, the nose, the flaming eyebrows, the white belly, and the upper and lower incisors, and then used the design method proposed in this study. The results of the case study were combined with the elements of the Tiger God of Fengtian Temple to design a new Tiger God multifunctional leather incense bag and a special Tiger God talisman, which are different from the traditional incense bag, to create an innovative religious cultural product of Tiger God that is more suitable for the market. In this study, the culture of Tiger Yeh is used as the entry point for the analysis of evil spirits and religious culture, and the corresponding design method is proposed in the hope that future designers in the related industries can design religious cultural goods more efficiently and with principles. In addition, we hope that the design of religious and cultural goods will be more in line with the faith needs of believers and that more people who are not the original customers will understand the multi-faceted connotations of Tiger Master's faith and culture.