竹藝文創商品設計-以台南大天后宮月老祠為例

竹藝文創商品設計-以台南大天后宮月老祠為例研究生:張雅紅指導教授:林宏澤、盧錦融台南應用科技大學視覺傳達設計系碩士在職專班摘要「月老」是「月下老人」的簡稱。月老的形象首次出現在唐《續幽怪錄‧定婚店》中，一個小說人物，是神話傳說中專管婚姻之神，祂手持婚牘、紅線、掌管天下婚姻大事。台灣繼2000年起掀起一股供奉月老熱，許多廟宇紛紛供奉起月老。台灣廟宇文化除具在地文化更與常民生活息息相關，如何將設計與地方文化融合發展出文化創意產業一直是政府努力的方向。早期竹編盛地台南市關廟區，因隨著經濟的發展，生活形態的改變，傳統的工藝及具有台灣本土特色的工藝產品慢慢被忽略和遺忘。現今政府推動的「文化創意產業」政策所關注的「工藝」強調在製作過程中，經過工藝師的設計創新或經由手工技法來增加竹藝產品美感與附加價值。本研究並依上述理念廣泛搜集相關文獻資料加以探討，同時採用深度訪談法，訪談國家竹工藝傳承者李＊＊老師及資深傳統媒婆許＊＊女士。為求竹編禮器訪談後之技法轉述成文字稿之正確性，固參加南投縣政府文化局101年度竹工藝「籃胎漆器」技藝教育推廣研習及台中市大墩生活美學協會101年度產業人才投資計晝「漆藝文創產業班」二研習課程。以求正確將竹編技法及漆用色技法正確陳述。並於竹編研習課程中發現研習者於竹研習過程中常遇困難點，提出個人看法。另本研究於竹藝文創商品開發中發現，桂竹竹節結合漆藝應用成竹飾品效果佳，且製作過程中如何節省人力及降底費用方法，並提出建議以供對竹藝有興趣者作為參考。及找尋提升竹材質感及附加價值方法。除竹藝的傳承本研究更希望透過台南大天后宮「月老祠」內之傳統吉祥圖案，結合台南關廟早期節慶使用之竹編器具謝籃編法，作為在地文創商品開發元素。期能透過工藝精神找回傳統原鄉在地文化、民俗性及當地居民對傳統工藝之認同及感動；進而創造出打動人心的在地商品，吸引更多外來客對台南府城文化有更深刻的印象及了解。

關鍵字

月下老人、紅線、吉祥圖案、竹編、文創商品

並列摘要

Design of Cultural Creative Product with Bamboo Arts – Illustrated with the Matching-making Temple of Tainan Grand Heavenly-Goddess Graduate: Ja-hoing Chang Adviser ：Horng-jer Lin Chin-jung Lu Graduate Institute of Visual Communication Design Tainan University of Technology Abstract “Match-maker” is the abbreviation of “Goddess who unites persons in marriage.” In fact, the image of match-maker had first appeared in “Sequel of Mysterious and Strange Stories – Engagement Store” of Tang Dynasty. Then, a novel figure, who is a god specially in charge of marriage in the legendary rumor, and he holds marriage card, invisible love line, and masters all of the marital affairs in the world. Even since year 2000, a trend has been stirred in worshipping of the match-maker, and then many other temples have followed suit and begun to worship the deity of match-maker. Aside from being most related to the life of the general public, the temple culture of Taiwan has also committed to blend design with indigenous culture, while the effort devoted towards the approach of cultural creative industry has always been made by the government. In the early days, Guan-miao area of Tainan City was noted for bamboo-woven merchandise; however, with the progress of economic development and changes of life mode traditional handicraft and products of workmanship given with Taiwanese and local features have gradually been ignored and forgotten. For now, the government has worked to facilitate the policy of “cultural creative industry” which placed much focus on the manufacturing processes of “workmanship” how the sense of aesthetic and added-value can be enhanced to bamboo-woven merchandise with design innovation or manual skill of the artistic technician. This study has based on the aforementioned ideas to have extensively collected related literatures for investigation; at the same time, it has also employed in-depth interview to interview Teacher Lee XX who inherited national bamboo workmanship and Hsu XX, a traditional senior match-maker. To render the accuracy of interview on bamboo-woven merchandise as transcribed into text, the author has attended the two separate programs as the skill educational and promotional seminar of bamboo workmanship on “bamboo japan” held by the Cultural Bureau of Nantou County in year 2012 and “cultural creative class of japan art” of industrial talent investment project for year 2012 held by Dadun Aesthetic Association of Metropolitan Taichung so that the transcription of correct bamboo-weaving skill and coloring of japan can be accurately rendered. Besides, the author has oftentimes put forth his personal view with points of difficulty during the processes of learning bamboo weaving in the seminar. In addition, this study has found in the development of cultural creative product with bamboo arts that if bamboo nods of phyllostachys bambusoides is integrated with application japan arts the effect can be excellent, and the author has, well, worked to discover ways to lower man power and expense, which are suggested as reference to those who are interested in the bamboo arts. And the author would make effort to find out ways to enhance quality of bamboo materials and value-added method. Aside from the inheritance of bamboo arts, this study would further desire that it can, through the traditional auspicious pattern with “Matching-making Temple” at Tainan Grand Heavenly-Goddess, combine the weaving skill of gift basket with bamboo-woven utensil used in the early days of festivals in Guan-miao of Tainan as the development element for indigenous cultural creative merchandise. It is hoped that local culture, folk custom, and cognition and sensation of local people for traditional workmanship can be recovered towards traditional and native hometown through workmanship spirit. As such, it can have created local products that touch human souls, and attracted lot more visitors to achieved more profound impression and understanding towards the culture of Tainan City.