台灣客家美濃油紙傘文化及其圖像視覺之研究

A Research Project on Taiwanese Hakka Paper Umbrella Culture in Meinong and the Visual Design of Painted Images

林宥涵(Yu-Han Lin)

指導教授 ： 王藍亭

台南應用科技大學/設計學院/應用設計研究所/碩士(2011年)

https://doi.org/10.6821/TUT.2011.00085

摘要

提起美濃即聯想到油紙傘，「美濃油紙傘」已成為美濃的另一個連結代號，近年來因工藝藝術逐漸受到重視，使得油紙傘演變為美濃的工藝藝術標章。政府一直在推動「文化創意產業」政策，文化保存最有價值之所在乃在於永續發展，台灣客家美濃油紙傘文化具有濃厚的人文意涵，是一項很特殊的傳統文化產業，引發本研究探究動機。

本研究以美濃油紙傘為探討研究主軸，研究重點乃在於了解台灣客家美濃油紙傘的文化意涵與圖像傳達意涵、發展演變與製作技術之演進、色彩表現與傘面圖像視覺設計、油紙傘的圖像彩繪表現及油紙傘文化創意產業之發展，採用內容分析法、田野調查法與訪談法，經由文獻探討整合資料，實地訪談美濃專業畫傘師、經營油紙傘產業的業者及相關專家，並透過田野調查深入美濃鎮，實地拍攝美濃油紙傘傘圖共140張作為本研究之樣本圖，進行質性的研究分析與量化的統計分析。

研究結果顯示，油紙傘的贈與，象徵團圓、圓滿、早生貴子、多子多孫等文化意涵，其傘面圖像傳達意涵也大部分與傳統文化有非常密切的關係，如牡丹代表富貴吉祥，梅花象徵梅開五福，都是傳統文化的代表意象。油紙傘由早期的遮風避雨的實用功能，轉型為文化創意(藝術)產業，製作技術也有所變革。美濃油紙傘之傘面色彩以茶色為最多，呈現出古色古香韻味，油紙傘傘面手工彩繪各種圖像，已是現今美濃油紙傘最常用以表現的形式，其中以中國傳統繪畫的「花卉」彩繪圖像及具有美濃當地文化特質的「美濃地景」如菸樓、敬字亭、東門樓、中正湖等彩繪圖像最為欣賞者或收藏者所喜愛，它們皆能傳達客家美濃油紙傘文化之特色。油紙傘畫師創作的圖像元素大部分仍依消費者需求為導向，其中以花卉圖像彩繪較多，圖像彩繪技法以寫意彩繪為主。客家美濃油紙傘在美濃生根發展，帶給美濃人及台灣客家油紙傘文化近百年的生命史，是文化商品、工藝、藝術等的綜合產物，它也是美濃具有其獨特性的文化創意產業。研究結果期可供後續研究者或設計師在從事美濃文化創作與研究的參考題材，亦期望藉由本研究思考鄉土傳統文化之關懷，喚起再一次重視與珍惜可能隨時失傳的鄉土文化產業。

關鍵字

美濃 ； 油紙傘 ； 圖像視覺 ； 文化創意產業 ； 客家文化

並列摘要

When it comes to Meinong, many will think of paper umbrellas; they have become symbolic of the town. In recent years, as craft art has been being increasingly valued, the paper umbrella has been regarded as the art best characterizing Meinong. The government of the Republic of China (Taiwan) has advocated the policy of promoting “cultural and creative industry” on the grounds that sustainable development is the key for the preservation of cultural assets. The Hakka paper umbrella in Meinong, Taiwan, is significant in regard to its cultural connotations and is also a unique traditional cultural industry, which accounts for the motivation of this research.

This research aims to explore the paper umbrella in Meinong, with the focus on its underlying cultural connotations; the meanings, visual design and expressive form of its painted images; its history and the evolution of its production techniques; its use of paint colors; and its development in cultural and creative industry. Methodologies include: content analysis, field investigation, and interviews; literature analysis is employed to organize the elicited data. The subjects who received the interviews include the professional paper umbrella paper artists and operators in that industry in Meinong, as well as related experts. In the field investigation, 140 paper umbrella photos were taken to serve as the research samples; these samples were later qualitatively and quantitatively analyzed.

The results show that the presentation of paper umbrellas as gifts carries such cultural connotations as reunion, perfection and wishes to newlyweds to have a blessed baby soon as well as many virtuous offspring, etc. The cultural connotations of the painted images reflect a close relation to traditional culture; peonies and plum blossoms which respectively stand for ‘wealth/luck’ and ‘five kinds of good fortune’ are some of the traditional cultural images. From practical use in early times to being part of the current cultural and creative (art) industry, the production techniques of paper umbrella have changed. Yellowish brown color, conveying an antique feel, is predominant. The hand-painted images on the coverings are how the paper umbrellas are artistically presented; among them, flora commonly seen in Chinese paintings and such “culturally-significant landscapes of Meinong” as the Tobacco Building, Jingzi Pavilion, East Gate Tower, and Chung Chen Lake are most appreciated by the public and collectors because they represent the cultural characteristics of the paper umbrellas in Meinong. Yet, the image elements created by the paper umbrella artists are mostly consumer-oriented, with floral images in freehand painting style preferred. Originating in Meinong and spanning nearly 100 years in the Hakka culture and the life of townspeople, the paper umbrella boasts the extraordinary energy infused in the cultural and creative industry and is a product that combines cultural, craft and artistic values. It is expected that the research results can serve as reference for future creations and studies by artists and researchers, and that the awareness of local traditional culture can be raised so that the local cultural industries subject to dying out can be revived, valued and cherished.

並列關鍵字

Meinong ； paper umbrella ； image/vision ； cultural and creative industry ； Hakka culture

參考文獻

一、中文書籍

1.朱惠良、陳長華、何傳馨、劉芳如、劉奇俊、宋龍飛（1984）。《重彩花鳥畫選》。台北：藝術圖書公司。

2.李蕭錕(1987)。《色彩意象世界》。台北：漢藝色研文化事業公司。

3.李世榮、吳立萍（2003）。《台灣的老鄉鎮》。台北：遠足事業文化有限公司。

4.李幸祥（1997）。《六堆客家故事》。高雄：高雄縣立文化中心。