「花杆博古圖」是金門地區獨特的稱呼。在傳統吉祥紋樣中,「博古紋」 是以古代的各種器物如青銅器、瓷器、玉器、文房珍玩等為圖像元素排列組 合,作為裝飾的一種吉祥紋樣。又泛稱為「博古圖」。在花瓶中插作四時花卉 加上蔬果等多重組合,民間稱之為「博古花卉圖」。博古花卉圖之內容除包括 各種吉祥動物、古器物、文房珍玩等等之外,最主要的元素為花瓶和四季吉 祥花卉組合· 金門地區源自閩南語系,花瓶稱為「花杆」,裝飾在建築內外空間的博古 花卉吉祥紋樣,就直接稱為「花杆博古圖」。裝飾空間涵蓋於牆堵、廳堂、神 寵等,紋樣圖像元素早期承襲中國沿海母文化源流,經過金門當地融合與轉 化,逐步形成具有地方性色彩。以各種不同的工料、工序、工法,透過各種 圖像元素排列組合,傳達其祈求四時流轉,生生不息的主題。不僅賦予建築 「禮法」與「空間」的觀念互為表裡,更是寓意著金門人對生命價值觀的文 化意涵。 本研究以金門國家公園區內傳統聚落建築,其裝飾之博古花卉圖紋樣為 背景,主要探討重點為最具代表性的前水頭63號蔡氏宅第前廳格扇門「花杆 博古圖」。「花杆博古圖」裝飾於屋身之正立面及大廳、神寵處,是一種表現 主人外在體面,也是內在思想觀念的延伸,更象徵屋宅是個彰顯祖德以及蔭 佑子孫之所在。 本研究論文以田野訪談調查與文獻探討所得,進行「花杆博古圖」之圖 像解析,旨在傳統建築裝飾紋樣中,豐富圖像傳達的時空,與蔡氏族人藉著 四時「花杆博古圖」所蘊涵尊祖敬天,寓意四季循環不殆,子孫繁衍,生命 生生不息,淵源流長之意涵。它不再只是單純的「美術工藝」,更是溝通人神 之間的「視覺語言」。透過圖像解析、釋意、詮釋,歸納出當代金門地區所信 奉的人生大事:完成「四樣全福」的精神價值與時代傳承;從「花杆博古圖」 圖像中探討花卉植物在金門傳統建築裝飾空間,寓意之人格化以及其承載之 生命價值意涵。
"Antiquarian Painting" is a traditional Chinese painting that integrates ancient utensils such as bronze, china, jade, and calligraphy as decorated symbol of luck and fortune. "Vase- Antiquarian Painting", a localized art form in Kim-Moy, inherits the traditional concept but amalgamates flowers, fruits, as well as auspicious animals and articles into the painting. As time goes by, seasonal propitious flowers in various vases have become the major elements of such painting. The research explored the timely cumulative process of how the people of Kim-Moy have localized and prevailed "Vase-Antiquarian Painting" by congregating their customs and traditions, through combinations of various material and techniques.It further probed the tradition and the insight of people there to inscribe these paintings on walls, gates, windows, and ancestor altars as decorations in order to enrich their architectures as well as their cultural values. "Vase-Antiquarian paintings" decorated on the houses of Tsai family located at the National Park of Kim-Moy provide the in-depth analysis and symbolization of different elements in the painting. In addition, each painting presents not only the aesthetics of architecture but also the visual message between human beings and gods. Moreover, the flowers of different seasons on the vase symbolize the wholeness of life-prosperity, fortune, longevity, and happiness. Furthermore, these four major representations are also the cultural values and spiritual codes that are passed on generation by generation. The "Vase-Antiquarian painting", in Kim-Moy, has not only transcended the surface meaning of the elements in the painting or the decoration in architecture:instead, it has become a spiritual tradition as well as a cultural ethics.