神像形式與材料使用歷時性變化之研究

The Change of Joss’s form and material Using

陳嘉祥(Chia-Shuang Chen)

指導教授 ： 諸葛正

朝陽科技大學/設計學院/設計研究所/碩士(2009年)

摘要

藉由相關文字記述，發現人類往往會對器物衍生出心理上的
依賴感，使原來不具任何意義的物件開始擁有另一種意涵。同時
在出自於對安全感的祈求，並透過祭祀活動儀式將原本存於心靈
中虛幻無實的空想或神話，以具象物顯示其敬仰上的精神寄託。
於是宗教傳入「神像」，在經過世人的想像、模仿、設計後，將
崇拜觀念具體成形之物，便於瞻仰、緬懷，並且用以表達神靈特質，讓信眾的崇拜思想得以實現，過程中不斷有形制表現的變化
，唯一不變的是以神為核心的中心概念。因此，以設計的角度論之，神像是具有設計意念的物品，其強烈的形象含義，滿足人類
的心理需求，更建立人與神鬼靈魂間的溝通管道。

神靈有具象表現形式後，隨著陪葬俑製作的發展，產生和真
人一般大小是以立體形象的體、量、質、形、神、色等運用塑、堆、捏、貼、刻、畫的工法製成實物。之中將傳統圓雕、浮雕與
線雕技法結合，形成趨近寫實的製成品效果。

不僅如此，宗教的影響力也讓人類選擇在山中石壁上從事雕
刻神像的行為，讓後世佛陀造像有所參考，而這也對藝術設計史
的研究推展有極大的影響性。另一方面則能夠具體顯現神靈形體
形象，展開神像藝術之風，成為中國工藝文化的重要代表。如今
，神像不只是用於信仰祭祀上，在日常生活中更被用作為美化擺
飾的象徵物，同時進一步和藝術創作結合，展現出另外一種不同
的工藝文化精神。

人類製作神像所使用的材料因應當時的環境條件與生活水平
，加上運用的工具不同而產生差異。隨著科技日新月異，許多材
料愈來愈常應用於人類日常生活之中，而這些物品皆是由許多不
同材料所組成。無論是何種材料，其優缺點、好與壞都直接、間
接地影響人類生活，但是否也會影響神像表現外在的質感與價值
，以及神靈的內涵體現？

本研究目的是從人類依照自己直觀想像創造出「神像」的動
機作出發，藉由歷史變遷過程的整理與解讀，瞭解刻畫神靈的材
料選擇及神像型態的演變特徵等議題，解析神像的表現形式如何
作為滿足中國人崇拜觀念與其造形代表的意義。

　　研究結果如下：（1）神像使用意義與用途的變化；（2）神
像使用概念生成之解析；（3）神像使用意義的變化歷程與特徵；（4）近代生活中神像內涵的轉變特性；（5）神像形式的變化特徵；（6）神像使用材料的變化；（7）神像製作技術的變遷特徵
。

關鍵字

設計史 ； 使用 ； 祭祀 ； 工藝 ； 神像 ； 形式 ； 材料

並列摘要

A review of relevant literature reveals that humankind usually develops a psychological dependence on certain appliances, thus giving the originally insignificant objects certain connotation(s). In the mean time, by holding sacrificial ceremonies to these appliances--concrete incarnations of their worship which might otherwise exist only in their minds in the forms of fantasies or myths--people find a spiritual anchorage in their pursuance of sense of security. Thus, “God Image” was introduced into religion. “God Image” is the incarnation of people’s worship. Originally taking shape in people’s minds, it takes on concrete forms which are easy to worship and recall after imitation and design. It embodies the characteristics of god, provides for believers an object to worship, and keeps changing in terms of its appearance and making, the only thing that remains unchanged is its main concept of “god is the whole show”. Therefore, god image is an object embodying the concept of design from the perspective of design. It builds a communication way between human and gods and ghosts, and its meaningful appearance satisfies the psychological needs of human beings.

Since various gods had taken on concrete patterns of manifestation, with the development of the production of funerary figures, 3-D images of these gods are produced with shaping, piling, pinching, sticking, carving and drawing techniques. These products are the same as real persons in size, volume, material, shape, expression and color. The process combines traditional round carve, relief carve and line carve techniques to achieve a realism effect.

Furthermore, the influence of religion also drives people to carve god’s images on mountain rocks, aiming to provided a reference for the carving of Buddha’s images in later generation. This also has a great promotive influence on the development of the study of the history of art design. On the other hand, these images incarnate the shapes and appearances of gods , lead the fashion of god image art, thus become an important representative of Chinese crafts. Nowadays, god images are not only used in worship or sacrifice but also used as ornamental symbols for beautification whose combination with art creation demonstrates an alternative craft culture.

Materials used in the production of god image vary depending on the production environment and condition, living standards, and tools available at the time of production. With the rapid development of science and technology, many materials are used more and more in the daily life of human beings, including the production of god image. The advantages and disadvantages and the quality of materials will have direct or indirect impact(s) on the life of human beings, regardless of what materials they are. However, will they have impact(s) on the external appearance of the god image and its value, or connotations of the god?
The purpose of this study is to understand the evolution of the selection of materials for carving god images and the patterns of god images by reviewing and interpreting history with the motivation of humankind in creating “God Image” based on their intuitive imagination as starting point, and to analyze how do the patterns of manifestation of god image satisfy Chinese worship concept and the symbolic meaning of god image.
The study achieves the following results: (1) Changes in the significance and applications of god image are reviewed; (2) Formation of the god image application concept is analyzed; (3) Characteristics and evolution of the significance of the application of god image are discussed; (4)Changes of characteristics of the significance of the application of god image in life in recent years are reviewed; (5) Characteristics of pattern changes of god image are reviewed;(6) Changes in production materials of god image are discussed; (7)Characteristics of the evolution of production technology of god image are reviewed.

並列關鍵字

craft ； god image ； pattern ； application ； history of design ； material ； sacrificial ceremony

參考文獻

7.李坤寅，2002，“釋迦牟尼佛傳記的神話性初探－以八相成

3.李佩瑜，2003，“商周青銅器的斷代與分期”，問學集第12

14.胡惠君，2006，“形狀語法運用在造形設計之研究”，設計

7.邱宜文，2004，“《山海經》中故事性神話之詮釋”，中國

13.洪珊慧，2006，“起源與流長－中國神話思想之黃帝傳說”