中華花藝在臺灣—從傳統插花到花藝新風貌的創見

Chinese Floral Arts in Taiwan：A Creative Point of View from Traditional Floral Arrangement to the New Style and Feature of Chinese Floral Art

張繼文(Chi-Wen Chang)

指導教授 ： 林保堯

共同指導教授 ： 黃永川

國立臺北藝術大學/文化資源學院學術論文/建築與文化資產研究所/碩士(2012年)

https://doi.org/10.6835/TNUA.2012.00046

摘要

對於東方插花的聯想經常泛指日本華道，實則中國插花曾影響日本且歷史較日本華道更為久遠。臺灣歷經日本殖民統治，發皇於臺灣的中華花藝是以復興中華文化為基礎；由一群學習日本插花形式卻認同於中華文化的插花老師，在黃永川教授的研究帶領之下成立中華花藝文教基金會。從歷史的角度，基金會的成立奠定中華花藝源流脈絡在臺灣的歷史定位；從創作的角度，中華花藝以已先秦的易經與深沈的儒、釋、道藝術精神為文化內涵。成立初期為教學方便，參引日本插花教學模式；晚近融入西方花藝設計創作技巧，成就文化兼揉且頗具現代精神的中華花藝。中華花藝特定的創作風格儼然在台成型。
東方插花源自中國；中華花藝卻成立於臺灣。中華文化復興運動的積極目的是為了將逝去的中國傳統文化予以重生；消極的目的不諱言為的是去日本化。中華花藝成立初期糾合不少日本插花各個流派成員，中華花藝發展至今卻有中國學員授證成為臺灣中華花藝教師。這些都是對發展於臺灣的中華花藝內涵與形式認同的問題，也是中華花藝在臺灣論題立論的基礎。
本研究以中華花藝文教基金會歷屆（1984-2012）所舉辦插花藝術展專輯圖錄為研究對象，運用圖像學以描述、分析、詮釋三階段研究方法對中華花藝的內涵與形式加以歸納及整理。刻意避開「中國中心主義」與「去中國化」等政治認同議題，跳脫以「中國化」或「本土化」的思維，直截以「全球化」與「在地化」的模式，思考臺灣的中華花藝未來的方向定位。

關鍵字

中華花藝 ； 圖像學 ； 文化認同 ； 全球在地化

並列摘要

The association of the oriental flower arrangement, often refers to “Japanese ikebana”. However, the Chinese flower arranging had much longer history and had a great influence on the arts of flower arrangement of Japan. After Japanese colonial rule, based on the revival of Chinese culture, the Chinese floral arts started again here in Taiwan and the Consortium Chinese Floral Arts Foundation established under the leadership of Professor Huang and the teachers who had practiced the form of Japanese flower arrangement identified themselves with Chinese culture. In the historical perspective, Consortium Chinese Floral Arts Foundation has set up and enlightend the Chinese floral origins in Taiwan. The creative aspect of the Chinese floral arts holds connotations of Pre–Change’s Yi Jing, Confucian, Buddhist,and Tao. In this foundation mentioned above, makes Chinese floral arts achieved the combination of multi-culture and modern spirit in Taiwan by offering the Japanese flower teaching model at the beginning ,meanwhile practice the bone structure of Chinese floral arrangement and recently the Western floral design and creative skills were also integrated.
The Chinese floral arts was originated from China，but the techniques of Chinese floral arts was founded in Taiwan. Therefore, Chinese Cultural Renaissance Movement is to restore the passing traditional Chinese culture and in order to de-Japanization .In the early days, Chinese Floral Art recruited members of various systems of Japanese flower arrangement. However, there are some students from China have granted certificate to become Taiwan's Chinese floral arts Teachers so far. Which results in arguments of Chinese floral arts development of Taiwan; especially related to self- identity of Chinese floral arts in Taiwan .
The main research focused on the previous (1984-2012) album catalog of floral art exhibition by the Consortium Chinese Floral Arts Foundation. Applied Iconology to describe, analyze, organize and interpret the three-phase study to generalize the meaning and form of the Chinese floral arts. Deliberately avoided the issue of “china centrism” and "de-Chinalize" political identity, and escaped the idea of the “Chinese perspective” or “Taiwanese perspective”. Emphasized straightforward on “globalization” and “localization” and to think about Chinese floral of Taiwan in the future.

並列關鍵字

Chinese floral arts ； Iconology ； culture identity ； glocalization

參考文獻

1987　《臺灣的傳統中國社會》。臺北：允晨文化。

Anthony Giddens

Benedict Anderson

Jean-Pierre Warnier

Kathryn Woodward