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  • 學位論文

匠師、技藝與手路:臺南地區打錫工藝發展脈絡之研究

Craftsmen, Skills, and “Chiu Lo”:A Study on the Tin Craft’s Development of Tainan Area

指導教授 : 江韶瑩

摘要


摘要 傳統藝術的文化深度,不僅建立於物的美感造型,亦含有實用功能與源遠流長的歷時性。那些默默製作工藝品的匠師們,同樣也是為傳統藝術點滴鋪陳文化厚度的要角,他們的生活與工藝品、民俗活動、信仰體系、社會情境息息相關,因此本文以口述歷史為背景知識,佐以相對應之各類文本,探索工藝品背後所深藏的文化意涵。藉由類似民族誌的書寫方式,希求能自然地以匠師們的角度看待他們所認為的美,從一位打錫師傅的工藝故事作為理解工藝生活的開端,再以漸進閱讀工藝網絡裡的生活內容,除了明確地以臺南打錫工藝作為特定範圍的研究限制,以與其直接相關的鄰近區域的打錫師傅的延伸訪談,更得以理解打錫工藝具有產業的「跨地域性」、技藝的「相似性」與工藝文化的「整體性」,藉著打錫師傅們的詳盡敘述,得以以描繪1945-2009之間的臺南地區打錫工藝發展脈絡。 對匠師而言,如何讓前輩所累積的工藝經驗世代相習,並且學習那股傳承已久的技藝巧勁,便是工藝生活中最重要的事。「手路」即為多年來技藝施作的耳濡目染與潛移默化,使得匠師們體驗了傳統文化的許多過程。臺南打錫師傅以傳統工法「水銀焊」,作為陳述「美感經驗」的一種媒介,他們藉此實踐了工藝生活中的各種文化價值;技藝不僅讓錫器被賦予文化脈絡中所被期待的視覺造型與宗教功能,也延續了「生活情境」中的專業知識及師承系統;更重要的是,「技藝內容」維繫人際關係之間應有的倫理與尊重所產生的深刻體驗,以此延伸出相互依賴的工藝網絡。 於此,「手路」不被看做是一種傳統技藝或單純的心理狀態,而是一種生活的結構,它既非一種「功能物」、亦非一種決定「功能」的物品,因為「手路」本身即為人與物之間的一種媒介;使用一組分類描述手路的內容,並非為了分析之便而進行分類,亦非為了評判優劣,而是嘗試藉此探討一種情境的邏輯:「手路」所醞釀的文化內涵,一語道盡以「技藝」為基礎的種種文化價值,陳述「技藝」如何承載豐富的文化知識、工藝技術、生活態度,乃至於將美感經驗延伸於工具、工藝品與實現文化意義的工藝環境,耙梳臺南打錫工藝的發展現況。 關鍵字:打錫師傅、錫器、手路

關鍵字

打錫師傅 錫器 手路

並列摘要


Abstract The depth of traditional folk culture and arts, not only establishes in the esthetic sense modeling, but also includes the practical function and the historic significance. The in-depth cultural thickness is increased by traditional craftsmen’s life which is closely linked with the handicrafts, the folk custom activities, the belief systems and the social situations. Therefore, this thesis used the orally history to establish the background knowledge and contrasts with the related texts for exploring the cultural values behind the traditional folk culture and arts. Through the ethnography writing method, this thesis attempts to experience the traditional esthetic sense which by a craftsmen point of view. This thesis tried to peer the craft life from a traditional tinsmith's craft story, and gradually read craft network life content. This thesis felt in the life content of the craft network, and limited the Tainan area for the study of the traditional tinwork, describing 1945-2009 Tainan traditional tinwork history by tinsmiths’ exhaustive narrations. The most important matters are how to deliver craft experiences which are accumulates by senior craftsmen, and how to study the unique expertise concept. After many years being imperceptibly influenced by what one sees and hears, craftsmen have experienced the traditional culture. Tinsmiths indicated esthetic sense experiences and craft values by the traditional skill: “process of mercury welding”. It not only entrusts with the traditional tinware implicate the visual modeling and the religious function anticipated by the cultural vein, but also has continued the unique expertise and apprenticeship from the “the life situation”. More important of all, they embrace ethics and respects of interpersonal relationship, extending the interdependence craft network from “the skill content”. In this, “Chiu Lo” is not regarded as is one kind of traditional skill or psychological condition, but is one kind of life structure. it is not “the function”, or the object to decide “the function”, because it is a medium between the person and the object. Using a classification to relate with the content of “Chiu Lo”, is not only for analyzing, but is for the attempt of taking advantages of the discusses of situation logic. “Chiu Lo” incubates cultural connotation. It takes “the traditional skill” as the foundation all sorts of cultural value and it states how “the traditional skill” bear rich culture knowledge, craft skills, the life attitudes. It also extends the esthetic sense experience in the tools and the handicrafts, realizes the cultural significance craft environment, and conformities Tainan tin craft development present situation by these cultural content. Key words : Traditional Tinsmith, Traditional Tinware, “Chiu Lo”

參考文獻


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