台灣人崇拜祖先與敬畏鬼神,認為祖先的靈魂與無祀的孤魂仍存在於天地 之問,神鬼可以降祟賜福給人們,於是藉著各種儀式祭典的舉行,運用各式各 樣的裝置和祭品表達祭祀者的心意與祈求,希望能得到降福,避免懲罰和災難。 糊紙物(簡稱糊紙或紙類)在台灣傳統祭典儀式中最為媒介物,本文將探 討糊紙物作為人們祈願的媒介所象徵的意涵與儀式之間的關係、糊紙物受到的 典籍、風水、神話和傳說影響、以及糊紙物在宗教及文化上所扮演的角色。 本研究對象範圍是台灣本島的漢人,主要的方法首先是進行文獻整理;其 次是運用田野調查及訪談,蒐集初步的原始資料;最後藉由個案分析與比較, 尋找作品的藝術特性、風格與文化內涵。即是將糊紙的研究放入整個社會文化 脈絡中,呈現目前台灣糊紙的運用與現況。研究範圍分四個方向: 一、糊紙工藝:藉由工料、工法、工序的紀錄、分析與探究,來了解糊紙 工藝的現狀。 二、糊紙物本身的意涵:紀錄及分析糊紙物的個別造型、社會功能、使用 情境與儀式位置。 三、糊紙師傅。簡述師傅們的經歷、師承和學藝過程、技術方法、標準和 要求。 四、糊紙產業:敘述由原料生產和紙材行、師傅和糊紙店以及道士和葬儀 社所構成的產銷機制。 糊紙是一門逐漸式微可能即將消失的民問工藝,因為糊紙物的下場幾乎都 是焚毀,加上面對著生活型態的轉變和環境保護的挑戰,也使得一般人對價格 的重視勝過對糊紙物的品質要求,使大批粗製濫造的產品隨處可見,如此造成 了糊紙師傅的生計問題,更使優良的技藝,逐漸隨著老師傅凋零而消失。糊紙 工藝的保存,已經到了刻不容緩的地步,該保存些什麼,如何保存將在結論中 嘗試提出。
Taiwanese religion consists of ancestor and god worship, and awe of ghosts. People believe ancestors and ghosts dwell upon the earth and, along with gods, can work weal and woe. So, Taiwanese perform ceremonies and make many paper objects and food to ask for blessings from heaven and to escape celestial punishments and earthly disasters. Paper-sculpture is an instrument for ceremonies and rites. In this paper we will discuss its meanings and the relation between object and function. We will consider the influence of literary classics, geomancy, mythology, and legend, and analyze paper objects’effects on religions and culture. Research target is the Han culture in Taiwan. Our process is first to review literature. Next is fieldwork, and collection of original sources. Finally by case study and comparison, we can appreciate paper sculptures artistic,stylistic and cultural value. We will also examine the present day use and status of paper sculpture in Taiwan. We will consider four respects. 1. Paper-sculpture craft: its materials, methods, work process, techniques, and the current status of paper sculpture. 2. Meanings of paper objects:Use in ceremonies and rites, social function, and occasions for use. 3. Craftsmen:apprenticeship, mastery of techniques and skills. 4. Paper-sculpture industry:suppliers, craftsmen, paper sculpture retail, Taoist priests, funeral service companies and their interrelationship. Paper-sculpture folkcraft is disappearing. Paper objects are burned, modes of life changes, and environmental concerns hamper production. Today price takes precedence over quality and new products are usually inferior. Many craftsmen cannot continue and their techniques get lost. When elder craftsmen dies, then this craft, too, will die out. We try to determine what needs to be kept and how to preserve this art in our conclusion.