台灣廟會組曲

本論文以「台灣廟會組曲----劉韓畿現代水墨創作探索論述」為題，闡述筆者對台灣廟會的情感。台灣廟會是台灣地區，在數百年來，人民生活不可或缺的一部分，遂使台灣廟會成為民間信仰之一。廟會源自生活，同時也是時代的產物，筆者從小即住在全台聞名的北港朝天宮附近6公里外的水林街上，水林本身即供奉五府千歲的溫王千歲，近二十年來客居於台北艋舺的龍山寺附近，所以對於廟會有一份特別的情感，鑑於此試圖以廟會為撰寫論文之主題。本研究論文如下: 第一章從研究動機與目的和研究範圍與方法，探討台灣廟會文化的內涵。並就創作內容、範圍來探討台灣廟會民俗活動之脈絡，並根據作品表現形式、技法等尋找相關理論為探討對象，媒材以水墨為主，其他媒材為輔。創作內容，以北港朝天宮、大甲鎮瀾宮、新港奉天宮、台北艋舺龍山寺、北投關渡宮、淡水福佑宮等廟會、廟宇為主，作為本次台灣廟會組曲內容取捨依據，以及創作形式的主軸，台灣廟會組曲的繪畫創作，也是筆者考研究所時擬定的計畫研究大綱。第二章台灣廟會文化的文獻探討，透過廟會文化的源流為橋樑，探討廟會文化與台灣社會的互動關連，並探討社會變遷下的廟會文化，進而思索台灣廟會文化對我們的未來影響，以佐證筆者創作的理念依據。第三章為筆者理念之闡述。由於筆者本次創作的主題以台灣廟會系列為主題。故本章節介紹台灣廟會組曲創作理念的形成。探討台灣廟會文化與創作理念行程之轉化，是針對作者內心的轉化過程提出說明，廟會組曲創作理念的形成，就是作者成場過程對廟會的憧憬、幻想、影像、感受，藉著創作理念的形成機發出一種語言符號，把原本影像昇華過度到真實世界結合。並分析作者個人整體創作理念，進而把主題的內涵與象徵意義，創作形式思考，材料形式與表現技法，溶入形式之美的實踐歷程，而把本創作研究得以具體呈現。第四章作品解析與內涵分析，列舉十件作品，分別從內容、形式、技法三方面來深入分析。並對作品的創作過程作詳實的說明。第五章結論，透過筆者藝術創作詮釋台灣廟會組曲的民間信仰本質，並藉著圖像語言和符號，描繪出作者對台灣廟會的本土信仰的思維。能對台灣廟會組曲系列創作之省思與未來做做方向之探討有所助益。

關鍵字

台灣廟會；香條；平安符；金紙

並列摘要

This study, entitled “A Suite of Taiwan Temple Fairs – A Study of the Modern Ink Paintings by Liu, Han-Chi”, illustrates the author’s feelings for Taiwan temple fairs. Temple fairs have been an indispensable part of people’s lives and one of the folk religions in Taiwan in the last few centuries. They are derived from life and are also a result of the era. The author of this study lived on Shuei Lin St., which was 6 kilometers away from the renowned Chaotien Temple at Peikang and where one of the Five Kings was worshiped, when he was little, and has been living near Lungshan Temple in the last two decades. With very special feelings for temple fairs, the author has written this paper. The content is summarized as follows: Chapter I discusses the research objectives and methodologies in exploring the connotations of Taiwan temple fair culture, the development of the Taiwan temple fair folk activities based on the content and scope of the paintings, and the related theories based on the forms of expressions and techniques of the paintings. The main medium is ink, and the paintings include Chaotien Temple at Peikang, Ta Chia Jenn Lann Gong, Hsinkang Fengtian Temple, Manka Lungshan Temple, Beitou Guandu Temple, and Tamsui Fuyou Temple. Chapter II examines the interaction and relationship between the temple fair culture and the Taiwan society based on a literature review of the Taiwan temple fair culture. It also explores the temple fair culture with the development of the society as well as the influences of Taiwan temple fair culture on our future as a basis of the creation ideas of the author. Chapter III describes the author’s creation ideas of A Suite of Taiwan Temple Fairs and discusses the changes in the author’s expectations and perceptions of the temple fairs. By using language symbols to promote the original images into the real world and analyzing the author’s creation ideas, the author incorporates the connotations and symbolic meanings of the theme, creation form, materials and expression techniques into the actual practice and facilitates this study. Chapter IV lists 10 paintings, thoroughly analyzes their content, forms and techniques, and explains the creation processes of these paintings in details. Chapter V expresses the essence of the folk religion of Taiwan temple fairs through the author’s creations and describes the author’s thinking on the local religion of Taiwan temple fairs through graphic language and symbols to serve as references for future studies.