民族藝師林再興交趾陶研究

A Studying of the National Skill Master Lin Tzay Shing's Jian Tyy Pottery Art

10.30178/SJYJ.200507.0023

陳有樂(Yu-Le Chen)；何明泉(Ming-Chyuan Ho)

交趾陶 ； 地方文化館 ； 釉陶 ； 唐三彩 ； 宋三彩 ； 石灣陶 ； Jian Tyy Pottery ； local cultural museum ； glazed pottery ； Tang tyi-colored glaze ； Song-colored glaze ； Shek-Wan pottery

設計研究

5期（2005 / 07 / 01）

206 - 215

繁體中文

台灣交趾陶的發展，主要應用在廟宇建築、宗祠、及大戶人家的宅第。交趾陶是這些建築物的裝飾性構物，一方面作為美化建築物的功能，另外在交趾陶的內容創作方面，也成為廟宇等作為教育功能的故事文本。因此，我們可以說交趾陶的生命是依附在廟宇的載體，而其被認同則是由於其表現題材、內容的豐富性，與一般大眾對民間流傳故事的彼此瞭解、溝通與互動，所以交趾陶匠師的作品，才能栩栩如生地被廣大群眾所接受。交趾陶與中華民族釉陶的發展均有密切的關連，尤其在技術工藝上，與唐三彩、宋三彩、及廣東的石灣陶關連最深，本文研究在文獻的探討方面，亦當著力於交趾陶的溯源探討與技法比對；一方面豐富交趾陶的文化意涵，也藉由技法的探討，增添交趾陶在台灣本地發展的助力。以中華歷史證明，採開放政策的唐代，由於中、西經濟、文化、藝術的交流，因而創造唐代工藝鼎盛的時代，尤其以唐三彩的表現最為傑出，不但在釉陶方面建構其光輝燦爛的工藝，對後來的明鬥彩、清朝素三彩、粉彩、琺瑯彩等，都有很大的貢獻。台灣交趾陶也在釉陶這個系統中，獨力發展成為台灣本土的特色。本文交趾陶研究中以民族藝師林再興為例，探討林再興交趾陶的特色，肯定交趾陶在廟宇的場域生命力，與貼近民眾心靈互動的教美、教善功能，透過參與式的觀察、深入的訪談、以及問卷評估，證明交趾陶是一項值得保存與推廣的台灣本土工藝；配合文建會推廣”地方文化館”的計畫案，應積極推動”林再興交只逃文化館”的成立，並積極蒐集林再興所建的廟宇因翻修、重建而散失的交趾陶偶，並加以整理研究，以期對台灣交趾陶工藝發展產生更大的助益，並建構在地文化的特色。

As development of Jian Tyy Pottery (交趾陶), it mainly ornamented the temple, ancestral temples of clan and the rich person's grand houses. There fore the Jian Tyy Pottety became a famous decoration construct things, and it's not only regarded to the function of beautifying the building but also created figures of the traditional story of the texts for education. So we can say that the life of handing in the Jian Tyy Pottery is depended on the carrier attached to the temples, its recognized by the dynamic theme of those folk stories that spread by the general masses, so that the master of the Jian Tyy Pottery could be lifelikely acceptable by the local people. The development of Jian Tyy Pottery has close relationship with the ancient low temperature glazed pottery especial at technological craft, with Tang's tri-colored glazes, Song's tri-colored glaze and the deeply influences by Goang Dong (廣東) Shek-Wan pottery. The issue is studying in discussion of documents, it also approaching the source and research to compared with skill and technique in what have been handed in Jian Tyy Pottery in the presence of strength, and improving it in Taiwan. Unless history prove that adopt on open policy in the Tang Dynasty, such as include in economics, cultures and inter changes of arts between China and western countries, therefore created the era of the great prosperity of crafts in Tang Dynasty, specified the glorious tri-colored, glazes that brilliant the glazed pottery system, also influence over the over glazes those like inset with the low glazes for decoration in Ming Dynasty and power color glazed pottery, enamel color of glaze in Qing Dynasty, Taiwan's Jian Tyy Pottery is also in this traditional color pottery system, and then developed their own characteristics. This issue as the example of the national skill master of his characteristic of the Jian Tyy Pottery. We must conscious Jian Tyy Pottery field land as vitality in temple, with deeply impression close to people involved to the aesthetic and moral practice. The approaching technology through observation, deep interview and questionnaire investigation, prove that it is a native valuable craft of Taiwan that is worth keeping and popularizing in the Jian Tyy Pottery. Will popularize the plan by case of ”local cultural museum” to build while Co-operating with document's, should actively promote the establishment of Lin Tzay Shing's Jian Tyy Pottery to collect and arranged by ordering section times, and that will be a special characterized of the identity by local culture.