2009-12-25

形式‧變貌:大溪木器形式風格之探索

Special Issue on “Folklore Practices, Objects, and Notions of Time” (民俗實踐、物與時間觀)

賴明珠。〈形式變貌:大溪木器形式風格之探索〉。《民俗曲藝》166 (2009.12): 185-314
Lai Ming-chu. "Form and Variation: An Investigation of the Woodwork Style in Ta-hsi." Journal of Chinese Ritual, Theatre and Folklore 166 (2009.12): 185-314.

Abstract

十九世紀初葉林本源家族在大溪營建石城宅第,開啟延聘唐山大、小木作匠師進駐於本區施工的歷史首頁。其他本地仕紳大族也相繼於十九世紀中、晚期,進行宅第、祖厝的興建,並敦聘唐山細木匠師製作宗教、日用木器,持續擴展漢式木器在本區的發展。因而十九世紀「清式漢體」木器原型的移入與再現,乃是大溪漢體系木器文化濫觴的重要契機。
二十世紀前葉在日人統治的歷史情境下,大溪木器產業歷經現代化過程,並逐漸衍生出「岩色變體」及「漢和洋折衷變體」家具。
戰後大溪在先天與後天優異條件結合下,乃於19601980年代進一步發展為臺灣木器產業的重鎮。百餘年來唐山匠師、本地匠師在不同的階段,隨着生產技術、消費組織、社會背景、美感認知及設計理念的轉變,創造出具有時代脈絡特質的木器文化。本文嘗試從不同階段匠師們的作品中,探索大溪一地木器在歷經被微調、統合的過程中,演繹出兼具有時代性與地域性的集體風格形式。
In the early 19th century the Lin Ben-yuan family built a stone mansion in Ta-hsi. With this they started a history of hiring craftsmen of wood frame and carving from Tangshan (China) to construction sites in Taiwan. Subsequently, when the other local gentry families began to build houses or ancestral halls in the mid- to late 19th century, they also employed Chinese joiners to make religious and daily-use woodworks. The Han-Chinese style woodworks thus continued to develop in this area. Therefore, the introduction and re-production of Han-Chinese style woodwork in the 19th century became a crucial beginning for the expansion of woodwork culture in the Ta-hsi area.
In the first half of the 20th century, under the Japanese colonial rule, the Ta-hsi woodwork industry underwent modernization, which brought about the Yan-se (Chinese style) and the Han-Ho (Chinese and Japanese) composite-style furniture.
After the 2nd World War, with its innate and acquired advantages, Ta-hsi came to be an important town of Taiwan's woodwork industry from the 1960s to the 1980s. For more than a hundred years both Chinese and local carpenters in different stages created woodworks with stylistic features that reflect changes in manufacturing techniques, consumer organizations, social background, aesthetics and designing concepts. In this article, I examine Ta-hsi woodworks by artisans of different periods of time to explore their collective style that was generated after a process of fine-tuning and integration and manifest both era and geographical features.