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1960至1980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