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府城粧佛工藝的在地化 ―― 「金芳閣」陳金泳及其作品之研究=A Case Study of the localization of Clay/Wooden God Statue Decoration in Tainan: Jin Fang Ge’s Chen Jin-yong and his works |
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| 著者 |
鄭羽伶 (著)=Cheng, Yu-Ling (au.)
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| 出版年月日 | 2020 |
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| ページ | 135 |
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| 出版者 | 國立臺南大學 |
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| 出版サイト |
https://www.nutn.edu.tw/
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| 出版地 | 臺南市, 臺灣 [Tainan shih, Taiwan] |
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| 資料の種類 | 博碩士論文=Thesis and Dissertation |
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| 言語 | 中文=Chinese |
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| 学位 | 修士 |
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| 学校 | 國立臺南大學 |
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| 学部・学科名 | 文化與自然資源學系臺灣文化碩士在職專班 |
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| 指導教官 | 戴文鋒 |
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| 卒業年 | 108 |
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| キーワード | 陳金泳=Chen Jin-yong; 金芳閣=Jin Fang Ge; 粧佛=clay/wooden god statue decoration; 傳統工藝=traditional crafts |
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| 抄録 | 臺南是臺灣最早開發的城市，古廟數量可說是全臺之首，而神像為廟宇祭祀空間的要角，粧佛工藝也隨著需求多而發展興盛。臺南粧佛工藝的發展，因早期漢人移民以泉州、漳州為多數，粧佛藝師也多為泉州籍，多散佈在五條港區，直至日治時期才有福州派粧佛藝師進入市場。而後，因二次世界大戰的爆發、戰後初期新政權開始，政治、經濟各層面尚未穩定，使粧佛工藝受到壓抑，1950年代後在社會秩序穩定後，才慢慢回溫，福州派粧佛藝師因傳承制度的開放而隨之興起，呈現府城粧佛市場的另一風貌。
1969年，原從事糊紙業，有「糊紙皇帝」美譽的陳金泳（1934～1997）毅然決然地轉業，開設「金芳閣」從事木雕粧佛工藝，其粧佛技法並非師承自泉州或福州派別，而是奠基在糊紙業的基礎上，融合泉州與福州派粧佛之長，加上自身美感經驗、對同業學習與周遭神像的觀察，注重人體工學的自然姿態與解剖學的身體結構，在寫實與寫意之間取得平衡，自成一派，所收弟子量多質精，影響後來粧佛工藝的風格，在現今粧佛業界立有一席之地。
本研究透過口述訪談、文獻蒐集、田野調查等方式，建構陳金泳的生命史、陳氏糊紙業發展脈絡、「金芳閣」的創立背景、整理陳金泳的創作類型、創作特色與理念與陳金泳粧佛工藝的開枝散葉，補齊府城粧佛工藝在地化過程中的重要拼圖。
As the first permanent settlement in Taiwan, Tainan has the greatest number of old temples. The location where the statue of a god situated, is seen as the center of a temple. With the increase of the need for clay/wooden god statue decoration from temples, the industry has been greatly developed. In early years, most Han immigrants were from Quanzhou and Zhangzhou. At the time, most Quanzhou craftsmen settled in the Five Channels area in Tainan. It wasn’t until Japanese rule that the Fuzhou style started to enter the market. Nevertheless, after the breakout of the Second World War and the subsequent transfer of authority after the war ended, society had to cope with many forms of instability, especially economic and political. Consequently, the industry was heavily restricted. Later, with the re-stabilization of social order in 1950s, the industry finally boomed again. The Fuzhou style’s open way of teaching, as opposed to limiting instruction to family members, attracted many more craftsmen.
In 1969, Chen Jin-yong (1934~1997), also known as the king of paper-paste sculpture, resolutely determined to redirect his career into wooden god statue decoration, and founded Jin Fang Ge. Chen didn’t belong to the Quanzhou or Fuzhou styles. Instead, he applied what he’d learnt in paper-paste sculpture and combined the advantages of both Quanzhou and Fuzhou styles. In addition to having an eye for beauty, Chen also carefully observed god statues whenever he found them, and diligently learnt from people of the same profession. Additionally, he stressed making statues look natural, conforming to human body proportion. Chen not only successfully created his own style but also took quite a few apprentices who also produced high quality of works. Chen’s influence on the industry was indisputably considerable.
Through interviews, a literature review, and field research, this paper discusses Chen Jin-yong’s life story, the history of his family’s paper-sculpture business, the establishment of Jin Fang Ge, the features and concepts of his creation, and the success of his style. The author aims to provide more information for the localization of clay/wooden god statue decoration in Tainan. |
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| 目次 | 第一章 緒論 1
第一節 研究動機 1
第二節 研究目的 2
第三節 前人的研究回顧 3
第四節 預期成果和限制 6
第二章 府城粧佛工藝 7
第一節 府城粧佛工藝的發展概況 7
第二節 府城粧佛派別 15
第三節 府城粧佛工藝的在地化 23
第三章 從糊紙到雕塑技藝──「金芳閣」的誕生 27
第一節 糊紙世家──陳金泳生命史 27
第二節 「金芳閣」粧佛技藝的開創祖師 34
第三節 陳金泳的作品類型 44
第四章 「金芳閣」陳金泳及其作品的影響 67
第一節 陳金泳創作特色與理念 67
第二節 陳金泳粧佛工藝的開枝散葉 78
第三節 陳金泳及其作品的影響 96
第五章 結論 102
參考資料 107
附錄一、陳金泳生命歷程大事紀 109
附錄二、臺南市粧佛店家分區列表 111
附錄三、陳金泳糊紙作品列表 114
附錄四、陳金泳木雕粧佛作品列表 120
附錄五、陳金泳其他作品列表 129
附錄六、訪談表與訪談紀錄 133 |
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| ヒット数 | 384 |
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| 作成日 | 2020.07.16 |
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| 更新日期 | 2023.01.16 |
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