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|Other Titles: ||The esthetics study of Taiwan Mazu sculpture|
|Authors: ||吳榮賜;Wu, Jung-ssu|
|Issue Date: ||2010-01-11 05:12:32 (UTC+8)|
Mazu is the omnipotent god of the island, the most worshiped god in Taiwan. Scholars have studied the culture of Mazu for a long time yet few of them have addressed the esthetic discussion in terms of the sculpture. This text treats the sculpture of Mazu as the object of study and uses on-the-spot creation as the material of composition. The author gives first-hand discussions toward the esthetics of Mazu sculpture based on the long sculpture experiences for more than thirty years. The brief illustration of each chapters in this text is as follows:
This text is framed in five chapters; the first chapter, introduction, delineates the foal and motive of this study followed by the relevant strategies and procedures adapted in this article.
Chapter two, the history and origin of Mazu belief in Taiwan, organizes the whole story of Mazu belief in Taiwan and analyze its culture characteristics; in this chapter, the author also reports the results from the field survey of god-sculpture workers in Fu-jian area and observes the phenomenon of contemporary Mazu belief in the view of sculpture workers.
Chapter three, the modeling analysis of Taiwan Mazu, starts by clarify different schools of sculpture modeling then followed in-depth discussions of the skill of Fu-zhou school. This chapter concludes and analyzes the esthetics of sculpture by practical sculpture and stands as the most important part in this article. By completely systematizing the skill of Fu-zhou school and establishing the framework of Taiwan Mazu sculpture in terms of faces, gestures, postures, clothes and ornaments, the author sets up the esthetics of Taiwan Mazu sculpture.
Chapter four, the cultural meanings of Taiwan Mazu sculpture, discusses the cultural meanings of Mazu sculpture in the view of cuturology This gives the Taiwan Mazu sculpture an integrally culture interpretation in terms of its faces, gestures, postures, clothes and ornaments.
Chapter five, conclusions, reviews the results in the text and suggests potential studies for future researches.
|Appears in Collections:||[中國文學學系暨研究所] 學位論文|
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