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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/34365

    Title: 臺灣媽祖造像美學研究
    Other Titles: The esthetics study of Taiwan Mazu sculpture
    Authors: 吳榮賜;Wu, Jung-ssu
    Contributors: 淡江大學中國文學系碩士班
    吳哲夫;Wu, Che-fu
    Keywords: 媽祖;文化;造像;美學;Mazu;Sculpture;Esthetics;Culture
    Date: 2006
    Issue Date: 2010-01-11 05:12:32 (UTC+8)
    Abstract: 媽祖是海島的萬能神,是台灣最受歡迎的神祇。歷來學者對媽祖文化的研究甚夥,但是針對媽祖造像美學的討論卻極為缺乏。本文以台灣媽祖造像為研究對象,以在場性的創作實踐為材料,由筆者三十餘年雕塑經驗,直接面對處理台灣媽祖造像美學。以下茲將本文各章作提綱契領的說明:
    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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