臺灣媽祖造像美學研究

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Title:	臺灣媽祖造像美學研究
Other Titles:	The esthetics study of Taiwan Mazu sculpture 台灣媽祖造像美學研究
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：本文架構分為五章，第一章〈序論〉說明研究動機與目的，以及論文操作的方式與步驟。第二章〈台灣媽祖信仰的歷史與源流〉梳理媽祖信仰在台灣的源流始末，並從中分析台灣媽祖信仰的文化特質；在本章亦報告了田野調查福建地區的神佛造像工作者之成果，藉由造像工作者的視野觀察當代媽祖信仰的現象。第三章〈台灣媽祖造像造型分析〉以造像造型的派別釐清為起點，再深入探討福州派的技法。本章經由造像實踐，歸納分析造像美學，為本文最重要之處；將福州派的工法完整系統化，以台灣媽祖造像的面目、手勢姿態、衣飾架構出台灣媽祖的造像美學。第四章〈台灣媽祖造像的人文意涵〉以文化學的角度來討論媽祖造像所具備的文化意涵，將台灣媽祖造像的面目、手勢姿態、衣飾作整體性的文化詮釋。第五章〈結論〉回顧本文研究成果，並說明後續研究之可能。 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:	[Graduate Institute & Department of Chinese] Thesis

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