自古以來，水墨、石刻與寺廟三者，可謂淵源深矣。其中，漢代以來，流行建祠立碑。此後，寺廟頗多石刻裝飾，而且形成日後的漢人宗教藝術之傳統。再者，宋代以降，則是書畫入碑，稱之為書畫碑。因此，明清以來的漢人移民及其後代所創立的台灣寺廟，自不例外，也是書畫幻化石刻，從而裝飾寺廟。然而，工匠石刻終非文人書畫，況且水墨未必飾廟。文人水墨自有其傳承，工匠石刻也是淵源有自；二者相關然而未必相同，而且同流未必偶然。本文調查彰化南瑤宮之水墨石刻；探討紙本書畫的筆墨情趣何以幻化石材浮雕之不朽；亦即石工如何面臨材質、技法以及風格的挑戰與轉換，傳統石刻如何借助「水磨沉花」之技法，從而過渡到「水墨石刻」。因此，本文將以彰化南瑤宮的三川殿、尤其龍虎邊窗邊組為例，首先依照壁堵材料以及各部結構，逐一檢視該處石雕；同時，分別搜尋該當畫家之水墨畫作，進而比對水墨與石刻之各自傳統，從而分析二者之間材質、技法與風格之間的互動，試圖探尋1930年代重修南瑤宮之際的水墨、石刻以及寺廟之關係。 Since ancient times, there are close relationship between ink painting, stone carving and temple. In Han dynasty, people liked to build shrine and stone carving. Since then, decoration by stone carving became a tradition of Chinese religious art. Furthermore, the period after Song dynasty, calligraphy and ink painting were carved on stone. As a result, some calligraphy and ink painting carved on stone became decoration of temple. But ink painting was different from stone carving. Why people like to use ink painting to decorate temple? So, the paper will focus on Nan-yao Kung Temple at Chang-hua, and study the relationship between ink painting, stone carving and temple.
