傳統民俗刺繡風格演變之研究－以台南地區廟宇刺繡文物群為例

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题名:	傳統民俗刺繡風格演變之研究－以台南地區廟宇刺繡文物群為例
其它题名:	The study of the development of the traditional embroidery style: focusing on embroidery in the temples in Tainan
作者:	方玉芬 Fang, Yu-fen
貢獻者:	美學與藝術管理研究所陳泓易 Hung-yi Chen
关键词:	台南繡莊;宗教性刺繡文物;符號象徵;傳統民俗刺繡 Tainan embroidery studio;religious embroidery;world view;symbolic meaning;traditional folk embroidery
日期:	2007
上传时间:	2015-04-20 15:32:23 (UTC+8)
摘要:	台灣因地理位置與特殊族群、歷史的因素豐富了傳統民俗刺繡工藝的文化內涵，其發展歷程融入多元的樣貌；筆者針對台南地區廟宇宗教性刺繡文物的田野調查發現，從清治－日治時期到民國六〇年代的刺繡文物群，其刺繡形制圖紋主題、施繡技法、材料應用與風格的表現，因應不同時期社會文化內涵的影響，產生了演變歷程中不同的刺繡工藝風貌與時代特色。　　　　本論文藉由田野調查與文獻史料蒐集，探討傳統民俗刺繡進入台南的歷史源流與本地發展概況，以「深度訪談」、「參與觀察」方法訪談繡莊刺繡藝師，建立刺繡工藝施繡技法資料，並以刺繡文物群實物資料回溯刺繡工藝因應不同時期的社會變遷，施繡技法工序與材料技術的變革，對刺繡形制風格所產生的影響。　　　　研究發現，傳統民俗刺繡在台南的發展歷程與演變風格可大分為五個階段，第一階段為清治移植發展期：刺繡風格依循著移民社會的宗教儀軌施作原則，以神話傳說戲曲內容為施繡圖紋表現主題；第二個階段為日治滯緩期：受宗教限制與日本西化影響，刺繡形制延續清代傳統而圖紋簡化並加入新的織繡材料；第三階段為台灣光復傳藝期：邁入刺繡技藝傳承時期，傳統的師徒傳授制度為台南市繡莊傳承的主脈，沿襲閩繡施繡技法與在地的風格；第四個階段為民國五○－六○年代興盛期：政體、社會經濟的穩定與宗教自由，帶動繡莊產業的活絡，塑料材質在此時期介入，影響施繡技法工序與風格甚巨；第五階段為民國六○年代以降機械刺繡介入期：刺繡風格朝向圖紋繁複、色彩眩目熱鬧的世俗化商品發展。　　　　宗教性繡品的刺繡圖紋主題作為宗教信仰儀式的符號表徵，除了具備祥瑞祈福意涵外，尚隱含了「除煞辟邪」的象徵文化系統，這套系統源自於民間信仰體系中對宇宙象徵秩序的分類法則，涵蓋「五行名類系統」與「神煞信仰系統」概念範疇，透過刺繡形制圖紋之符號象徵，共同詮釋民間集體精神面貌與傳統宇宙觀的實質內涵。　　Owing to its location, Taiwan possesses of special races and rich history which both promote the development of traditional folk embroidery. Focusing on religious embroidery of temples in Tainan, the researcher investigates the subjects, forms, patterns, stitching styles, material adoption and applications of embroidery. The research shows that from the periods of Ching occupation, Japanese occupation to 1970s, reflecting on different social and cultural backgrounds, traditional folk embroidery in Tainan including its forms, patterns, stitching styles and material adoptions and applications varies and developed a diversity of appearances and characteristics. 　　　　By field study and historical data collecting, the researcher aims to probe the origin and the development of traditional folk embroidery in Tainan. By in-depth interview and participant observation the research interviews embroidery technicians which helps to build the data of embroidery artistry. Further, the data of the historical embroidery relics enables the researcher to perceive how the evolution of stitching styles and material applications in accordance with different social backgrounds affects the embroidery styles. 　　　　According to the findings, the development of the traditional folk embroidery in Tainan can be divided into five stages. At the first stage, the immigration age of Ching occupantion period, the embroidery style is subject to the implementing principles of contemporary religious rituals, and the subject matters often embody the elements of mythological legends and dramas. At the second stage, the stagnant age of Japanese occupantion period, being subject to religious beliefs and affected by Occidentalizing Japan, embroidery forms inherited the embroidery in Ching dynasty that tends to simplify the patterns of embroidery and to add new embroidery materials. At the third stage, the inheriting age of Taiwan restoring period, traditional embroidery artistry proceeded into the inheriting age. During this period of time, the inheriting tradition between masters and apprentices became the mainstream in Tainan City which follows the Ming embroidery style and local embroidery style. At the forth stage, 1960s to 1970s embroidery thriving age, during this period of time, people underwent steady regime and economy and were entailed with freedom of religious beliefs which boost the embroidery manufacturing. In addition, plastic materials are applied at this stage that tremendously affects stitching procedures and styles. At the final stage,after 1970s the age of machining embroidery, the more complex patterns and the more colorful the embroidery are, the more they are appealing to the market. 　　　　The patterns and subjects of religious embroidery represent the symbols of religious rituals. Those symbols not only embody the auspicious meanings but manifest the cultural symbolic system which works to ward off evils. This system is originated from people’s beliefs of the operation of the world which reflects the concepts of five agents system and the system of God and evil beliefs. 　　　　With the symbolic meanings of embroidery forms and patterns, people are able to interpret the ethos and their traditional views of the world.
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