台灣的神轎The Ambrosial Palankeen of Taiwan
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中文題名
台灣的神轎
其他題名
The Ambrosial Palankeen of Taiwan
類型
圖書
主題
學位論文
民俗傳說
民俗傳說
關鍵詞
描述
神轎為神明繞境時所乘坐之轎子，依形式分作輦轎、武轎、顯轎、文轎、花轎、大駕、鳳輦、輦宮和龍鳳車，始因於民間信仰中神明聖誕慶典之需，依神像尺度與車輿典章制度而製作神明專屬的轎子，經歷代演變而漸漸強化其建築形式語彙，逐漸被賦予「神明的移動廟宇」之意涵。台灣的神轎不僅承襲了漢民族的傳統思維，且融合現代材料、技術與觀念，造成材質、造型與尺度的多元性，復加上繡品、錫器、燈籠等配件點綴而顯華麗，充分展現民間信仰之興盛，亦為台灣最具代表性的傳統藝術之一。本文以傳統工藝、建築形式、民間信仰為主要三向度，就工料、工具、工序、工法、神聖空間建立、空間尺度、建築元素使用、屋頂形式位階、建築縮影、神轎形式與主神神格、轎班組織、神轎相關儀規、使用保養與維修、產業經營模式變化等項目試作探究，以建構台灣傳統神轎之發展歷程並分析其空間組成特性，進而探討台灣神轎所反映出各個時期常民生活中的宗教觀與建築觀，並藉由三大向度交互檢視以祈客觀詳實。
The ambrosial palankeen, on which a god (a statue of god) sits during his or her inspection tour, can be categorized into 9 different kinds according to its form. Originally, they were crafted for gods'' birthday ceremony, based on the size of their statue and rules of making quoted from ancient texts. As the tradition developed, architectural terms became the mainstream terminology used to refer to sacred palanquins and to its crafting process, implying that they are "the moving temple of gods". In Taiwan, the culture of ambrosial palankeen is not a pure inheritance of Han''s traditional beliefs; it is a hybrid of the tradition and the variation of modern materials, new technology, and concepts, with superb decoration of embroidery, tin ornaments, and lanterns. As one of the most representative Taiwanese traditional artworks, the ambrosial palanquin fully demonstrates the prosperity of Taiwanese folk religion.This paper focuses on three dimensions of ambrosial palankeen: as traditional artwork, as architecture, and as medium of religious beliefs. Also, materials, used tools, process of crafting, used techniques, establishment of sacred space, spatial degree, applied architectural elements, rooftops’ forms and corresponding implications of status, architectural epitome, relationships between sacred palanquin and gods'' status, organizations of ambrosial palankeen lifters, rules and manners related to ambrosial palankeen, maintenance and repair, and changes in guiding principles of property management are all included in the discussion, in an attempt of demonstrating the history and development of Taiwan’s ambrosial palankeen culture with an analysis of the palanquin''s spatial structure and features. Furthermore, this paper discusses about various religious views and architectural aesthetics revealed by ambrosial palankeen culture, views and aesthetics that are from folks living in different times. Three dimensions of ambrosial palankeen are cross-checked as an approach to objectivity.
The ambrosial palankeen, on which a god (a statue of god) sits during his or her inspection tour, can be categorized into 9 different kinds according to its form. Originally, they were crafted for gods'' birthday ceremony, based on the size of their statue and rules of making quoted from ancient texts. As the tradition developed, architectural terms became the mainstream terminology used to refer to sacred palanquins and to its crafting process, implying that they are "the moving temple of gods". In Taiwan, the culture of ambrosial palankeen is not a pure inheritance of Han''s traditional beliefs; it is a hybrid of the tradition and the variation of modern materials, new technology, and concepts, with superb decoration of embroidery, tin ornaments, and lanterns. As one of the most representative Taiwanese traditional artworks, the ambrosial palanquin fully demonstrates the prosperity of Taiwanese folk religion.This paper focuses on three dimensions of ambrosial palankeen: as traditional artwork, as architecture, and as medium of religious beliefs. Also, materials, used tools, process of crafting, used techniques, establishment of sacred space, spatial degree, applied architectural elements, rooftops’ forms and corresponding implications of status, architectural epitome, relationships between sacred palanquin and gods'' status, organizations of ambrosial palankeen lifters, rules and manners related to ambrosial palankeen, maintenance and repair, and changes in guiding principles of property management are all included in the discussion, in an attempt of demonstrating the history and development of Taiwan’s ambrosial palankeen culture with an analysis of the palanquin''s spatial structure and features. Furthermore, this paper discusses about various religious views and architectural aesthetics revealed by ambrosial palankeen culture, views and aesthetics that are from folks living in different times. Three dimensions of ambrosial palankeen are cross-checked as an approach to objectivity.
出版
臺北市
臺北藝術大學建築與古蹟保存研究所
臺北藝術大學建築與古蹟保存研究所
日期
2007
數量
216
語言
中文
原件典藏單位(者)
國家圖書館
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