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標題: 登藝勝昔:論臺灣廟宇彩繪-以李登勝為例
Excellence and Surmounting Himself: on Taiwan Temple Decoration Paintings-Li, Deng Sheng as an Example
作者: 余承霙
Yu, Cheng-Ying
Contributors: 劉瑞寬
歷史學系所
關鍵字: 李登勝;廟宇彩繪;廟宇彩繪畫師;數位典藏;文化資產
Li, Deng Sheng;temple painting;temple painter;digital collection;cultural assets
日期: 2013
Issue Date: 2013-11-21 11:26:50 (UTC+8)
Publisher: 歷史學系所
摘要: 本論文以廟宇彩繪畫師-李登勝為書寫中心,從廟宇彩繪在臺灣發展的各個時期談起,並整理廟宇彩繪畫師在臺灣北、中、南等區域的傳承情形,同時也將其創作的類型與題材作一概述;此外,筆者亦分析李登勝在各階段的習藝和生涯,從初入廟宇彩繪之路,到以此為業的心路歷程,而他在面對人生中的困境與轉折時,又是如何自我提升與自處。
其次,透過社會網絡與身分認同的議題,試圖剖析廟宇彩繪畫師李登勝在現實經濟、理想抱負、人際經營等層面中,如何取得平衡之道;另外從其廟宇彩繪作品裡面,了解現階段文化技術與保存者,及其作品在數位科技典藏下,呈現何種不同於以往的新樣貌。至於,廟宇彩繪的圖像和歷史文本,因兩者的觀看對象與訴求的不同,難免產生些許相異,故筆者以李登勝所彩繪的蘇軾之圖像為例,一方面藉由史料互為檢視外,更對他用何種心境揣摩蘇軾的文人之癖與佛印的往來,以及赤壁之遊等將進一步地分析。
最後,筆者也對廟宇彩繪經營、傳承等議題,提出建議與研究方向,希望對欲意從事相關研究人員有所裨益外,期盼借重廟宇彩繪界中生代的技藝和經驗,透過世代合作,完成傳統技藝薪火相傳的使命。
The thesis is based upon Taiwanese temple painter, Li, Deng Sheng, as the central subject, which analyzes various periods of temple painting developments, as well as the heritage conditions of temple painters from the north, central and south regions of Taiwan; meanwhile, categories and subject matters of his works will be provided with detailed descriptions, including different stages of apprenticeship of Li, such as learning the craft in temples to making a living on some skill, difficulties and dilemma he suffers and learns from; as well as his self-promoting and transitions.
On the other hand, through issues of social networks and identity recognition, the balance Li attempts to obtain in practical economy, ideals and dreams, as well interactions with others will be analyzed, too. Still further, from his temple painting works, the thesis contains an attempt to provide understanding of how work pieces from current cultural crafts and their preservers would present differently from earlier times using digital collecting technologies. Nonetheless, due to differences of viewers and quests, varieties often generates between images in temple painting and classic documents. In that case, an example of portraits of Su Shi painted by Li shall be offered to both inspect and compare with historical data, as well as further analyze how Li attempted to figure the Su’s enthusiasm as a literatus, how Su interacted with Fo Yin, and a trip in the Red Cliff.
Eventually, issues like operating painted temples and heritage shall be offered, and provided with suggestion and direction for researches; it is in the hope of benefitting relevant researchers that tend to study same genre, and of expecting to deliver the concepts of cooperation between generations to accomplish the responsibilities of the temple painting heritage through offering crafting skills and experience of the former generation.
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