| 摘要: | 『媽祖』信仰興於北宋之際，起源於福建莆田的湄州嶼，十七世紀隨著漢人移墾，經澎湖傳入府城，再由府城向南北擴張，遍佈台灣各地，由此可知，府城的媽祖廟具有崇高的地位，不僅累積豐富的廟宇文物，也出現許多妝佛世家，使媽祖造像成為一種風格典範，進而影響台灣各地，因此若要研究台灣媽祖造像藝術之相關課題，台南府城是重要指標之一。 台灣自80年代解嚴以來，學界對於本土文化的研究日益重視，有關宗教文化的研究，無論是質或量皆有所提昇，尤其是對『媽祖』信仰的研究，更是如火如荼的展開，然而，相對於宗教精神文化的豐厚研究成果，宗教物質文化的研究仍屬起步階段。自1979年席德進《台灣民間藝術》、劉文三《台灣宗教藝術》兩本著作問世以來，有關神像藝術的著作少之又少。另外，與本研究相關的學術論文也只有2002年王永裕《台灣媽祖造像群圖像藝術研究》，和2006年吳榮賜《台灣媽祖造像美學研究》二篇。其他與媽祖造像藝術、美感特徵相關期刊論文，由於篇幅太少，讀之，有意猶未盡之感，且尚未論及媽祖造像的時代風格，事實上媽祖信仰的精神性和物質性因時空的差異、需求的不同，產生變遷和演化，雖然造像有一定內部規則可循，但變遷的過程所產生的時代風格卻是可見的，有鑑於此，本研究針對台南地區現存媽祖廟內媽祖供像作為研究的對象和內容，企圖釐清：一、媽祖自北宋開顯到明代時期神話敘述及造像風格的演變。二、媽祖信仰擴及台南地區之後，在政治、經濟、文化的影響下，媽祖造像的風格演變。三、研究媽祖造像所具備的宗教性、社會性、藝術性之美感特徵。
The “Ma-Tzu Belief” was originally from Meizhou at Putien in Fukien province during the Northern Sung dynasty, and became more popular. By the Chinese settlers in 17th century, the “Ma-Tzu Belief” was brought in via Penhu to Tainan, and further, to the northern and southern parts of Taiwan. As we know, all the Ma-Tzu temples situated in Tainan enjoy a significant and predominant status for not only having accumulated rich temple architectures and religious antiques, but also having cultivated many statue sculptors who, later on, pushed the “Art of Ma-Tzu Statue” to a level of style paradigm, and the influences were all over Taiwan. It is no doubt that Tainan is one of the important places to visit for any ongoing research on the “Art of Ma-Tzu Statue”. Since the lifting of martial law in the 1990’s, the academic circle has refocused its attention on localized folk culture. Studies related to religious culture have been upgraded in quality and quantity, particularly, the researches on “Ma-Tzu belief” has been going stronger than ever. But, compared to the result of studies on religious spiritual culture, the similar studies on religious material culture is still at its very beginning. Since 《 Folk Art in Taiwan 》（《台灣民間藝術》） written by Si, Der-Jean（席德進） and 《 Religious Art in Taiwan 》（《台灣宗教藝術》） written by Liu, wern-san（劉文三） being published in 1979, there are few related articles on the “Art of religious Statue” have been written, except for the 《Study on the Iconography of the Sculpture Arts of “Ma-zu” in Taiwan》（《台灣媽祖造像群圖像藝術研究》） by Wang, yern-e（王永裕）, in 2002, and the 《Study on Aesthetics of the Sculpture Arts of “Ma-zu” in Taiwan》（《台灣媽祖造像美學研究》） by Wu, Rong-Tsyh（吳榮賜）, in 2006. The need for more related articles or periodical journal articles on the topic of “Art of Ma-Tzu Statue” and/or aesthetic characteristic is still left desirable. Still, the articles on contemporary style of Ma-Tzu statues in different dynasties are far from being reached. In fact, the spiritualism and materialism of “Ma-Tzu Belief” has differed and changed from time to time, space to space and different demands of people. Although, the “Sculpturing of Statue” has its internal rule and professional technique to follow, the contemporary style resulting from the process of changes in different dynasties is visible. Viewing this, this research will take the existing “Ma-Tzu” temples situated in Tainan district as the object of study, and it is meant to describe the following items: One, the evolution of mythical description and statue style of “Ma-Tzu” from the “Ma-Tzu” legend being manifested to the Ming dynasty. Two, style evolution of “Ma-Tzu” Statue under the influence of politics, economy and culture after the “Ma-Tzu” Belief widely being accepted in Tainan district. Three and the final, Study on the religious, social and artistic characteristic of aesthetics of ＂Ma-Tzu＂ Statue. |
