南華大學機構典藏系統:Item 987654321/20357
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    題名: 彰化縣古蹟類廟宇石雕研究─以鹿港天后宮後殿龍柱為例
    其他題名: A study of stone sculpture in historic temple from Changhua County--An example of Rear-Hall Dragon Pillar at Tian-Hou Temple in Lu-Gang
    作者: 蕭志青
    Shiao, Jhih-ching
    貢獻者: 美學與藝術管理研究所
    龔詩文
    Shih-wen Kung
    關鍵詞: 龍柱;石雕;鹿港;天后宮;古蹟;裝飾;廟宇;傳統藝術;風格
    Lu-Gang;historical site;style;decoration;dragon pillar(s);Tian-Hou Temple;traditional art;stone sculpture;temple
    日期: 2008
    上傳時間: 2015-04-20 15:32:34 (UTC+8)
    摘要: 　　龍柱是臺灣廟宇石雕雕裝飾的重要部位，不僅為承重與分割空間的重要角色，亦是建築立面的視覺焦點。在臺灣龍柱的發展史上，由於政權的更迭，使得前朝的年款受到塗改或發生「舊作新刻」等情事。筆者在調查過程中，發現鹿港天后宮後殿龍柱的風格為清代晚期，而龍柱上的題字卻與風格斷代不符，因此，此對龍柱是「舊作新刻」或是仿古作品，便成為本文的重要研究課題。 　　本研究旨在探討鹿港天后宮後殿龍柱題字所引發的「仿作」與「舊作新刻」等疑點。因此，從材料、技法著手，兼論石作工序，以為風格分析之基礎（第二章）。接著探討臺灣龍柱的分期，以此作為鹿港天后宮後殿龍柱風格分析之依據（第三章）。再者，「彰化市林榮春敬獻」之題字不會早於1933年，於是，林榮春（人）、捐獻事實（事）、捐獻年代（時）、鹿港天后宮（地）、後殿龍柱（物），這幾個人、事、時、地、物的關係必須加以闡明，以還原當年的情境（第五章）。最後，配合風格分析之結論（第四章），總結鹿港天后宫後殿龍柱在臺灣龍柱發展史上的定位。
    　　A dragon pillar is an important part of Taiwan temple stone sculpture decoration. It not only plays a momentous role of weight bearing and partitioning the space, but also is the focus of vision of building façade. In Taiwan dragon pillars’ history of development, owing to the change of political power, the inscriptions of year/ era of previous dynasty were often altered, or the situations of “new sculpture on old works” happened. In the process of investigation, the author found that the style of rear-hall dragon pillars of Lu-Gang Tian-Hou Temple is of the later period of Cing Dynasty, but the inscriptions on the dragon pillars do not tally with the style of history division. Hence, whether this pair of dragon pillars are of “new sculpture on old works,” or works of antique imitation became a significant issue of this research. 　　　　The purpose of this research is to explore the doubtful points of “works of imitation” or “new sculpture on old works” aroused by the inscriptions on the rear-hall dragon pillars of Lu-Gang Tian-Hou Temple. Therefore, the research started from materials and technics, and touched upon the process (working procedures) of stone works to be the foundation of analyzing the style (chapter II); then, the research discussed the period division of Taiwan dragon pillars to be the basis of analyzing the style of rear-hall dragon pillars of Lu-Gang Tian-Hou Temple (chapter III). Furthermore, the inscriptions of “Chang Hua Shih Lin Rong Chun Jing Sian (Donated by Lin, Rong-Chun of Changhua City)” would not be earlier than 1933, thus the relationships among Lin, Rong-Chun (person), the donation fact (matter), the year of donation (time), Lu-Gang Tian-Hou Temple (place), and the rear-hall dragon pillars (object) must be expounded in order to restore the circumstances of that very year (chapter V). Finally, cooperating with the conclusion of style analysis (chapter IV), the research sum up the crucial status of rear-hall dragon pillars of Lu-Gang Tian-Hou Temple in Taiwan dragon pillars’ history of development.
    顯示於類別:[視覺藝術與設計學系] 博碩士論文

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