台灣的傳統廟宇建築規模與樣式除了受祭祀主神不同影響外，也與地域生活型態、社群組織、經濟興衰相呼應，是台灣早期社會文化的共同語言；傳統廟宇營建過程複雜嚴謹，要集合多種匠師通力合作，其中大木匠師不只是施作者，更是規劃設計的主要角色，也是形式與風格形塑者，陳應彬為日據時期少數能與「唐山師父」分庭抗禮的台灣本土大木匠師，當時有「南益顺北彬司」之美譽，李乾朗教授特別賦予關注，著有「台灣本土大木匠師陳應彬傳」，對其大木特色與技術深入紀錄，讚譽有加，讀之深感敬佩，因此本文乃以陳應彬廟宇建築作品美感形式作為研究論述方向，主要的研究目的為： 一、藉由文獻資料探討陳應彬之創作社會背景及寺廟建築風格形成。 二、透過田野調查、從美學的觀點比較、分析陳應彬寺廟建築作品之表現形式，探討其創作理念與藝術價值。 三、依據研究結果從社會學的觀點詮釋其地方性格與時代意義，以建構台灣本土文化意識。研究結論說明台灣本土大木匠師陳應彬以複雜、高難度的大木斗栱技術與精緻生動的木雕技巧，努力探索更豐富的象徵語彙，創新內涵寓意更強化的表現形式，以「華麗、精緻、動態、創新」的風格，變化出充滿動態張力與逼真傳神的形式表現，體現了藝術創作的特質，對臺灣傳統廟宇建築影響深遠。 Taiwan temple architecture, as a mutual language of early society and culture, closely correspond to territorial life style, organization as well as the economic development. The complicated construction process is the collaboration of many kinds of craftsmen, among them, the Grand Mu-Zuo Architect (大木匠師) plays the role not only as a constructor but also as a artificer and style shaper. During the Japanese Occupation, Chen Ing-Bin（陳應彬）, Grand Mu-Zuo Architect, was among the few who can rival to the ＂Tang Shan Masters＂（唐山師父） and received the compliments ＂In the south, I-Shun matters all; in the north, Bin-Shu rules.（南益順北彬司）＂ Dr. Lee, Qian-Lang (李乾朗) granded highly esteem to Chen's art and techniques in his work ＂The Biography of Chen Ing-Bin, the Taiwan Grand Mu-Zuo Architect＂（2005AD）. We make a study on the aesthetic style of Chen's temple architecture. Through literature review, a survey on Chen's style and creation background was made. Field investigation was to study on his artistic performance and motif. And an interpretation made on the nature and meaning the Grand Mu-Zuo has achieved to his people, society and culture. The result reveals that Chen create an abundant allegorical lexicon as well as innovative connotation with exquisite woodcarving skills--- Dou Gong （斗栱）and the dynamic, gorgeous style of his work reflects the vivid quality of art and it has great influence on the following local Temple Architecture.
