本論文主要以美學和藝術理論方法，整理分析臺灣媽祖、千里眼、順風耳造像藝術，所呈現出臺灣本土藝術風貌。因此將探討媽祖造像群的圖像分析、符號分析、藝術社會學、藝術人類學及中國美學，以闡述造像的象徵意涵和民間審美意識與思維模式的緣由，並透過實際田野調查，以勾繪臺灣媽祖造像群的圖像意涵，並作出一總體的論述。因而本論文共分五章：第一章緒論；第二章媽祖造像群藝術的圖像分析：透過圖像外在形象的分類、分析，以了解造像的基本形式結構，做為圖像的主題詮釋和內涵意義的解釋，因而透過潘諾夫斯基的圖像學方法，以解讀民間心理的精神寄託；第三章媽祖造像群藝術的圖像符號分析：藉由符號思維的意義分析，借用索緒爾的歷時性與共時性、能指與所指的符號學方法，來解析造像的抽象概念與象徵意涵；第四章媽祖造像群藝術的圖像文化分析；擬由多元性的文化研究方法，就藝術社會學的功能分析、藝術人類學的審美分析與中國傳統藝術哲學的思維，來說明造像的理想圖式和母神崇拜的女性意識；第五章結論。 研究獲知：早期臺灣媽祖造像上的型態，原為大陸福建湄洲一帶，分靈過來的神像，所傳承的審美意識與福建地域審美觀念是相互融合的形象，而千里眼、順風耳的造像，一型以妖怪的造形呈現，另一型則以武將的形象展現受官方封賜的神格氣度。對其整體造像群藝術，表現的象徵意味都是具有吉祥和避邪的作用，並完整敘述著民間社會意識與傳統理念的象徵內涵。 The study is based on aesthetics and art theory to analyze sculpture and plastic art of Taiwan Ma-zu, Supervision, Super-hearing and the local art style they carry. It will discuss the iconology, semiotics, sociology of art, anthropology of art and Chinese aesthetics of Ma-zu sculpture, and its meanings and local appreciation of art and thinking method. Through field research, it will depict the meaning of Ma-zu sculpture and reach a conclusion. This study includes five chapters: Chapter 1 is introduction;In chapter 2 I explain Ma-zu sculpture with E. Panofsky’s iconology; In chapter 3 I explain of semiotics Ma-zu sculpture with Ferdinand de Saussure’s diachronic and synchronic, significant and signified semiotics; In chapter 4 I use Sociology of art to explain the ideal picture and feminism of mother-god worship; Chapter 5 is conclusion. The early figure of Ma-zu is goddess from Mei Chou, Mainland China. The image is combined of art appreciation and Fu Ke local appreciation; supervision and super-hearing is shown by monster style, another is by worrier style to show the honor recognized by the government. Both are symbols for luck and prevent evil to tell local society belief and traditional thinking.
