本研究採用質性研究與參與式調查的方式實地走訪嘉義市及新港的交趾陶藝師，並且分別對每一新港交趾陶藝師進行實地工作訪談與觀察，藉由深入訪談作為資料初步的彙整，初期研究資料，在田野調查的訪談對象，是已有捏塑能力且具有燒陶及配釉料之能力的藝師為主要訪談對象。 本文首先對台灣的交趾陶發展做一回顧，交趾迄今已有三百多年的歷史，並加入目前嘉義市及新港交趾陶的發展狀況，及藝師傳承的情況做一具體描述，透過訪談了解目前嘉義新港的交趾陶藝師及其經營方式與整體產業型態，並分別對其傳承及目前產業困境做一分析，希望能藉此引起共鳴，除了讓交趾陶藝師能有更寬廣的創作空間與尊重外，並且能夠讓交趾陶這傳統技藝能夠傳承外，竭盡幫助大眾去觀賞交趾陶之美。 本研究在文化之意涵上提供產業一個思考的方向，就一個地區的產業發展中，除了配合地方本身在地的歷史及地方資源外，為了達到一個產業社區與文化上的適當發展，嘉義新港交趾陶具有相當的潛在文化力量，因為交趾陶的特色上相當注重傳統所謂的「師徒制度」，而且都是從廟頂走下來的藝師，是最具有傳統交趾代表的藝師。經田野調查到發現新港交趾陶大概可以分為三類：1.建材類；2.商品類；3.收藏品。另創作方式亦可分為三種：自發性創作、委託式創作及古蹟修護方式等最為常見；由此可知，交趾陶文化的未來發展上仍然具有其文化創意的，這些都是交趾陶歷經多次轉變而成的，但是仍然缺乏有利的推手將其發揚光大，雖然有許多藝師默默耕耘這塊交趾陶的土地，然而交趾陶藝術是慢慢從廟宇和民間富家建築的一部分游離出來成為獨立的一項傳統藝術，在許多的藝師不斷的鑽研訣竅與創新中發展出新的風格，相信未來交趾陶的發展仍是樂觀的，及更有前瞻性的願景(vision)。 This research report adopts the quality and study with the field investigation by visiting and observing the Hsin-Chung’s koji pottery masters. At first, it is the whole in preliminary gathering together the materials with deepening interview, studying the pottery pinched , mould and burned to shape. The text recollects a retrospect of handing in koji pottery’s history at Taiwan (which has a history of more than 300 years), and puts into the state of koji environment at present, and then the situation which the skill teacher passes down his arts incurs great sympathy. The research offers a direction that industrialization must be based on the culture development. Owing to inspiring the pottery culture-industry, accommodate the characteristic of the local region to the public is very important. The Hsin-Chung’s koji pottery’s tradition is a teacher-pupil system, and the teacher went down from the temple carries the great skill, as the field investigation, the pottery can be divided into three kinds: 1.building materials; 2.commercial goods; 3.treasure collection. The creating way is also divided into three species: 1. spontaneity creation; 2.entrusting type; 3.historical antiquity maintenance. Therefore we can know the koji pottery has its cultural meaning on handing in the future development, although the koji pottery has changed its faces many times in the history, but still lack of favorable pushing hands to glory. Many koji pottery masters contributed their lives to this lands, and the koji pottery’s art has distinguished the rich building from the luxurious temples slowly and has become an independent traditional art. Looking forward, it is believed that the development of handing in the koji pottery in the future is still optimistic, and have scene(vision) of perspective wishing even more.
