題名:台灣石獅藝術風格演變之初步研究─以戰前(1945年以前)為範圍
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- 資料類型：
- 來源資料庫:學位論文
- 著作者：
- 創作者名稱:黃惠玟
- 主題與關鍵字：
- 主要分類:民俗傳說
- 中文關鍵詞:臺灣
- 中文關鍵詞:民間傳說
- 中文關鍵詞:守護獸
- 中文關鍵詞:風格
- 中文關鍵詞:狛
- 中文關鍵詞:犬
- 中文關鍵詞:石獅
- 中文關鍵詞:唐獅子
- 外文關鍵詞:Taiwan
- 外文關鍵詞:Guardian Animal
- 外文關鍵詞:Stone Lion
- 外文關鍵詞:Style
- 外文關鍵詞:Komainu
- 外文關鍵詞:Tan Stone Lion
- 描述：
- 頁碼:142
- 中文摘要:獅子不產於中國，卻在中國的文化中佔有一席之地，隨處可見以它圖像的建築及生活物品。獅子在東漢時期由西域傳入中國，被豢養在宮中，一般人難以窺見其面貌，被傳為是具威鎮萬物的猛獸。初被當為守護陵墓的石獸，樣貌充滿匠師的想像及創意，似虎又似獅。隨著朝代的不同，石獅風格也有不同的變化，逐漸從高大威猛變得溫順，身上的裝飾也從簡潔走向繁複。 明末清初漢人大量移民來台，帶來原鄉的文化及習俗。當時移民以大陸閩粵地區為多，故清初台灣的石獅，有濃厚的中國南方石獅影子，身材玲瓏有致，體型短小，臉部表情生動，風格簡潔，清後期風格則逐漸繁複。石獅所用之材質，在清初主要是砂岩、青斗石或花崗岩，至清晚期及日治時期也有用台灣北部盛產的觀音山石來雕刻。 日治時期，日人在台建神社，引進日本傳統神社的守護獸─狛犬。這種狛犬與傳統漢人的石獅有相當大的差異，造型上接近於北京犬，表情多變，有兇猛、溫和及逗趣的。在台灣的神社守護獸，除了具東洋風味的狛犬外，還有一種外型與傳統漢人石獅頗為類似的唐獅子，但較為少見。風格上，造型特異的狛犬與台灣傳統漢人石獅，非但沒有相互抵消，反而相互融合，產生新的台灣石獅風格。 台灣石獅歷經百餘年的演變，風格從簡潔到繁複，不管其造型如何變化，獅始終是國人在信仰及生活上的守護。台灣石獅多元的風格變化，在時代交替及文化交融下，極具年代意義，也證明了台灣文化的包容性。 石獅隨著移民渡海來台後，風格產生那些變化？本文將透過以下章節，分析各時期的石獅風格特徵，第一章緒論，將略述本文研究的動機及目的；第二章中國石獅造型之風格發展，分析獅子自西域傳入中國後的風格演變情況；第三章明清時期(1895年以前)的台灣石獅風格，將此期的石獅依風格特徵做分期，詳細論述及分析，並繪製風格樣式年表；第四章日治時期(1895-1945年)的台灣石獅風格，分析日治時期台灣石獅三種不同系統(傳統漢人石獅、狛犬、唐獅子)的風格特徵，並繪製風格樣式年表；第五章石獅年代之驗證及判定，將驗證有疑慮年代之石獅，並透過樣式年表，推測可能的年代；第六章結論，為本文的研究做一總結論述。
- 英文摘要:Lion has never been native to China but it did play a role in Chinese culture where its image is seen in architectures, daily objects and everywhere. It was brought into China in the Eastern Han Dynasty and kept in the royal courts and it was difficult for the common people to catch a sight of it and therefore started to imagine it to be an extremely powerful animal dominating animal kingdom. The sculptured stone lions were at first used to guard the mausoleum and craftsmen represented them in an original and imaginative way, not only true to lion itself but also alike to tiger. The representation of them varied in accordance with the change of dynasties, from imposing and powerful to mild and tamed in its appearance, from a simple and modest to complicated and elaborate style in decorations. Around the turn of Ming and Qing dynasties a great number of Han people migrated into Taiwan, bringing with them culture and customs of their original habitats. Most of the immigrants were then from Fu-Chien and Guang-dong areas and the representation of lion of the early Qing Taiwan bore deep resemblance to the its counterpart in the southern China, delicately-shaped but short and small in torso, lively in facial expression, simple in style. It became more elaborate in the late Qing Period. As for the material used, in the early period it was largely made of sandstone, granite or basalt but in the late Qing and Japanese Colonial Period it also used andesite of which there was an abundant quarry in the northern part of Taiwan. In the Japanese Colonial Period Japanese people set up Jinja (“shrine”) in different parts of Taiwan and introduced therewith the traditional guardian animal of Jinja, called komainu. The komainu is very different from the traditional Han stone lion but more similar to Pekingese, with a greater variety in facial expression, violent, mild or cute. Apart from komainu acting as guardian animal there is also a Tang stone lion which is more similar to traditional Han stone lion but its kind could not be easily seen. From the stylistic perspective the exotic komainu and traditional Han stone lion coexisted well and from the combination of their features was born a new style of stone lion particular to Taiwan. The Taiwan stone lion has undergone an evolution for several hundred years and its style has changed accordingly. Yet, whatever kind of change it underwent, stone lion has remained the guardian animal of Taiwanese belief and life. Amid the historical vicissitudes and the cultural impacts this variety of styles has a great significance and also proves the tolerating spirit of Taiwanese culture. The present research is aimed at an analysis of the changes in stylistic features of stone lions in its different periods at Taiwan. The first chapter is general in its orientation, dealing with motivations and purposes of this research. The second chapter is an analysis of the development of stone lions after its introduction into China. The third chapter will place a stress on the stylistic features of stone lions in the Ming-Qing period (pre-1895) and try an attempt at a chronology of the changes in styles, represented by a chart that details its various features. The fourth chapter is about the Taiwanese stone lion in the Japanese Colonial Period (1895-1945) and will analyze three different systems of stone lions (traditional Han stone lion, komainu and Tang stone lion) in their different stylistic features, with a chronological chart of their styles. The fifth chapter deals with criteria and justification for the identification of features and employs the chronological chart of stylistic features to investigate stone lions which are uncertain in dating. A few suggestions will be made for their identification and dating. The last chapter is a tentative conclusion, attached with a record of the field study of all the stone lions that could dated certainly before 1945.
- 出版者：
- 主要出版者:國立成功大學歷史學系碩博士班
- 出版地:臺南市
- 日期：
- 出版日期:2007
- 語言：
- 語文:中文
- 關聯：
- 全文電子檔:http://etds.ncl.edu.tw/theabs/service/say.jsp?FT=Y&id=095NCKU5493014
- 管理權：
- 典藏單位:國家圖書館
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