英文摘要:The ambrosial palankeen, on which a god (a statue of god) sits during his or her inspection tour, can be categorized into 9 different kinds according to its form. Originally, they were crafted for gods'' birthday ceremony, based on the size of their statue and rules of making quoted from ancient texts. As the tradition developed, architectural terms became the mainstream terminology used to refer to sacred palanquins and to its crafting process, implying that they are "the moving temple of gods". In Taiwan, the culture of ambrosial palankeen is not a pure inheritance of Han''s traditional beliefs; it is a hybrid of the tradition and the variation of modern materials, new technology, and concepts, with superb decoration of embroidery, tin ornaments, and lanterns. As one of the most representative Taiwanese traditional artworks, the ambrosial palanquin fully demonstrates the prosperity of Taiwanese folk religion.This paper focuses on three dimensions of ambrosial palankeen: as traditional artwork, as architecture, and as medium of religious beliefs. Also, materials, used tools, process of crafting, used techniques, establishment of sacred space, spatial degree, applied architectural elements, rooftops’ forms and corresponding implications of status, architectural epitome, relationships between sacred palanquin and gods'' status, organizations of ambrosial palankeen lifters, rules and manners related to ambrosial palankeen, maintenance and repair, and changes in guiding principles of property management are all included in the discussion, in an attempt of demonstrating the history and development of Taiwan’s ambrosial palankeen culture with an analysis of the palanquin''s spatial structure and features. Furthermore, this paper discusses about various religious views and architectural aesthetics revealed by ambrosial palankeen culture, views and aesthetics that are from folks living in different times. Three dimensions of ambrosial palankeen are cross-checked as an approach to objectivity.