題名:布袋戲偶花園頭之研究
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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:呂聰文
- 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:布袋戲
- 中文關鍵詞:戲偶
- 中文關鍵詞:尪仔
- 中文關鍵詞:偶頭
- 中文關鍵詞:花園頭
- 中文關鍵詞:江加走
- 中文關鍵詞:江朝鉉
- 中文關鍵詞:雕刻師
- 外文關鍵詞:Taiwan
- 外文關鍵詞:Puppet Show
- 外文關鍵詞:Puppet
- 外文關鍵詞:Puppet head
- 外文關鍵詞:hua yuan tou
- 外文關鍵詞:Jia-Zou Jiang
- 外文關鍵詞:Chao-Xian Jiang
- 描述：
- 頁碼:197
- 中文摘要:布袋戲是在清代中葉時期於福建地區所形成的新劇種，除了在福建各地流傳發展外，傳入台灣以後，表演藝術呈現多元化的發展，成為台灣地區民間盛行的偶戲。 早期輸入台灣的大陸戲偶以泉州、漳州兩地為主，清代末期，泉州雕刻師江加走(1871~1954)所作的偶頭溫婉含蓄、用色典雅、造型優美、精緻實用，成為台灣藝人的珍愛以及本土雕刻師學習雕偶的臨摹對象，當時藝人多不知江加走之姓名，以其產地為泉州環山鄉花園頭村的「花園頭」作為代表，江加走自此成為花園派偶頭的創始人。 江加走之後，其子江朝鉉承其藝亦享盛名，文化大革命之後泉州地區的布袋戲逐漸沒落，戲偶製作亦然。1987年台灣開放兩岸交流以後，台灣人大量購買戲偶與提供資料，促使瀕臨沒落的泉州戲偶製作產業得以復甦成為空前之盛景，而泉州偶頭也由戲劇演出之目的逐漸形成收藏之用途。 本文之研究以三個方向來探討泉州花園頭之發展：一、泉州花園頭之形成與雕刻藝術之流傳。二、花園頭在台灣之使用及其影響。三、1987年以後台灣對於泉州偶頭製作之影響。 兩岸的布袋戲表演風格發展不同，其藝術文化之內涵亦有所差異。是故，在探討台灣或大陸所作的布袋戲偶頭，首先必須理解偶頭對於戲劇演出的意涵與目的，若單就偶頭工藝製作之分析將有所偏頗，因此對於兩地之偶頭雕刻師應給予肯定與尊重。
- 英文摘要:Puppet shows become new kind of drama in middle period of the Ching or Manchu Dynasty in fu-jian area. Besides, developing in fu-jian and spreading in Taiwan, the performing arts have multiple developments and become a popular puppet shows in local folk. China puppets in Taiwan were mainly quan-zhou and zhang-zhou in middle period. In the last phase of the Ching or Manchu Dynasty, Jia- Zou Jiang was a sculptor in Quan-zhou who made heads of puppets were gentle and implicit. The using of tints is classically elegant and modelings are gracious. His creations are sophisticated and practical. So, he is becoming treasure of performing artists in Taiwan and is a model of local sculptor learning to sculpture puppets. At that time, many performing artists did not know his name. So, 「hua yuan tou」that producing in hua yuan tou village in huan shan country in quan-zhou is stand for him, since that Jia- Zou Jiang is becoming the founder of puppets heads in hua yuan sect. After Jia- Zou Jiang, his son Chao-Xian Jiang followed his father’s arts and partaked of his father’s great reputation. After the Cultural Revolution, puppet shows in Quan-zhou areas and fabrication of puppets are progressively degenerate. Since in 1987, opening up cross-Strait interchange, Taiwanese have bought a great quantity of puppets and provided data, it made that the making quan-zhou puppets industry revived which providing on decline be unprecedented thriving. And the using of quan-zhou puppet heads become gradually kind of collecting and admire by drama showing. And quan-zhou puppet heads are becoming gradually using of storing by showing drama. The research of this article probing into development of Quan-zhou hua yuan tou by three directions: first, taking shape of Quan-zhou hua yuan tou and spreading of sculpture arts. Second, using of hua yuan tou and influence in Taiwan. Third, since 1987 the influence of Quan-zhou puppet head making in Taiwan. The performance style developments are different between China and Taiwan. The connotations of art cultures are also different. So, probing into puppet heads of Taiwan or China, the first we must comprehend puppet heads for implication and purpose of drama performance. If analysis of puppet heads making has biased, then therefore we should render puppet head sculptor of cross-strait approval and esteem.
- 出版者：
- 主要出版者:國立臺北大學民俗藝術研究所
- 出版地:臺北市
- 日期：
- 出版日期:2005
- 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=093NTPU0548011
- 管理權：
- 典藏單位:國家圖書館
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