本文針對泉州派傳統木雕師施鎮洋所承作的施姓大宗祠木雕神龕的人物堵面為主要研究重點，探討施鎮洋在人物圖像堵面之傳統雕作技巧、知識和理念。本文以口述歷史研究法整理木雕師施鎮洋承作此神龕的人物堵面之步驟、歷程，並以田野調查方式實地勘查其木雕作品，進行各堵面圖像紀錄與實作的交叉比對與分析。在資料整理分析部分，進而採藝術教育評析角度依兩大重點為探討架構，其一為形式層面的材質、工法、構圖等方面的描述分析；其二為內容層面的圖案主題、取材背景、意義象徵等方面，剖析其創作風格與傳統美感的表現。本研究旨在藉由施鎮洋的人物堵雕作作品深入傳統木雕藝術深層解構內涵及文化歷史風格並詳加研究。本文將提供民間傳統木雕藝術之學理研究做為國內傳統藝術的鄉土教學教材，以及藝術教育傳承結合方向之參考。
傳統木雕美學、人物圖像、施鎮洋藝師
The aim of this study is to discuss the traditional wood carving techniques and skills, knowledge and belief, on human-figure subject, focusing on the wooden shrine in the Shih Ancestral Temple at Lu-Kang, which was craved by the master Cheng-Yang Shih. Oral history research method was used in data collection to organize making steps and process. Each carving was carefully documented by photo and drawing, to examine traditional artistic form, content and technique. Utilizing analytic perspective of art education and criticism, field data was analyzed on two foci: First, form analysis on material, technique, and structure; Second, content analysis on subject, background, meaning, and symbolic. It was to reveal the traditional aesthetics and cultural value of Taiwan folk art, traditional wood carving. This study provides art educators and researchers rich document for future research in the fields of folk art and art education.
traditional wood carving, human figure subject, Cheng-Yang Shih
