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本研究從節慶活動出發,發現全臺灣每年舉辦超過214場節慶活動,次數及種類,逐年增加,儼然成為全民運動。元宵節期間各地舉辦燈會展演、放天燈、炸寒單、放蜂炮等活動,場次最多,人數最多,其中台灣燈會較具代表性,成為臺灣特有的觀光文化活動。早年元宵燈會在臺北舉辦,直至2005年台灣燈會在臺南安平港舉辦,交通部觀光局將主燈周圍燈區及畸零空間結合祈福燈區規劃為「光環境」,納入主燈展演範疇,得到很好的效果,形成台灣燈會獨特的風格。 本研究以「台灣燈會光環境為例」,探討2004~2013年台灣燈會光環境策展與執行,發覺花燈是燈會的主角,除了造型吸引人,燈光就是它的靈魂;首先從光的物理性切入,區別自然光與人造光;探討「可見光」的直接與間接影響,分析如何運用傳統燈及LED燈呈現律動展演。依據質性研究為基礎,採開放式問項設計的深度訪談,客觀的角度,收集對研究問題的看法或意見,作為研究效度的主要參考依據。發現光環境並不是一堆點亮的燈而已,其組織型態與傳統花燈大異其趣,本研究將燈光展演特性與論點,與地方活動發生關聯,跨越藝術領域,探討人文關懷,彰顯傳統習俗,發掘在地風情,解析光環境與藝術相通的美學因子,不僅是「如何」做,「型態學」(Morphology)上的靜態描述,也表達追求的「是什麼」,「方法學」(Methodology)上動態的訊息傳達機能;解析與地景藝術的克里斯多、史密斯遜、新印象主義的秀拉、立體主義的萊利、瓦沙雷利等相仿的創作概念;探討燈光展演如何運用數位科技,不僅是效能,也兼具環保;分析如何克服不同基地,不同的環境條件,尋求更多元豐富的策展方向。 台灣燈會光環境,如今已邁入第十個年頭,在光鮮亮麗的背後,也發覺出其缺點,夜間展演光彩奪目,日間卻顯露繁複的支架,若是能做到「24小時光環境」,白天像花燈一般艷麗,夜間全力表現其璀璨,將是研究建議的方向。近年來政府部門經常提及臺灣的「軟實力」,就是這種文化活動的感染力和穿透力。中國擁有五千年歷史,大型燈展卻也是只有二十幾年的經驗;台灣燈會二十三年的歲月,該是成為知名品牌的時候了,因此,國際交流機制的建立,便顯其重要,透過交流,可以汲取他人的優點,也可宣揚自己的優點。 關鍵字:台灣燈會、光環境、策展規劃。
This study aims to research festivals, discovering that in Taiwan there are over 214 festival events every year. Moreover, the number and type of festivals are increasingevery year. During the Lantern Festival in Lunar New Year Month, many activities are held, such as lantern festival displays, Sky Lanterns, Bombing Han Dan, Beehive Fireworks, and so on. The Lantern Festival is one of the most representative cultural activities in Taiwan, which makes it a unique Taiwanese cultural and tourism experience. In the past, the Lantern Festival was held only in Taipei, but in 2005,a Lantern Festival was held atAnping Harbor, Tainan. The Taiwan Tourism Bureau combined the area surrounding the main lanterns and festival area with a blessing light displayto forma “luminous environment”, which was very popular and formed a unique style of the Taiwan Lantern Festival. This study uses the Taiwan Lantern Festival luminous environment as a case study, discussing its design and operation during 2004~2013. It is discoveredthat lanterns are the main feature of the Lantern Festival, and that in addition to the attractive appearance, the light is the soul of the lanterns. First of all, the study starts with the physics of light, identifying natural light and artificial light, and then discusses the direct and indirect effect of visible light in order to analyze how traditional lights and LED lights are used to put on the rhythmicdisplays. Based on qualitative research, an open-ended questionnaire format is adopted for in-depth interviewsto collate views and opinions as the main reference for an objective perspective to ensure validity of research. Finally, this study findsthat a luminous environment does not merely consist of lights, which is different from traditional lanterns. The characteristics and the contention of what function lighting performs at local activities, the humanistic aspect, and the showcasingof traditional customs are connected and discussed. Moreover, the aesthetics factors of combining a synthetic luminous environment with art is analyzed. It is not only “how a static description of Methodology is achieved”, but also “what is the function of the dynamic message of the Methodology”. Furthermore, this study attempts to deconstruct the creative concept similar to the land art of Christo Javacheff and Smithson Robert, the neo-impressionism art of Seurat Georges, and the cubism art of Vasarely Victor and Riley Bridget, and explore how the use of digital technology is not merely a lighting show, but is also quite environmentally friendly; and analyzes how to overcome the difference bases and different environmental conditions to seek a more curatorial direction. The Taiwan Lantern Festival luminous environment is now entering its tenth year, and behind the dazzling bright lights, there are some shortcomings. The light shows are performed at night, but in the daylight, a complex structural framework is revealed. This study proposes a “24-hour Luminous Environment” whereby the lanternsare made to be become as spectacular during the day as they are at night. In recent years, the government has often referred to Taiwan’s “soft power”, which represents the appeal and effect of Taiwan’s cultural activities. Chinahas a history of more than 5,000 years, but their large-scale light shows have only been around for 20 years. Taiwan’s Lantern Festivals have been going on for 23 years and has become a famous trademark. The establishment of an international exchange mechanism is critically important in order to facilitate mutual sharing of achievements and experience. Keywords: Taiwan Lantern Festival、Luminous Environment、 Exhibition Planning



台灣燈會, 光環境, 策展規劃, Taiwan Lantern Festival, Luminous Environment, Exhibition Planning