創價學會在台灣：藝文與社區的觀點
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2014
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創價學會是日本戶田城聖於二次戰後1946年重新創立的，它的前身「創價教育學會」，乃是1930年由兩位從事教育工作的牧口常三郎和戶田城聖所共同成立的，雖然名稱有異，但都是以日蓮佛法的人本主義為依歸，致力於文化、教育以及和平的運動，直到第三代會長池田大作於1960年首度出訪海外，才正式將日蓮佛法傳揚到世界，如今會員分布在192個國家區域。
台灣於1962年自日本引進創價學會，起初的組織只有成立支部，經過戒嚴時期的種種阻力，全體會員秉持做一個好市民，做一個好國民的教導，異體同心地度過艱辛的時空，直到解嚴之後，成為正式法人，即本著文化、教育以及和平三大宗旨，積極地展開文化推廣活動，其中最重要的就是自2003年起相繼在台灣的9處藝文中心，推動以「文化尋根 建構台灣美術百年史」為策展主軸的一系列創價藝術文化展覽。此展覽正值台灣非營利組織意識抬頭、社區營造受到重視以及政府文化公民權的推動等時代潮流，使得有如「魚幫水，水幫魚」般地受到大眾的青睞，紛紛響應藝文展覽。
筆者針對此創價藝文展覽，以問卷調查的方式，從非營利組織、社區營造與文化公民權等三方面，想要了解觀眾對此三方面的認知和認同以及此項藝文展覽的意涵，問卷調查結果顯示多數人有下列的看法：
1. 認同非營利組織利他行動所推動的藝術文化展覽。
2. 認同應主動參加社區營造以及社區需要有藝術文化的融入。
3. 認同每個人有參與藝文活動的權利和義務、藝術文化可以超越政治和
經濟以及觀眾是藝術創作品的重要角色。
4. 在社區推動藝術文化展覽會高不可攀的認知，看展覽之前和之後有顯
著的差異，即主動積極的實際行動，觀念會隨之而改。
5. 展覽現場導覽員是不可或缺的。
根據研究結論對於觀眾、推展單位以及後續研究者提出建議，期待台灣有更多團體一起推動藝文展覽，更多的民眾喜愛親近藝文，這塊土地能蔚為一股「以文化立國」的風氣，而真正成為「我此土安穩、天人常充滿」的美麗寶島。
This study aims at tracing and examing the development of Soka Gakkai in Taiwan, integrating documentary reformulated analysis, interviewing and questionnaire results into its research operation. Josei Toda in Japan reformulated "Soka Gakkai Educational Society" to be a non-profit organization called as "Soka Gakkai Society" in 1946 from conceptual works of two predecessors. These two forefathers, Tsunesaburo Makiguchi and Josei Toda, derived the humanitarianism from Nichiren Buddhism to undertake a religious movement with focus on culture, education and peace. This newly established Society did not go international until 1960 when the 3rd president Daisaku Ikeda went abroad and disseminated the doctrines of Nichiren Buddhism formally all over 192 countries areas. Soka Gakkai International was introduced to Taiwan in 1962 and formed to be one of its branch only. Its members unanimously lived through the hardship period of martial law restriction, but they firmly grasped the principles of being a good citizen and guider all the time. From 1987 forward, this society then was legally recognized and entitled to promote its cultural activities under the tenets of culture, education and peace. Since 2003, it has organized 9 cultural arts centers in Taiwan, exhibiting a paramount project called as "cultural Roots: reconstructing the centennial history of Taiwanese fine arts" and subsequently a series of other cultural representations. It gained momentum due to the thawing of martial law restrictions, growing need for cultural citizenship, a continuing national interest in community renaissance and witnessing an upsurge ofTaiwanese consciousness. The questionnaire analysis in this study also seriously suggests the audience in general public and curators of Soka Gakkai International hold similar and subtle values internally concerning with cultural citizenship, education and community revival. Hopefully, this mentality serving a mechanism may be expedited to transform this society in Taiwanese mainstream with great confidence.
This study aims at tracing and examing the development of Soka Gakkai in Taiwan, integrating documentary reformulated analysis, interviewing and questionnaire results into its research operation. Josei Toda in Japan reformulated "Soka Gakkai Educational Society" to be a non-profit organization called as "Soka Gakkai Society" in 1946 from conceptual works of two predecessors. These two forefathers, Tsunesaburo Makiguchi and Josei Toda, derived the humanitarianism from Nichiren Buddhism to undertake a religious movement with focus on culture, education and peace. This newly established Society did not go international until 1960 when the 3rd president Daisaku Ikeda went abroad and disseminated the doctrines of Nichiren Buddhism formally all over 192 countries areas. Soka Gakkai International was introduced to Taiwan in 1962 and formed to be one of its branch only. Its members unanimously lived through the hardship period of martial law restriction, but they firmly grasped the principles of being a good citizen and guider all the time. From 1987 forward, this society then was legally recognized and entitled to promote its cultural activities under the tenets of culture, education and peace. Since 2003, it has organized 9 cultural arts centers in Taiwan, exhibiting a paramount project called as "cultural Roots: reconstructing the centennial history of Taiwanese fine arts" and subsequently a series of other cultural representations. It gained momentum due to the thawing of martial law restrictions, growing need for cultural citizenship, a continuing national interest in community renaissance and witnessing an upsurge ofTaiwanese consciousness. The questionnaire analysis in this study also seriously suggests the audience in general public and curators of Soka Gakkai International hold similar and subtle values internally concerning with cultural citizenship, education and community revival. Hopefully, this mentality serving a mechanism may be expedited to transform this society in Taiwanese mainstream with great confidence.
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非營利組織, 社區營造, 文化公民權, 台灣創價學會, 文化推廣, Nonprofit Organizations, Community Empowerment, Cultural citizenship, Taiwan Soka Association, Culture Promotion