傳統戲台彩繪施作規劃設計與創作之研究－ 以國立傳統藝術中心傳統戲台彩繪施作工程為例

Abstract

台灣傳統彩繪技藝運用在傳統木構建築裝修部門，自前清道光年之後，一般表現在祠廟與宅第建築彩繪為常見，至於傳統戲台建築類型的彩繪裝修，則因台灣現存可資探究的傳統戲台案例，無論就文獻史料或實物均極為有限，導致當今相關傳統戲台彩繪裝修工程，從服務建議、規畫設計、發包到如何執行創作的學理或實務，就變成是一個亟待探討解決與重新研究整建的課題。 本研究創作擇以國立傳統藝術中心（以下簡稱傳藝中心）園區新建傳統戲台之彩繪施作為題，主要是該戲台位該中心園區動線要衝點，同時又是獨立單棟建築標的物，且為該園區所屬傳統建築類型中之將施行彩繪工程的第一個案例，因此就傳統建築如何施行傳統彩繪技法，並顯現出傳統藝術精神的風采，且藉此施作流程的經驗傳承，以提供日後相關工程的參考與規範，即成本研究創作一個核心意涵。 針對傳藝中心傳統戲台彩繪的執行實務，本研究創作將就該戲台內木結構部份，自屋頂桁木、五瓜三通棟架、列柱、斗拱看架、檐板、太師屏壁及美人靠欄干等構件，以遵循傳統彩繪工序、工料、工法的前題下，考量木結構與戲台空間的關係，配合色彩和書畫圖案之運用，試圖重新建構傳統戲台彩繪設計創作實務的學理，並冀望透過此研究創作成果，確切得以讓傳統建築彩繪研究創作領域的學界或建築彩繪相關業界，獲啟一個重新審思與法則依循的參考時空。故本文論述共分五章，其內容概要分述如下： 第一章緒論，提出本研究創作課題設定的緣起動機與預期目的，同時為落實本研究創作申論的可靠性與可行性，將就傳統戲台彩繪或論及傳統彩繪課題等相關文獻先行解讀回顧，並理解其發展趨勢，且確定本研究範圍及擬定具體可行之方法。 第二章中國傳統戲台概論，將以全覽式角度說明中國傳統戲台發展與台灣傳統戲台類型與特色，其中有關台灣部份，將就現存且可觀的傳統戲台案例說明，其中霧峰林宅大花廳戲台儘管已毀於九二一大地震，但因該戲台曾為重新彩繪施作的實例，故仍有為傳統戲台彩繪案例說明的價值及必要。 第三章傳藝中心傳統戲台彩繪工程，主要將析理該戲台設立背景與建築結構上的特徵，並對該戲台彩繪工程將如何推動的具體策略和工法，逐一分項解釋，期與現存案例作一個對應外，也表達該戲台彩繪工程的可適性和可行性。 第四章傳統戲台彩繪工程之設計與創作說明，就傳藝中心戲台彩繪設計理念、創作形式中之技法、媒材與裝飾的圖案分別論述，主要作為建構該研究課題的核心價值和特色。 第五章結論，表達本研究創作成果的時代意義，同時將延伸工程經驗作為後續者應用可能性的探討，最後並提出可供後續研究及建議。Traditional painting skills in Taiwan are applied to the improvement department of classical wooded buildings. Since Dao-Quang Years in Ching Dynasty, painting has become easy to see on shrines, temples, and mansions. As for the painting improvement for traditional stage genre, worth probing case studies of the traditional stage shows that both existing materials and real objects are way too limited. The traditional painting improvement construction becomes an imperative lesson to settle down and restudy from clothing suggestions, design and plan, consigning to ways to exact the theory and practice. The research titles the practice of the newly held stage painting in National Traditional Fine Arts Center (hereinafter called Chuan-yi Center). The stage is special for being set in the main spot of the moving path in the center. Also, it is an individual single-built landmark; moreover, it is the first case of practicing painting construction among the same type of constructions. In this way, the central point of this research will not only come from ways to bring out the best in the spirit of traditional arts but also from references and regulations showed for corresponding constructions in the future through this experience. According to the exacting practice of traditional stage in Chuan-yi center, the research is set to rebuild the theory of exacting practice, gaining the field or the relative field of traditional constructional painting a reference to rethink and regulations to follow. The research will take the followed procedure, method, and materials of traditional painting as a presupposition first, then consider the relationship between wooded structure and stage space along with the application of color and pattern. Plus, the research will cover factors like the roof truss, colonnade, bracket, cornice, Tai-shi interface and Beauty-leaning railing. Overall, there are five chapters in this research. The content is as follows: Chapter one -- Introduction In this chapter, the motivation and expectant purpose set for the project in this research will be introduced. At the same time, in order to fulfill the credibility and feasibility of the statement in this research, there will be an anticipatory review for correlative materials concerning traditional painting or traditional stage painting. Besides fixing the dimension of the research as well as devising workable and concrete methods, the developmental stream will be apprehended and addressed. Chapter two -- A brief sketch on Chinese traditional stage This chapter describes the genre and feature of traditional stage in Taiwan as well as the development of traditional stage in China in full aspects. Regarding the part of Taiwan, there will be an interpretation for the existing considerable case. The Great Flower Saloon of Lin's House in Wu- Fung is in no exception. Though ruined in 921 earthquake, the stage is still the practical experience of repainted practice. As a result, the stage becomes an essential descriptive case of traditional stage painting. Also, its value is undoubted. Chapter Three – The construction of traditional stage painting in Chuan-yi Center This chapter mainly analyzes the setting background plus the feature of stage structure. Moreover, concrete strategies and working methods will be explained further one by one, showing the adaptability and feasibility of the stage painting construction besides the correspondence of the existing case. Chapter Four -- The description of design and creation in the traditional stage painting construction The designed concept, the skilled method and media of art form along with the decorative pattern are disserted respectively, mainly constructing the core value and feature of the research. Chapter Five -- Conclusion This chapter shows the meaning of our time the research expresses while the possibility of applying the latter by extending the construction experience is in discussion. At the end, suggestions for further study will be presented.