妝佛藝師技藝學習與經驗傳承之個案研究
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2007
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Abstract
在社會演變中，傳統工藝技術面臨危機與困境，即使刻意保護手藝，似乎也無法改變它迅速流失及使用者需求漸少的事實。經由媒體報導，我們會得知一些有名的藝師，另外還有這樣一群人，雖然不是那麼有名，但他們也是從事傳統工藝的創作，例如本論文所要研究的「妝佛」，這些藝師也是在為台灣的文化盡一份心力。本論文主要是對藝師的技藝學習進行了解，探討個案的妝佛技藝的學習、轉變與表現方式，以及社會關係、技藝產業發展等之關聯性，並期藉此研究提供政府及相關機構在規劃技藝學習相關課程時之參考。
本研究採技藝學習的觀點作為分析的依據。並以質性研究方法為基礎，以訪談法為主，輔以參與觀察與文件資料作為研究的參照，將個案的資料整理融匯歸納。
本研究發現如下：
一、 周師傅的學習不同於一般傳統的師徒制，他是自學成功的案例。
二、 技藝學習須從興趣出發，憑毅力堅持到底，方能有成。
三、 技藝學習須透過實作以體現暗默知識。
四、 周師傅的暗默知識面臨失傳的困境。
The techniques of traditional handcraft has been facing crisis and difficulties during the evolvement of the society. It seems that it doesn’t work very much even though the techniques are passed down on purpose. The traditional handcraft techniques are facing the fact their importance and users are fewer than before. Through the media’s reports, we will know some famous masters. There are those, however, who are not as well-know as those reported by the media, are dedicated in the creation of the traditional handcraft. Take the sprucers of the divine statues in this research as an example, they contribute their professionalism in Taiwan’s culture. This research aims at not only understanding how the master learns the techniques, his transition and the way he spruces the divine statues, but also probing the coherence of the techniques between the social relationship and the industry development. Hopefully this research could be a reference for the government and the related organizations to plan the lessons of learning the traditional techniques. Taking the theoretical perspective fromtechnique learning, the case is selected. Furthermore a multi-method design that includes in-depth interview, participation-observation and documentary analysis is set up to collect the data. Finally, I conclude four themes as following: 1. Master Chou’s learning is different from mentoring. His self-learning is a successful case. 2. Learning the techniques requires personal interests. The willpower is the motive. 3. Technique learning need to through practice to reflect the tacit knowledge. 4. Master Chou’s tacit knowledge is facing the problem of the loss.
The techniques of traditional handcraft has been facing crisis and difficulties during the evolvement of the society. It seems that it doesn’t work very much even though the techniques are passed down on purpose. The traditional handcraft techniques are facing the fact their importance and users are fewer than before. Through the media’s reports, we will know some famous masters. There are those, however, who are not as well-know as those reported by the media, are dedicated in the creation of the traditional handcraft. Take the sprucers of the divine statues in this research as an example, they contribute their professionalism in Taiwan’s culture. This research aims at not only understanding how the master learns the techniques, his transition and the way he spruces the divine statues, but also probing the coherence of the techniques between the social relationship and the industry development. Hopefully this research could be a reference for the government and the related organizations to plan the lessons of learning the traditional techniques. Taking the theoretical perspective fromtechnique learning, the case is selected. Furthermore a multi-method design that includes in-depth interview, participation-observation and documentary analysis is set up to collect the data. Finally, I conclude four themes as following: 1. Master Chou’s learning is different from mentoring. His self-learning is a successful case. 2. Learning the techniques requires personal interests. The willpower is the motive. 3. Technique learning need to through practice to reflect the tacit knowledge. 4. Master Chou’s tacit knowledge is facing the problem of the loss.
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妝佛, 技藝學習, 實作, 手工藝, 自學, spruce of the divine statues, technique learning, practice, handcraft, self-learning