林磐聳何清輝李欣樺2020-12-102008-6-132020-12-102008http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0694600361%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115295　　吉祥物（Mascot），源自於法國普羅旺斯語，意指能帶來吉祥與幸運的人、動物或擬人化器物；原為企業識別系統CIS（Corporate Identification System）中，輔助標誌(Logo)的一種具「動態」的識別符碼。近幾年來，由於行銷手法的推陳出新，「吉祥物」在企業主心目中的喜愛程度，遠超過於標誌(Logo)，儼然成為行銷新寵兒。 　　台灣是一個充滿著豐富自然生態資源與多元人文色彩的文化大熔爐，有最早生活在島上的原住民、三百多年前冒著生命危險渡海來台的大陸移民，以及一九四九年隨著國民政府遷徙來台的外省族群，在這塊土地上休戚與共，共同為這塊土地而努力。「台灣文化」是在歷史演進的過程中由眾多文化所交織而成的，而其中少數未受族群與地域所影響的莫過於「媽祖文化」。 　　台灣是一個以海洋立國的地方，媽祖信仰隨著先民渡海來台之後，與台灣在地文化結合而演變成屬於台灣的「媽祖文化」。文化的傳承是持續不斷的，為了讓這個傳承了三百多年的文化瑰寶能繼續地傳承下去，年輕族群的參與將扮演著重要的地位。有鑑於現代大部分年輕人對於傳統文化的接納意願不高，對信仰文化也是一知半解的情況下，如何將傳統文化符碼與現代設計語彙相結合，以吸引年輕族群來參與「媽祖文化」的傳承工作，將是本研究最主要的目的與動機。 　　本研究內容分為三大部分，第一部分為「吉祥物」形成與演進的探討分析，第二部分為「媽祖文化」的演進過程的探討，藉由文獻資料的收集，來分析「媽祖文化」在不同地區象徵意義，最後則探討如何將現代「吉祥物」概念與「媽祖文化」相結合，找出吸引年輕族群的新創意，並運用於創作表現上。 　　依章節區分則共分為五章，其內容概述如下： 第一章緒論，提出本研究創作主題之緣起動機與預期目的，並確定本研究範圍及擬定可行方法。 第二章文獻探討，為讓本研究的創作申論更具基礎與可行性，將針對「吉祥物」與「媽祖文化」等相關文獻先行解讀回顧，以理解其發展趨勢。 第三章研究方法，針對主題擬定研究方法，本研究將針對造型創作元素分析與時下較具知名度的虛擬角色個案探討，歸納出屬於台灣在地的「媽祖文化」概念元素。 第四章創作理念與表現，將前章節分析所得之結果運用於創作表現上。 第五章為結論，提出研究與創作的心得，並對「吉祥物」未來趨勢給予研究成果之建言，提供給相關領域創作者或學術研究者參考。 關鍵詞：媽祖、媽祖文化、文化符碼、吉祥物Mascot, originated from the language in Provence, France, means whatever human, animal or virtual beings can bring the luckiness and good fortune. It was originally used as one of the “dynamic” identification symbols in CIS (Corporate Identification System) to assist LOGO creation. In recent years, since constantly bringing forth the new approaches in sales and marketing arena is a norm, “mascot” has been well-planted in the minds of enterprise proprietors as something irreplaceable, the love for mascot far outshines LOGO and naturally it becomes the new favorite in sales and marketing field. Taiwan, has been a gigantically cultural melting pot characterized by full of voluminous natural eco resources and diversified humanistic flares. The earliest inhabitants on this island were the indigenous population, and those came here around 300 years ago who risked their lives to cross the Taiwan Strait from mainland China. On top of these, there were so called foreign-province groups of immigrants who came here during 1949 along with the KMT government retreats. On this island, all are on the same boat together and work hard to make this place a better one. “Taiwan culture” has been interwoven together by multi-cultures through historical evolution process, and some of the minority cultures were immune to influences from other ethnic groups or the territorial domain, and one of these minority cultures was characterized as “Mazu Culture”. Taiwan is a place whose existence is primarily affected by oceans surrounding it. The Mazu faith and belief followed the foot steps of immigrants from the mainland China, and integrated with the local cultures then evolved into the Taiwan’s unique version of “Mazu culture”. The cultural heritage passes on continuously, therefore in order to continue this lineage which has already been handed down from generation to generation for nearly 300 hundred years, the participation from the youth groups would play a pivotal role in this process. Since it is well aware that most of the younger generations has little interest in accepting the traditional culture in addition to situation of semi-literate in this regards, therefore, the tasks of how to integrate the traditional cultural symbols with the modern designed vocabularies so as to attract more of the younger generation to participate to the tradition-bridging tasks of “Mazu culture”, would be the primary goal and motivation for this research. There are primarily three portions for the contents of this research. The first part is dedicated to exploration and analysis for the formation and evolution of the “mascot” itself. The second will be the exploration of evolution process of the “Mazu culture”, which is through the documentary collection to analyze the “Mazu culture” symbolic meanings for different areas. Lastly, this research explores how to apply the integration of modern “mascot” concept with “Mazu culture” and locates the new innovativeness which might attract the younger generation; in addition, this will be applied to the creativeness part for the art works themselves. According to the chapters and sections, there are a total of five chapters and the contents are briefly described as follow： The first chapter：Introduction. It covers the research and the origins, motivations and anticipated goals for the subject themes, and it also ascertains the scope of research and proposes the feasible approaches. Chapter two is to explore the documentations and this would enable the research statements with more reliability and feasibility as whole. It focuses on the relevant documentaries for the “mascot” and “Mazu culture” to have some kind of pre-interpretation and review so as to enable the ensued understanding of the trend development. Chapter three is primarily concerning with the research method and focusing on the subjects under study to come up with research approaches. This portion of research focuses on the model creation element analysis and explorations for currently well known virtual roles and characters, and then summarizes the conceptual elements of “Mazu culture” which uniquely belongs locally here in Taiwan. Chapter four will be the creation concepts and exemplifications which apply the findings from the previous chapter analyses and the art work creations. Chapter five is the conclusion and summarization, which proposes the notes from research findings and creations. In addition, this chapter also recommends according to the future trends of the “mascot” itself in the arena of research findings and provide as references for the researchers of relevant domains and academic researches.媽祖媽祖文化文化符碼吉祥物MatsuMatsu's CultureCulture SymbolMascot