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| Title: | 台灣藝閣名義與日治時期妝扮景觀初探 |
| Other Titles: | The Study of Taiwanese Ei-Ga, the Fine Art Performance, and Dressing Exhibitions during the Japanese Colonial Era |
| Authors: | 蔡欣欣
Tsai, Hsin-Hsin |
| Contributors: | 中文系 |
| Keywords: | 藝閣;臺閣;日治時期;臺灣;迎神賽會;歲時節慶
Ei-Ga;Tai-Ga;The Japanese colonil era;Taiwan;Worship ceremonies;Cerebrations and festivals |
| Date: | 2006-06 |
| Issue Date: | 2013-12-17 14:50:56 (UTC+8) |
| Abstract: | 台灣的藝閣，從清代史料中身影乍現，歷經了日治時期與戰後的發展演化，與各時期政經社會文化的發展樣貌相互綰結，潛藏了眾多人類學、社會學、民俗學、文化學、工藝學與藝術學等信息值得探究。本文先以古代文獻與台灣日治時期的報刊資料作為考察對象，首先就台灣藝閣的孕生根源與名義內涵進行探究，大抵台灣的藝閣是傳承自閩南的臺閣文化，在搬演場合與妝扮樣式上多有類同；而台灣的臺閣之所以命名為「藝」閣，或因以民間與文人「詩意」為內核，通過構圖型塑與工藝製作來呈現其「藝術性」；雖說從咸豐時期已有由妓女妝扮藝閣，然在康熙時期應尚無「藝妓」名稱的出現，不過日治時期用藝妓來妝扮藝閣已然成為一種風氣。至於日治時期的藝閣景觀，除延續清代歲時節慶與迎神賽會的演出場合外，神社祭典、始政紀念日與展覽會等則成為新興的演出場域與演出時機，並使得妝扮的題材、樣式與功能越趨多元化，從詩文典故到小說戲曲，從台灣史事到日本風情等，妝扮者也有孩童、演員與妓女等不同身分，既有風土習俗與思想情感的反映，也有認識史實、教化規範的功能，還有廣告宣傳與誇耀競技的目的，而其動員與組織是奠定在血緣、地緣和業緣的社會人際網絡之中。
When first appeared in Qing Dynasty’s historical documents then developing and evolving through Japanese colonial age and post WWII. Taiwanese fine art performance, also as known as “Ei-Ga”（藝閣）, is strongly influenced and mixed with the evolution of social, economical and cultural changes, thus it fulfills the characters of anthropology, sociology, folklore, science of culture and craft to be researched. The study of this article based on the documents of ancient times, newspapers and periodicals during Taiwan’s colonial age. The first procedure of this research is trying to figure out the rooting and deriving the name and interior of Taiwanese fine art performance. It was basically inherited of the “Stage Performance”, or “Tai-Ga”（臺閣）from southern Fujian Province, so as to realize that their styles of performing environments and dressings are quite similar. The reason why Taiwanese changed this performing art’s name from its original one “Tai-Ga” into “Ei-Ga” was the appearing of “Art conceptions” were to constructed on scholars’core ideas “poetry” and were built up through the complex of picture-drawing and artificial sculpture. There is no solid evidence to identify that geisha, the performers’ name, were not existing during the Emperor Kang Xi（康熙，1654～1722 A.D.）era; but in the Emperor Xianyang（咸豐，1850～1861 A.D.）era, prostitutes played the roles as geisha was a common situation. The perspective of Taiwanese fine art performance added many new elements as Taiwan under colonization by Japanese, it inherited traditional celebrations, festivals and worship ceremonies from Qing Dynasty, also it mixed with Japanese worships, authorization memorials, and even economic exhibition activities all together, thus to become a newly developed performing site and era, and also it vaporized different subjects through variable dressings, appearances, and functions; subjects cover from poetry and customs to novels and plays; it, too, covers from Taiwanese historical events to Japanese customs; players were composed of children, actors and even prostitutes. “Ei-Ga” represents and reflects traditions, customs, thoughts and emotions in one hand, and it settle a function to recognize history and to regulate and educate people that couldn’t be done at schools; moreover, it even has a purpose of propaganda and match-flaunting. Lastly, the mobilization and organization of “Ei-Ga” was constructed on socialized interpersonal networks of family bloods, similar communities and colleagues relationshiops. |
| Relation: | 台灣文學學報, 8, 177-212
Bulletin of Taiwanese literature, 8, 177-212 |
| Data Type: | article |
| Appears in Collections: | [臺灣文學學報 THCI Core] 期刊論文
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