| 摘要: | 李梅樹（1902-1983），這位以繪事著稱的台灣前輩美術家，在他藝術生涯的顛峰即接下了日後長達三十六年的三峽祖師廟重建主持工作。儘管說三峽祖師廟內的裝飾作品在執行製作的層次上多出自眾多優秀匠師與藝專學生之手，但其審美觀與內涵精神，都緊密地由李梅樹所主導、影響，更可以說是源出於李梅樹個人背景及意志下的產物。正因如此，在對廟中李梅樹涉及最深刻的學院背景作品分析時，李梅樹主導祖師廟所呈顯的意識與概念便逐漸浮現出來，成為祖師廟整體規劃的核心主軸。 本文研究方法是將祖師廟前殿、中殿、及東西護室中的學院背景作品分成三類：名家畫稿石刻、藝專學生製作的（仿）銅塑浮雕及圓雕，進行形式上的分析與製作背景與影響來源的探尋，並整合起來作一歷史性的說明與分析，藉此重構這些作品背後的動機、藝術概念與當時社會環境（包括教育、政治、宗教文化等現象）間的影響，以探尋李梅樹在民間廟堂中安排這類學院作品的可能用意，進而彰顯李梅樹於其中所主導的意義。 在研究結果方面，本文認為李梅樹於祖師廟中學院作品的主導的意義，展現在以下三個層面：一、以藝術家身份長期且深刻涉入民間宗教藝術的創作領域，以及以學院藝術概念經營地方信仰廟宇的重建；二、對台灣尚在發展中的學院雕塑教育而言，李梅樹的主導扭轉了一些原本偏重西式雕塑訓練的課程重心，不但藉此培養從事民間性宗教藝術創作的年輕雕塑家，同時也刺激了民間雕塑的轉型。三、從宗教藝術及信仰的角度來看，祖師廟在李梅樹的主持下，產生了幾種不同於其他廟宇的圖像題材及其材質、製作方式的特殊性，在在都反映了台灣信仰複雜的包容性及含糊性。 Li Mei-Shu ( 1902-1983 ), one of the celebrated painter in Taiwan, who took charge of a 36 yearlong rebuilt plan of Sanhsia’s Zu-shi Temple in his prime of life. Although decorative works in Zu-shi Temple were made by many great craftsmen and students of the National Taiwan Academy of Arts, but the aesthetic ideas and content in these works were led by Li’s domination profoundly. Even we can say that Li’s personal background and will are the spring of the Zu-shi Temple. Therefore, the more to discuss these works of the Academy style that Li had deeply participate, the more the meanings and the concepts of Li’s domination appear gradually, and become the core sprit of the rebuilt plan. About these works of the Academy style in the Front Hall, Main Hall, East and West Side Halls of Zu-shi Temple, this essay is divided into three groups: the carvings based on the paintings of some famous artists of the time, the relief and sculptures were made by Li’s students. Though the formal analyses and the searches for the background of creation and influences, this study will try to provide several explains to reconstruct the motives, aesthetic concepts and some effects caused by social conditions ( including education, politics, religious culture etc.) at that time behind these works. So that we can realize the possible intentions of Li‘s plan, and as above illustrations, to see the meanings of Li’s domination more clearly. To sum up with, this essay talks of the meanings from three dimensions: first, as an artist, rarely and deeply, Li participated in the creation of folk, religious arts, and operated the construct of local temples with the art concepts of academy . Secondly, to the developing sculpture education of academy colleges in Taiwan, Li was a pioneer to make changes in the course that lay particular stress on Western Sculpture trainings, and to cultivate a batch of young students to create folk arts. And it also excited the transformations of folk carvings and sculptures. Finally, from the angle of religious arts, under Li’s charge, the Zu-shi Temple shows several unique materials, making, and motives that are wildly different from other temples. And thus reflects the complicate comprehensibility and vagueness of religion or belief in Taiwan exactly. |
