六堆地區廟宇彩繪畫師的發展困境與展望－－以內埔地區為例

The Plights and Prospects of the Career Development for the Color Painters of Temples in Liuk-tui--Nei-pu as an Example

在傳統社會中，廟宇不僅是宗教信仰的中心，也是社區聚合、價值傳承、教化勸俗的重要場所，而彩繪畫師則是廟宇最佳的化妝師，其所繪製的彩繪作品則是最接近庶民大眾的繪畫藝術，除了彩繪技巧之良窳外，彩繪內容背後所隱藏及欲傳達的文化價值觀亦是另一個值得關注的層面。因此不論廟宇彩繪的藝術價值如何，不論彩繪者被尊為畫師或被評為畫工，它所反應的並不只是單純的藝術價值之高低，而是庶民大眾日常生活中真實文化現象的投射。近年來關於彩繪畫師的探究多半著重在著名閩籍彩繪畫師的研究，客籍的畫師向來不被看重，因為不少人認為彩繪是盛行於閩南地區，因此認為客家地區的彩繪或客籍的彩繪畫師均不足觀。事實上每一座廟宇不論其間的彩繪作品優劣與否，都是真實文化現象的投射，以文化現象觀之皆應被等同看待，且事實上客籍彩繪畫師的作品不僅遍及客家鄉鎮，閩南地區的廟宇中亦不乏他們所留下的佳作，其彩繪的水準甚可睥睨於閩籍畫師，也因此引發筆者欲探究當地彩繪畫師的動機，尤其是六堆客家區域的畫師向來未曾有人留意，因此本研究擬將關注的焦點轉移至六堆地區，並以其文教中心－－內埔地區的匠師為訪談的取樣對象，將焦點集中在這群默默無聞的畫師身上。本研究所訪談的畫師雖有地域性的限制，然此地畫師所面臨的困境同時也是現今各地畫師所共同面臨的難題。目前彩繪這項技藝正處在傳統與現代交接的邊緣，傳統的制度已逐漸消失而新的制度又尚未建立，倘政府與民眾持續漠視，則這項極具傳統文化特色的民間藝術將只留下空洞的表現形式，在失去其精神與內涵後亦將逐步走入歷史，因此本文研究的重點旨在探究六堆地區彩繪畫師的工作現況及其所面臨的困境，更重要的是如何展望未來，因此文末撰寫的重點即試圖對此地畫師及現行彩繪的未來發展提出具體可行的建議，以期對彩繪工藝及畫師未來的發展有積極的助益。

In a traditional society, “a temple” means not only a center of religious belief, but also an important location for community gathering, value transmission, civilization and education. The temple’s painter would be the best “make-up artist” whose painting works approach to civilian’s life the nearest. Other than craftsmanship of the color painting, the culture mythos revealed by the painting content is another aspect worthy of attention. Therefore, no matter how high the aesthetic value of temple painting is, no matter the painters are called as professional painters or limners, the temple paintings reflect more than a high or low aesthetic value. They reflect the real culture phenomenon on common civilian’s daily life. Through the years, the researches in on color painting art are mainly drawn to famous Min painters, instead of Hakka ones who’ve been ignored for years. This is because it’s commonly considered that color painting is only widespread in Min-nan area. Painters in Hakka area or Hakka painters are out of consideration as a result. In fact, no matter how fine the painting works of each temple are, all should be treated equally in terms of culture phenomenon. Moreover, Hakka painters’ fine works could not only be seen in every corner in Hakka villages and towns but also in lots of temples in Min-nan area. Their level is just the same as Min painters’. The education organization I’m employed by is located in Neipu, the core of Liu-Tui, where I observed several temples and found many different painting styles from that of the temples in Min area. It is found in field research that in addition to the social factors that have resulted in the change of color painting. Hakka painters’ careers are threatened as they have been replaced by Min painters. Besides, many characteristic temples have lost their original refinement and delicacy after repainted. To investigate into the factors which lead to such results, the discussion over the painters were carried out. This research “The Plights and Prospects of the Career Development for the Hakka Color Painters of Temples in Neipu, Pingtung” intends to take a closer look at the present working situation of the color painters and the difficulties they face. At the end of the study, suggestions over the future development of the color painters and its paintings are also brought up as reference for the development of local color paintings as well as color painters.