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中華民國107年6 月 第43 卷 第6 期
台灣光華雜誌

中英文北美版
V o l . 43 N o . 6 J u n e 2018
C H IN E S E – E N G L IS H B IL IN G U A L M O N T H L Y IS S N 1991- 525X

6
Taiwan P anoram a
海洋保育．生生不息

海洋保育
生生不息
Bounty of the Seas
中華民國一〇 七年六月

乘風破浪拚經濟
蚵寮漁村歌未央
1960s台灣紀錄片先鋒
以抽象藝術豪賭的人生
第四三卷第六期

建議售價
N T$ 15 0
U S $ 5
H K $ 40
¥ 6 00
 嶙峋海岸

A Craggy Coastline
圖 文• 　版面設計•

台
H ualien’s Shitiping Scenic Area presents a spectacu-
lar scene of coastal erosion, complete with wave-
cut platforms, sea trenches, coral reefs, and potholes.
Day by day, through countless eons, the hard rocks
have been eaten away, creating today’s magnificently
craggy coastline. Seen from Shitiping’s famous cuesta,
the fissures in the rocks seem to radiate out into the Pa-
面 cific, as if in endless dialogue with the sea.
(photo and text by Chuang Kung-ju/tr. by Geof Aberhart)
 編者
人的絮話
語
大海的國度
文．陳亮君

中華民國107年6 月1日出版（月刊）／ 四面環海的台灣，不論是氣候、環境、生 以及純藝術創作的《今日開幕》（韓湘寧，

中華民國6 5 年1月1日創刊

版 光華 物和文化都與「海」有密不可分的關係。海 1965），不同題材、不同形式，卻在同一個
P u b lish er: Ja u sh ieh Jo sep h W U
洋不但精心雕琢出寶島的面貌，也賦予了台 年代中醞釀與綻放，讓我們跟著台灣國際紀
D irect or: H enry M . J. C H E N
灣珍貴的自然資源。但這份資源並非取之不 錄片影展策展人林木材、知名攝影師莊靈、
E ditor-in-C h ief (act ing): I v an C H E N

D ep u ty E ditor-in-C h ief : I v an C H E N
盡、用之不竭，而是有賴我們共同的維護與 藝術家韓湘寧，一同來回顧台灣60年代的紀
文 曾蘭淑
E ditor: E sth er TS E N G 珍惜，才能讓這上天賦予的應許之地，生生 錄片。
文
D ep u ty E ditor: C am ille K U O
文 不息、永續發展。 此外，本期還專訪了獲得義大利佛羅倫斯
W riters: C ath y TE N G , C H E N C h u n-f ang,
L yn n S U
版 面 胡如瑜
本期《光華》以海洋復育的觀點，從政府 國際當代藝術雙年展「終生藝術成就獎」及
D irect or of L ayo u t: H U J u -y u
單位、民間業者與一般大眾等面向，透過法 「羅倫佐金質獎章」的藝術家陳正雄，讓我
A rt E ditors: H S I A O Y ing-tsen, H enry W A N G

P h otograp h ic C oordinator: C H U A N G K u ng-j u

規、制度與國際合作的模式，全方位探討人 們聽這位大師級藝術家述說一路走來的心路
林格立
P h otograp h ic D irect or: Ji m m y L I N 與自然如何永續共存。再加上海洋的周邊產 歷程與創作理念，看他如何運用色彩表現出
林
P h otoj ou rnalist: L I N M in-h su an
文
業與活動，如台灣遊艇製造業的優勢，以及 生命在大自然中的躍動與歡愉。
E nglish E ditors: A u drey C H E N , R ob ert TA Y L O R ,
P h il N E W E L L 在地漁村如何與文創結合等議題，也有深入 * * *
文
Ja p anese E ditors: Y A M A G U C H I Y u k ina,
S h ila S H I H 的報導。 在台灣這塊土地上，各族群彼此合作，也
文
I ndonesian E ditor: Tem m y W I R Y A W A N
文
接續海洋議題，透過攝影師的鏡頭，本期 共同努力著，阿美族傳統的輪傘草編織技術
V ietnam ese E ditor: V U Th u H u ong
華 「影像對話」單元將帶您發現台灣海岸線的 與時尚結合，開發出具簡約風格之現代燈
S enior A dm inistrative E ditor: D U A N S h u -h wa

不同風貌；另外，一座長在田中央的「海灣 具，在國際上綻放光芒；印尼華僑吳俊星在
M arke ting D irect or: C arianne C H U N G
繪本館」，究竟蘊藏著甚麼浪漫的夢想，也 擔任央廣主持人期間，為印尼移工解決生活
D ep u ty M anager: C H E N Jyu n-wei
淑
C h ief of G eneral A f f airs: C H E N S h u -ing
讓我們來一探究竟。 上與工作上的疑惑；來自台東均一實驗高中
淑
G eneral A f f airs: S . H . L E E * * * 的學生們，藉由募集東南亞語言書籍，無償
C ircu lation: H O S h ih -lu ng
誰說紀錄片就一定是沉悶、無趣的象徵， 提供移工借閱，用移工熟悉的文字，緩解思
華 台灣台 1005 1 2
A ddress: N o. 2, Tianj in S treet, Taip ei 1005 1, 台灣60年代就已出現各種題材的紀錄片形 鄉的情緒。這種種的一切，相互交織成一幅
Taiwan, R O C
10099台 8 -3 98
E -m ail: servi ce @ taiwan-p anoram a. co m 式，有充滿社會關懷的《劉必稼》
（陳耀圻， 幅動人的景象，在這屬於大海的國度中不斷

P O B ox 8 -3 98 , Taip ei F u xi ng B ridge, Taip ei C ity
10099, Taiwan, R O C 1967）、家庭溫馨的《延》（莊靈，1966）， 地上演。
+ 8 8 6 -2-23 97-06 3 3
F ax: + 8 8 6 -2-23 97-06 5 5
h ttp : / / www. taiwan-p anoram a. co m /
An Ocean Nation
S urrounded by water, Taiwan is inextric-
ably linked to the sea, whether in terms
of climate, environment, flora and fauna, or
culture. Water has sculpted every facet of
our island and endowed it with rich natural
resources. But these resources are not inex-
haustible. Developing them sustainably de-
mands our collective stewardship.
In this month’s Cover Story we look at
marine conservation, examining how the
government, the private sector, and regular
citizens are crafting and enforcing regula-
tions, designing systems and working to-
gether internationally to bring humankind
and nature into a more sustainable balance.
We also look at industries and activities con-
nected to the sea, including the strengths of
Taiwan’s yacht industry, and we examine
cultural creativity in a fishing village.
On a related theme, our Photo Essay this
month offers a new look at Taiwan’s coast-
line. And what sort of romantic dreams are
fostered at Tai chung’s Humpback Whale
House? Let’s take a look!
Who says documentaries have to be stuffy
and boring? In the 1960s all manner of docu-
mentary films were being made in Taiwan, in-
cluding Richard Yao-chi Chen’s socially aware
Liu Pi-chia, Chuang Ling’s family- focused
Life Continued, and Han Hsiang-ning’s artistic
Today. Each has a different sub ect matter and
EDITOR’S NOTE
style, but they were brewed from the ferment S U B S C R IP T IO N R A T E S :
R ep u b lic of C h ina: N T$ 15 0 p er co p y ,
of the same era. Guided by Wood Lin, pro- N T$ 15 00/ ye ar, N T$ 26 00/ 2 ye ars
Asia acific egions 0 year,
gram director of this year’s Taiwan Interna- U S $ 72/ 2 ye ars b y airm ail
N orth A m erica : U S $ 3 2/ ye ar,
tional Documentary Festival, we examine the U S $ 5 5 / 2 ye ars b y regu lar m ail
lsewhere year,
documentaries of that decade. U S $ 8 0/ 2 ye ars b y airm ail
In this issue we also visit Chen Cheng-
光華 S inoram a M agazi ne
華 95 1 台灣光華
hsiung, twice winner of both the Lifetime
Taiwan P anoram a
G P N : 2008 00003 8 I S S N 1991-5 25 X
Achievement in Art Award and the Lorenzo il 華 版 版台
Magnifico Award at the Florence iennale. We
○○
華 台 18 6
華
learn about his creative ideals and trace his 229
+ 8 8 6 -2-2915 -0123
artistic development as he gives us a glimpse
+ 8 8 6 -2-23 97-06 3 3
of how he uses color to express the essence of 0128 106 -5 光華
15 0 格 15 00
life amid the oyous splendor of nature. 26 00
Taiwan is a place of ethnic diversity and Taiwan anorama ( 000 ) is published
m onth ly , U S $ 3 2. 00 p er ye ar, b y K wang H wa
collaboration, and three of this month’s arti- ublishing ( A), Inc., 7 1 Wilshire lvd 10 ,
L os A ngeles, C A 90010, U S A . A ll righ ts reserve d.
cles reflect that reality. The traditional Amis R ep rodu ct ion in wh ole or in p art with ou t written
p erm ission is p roh ib ited. P eriodica ls p ostage p aid
craft of sedge weaving has been given a at L os A ngeles, C alif ornia.
P O S TM A S TE R : S end address ch anges to K wang
fashionable new twist in the form of a stream- H wa P u b lish ing (U S A ), I nc. , 3 73 1 W ilsh ire B lvd
10 , os Angeles, CA 90010, A.
lined modern lamp that has made a splash 光華 版
internationally. Chinese-Indonesian radio host
R eaders in th e U S & C anada sh ou ld su b scr ib e
th rou gh K wang H wa P u b lish ing (U S A ), I nc.
Antonius Sunarto, during his tenure at Radio
光華 版 K wang H wa P u b lish ing
(U S A ), I nc .
7 1 Wilshire lvd 10 , os Angeles, CA 90010,
Taiwan International, has helped to solve U S A
problems faced by Indonesian migrant work-
Tel: 1-8 8 8 -8 29-3 8 6 6 F ax: 1-213 -3 8 9-0021
ers in Taiwan both at their workplaces and in
P resident: K . T. Y A N G
their daily lives. Students from Junyi Experi- A ssistants: W U C h ia-yi ng, Th om as K O H
mental High School in Taitung are collecting 圖文
如
books in Southeast-Asian languages to lend 如
out to migrant workers. These are the vibrant A ll righ ts reserv ed. P h otos and artic les m ay not b e
rep rinted with ou t ou r p erm ission.
and diverse threads from which the tapestry I f yo u wish to rep rint any of ou r articl es or
p h otograp h s, p lease co ntact ou r senior
of this island nation is being woven. adm inistrative editor.
D am aged or m isb ou nd co p ies retu rned to u s will
(Ivan Chen/tr. by Jonathan Barnard) b e gladly rep lace d.
目次
CONTENTS 中華民國107年6 月 第43 卷 第6 期 V ol. 43 N o. 6 Ju ne 2018

20 面

6 海洋保育．生生不息
C ove r S tory

B ou nty of th e S eas
圖•

8 豐富多樣的海洋資源
保育海洋，永續台灣
B ou nty of th e S eas:
S eeki ng S u stainab ility f or Taiwan’ s
M arine R esou rce s

30
文•曾蘭淑　圖•林格立

20 向非法漁捕宣戰
官民合作，年年有漁
Th e C am p aign f or S u stainab le F ish eries:
Taiwan D ecl ares W ar on I llegal F ish ing
文•曾蘭淑　圖•林格立

30 乘風破浪拚經濟
台灣巨型遊艇稱霸亞洲
Th e W ind in Th eir S ails
— T aiwan’ s A sia-L eading Y ach t B u ilders
文•曾蘭淑　圖•林

40
40 蚵寮漁村歌未央
海風狂、人情濃、歌不歇
K eza iliao: Th e M u sic I s N ot O ve r
文• 圖•林格立

E ditor’ s N ote P ostca rds f rom H om e

2 大海的國度 1 嶙峋海岸 52 月月好讀

A n O ce an N ation A C raggy C oastline V ariety P ages
文• 圖 文• • •林
 Photo Essay

封面說明： 56 海岸線
台灣新北市老梅濱海岸，浪花滋潤了岩面，生長出綠色 Coastline
海藻，形成令人驚嘆的「綠石槽」。(林格立攝) 圖 文•
C o v e r : At Laomei in New Taipei City, green algae grow on
rocks wetted by the surf, producing the area’s remarkable
Around Taiwan
algal reefs. (photo by Jimmy Lin)

66 稻田裡的夢想家
海灣繪本館
Dreamers in the Rice Paddies:
Humpback Whale House
文• 　圖•林

文 Cultural Trends

74 台灣紀錄片先鋒
1960s 台灣紀實影像特輯

74
Documentaries of the 1960s
—A Pioneering Decade for Taiwanese
Cinema
文• 　圖•

86 以抽象藝術豪賭的人生
陳正雄自我突破之路
Betting on Abstract Art
—Chen Cheng-hsiung’s Journey of
Self-Discovery
文• 　圖•

Entrepreneurship

86
96 K a m a r o ’ a n 住下來吧！
輪傘草編織工藝再創生
Kamaro’an: The Revival of Umbrella
Sedge Weaving
文• 　圖•

Communities

108 教室外的文化課
東南亞移動圖書館在台東
Culture Classes Beyond the Classroom
—Taitung’s Southeast-Asian Mobile Library
文• 　圖•林

96
116 跨海築夢
印尼華僑吳俊星台灣打拚記
Building Dreams Across the Sea:
Antonius Sunarto’s Success Story
文• 　圖•
封面故事　COVER STORY

海 洋 保 育
Bounty of the Seas

生 生 不 息
圖• / p h oto b y C h u ang K u ng-j u
封面故事　COVER STORY

圖•王汶松 / p h oto b y W ang W en-song

 豐富多樣的 海 洋 資 源
Bounty of the Seas:
Seeking Sustainability for Taiwan’s Marine Resources
文•曾蘭淑　圖•林格立　版面設計•胡如瑜
詩人余光中《你想做人魚嗎?》的詩問道：
「你知道山高不及海深嗎? 你知道地廣不及海闊
嗎? 你知道海量是怎樣的肚量？你知道海涵是怎
樣的涵養？海神的財富是怎樣的秘藏？」
是的，海島台灣，陸地面積不到地球萬分之
三，卻蘊育十分之一的海洋魚類物種。然而，海
洋以快板奏出驚愕交響曲提醒台灣：海洋資源枯
竭、棲地環境惡化。付出行動，保育海洋資源，
才能在未來奏出和諧的樂章。
全世界海洋生物物種約有22∼23萬種，台灣
面積雖小，海洋生物的種類卻達1萬2,000∼1萬
3,000種之多。海洋資源如此豐富的原因，是因台
灣獨特的地理位置。
台灣海洋生物，多樣豐富
台灣地處全球物種最豐富的東印度群島地理區
北緣，以及東海、南海與菲律賓海三大海洋生態
系（Large Marine Ecosystem, LME）」的交會處，
黑潮、中國大陸閩浙沿岸流與南海海流等三種不
同海流交會，以及海域棲地多樣性，形成不同生
態系是造成生物多樣性豐富的重要因素。
保育海洋·永續台灣
I n his poem “Do You Want to Be a Mermaid?” the
poet Yu Kwang-chung asks, “Do you know that
the mountains are not as high as the sea is deep? /
Do you know that the land is not as broad as the sea
is wide? / Do you know the volume of the ocean’s
magnanimity? / Do you know the capacity of its for-
bearance? / Or what kinds of secret treasures are the
Sea God’s riches?”
Though Taiwan covers less than 0.03% of the
earth’s total land area, the seas around our island
are home to one tenth o the world’s fish species. et
the sea is sounding a stark warning to Taiwan: Our
marine resources are being exhausted, and habitats
degraded. Only by action to conserve and protect our
marine resources can this threat be averted.
There are some 220–230,000 marine biological species
in the world. Taiwan, though small in area, has about
12–13,000 marine species. The reason why Taiwan has
such rich marine resources is due to the island’s unique
geographic position.
Abundant marine life
Taiwan is located at the northern edge of the “Coral
Triangle,” an area of tropical seas with many islands
and extraordinary levels of biodiversity. It is at the
9
北台灣魚種
Fish species of northern Taiwan

斑柄鸚天竺鯛 霓虹雀鯛

Flower cardinalfish (Ostorhinchus fleurieu)

M ain h ab itats: S h allow c oastal reef s with m oderate Neon damselfish (Pomacentrus coelestis)
c u rrents; tidal c h annels of estu aries. H ab itat: R u b b le b eds of lagoon and seaward reef s.

nt
rre
岸
燕尾光鰓雀鯛 鋸尾鯛

Cu
陸

al
Smokey chromis (Chromis fumea) Scalpel sawtail (Prionurus scalprum)

ast
M ain h ab itats: L agoon and seaward c oral and Habitats ense coral areas and rocky reefs. Adult fish migrate

Co
roc k y reef s. b etween reef s in large sc h ools.

中
ina
Ch
岩岸
Rocky shores
橫紋九刺鮨
泥沙地與紅樹林
Chocolate hind (Cephalopholis boenak) Mudflats, mangroves
H ab itat: S ilty dead reef s in p rotec ted waters. 岩礁及珊瑚礁
Rocky reefs, coral reefs

t
n
rre
潮
Cu
黑
hio
ne

ros
Li
線 al
隔 phic

Ku
區
理 ogra
之地 ge
相 e Bio
物
生 a rin
洋 M
海 N
S–
wan
i
Ta

驚 艷Taiwan——
北回歸線 Tropic of Cancer
海洋生物繽紛多樣
Taiwan’s rich and
diverse marine life
nt
rre
Cu
a
Se
流

a
in
海

Ch
海

h
南

ut
So

網紋圓雀鯛

Reticulated damselfish
(Dascyllus reticulates)
南台灣魚種 H ab itats: O u ter lagoon and seaward reef s;
Fish species of southern Taiwan inh ab its b ranc h ing c oral h eads and silty h ab itats.

金帶鸚天竺鯛 一字刺尾鯛
面
Yellowstriped cardinalfish Orangespot surgeonfish
(Ostorhinchus cyanosoma) (Acanthurus olivaceus)
M ain h ab itats: S h eltered c lear water areas of M ain h ab itats (adu lts): S eaward reef s near tidal p onds,
lagoon and seaward reef s. in areas of b are roc k or m ix ed ru b b le and sand.

尾紋九刺鮨 絲鰭擬花鮨
1 6 0

Darkfin hind (Cephalopholis urodeta) Sea goldie (Pseudanthias squamipinnis)

H ab itats: R oc k y areas of lagoon reef s; H ab itats: C oral ou tc rop s or p atc h reef s of c lear lagoons,
sh allow ou ter reef slop es. c h annels, or ou ter reef slop es.

圖•胡如瑜 台灣
art b y H u Ju -yu , p h otos co u rtesy of th e F ish D atab ase of Taiwan
 台灣蝶魚與棘蝶魚總種數，居全球之冠。（台灣魚類資料庫提供）
Th e waters arou nd Taiwan h av e th e world’ s h igh est nu m b ers of sp ec ies in th e
butterflyfish and angelfish families. (courtesy of the Fish atabase of Taiwan)

中研院前生物多樣性研究中心主任邵廣昭以25 point of intersection of three “large marine ecosystems”:

年時光建立「台灣魚類資料庫」。他指出，現有 those of the East China Sea, the South China Sea, and
the Philippine Sea. It is also the meeting point of three
3,200種在台灣附近的魚類資料，佔了全球魚類資
ocean currents: the Kuroshio Current, the China Coastal
源的十分之一，其中屬台灣特有原生種有322種。
Current, and the South China Sea Current. And it has
特別的是，蝶魚與棘蝶魚兩科的總種數，居全
diverse marine habitats. All these are important factors
球之冠。以蝶魚為例，全球的蝶魚共有122種， in giving shape to different ecosystems that create its
而臺灣就有43種，約占三分之一，因此台灣陸上 rich biodiversity.
是「蝴蝶王國」，在海裡也是「蝶魚王國」。 Shao Kwang-tsao, former director of the Biodiversity
不僅魚類種類多，魚種分布還具有台灣的獨家 Research Center at the Academia Sinica (BRCAS), has
特色。由於台灣位於熱帶與亞熱帶的交會，南北 spent 25 years compiling the “Fish Database of Tai-
wan.” He notes that there are currently data on 3,200
海域的海洋生物明顯不同。邵廣昭舉例說，「在
fish species in the Taiwan area, accounting for one-tenth
北部海域看到橫紋鱠、燕尾光鰓雀鯛，在南部海
of global fish species, including 322 that are endemic
域看不到；在墾丁海域發現的台灣園鰻、絲鰭擬 species unique to Taiwan.
花鮨，在北部近海不會發現它們的蹤跡，如此豐 In particular, the numbers of species in the families
富的海域資源，世界不容易找到相同的地方。」 Chaetodontidae (but ter fly fish) and Pomacanthidae
(angelfish) are the highest in the world. For example, of
潮間帶、珊瑚礁，景象萬千 the 122 species of Chaetodontidae worldwide, Taiwan
台灣潮間帶棲地也具多樣性，不僅分為岩岸、 has 43, or about one-third. Thus Taiwan is not just a
“butterfly kingdom” on land, but also a “butterflyfish
泥沙地與紅樹林、岩礁區與珊瑚礁，每一個系統
kingdom” at sea
都有其獨特的環境與生物。
Not only are there many fish species, but their distri-
以珊瑚礁為例，研究台灣珊瑚礁卅多年的台 bution has features unique to Taiwan. Because Taiwan
灣大學海洋研究所教授戴昌鳳指出，全球造礁珊 straddles the border between the tropical and sub-
瑚共約1,000種，台灣小小海域即擁有約300種， tropical regions, there are marked differences between
the marine life around the north of the island and that
around the south. Shao Kwang-tsao cites the following
examples: “In the seas off northern Taiwan you can see
the chocolate hind [Cephalopholis boenak and the smokey
chromis [Chromis fumea], but you can’t see them in the

海洋專家邵廣昭，用25 年時間建立「台灣魚類
資料庫」，其中台灣魚種佔了全球魚類資源的十
分之一。
O c eanograp h er S h ao K wang-tsao h as sp ent 25 y ears
c om p iling th e F ish D atab ase of Taiwan. Taiwan b oasts
one-tenth of all the ocean fish species in the world.

11
以觸 手 有 8 支 的 「 八 放 珊 瑚 」 為 例 ， 東 沙 群 島 的「海底王國」已不復見。因研究需要已有潛水
有118種，墾丁有近300種，歧異度之高傲視全 35年資歷的邵廣昭說：「我到澳洲大堡礁潛水，
球。一小塊珊瑚礁往往經歷幾百年造成，台灣 魚兒在你一旁流連忘返、擺POSE、當免費模特
罕見而漂亮的海域珊瑚礁，有些甚至經過幾十 兒；但台灣由於潛水時不經意的破壞與在礁區潛
萬年才形成。 水打魚，以及國人愛吃、愛養、愛釣的消費習
他指出，1998年全球水溫升高，造成全球四 慣，珊瑚礁魚一看到人馬上逃之夭夭。」
分之一珊瑚死亡，台灣海域也無法倖免，接著莫 海洋資源枯竭是繼全球暖化議題之外，海洋
拉克颱風帶來大量沈積物也使墾丁沿岸珊瑚大量 版的「不願面對的真相」，因為海洋生物正以
死亡。戴昌鳳以2年時間完成東沙群島的珊瑚調 驚人的速度在消失！根據中研院生物多樣性中
查，他說，長在北緯20度如此高緯度的東沙環 心的研究，台灣潮間帶的魚類群聚，1999∼
礁，有25公里長，全球少見，經過這20年自然修 2001年有三百多種；2010∼2011年間北部剩下
復，加上劃設海洋保護區減少人為破壞，環礁內 不到五十多種。過去常見的魚種變成少見、罕
的潟湖，珊瑚覆蓋率從天災破壞後的0%增加至 見、不見，甚至出現區域性的滅絕，尤其是體
40∼50％。 型大的肉食性魚類海鰻、石鱸、石斑、笛鯛，
已被獵捕殆盡，也因為捕不到魚，消費者發現
資源枯竭是現在進行式
魚愈來愈貴。
至於台灣特有的珊瑚礁魚種，邵廣昭指出，珊
海洋資源復育三部曲
瑚礁魚場生態系已發生巨大改變，原本熱鬧熙攘
海洋資源被破壞，主要有過度捕魚、棲地破
壞、污染及外來入侵種的破壞、人口過多等原
軸孔珊瑚是台灣常見的造礁珊瑚。（戴昌鳳提供）
R eef -b u ilding c orals of th e f am ily A c rop oridae are 因。邵廣昭感嘆說，由於漁民有選票，魚沒有選
c om m only seen arou nd Taiwan. (c ou rtesy of D ai
C h ang-f eng) 票，因此過去把過錯都歸咎給「氣候變遷」，變

12 台灣光華 Taiwan Panorama 2018/06

south. And you will see no sign in the northern seas of gional extinctions. Also, the dearth of fish available for
the sharp-nosed garden eel [Gorgasia taiwanensis] or the fishermen to catch has increasingly pushed up prices
sea goldie [Pseudanthias squamipinnis] that you can dis- for consumers.
cover in the seas off enting in the southernmost part The main reasons behind the destruction of marine
of Taiwan. It’s hard to find anywhere in the world that resources have been overfishing, habitat destruction,
compares in terms of the richness of marine resources.” pollution, invasive species, and human overpopulation.
Intertidal splendor hao wang-tsao makes an earnest appeal on behalf of
Taiwan’s intertidal zones also provide highly diverse
habitats. Comprising rocky shores, mudflats, man-
groves, rocky reefs and coral reefs, each individual eco-
system has its own unique environment and life forms.
Dai Chang-feng, a professor in the Institute of
Oceanography at National Taiwan University, has been
studying coral reefs for over 30 years. He notes that
worldwide there are some 1000 species of reef-building
corals, and of these around 300 species are found in the
small sea area around Taiwan. At the Pratas (Dongsha)
Islands in the South China Sea there are 118 species of
octocorals (corals of the suborder Octocorallia, in which
the coral polyps have eight tentacles), while at Kenting
there are nearly 300 species. This degree of diversity is
as high as anywhere in the world. It can often take hun-
dreds of years for a small coral reef to form, and some
of Taiwan’s rare and beautiful reefs have taken hun-
dreds of thousands of years to reach their present size.
Dai Chang-feng undertook a two-year survey of
coral in the Pratas Islands. He says that the Pratas Is- 衛星圖顯示，長達25 公里長的東沙環礁，
lands atoll, which lies at the high latitude of 20° North, 全球少見。（戴昌鳳提供）
Th is satellite p h oto sh ows th e P ratas I slands
is some 25 kilometers in diameter, a size rarely seen atoll, wh ic h is u nu su ally large at som e 25 k m
anywhere in the world. After 20 years of natural rehab- in diam eter. (c ou rtesy of D ai C h ang-f eng)

ilitation, along with a reduction in human interference

after the creation of a marine protected area, the coral
coverage rate in the lagoon of the atoll has risen from
0% after destruction by natural disasters, to 40–50%
today.
Restoring marine resources
Following on the issue of global warming, the ex-
haustion of marine resources is a marine version of An
Inconvenient Truth, for marine species are disappearing
at an alarming rate. urveys by the CA of fish popu-
lations in Taiwan’s intertidal zones showed more than
300 species in 1999–2001, but by 2010–2011 there were
less than 50 species remaining in northern Taiwan. Spe-
cies that were once common have become uncommon,
rare, or not seen at all, and there have even been re-
the next generation, who he fears will perhaps have no
seafood to eat. He calls on the government to take the
first step toward the restoration of marine resources by
setting limits for fishing: restrictions on fishing gear,
fishing methods, fishing seasons, target species, fishing
areas, and the number of fishing vessels.
“But restricting fishing only addresses the symp-
toms. To get to the root of the problem we need to
establish marine protected areas, and citizens need to
consume fish intelligently—that is, to eat only seafood
that is fished sustainably.” To date the government
has established the Dongsha Atoll, Taijiang, and South

13
成大家都沒有責任！廿多年前，他開始苦口婆心
呼籲，我們的下一代可能將無海鮮可吃，大聲疾
呼政府，海洋資源復育第一步就是「限漁」：限
制漁具、漁法、漁期、漁種、漁場、漁船數。
「但限漁只是治標，治本是劃設海洋保護區
（Marine protected areas，MPA），以及民眾聰明
吃魚──吃符合永續漁法採捕的海產。」目前政
府已設立東沙、台江及南方四島海洋國家公園，
依不同法令劃設超過百餘處的野生動物、溼地、
漁業資源與海岸自然保育區。邵廣昭語重心長地
呼籲，保護區內有禁漁、保留區等措施，但大多
用來作漁業管理，而非保育，因此最重要的是政
府落實取締，不要淪為「紙上海洋保護公園」。
他以墾丁核三廠進水口為例，由於受到嚴格的
安全管制，二十年來沒有人為捕撈及遊憩活動，
已形成美麗又茂盛的珊瑚礁生物群聚，成為台灣
聞名國際、最有成效的海洋保護區。
繽紛海域，用心保育
付出行動，必然帶來美好的改變。屏東琉球區
漁會願意面對真相，因為許多漁民回報，像白帶
魚、鐵甲鲹魚、紅目鰱、皮刀魚等附近海域常見
魚種，跟早期相比「少了很多」，因此漁會2013
年實施小琉球全島3海浬內禁止流刺網等拖網作
業，輔導漁民轉而採用較永續的一支釣與延繩釣
漁法，並且確實查緝，每年都取締十多件違規案
件；同時搭配投放人工魚礁的方式來增加魚群棲
地，成功維護海洋資源。
琉球區漁會推廣員李益利指出，由於拖網是海
龜的天敵，禁止拖網捕漁後，潛水時可以看到許
多海龜、綠蠵龜向你打招呼；白帶魚也從平均1
∼2公斤重長大至2∼3公斤重，賣價更好。因為
成功保育「海洋」，小琉球才吸引這麼多遊客前
來觀光。
金門縣政府在西北海域潮間帶劃設古寧頭鱟
保育區，保育有「灘地上的活化石」之稱的水頭
鱟。鱟是4億年前即存在的物種，而且一旦「結
為夫妻」即忠貞不分離，又稱「夫妻魚」。50年
前台灣沿岸還很多，由於棲地環境的改變，20年
前西海岸幾乎已見不到鱟的蹤跡。
14 台灣光華 Taiwan Panorama 2018/06
Penghu Marine National Parks, and throughout Taiwan
it has designated more than 100 coastal nature reserves
and other zones for the protection of wildlife, wetlands,
and fisheries resources. hao urges the government to
take measures such as creating no-fishing zones and
establishing conservation areas within protected areas,
but he laments that most of the designated areas are be-
ing used for management of the fishing industry, not for
conservation. Therefore the most important thing is for
the government to genuinely implement management
and law enforcement, and not to fall into the trap of
only having “on-paper” marine protected areas.
Carefully preserve marine riches
Nonetheless, where there is action, change is sure to
follow. The Liuqiu Fishermen’s Association in Pingtung
County has been willing to face up to the truth. Many
fishermen have reported that in the seas around the is-
land of iaoliuqiu, the numbers of various fish species
once commonly seen there—including the largehead
hairtail (Trichiurus lepturus), the torpedo scad (Megalas-
pis cordyla), the red bigeye (Priacanthus macracanthus),
and the moonfish (Mene maculata)—are far lower than
in the past. Accordingly, in 2013 the association banned
the use of certain fishing techniques, such as drift gill-
netting, within three nautical miles of the island, and
began encouraging fishermen to use more sustainable
techniques such as pole-and-line fishing and longline
fishing. Moreover, they ensure enforcement of fishing
regulations, interdicting more than ten cases of illegal
fishing each year. They are also constructing artificial
reefs in order to provide additional habitats for fish
populations and so maintain marine resources.
iuqiu Fishermen’s Association staffer i Yili notes
that because gillnet fishing is dangerous to sea turtles,
since the gillnet ban took effect snorkelers can see many
sea turtles greeting them. Also, the average weight of
largehead hairtail fish has increased from 1–2 kilograms
to 2– kilos, enabling them to fetch better prices.
On Greater Kinmen Island, the Kinmen County Gov-
ernment has designated a horseshoe crab conservation
zone in the intertidal zone at Guningtou on the island’s
northwest coast, to protect the tri-spine horseshoe crab
(Tachypleus tridentatus). Known as “living fossils of
the beaches,” horseshoe crabs have existed for at least
400 million years. The crabs mate for life, and so they
小琉球經過廿多年的環境保育，海龜數量變多。（林旻萱攝）
A f ter m ore th an 20 y ears of env ironm ental c onserv ation in X iaoliu q iu , th e nu m b ers of sea tu rtles are
inc reasing. (p h oto b y L in M in-h su an)

良好的生態環境下，海綿產卵。（王汶松攝）
S p onges release th eir eggs wh en th e su rrou nding env ironm ent is su itab le. (p h oto b y W ang W en-song)

15
 金門水產試驗所多年來協助容易「難產」的鱟
夫妻「產卵、孵化」，再放流回到海洋，稚鱟數
量持續穩定增長，甚至在沒有放流的雄獅堡海
灘發現成鱟上岸產卵的蹤跡。同時在長期環境
教育努力下，鱟成為台灣民眾心目中的「保育
類」生物。
基隆縣政府更在基隆區漁會自發性巡守與當地
居民要求下，2016年設立15公頃的「望海巷潮境
海灣資源保育區」，成為台灣第28個、也是最新
的漁業保護區。基隆市政府海洋事務科長蔡馥嚀
指出，2年來嚴禁採捕、漁撈，志工把海底垃圾
帶走，清除廢棄網，魚蝦變多、生態變好，成為
東北角熱門潛點，潛水客增加6、7倍。海科館研
究發現，定棲性的海龜、海膽數量與密度變多；
以前石斑魚還沒有長大就被抓走，現在潛水客可
以看到「大隻、數量又多的石斑魚」。
海鮮指南，永續餐桌
海洋保育的第三部曲是從消費者端著手。推動
海洋保育不遺餘力的邵廣昭指出，「我們的下一
16 台灣光華 Taiwan Panorama 2018/06
代可能無魚可捕、潛水的人無魚可觀賞，連我們
作研究的人都抓不到魚。」這樣的危機，促使邵
廣昭推動「台灣海鮮選擇指南」，不要吃已經遭
到過度捕撈，或是以破壞生態方式捕捉的珊瑚礁
魚、黑鮪魚、鯨鯊；漁場尚豐富，而且管理完善
的養殖場的秋刀魚、吳郭魚、虱目魚、櫻花蝦等
可以多吃。多吃迴游種、養殖種、食物鏈底層的
海鮮，不買大型掠食魚、稀有種。
這樣吃魚是不是太過保守？很多魚都不能吃？
邵廣昭強調：「我不是保守，我是保育派，從保
育的觀點來吃魚──既然養殖的石斑營養與野生
的一樣，何必跟自己荷包過不去，吃愈來愈少的
野生石斑呢？」
水產業者「湧升海洋」2015年發起「責任漁
業指標」（RFI, Responsible Fishery Index），
參照聯合國責任漁業行動綱領與台灣在地的漁
業環境，制定數量充足、合法捕撈、魚種繁殖
能力、對環境衝擊等指標，為漁產打分數，
讓消費者參考商品包裝上的R F I分數、產地與
生產方式，作為購買的指南來吃魚（分數愈
are nicknamed “husband-and-wife fish” in Chinese.
Fifty years ago there were still many horseshoe crabs
along the west coast of Taiwan proper, but because of
habitat changes, by 20 years ago they had virtually
disappeared.
The Kinmen County Fisheries Research Institute has
for many years helped “couples” of tri-spine horseshoe
crabs, which frequently find it difficult to reproduce,
to lay and fertilize their eggs; after the eggs hatch, the
institute releases the larvae into the sea. The number of
juvenile horseshoe crabs has been rising steadily. There
have even been cases of adult crabs coming ashore to
lay eggs on the beach at Xiong shi Fort, where there
have been no releases of crab larvae.
Seafood Guide Taiwan
A further strand of marine conservation starts with
consumers. Shao Kwang-tsao is promoting the “Seafood
Guide Taiwan,” calling on people to not eat species that
have been depleted by overfishing or whose environ-
ments have been damaged by destructive fishing meth-
ods, such as coral reef fish, bluefin tuna, and whale shark.
On the other hand, people can eat more of those aquatic
species that are still abundant in ocean fishing grounds, or
are raised in well-managed aquaculture facilities. These
include Pacific saury, tilapia, milkfish, and sakura shrimp.
The message: Eat more migratory species, farmed species,
and species from the bottom end of the food chain, but
don’t buy large predatory fish or rare species.

（左圖）花蓮七星潭的漁民，準備乘坐膠筏，到定置漁場收魚，屬於永續漁法之一。
(f ac ing p age) F ish erm en p rep are to set of f on a p ip e b oat f rom H u alien' s Q ix ingtan B eac h to h arv est
fish from nearby fixed nets. This is a sustainable method of fishing.

選購箱網養殖魚種，比吃野生魚種，更有保育觀念。
ating fish raised in cage culture rather than wild fish is a sign of greater environmental awareness.

17
 用心保育海洋，讓當地得以發展生態旅遊或觀光，例如賞海豚的活動，符合資源永續
利用的「里海」原則。
F oc u sing on oc ean c onserv ation allows loc alities to dev elop ec otou rism ac tiv ities su c h as
wh ale-watc h ing, wh ic h c onf orm s to th e “ S atou m i” p rinc ip le of su stainab le u se of resou rc es.

18 台灣光華 Taiwan Panorama 2018/06

低，代表合法捕撈，不會威脅生態環境）。 The seafood firm “Upwelling” launched its “ espon-
湧升海洋公司總經理徐承堉舉例，與黑鮪相 sible Fisheries Index” ( FI) in 2015. Taking into account
the United Nations’ Code of Conduct for Responsible
較，現今黃鰭鮪數量多、資源回復力強，是較符
Fisheries and the local environment for the fishing
合永續精神。相較土魠與白鯧，鯖魚數量多、
industry in Taiwan, a number is formulated for each
營養價值高，RFI分數比較低；選購來自「一支
seafood product based on indicators such as su cient
釣」及 「曳繩釣」漁法的齒鰆或赤鯮，與拖網漁 population, legality of catching, species’ reproductive
法相比，屬於永續漁產。 capabilities, and impact on the environment. This al-
lows consumers to base their fish purchases on the FI
海洋保育的新亮點：里海
number, production location and production method
小琉球、基隆等地用心保育的結果，回復海洋 marked on the product packaging.

生物多樣性，在生態旅遊或觀光方面的價值，不 Satoumi: New focus for marine conservation

The effect of focused efforts at conservation in iao-
但超過漁獲食用的經濟價值，而且符合生物多樣
liu qiu, Kee lung and elsewhere has been to restore
性保護、資源永續利用的原則，與日本這幾年推
marine biodiversity. Not only does the value gained in
動的「里海」（Satoumi）觀念與趨勢不謀而合。 terms of ecotourism transcend the economic value from
邵廣昭指出，日本這幾年強調「里海」的觀 catching fish for eating, but the efforts also conform to
念，透過人為營造與管理，進行海洋資源的復 the principles of protection of biodiversity and sustain-
育，讓當地社區的居民得以結合當地生態特色， able use of resources, matching up with the “Satoumi”
永續利用海洋資源。舉例來說，彰化芳苑以海牛 concept and trend that has been promoted in Japan these
past several years.
車採蚵，或是挖蚵的生態體驗，來促進漁村的轉
Shao Kwang-tsao points to several examples. The
型；宜蘭南方澳2013年開始在每年的6月生長時
ecotourism experience of collecting oysters with ox-
間實施禁漁措施，「復魚」結果能捕獲大魚來舉
carts at Fang yuan, Chang hua County, has facilitated
行「鯖魚季」；黑潮海洋文教基金會與台灣媽祖 the economic transformation of this fishing village. The
魚保育聯盟推動鯨豚與白海豚的保育，高美、鰲 Kuroshio Ocean Education Foundation and the Matsu
鼓溼地的保護，得以賞鯨豚、遊溼地；這些都是 Fish Conservation Union are promoting conservation of
「里海」理念的實現。 cetaceans, including the Chinese white dolphin. The pro-

認真與自然和諧共生，海洋資源多樣性得以保 tection of the Gaomei and Aogu wetlands has created op-
portunities for cetacean watching and wetlands tourism.
護，海洋資源才能再生不息，也才能繼續吟唱詩
These are all practical applications of Satoumi ideals.
人余光中的詩：
Only if we earnestly endeavor to coexist harmoniously
with nature can the diversity of marine life be preserved,
「 有多少的珊瑚和珍珠， and can marine resources grow and multiply without
多少海葵和海星， end. And only then will we be able to go on reading the
多少水母浮潛出沒， poem of Yu wang-chung: “How much coral and how
多少鯊魚和海豚? many pearls are there, / How many sea anemone and
當恐龍在陸上都成了化石， starfish, how many floating ellyfish, how many sharks
雄偉的大翅鯨、抹香鯨，
and dolphins? / When on land the dinosaurs had all be-
在亮藍的高速公路上，
come fossils, The mighty humpback whale and sperm
卻迎風噴灑壯麗的水柱。
whale Were blowing out magnificent waterspouts On
……
海藻的草原，
the bright blue highway. Prairies of kelp, ranches
水族的牧場， of aquatic life, / The undersea vistas are limitless….” 
水下的風景無窮無盡。」 □ (Esther Tseng/photos by Jimmy Lin/
tr. by Phil Newell)

19
封面故事　COVER STORY

台灣是全球6大公海捕魚國之一，每年70萬公噸以上的漁產，8成
以上外銷，為台灣賺進超過300億元的外匯。
但是海洋資源日趨匱乏，加上歐洲聯盟執行委員會（European
Commission）2015年給予黃牌警示，提醒加強漁業管理。兩年多
來台灣政府戰戰兢兢、如臨深淵，增修與歐盟相同嚴格標準的遠洋
漁業三法雷厲執行，打擊非法漁捕作業，展現漁業大國善盡國際責
任，守護海洋的決心。

20 台灣光華 Taiwan Panorama 2018/06

向非
法
漁
捕
宣戰 官民合作年年有「漁」
The Campaign for Sustainable Fisheries:
Taiwan Declares War on Illegal Fishing

文•曾蘭淑　圖•林格立　版面設計•胡如瑜

T aiwan is the world’s sixth largest fishing nation in terms of hauls

from international waters. Every year our fishing fleet catches
upwards of 700,000 metric tons of fish, more than 80% of which is
exported—to the tune of NT$30 billion in foreign earnings.

台灣自1970年代開始發展遠洋漁業，是世界重要公海捕魚國之一。
Taiwan began to develop its long-range fishing industry in the 1970s. Today it is one of the
major fishing nations of the high seas.

21
 春末夏初，高雄前鎮漁港西岸碼頭凌晨帶著些
許涼意，等著早市結束，上午8點，遠從模里西
斯、印度洋轉載台灣24艘漁貨的998噸運搬船開
始開艙卸貨。
從零下50 度超低溫保存艙拖出的大目鮪、黃
鰭鮪，包裹著一層美麗的白霜，遇到攝氏20度的
室溫，發出一縷縷白煙。卸貨工人熟練地操著苦
力叉，一勾把重達幾十公斤的大目鮪拖進冷凍貨
櫃車，過磅後將輸往日本。
漁港另一邊，500噸的福春128號進行第2天卸
魚。俗稱「紅皮刀」的月魚、油魽，從冷凍艙拖
出來，冒出陣陣白煙，代理商看完貨指著說，這
些漁貨過磅後，將直接外銷韓國作成魚排。
打擊非法捕漁第一線
目不轉睛盯著漁貨的，除了買家，還有漁業署
的檢查員。已經有6年經驗的易智健，是帶隊檢
查官，他帶領6人一組的檢查員，在漁船準備開
艙卸貨前到達現場，架好二組攝影機，從頭到尾
監看卸魚作業。他強調：「我們同時會出動這麼
多人，就是這艘運搬船同時轉載台灣多家漁船的
漁貨，卸魚時兵分多路，同時上了不同冷凍貨櫃
車或卡車，我們必須確認這些車輛確實過磅，並
且統計是否有過度捕撈有配額限制的魚種，例如
太平洋是大目鮪、印度洋是黃鰭鮪。」
檢查員先確認船首的國際識別編號與中英文船
名，符合原先申請卸魚的船隻，確保沒有冒用身
台灣要求遠洋漁船「每小
時」回傳衛星定位的船位，
24小時監測全球漁船動態。
(莊坤儒攝)
The Fisheries Agency requires
Taiwan-registered long-range
fishing vessels to submit to
round-the-clock tracking,
transmitting their locations by
satellite every hour. (photo by
Chuang Kung-ju)
22 台灣光華 Taiwan Panorama 2018/06
分的問題。另一組人則在貨艙，確認艙蓋是上鎖
的情況下開啟貨艙，同時查察船艙內沒有禁捕的
花鯊、黑鯊等魚種。
易智健一年前還是漁業署隨著台灣遠洋漁船
出航半年至1年的觀察員，從漁船開始投繩、揚
繩，日夜記錄漁獲紀錄，包括魚類的體長與體
重，除了提供學界研究與遠洋漁業漁獲資料的準
確資訊，得以判斷全球海洋漁業資源的演變外，
同時具有監督遠洋漁船是否有誤捕海鳥、海龜等
混獲物種、違法轉載漁獲（又稱「洗漁」）、超
量捕魚（又稱「過漁」）等情況。
登船檢查，似乎勾起了易智健海上執勤的回
憶，他說：「每位觀察員第一次隨船出海半年，
回來沒有不瘦下10公斤的，我們戲稱上『海洋減
重班』，主要是水土不服，不是天生的討海人，
船上不是吃罐頭就是很辣或是油炸的魚，愈吃愈
瘦。也常端上一大『鍋』的生魚片（他補充：不
是一盤），不過通常是吃鯊魚吃剩的部份。」
「我還遇過補給延遲1個月，船上吃得什麼都
不剩，只有白米，還有大海裡的魚，當補給船來
臨，吃到台糖的冰棒時，當下我真的感動的都要
哭了。」出勤5年之間，易智健跟過100噸的鮪延
繩釣漁船，與印尼漁工擠一間8人房，床寬只有
十幾公分的通鋪。久而久之，不僅熟悉漁船作
業，體會海上3班制、24小時捕魚的艱辛，尤其
在兇險未知的海上，監控漁撈作業，與船長站在
對立的位置十分不易。
 Yet with declining oceanic stocks and with the Eu-
ropean Commission’s “yellow card” issued against
Taiwan in 2015, the signs are clear: Taiwan must
strengthen its fisheries management. Over the last
two years, the ROC government has been working
hard to make amends, both revising its laws govern-
ing fishing on the high seas to make them as strong
as the EU’s and rigorously enforcing those laws to
come down hard on illegal fishing. Taiwan’s determi-
nation to meet its international responsibilities to
protect the oceans as a major fishing nation is clear.
It’s a cool early morning on the cusp of spring and
summer, at a dock on the west bank of Kao hsiung’s
Qianzhen Fishing Port. At eight, a transshipment ves-
sel—in this case a “reefer ship” (refrigerated cargo ves-
根據漁業署的統計，台灣是名列全球前 20 名的漁業
國家，南方澳漁港也是遠洋漁業的重鎮之一。
According to the Fisheries Agency, Taiwan is one of the
world’s largest fishing nations. Nanfang'ao Fishing Harbor
is an important base for its long-range fishing fleet.
sel) that has collected the catch of 24 Taiwanese fishing
boats at the Indian Ocean island of Mauritius—begins
to unload its cargo.
Deep-frozen bigeye and yellowfin tuna are taken
out of –50°C freezers. Covered with frost, the fish grow
shrouded in snowy mist when they hit the ambient
temperature of +20°C. The unloading crew skillfully
operates the forklifts, moving pallets of bigeye tuna
weighing dozens of kilos into refrigerated containers.
After weighing, they will be shipped to Japan.
23
 檢查員監督卸魚作業並確實過磅，統計是否有 一網打盡、竭澤而漁的結果，使海洋漁業資源快
過度捕撈有配額限制的魚種，圖中是剛自船艙
卸下的黃鰭鮪。
速枯竭。
Inspectors scrutinize unloading operations, 依據聯合國糧農組織（Food and Agriculture
checking the weight of the catch and ensuring that
quotas haven’t been exceeded. The photo shows Organization, FAO）的報告，近年全世界海洋漁
yellowfin tunas that have just been unloaded.
獲 30%來自非法捕魚，產值約 100 億歐元（138
億美元），嚴重威脅水產資源的永續利用及生物
多樣性。打擊「非法捕漁行動」成為國際間為維
漁業資源面臨枯竭危機
持海洋漁業資源永續利用的首要目標。
檢查員與觀察員作為漁業署執法最前線，是
漁業大國產量多，責任大
台灣配合國際漁業組織與國際趨勢，打擊I U U
（Illegal, unreported and unregulated fishing，即從 根據漁業署的統計，台灣是名列全球前 20 名
事非法、未報告及不受規範漁捕行為）的具體行 的漁業國家，也是世界6大公海捕魚國之一，台
動之一，這些從全球漁業資源面臨枯竭的現象說 灣在北太平洋的秋刀魚產量、印度洋與南大西洋
起。 的長鰭鮪捕獲量世界居冠。
由於衛星定位與電子探測器等科學技術的進 參與遠洋漁業事務超過30年的漁業署長黃鴻燕
步，加上漁具漁法日新月異，使得海洋魚類，不 指出，全球國際漁業組織，以總量來管制捕撈當
分大小、種類、習性，特別是中表層洄游性的魚 地洄游性魚類資源。台灣雖不是聯合國會員國，
類，幾乎無所遁形。專家估計，現在全球捕魚能 並且遭到中國打壓，但由於台灣漁獲量大，中西
量是總漁獲量的4倍以上，高科技的捕魚技術， 太平洋漁類委員會（WCPFC）、 大西洋鮪類保

24 台灣光華 Taiwan Panorama 2018/06

 Fighting illegal fishing
In addition to buyers, there is another group of peo-
ple keeping their eyes on these fish: inspectors from the
Council of Agriculture’s Fisheries Agency. The FA’s Yi
Zhijian, who has been on the job for six years, leads a
group of six inspectors who arrived before the unload-
ing started with two sets of cameras to document the
entire process. “We mobilized so many people because
this reefer ship is transferring the catches of so many
fishing boats to Taiwan,” explains Yi. “During unload-
ing, it’s all divided up accordingly and put into differ-
ent refrigerated containers or trucks. We need to ensure
that these vehicles have been properly weighed, and
that the amounts of quota-restricted species—such as
bigeye tuna from the Pacific or yellowfin tuna from the
Indian Ocean—aren’t too high.”
After ascertaining the boat’s International Maritime
Organization (IMO) number, the inspectors check that
the Chinese and English names of the vessel match
the records and that this reefer was indeed the ship for
which an unloading application had been filed. These
measures are meant to protect against fraudulent identi-
檢查員是漁業署打擊非法漁捕執法最前線人員。
Inspectors are at the front lines of the Fisheries Agency’s efforts to stamp out illegal fishing.
ties. Meanwhile, other inspectors check that the hatches
on the holds are still locked down, then open them up
and inspect the holds to ensure that they contain no for-
bidden species such as oceanic whitetip shark (Carchar-
hinus longimanus) or silky shark (Carcharhinus falciformis).
A year ago, Yi was still an observer with the Fisher-
ies Agency. Observers go out to sea with Taiwan’s long-
range fleet for six months to a year. As soon as the boats
start to cast their nets, the observers begin to take notes
about the species, lengths and weights of the fish being
caught. Apart from providing data for both academia
and industry that can be used to track changes in global
fishing stocks, they watch whether seabirds, sea turtles
or other untargeted species are ending up in the boats’
nets. They also monitor for overfishing and for illegal
transfers between boats.
As he boards the vessel to conduct the inspection, Yi
recounts his experiences at sea as an observer: “Every
observer loses ten kilos on their first six-month stint at
sea. We’d joke that we were on the ‘ocean diet.’ It was
mainly because we were landlubbers unaccustomed to
life at sea. Aboard the fishing boats, we’d eat canned
25
 漁業署長黃鴻燕認為，台灣
是漁業大國，需要善盡保育
國際海洋的責任。(莊坤儒攝)
Fisheries Agency director-
general Huang Hong-yen
believes that Taiwan, as a
major fishing nation, has a duty
to promote conservation efforts
in international waters. (photo
by Chuang Kung-ju)

育委員會（ICCAT）等國際區域漁業組 過去漁業法最高罰則是30萬元，遠洋
織，均力邀台灣參加，台灣在這些區域 三法的最高罰則提高到4,500萬元，漁業
國際漁業組織扮演重要的角色。 署雷厲風行，執法取締，去年1月至今
年3月底，台灣漁船業者因大目鮪等電
打擊IUU，三管齊下
子漁獲回報不實、未經許可擅自於港口
黃鴻燕說，「2015年歐盟的黃牌警 卸魚、船身標識不清等，總計已被裁罰
示，對台灣是一個『課程與教訓』，除 71件、金額達5,875萬元。
了加強與歐盟溝通，去（2017）年增修
漁民：漁業署來真的！
遠洋漁業三法（包括遠洋漁業條例、投
資經營非我國籍漁船管理條例及漁業法 要求遠洋漁船裝設漁獲電子回報設備
修正案），透過強制漁船裝設電子漁撈 （e-l o g b o o k），並且每日回報，剛實
日誌（e-l o g b o o k），必須每日回報， 施，漁民十分不習慣。六十多歲的陳金
以及在國內外指定港口卸魚或轉載，確 億是126噸欣昇慶漁船船長，捕魚四十
實管控是否有非法洗魚、超出配額的情 多年的他說：「我只有小學畢業，才會
況。」同時增聘2倍像易智健一樣的觀 去捕漁，電腦也不會，因為新的規定，
察員與檢查員，以建構海洋漁業資料整 我重新學電腦，常在半夜風浪大起勾收
合系統，善盡責任漁業制度。 魚的時候，還要回報電子漁獲，很擔心
漁業署要求遠洋漁船「每小時」透過衛 老花眼的我，一不小心按錯鍵，捕到
星定位系統回傳位置，透過24小時監測 花鯊按成保育類的灰鯊！船回台灣被重
中心的監控，遍布全球1,200艘漁船動態 罰，1年辛苦賺的錢都白費了！」
一目瞭然，包括台灣人經營非台灣國籍 電子漁獲不符合實際卸載量，依漁船
的漁船（又稱「權宜船」），可以徹底監 噸數不同，輕則罰40萬元，重則罰200
控漁船是否在禁航區、違法進入他國的經 萬元；沒有每天回報電子漁獲，被罰10
濟海域等，讓歐盟專員3月來訪時對台灣 萬至200萬元。面對重罰，漁民發現漁業
用科技管理全球漁船留下深刻印象。 署來真的！屏東鮪延繩釣協會秘書長何

26 台灣光華 Taiwan Panorama 2018/06

 卸魚作業緊湊快速，檢查員的重點
在是否過漁或捕獲保育類魚種。
Fish are unloaded on a tight schedule.
Inspectors focus on checking whether
boats have gone over their quotas or
have caught protected species.

food and deep-fried or hotly spiced fish. The more we

ate, the skinnier we got. We’d eat a huge amount of
sashimi too, typically from fish that had been partially
eaten by sharks.” Especially in stormy seas, it’s tough to
monitor fishing and stand in opposition to the captain.
Fisheries in crisis
Inspectors and observers are at the front lines of
the FA’s enforcement efforts. Their work constitutes a
concrete measure to support the efforts of international
fishery organizations to stamp out illegal, unreported
and unregulated (IUU) fishing at a time when fisheries
are nearing exhaustion around the globe.
With technological advancements such as GPS and
electronic fish finders, and with constantly advanc-
ing fishing gear and methods, oceanic fish of all sizes,
species and behaviors—and migratory epipelagic and
mesopelagic fish in particular—are rapidly disappear-
ing. Experts estimate that global fishing fleet capacity is
four times what is needed. High-tech fishing methods
are leading to the rapid exhaustion of fisheries.
According to the United Nations’ Food and Agri-
culture Organization, some 30%—or US$13.8 billion
worth—of global fish hauls in recent years have been il-
legal. Overfishing is seriously threatening the diversity
and sustainability of this global resource. Consequently,
stamping out illegal fishing is a major target of inter-
national efforts to conserve oceanic fisheries.
Three-pronged approach
According to the Fisheries Agency, Taiwan is among
the world’s 20 largest fishing nations and is one of the
top six in terms of hauls from the high seas. It catches
more Pacific saury in the northern Pacific and more alba-
core tuna in the Indian Ocean and South Atlantic than
any other nation.
Yet Huang Hong-yen, the FA’s director-general, points
out that the yellow-card warning issued by the European

27
世杰認為，遠洋漁業是台灣的強項，尤其延繩釣
是勞力密集產業，涉及成本管控、補給等專業，
歐美遠洋漁船多半以財團經營的大型圍網漁船為
主，才給台灣得以在海外為國家拚外匯的機會。
然而台灣的遠洋法比歐盟還要嚴格，何世杰
指出：「歐盟的法規對於處罰是『記點』，而
不是像我們一發現違規後就罰款200 萬至幾千萬
元。全世界只有歐盟與台灣需要每小時衛星回
報船位，每天回報電子漁獲，中國與日本都不
用，台灣成為比歐盟更嚴格執行漁業監督管控
的國家。」
拚經濟與保育海洋，取得平衡
漁業署長黃鴻燕指出，「我也知道漁民很火
大，但國際紀律與規範一定要遵守，無法討價還
價，改革會經歷陣痛期，因為維護海洋永續生態
已是全球公民的共識，公海是全人類的資產，台
灣在公海的船隊，也在永續漁業資源，打擊非法
漁捕的行為上，盡上最大努力。」
28 台灣光華 Taiwan Panorama 2018/06
由於捕漁技術精進，加上全球非法捕撈猖獗，全球
漁業資源面臨枯竭，讓消費者買到的魚愈來愈貴。
With advancements in fishing technologies and
rampant illegal fishing around the world, global
fisheries are facing exhaustion and consumers are
paying more and more for their fish.
黃鴻燕接著說，「政府也會透過國際合作爭
取漁業配額，例如與友邦索羅門群島、帛琉、模
里西斯等國家的入漁合作，台灣遠洋漁業發達，
友邦國家跟著互惠受益。」
恰好中西太平洋漁業委員會(W C P F C)今年公
布，我國延繩釣大目鮪配額為1萬481公噸，較
2017年增加806公噸。顯示經過多年的努力配合
配額與犧牲，換取資源的恢復，當努力保育海
洋，海洋資源生生不息，最終受益的還是與海洋
共生的全民。正如改編自英國記者查爾斯．克勞
福（Charles Clover）著作，拍成紀錄片《魚線的
盡頭》中所提到：「海裡的魚不是屬於漁民，而
應該是全民所有。」 □
Commission in 2015 came as a wake-up call for Taiwan.
Apart from strengthening communication with the EU,
the ROC has revised its legislation governing high-seas
fishing, by newly enacting the Act for Distant Water
Fisheries, and amending both the Fisheries Act and the
Act to Govern Investment in the Operation of Foreign
Flag Fishing Vessels. Fishing vessels are required to
make reports every day in electronic logbooks. To pre-
vent “fish laundering” and quota busting, they can only
unload or transfer their hauls at designated domestic
and international fishing ports. Meanwhile, the FA has
doubled the number of its observers and established an
integrated system of data collection to better meet its
duties as a responsible steward of global fisheries.
The FA requires long-range fishing boats to trans-
mit their locations by satellite every hour and undergo
round-the-clock tracking by the Fisheries Monitoring
Center, which charts the movements of 1,200 boats, in-
cluding those registered in Taiwan as a flag of conveni-
ence. This close monitoring allows the FA to determine
whether boats have strayed into areas where fishing is
forbidden or have illegally entered the exclusive eco-
nomic zones of other nations.
Previously, the highest fine available under the Fish-
eries Act was NT$300,000, but today the highest fine
under the amended laws governing long-range fishing
is NT$4.5 million. With the FA strictly enforcing these
laws, during the first three months of last year Taiwan-
ese fishing boat owners were fined a total of NT$58.75
million for 71 violations—including the filing of false
electronic reports about bigeye tuna hauls, unloading
at ports without permission, and having illegible hull
markings.
Taiwan Tuna Longline Association secretary-general
Martin Ho explains, “The EU system gives ‘points’ for
violations, whereas our system directly imposes fines
from NT$2 million to tens of millions. Worldwide, only
the EU and Taiwan require hourly satellite location
reports and daily catch reports. Neither Japanese nor
mainland Chinese boats are under similar require-
ments. Taiwan now monitors fishing even more strictly
than the EU.”
Economics and conservation: A balance
“I know that fishermen are angry, but international
law must be respected,” explains the FA’s Huang.
“There is no way around it. The reforms will cause
pain for a period as the system is being established. But
there is a global consensus about the need to protect
the sustainability of oceanic resources. International
waters are resources that belong to all of humanity,
and Taiwan’s high-sea fishing fleet is doing its best to
stamp out illegal fishing there.”
The Western and Central Pacific Fisheries Commis-
sion has set Taiwan’s longline fishing quota for bigeye
tuna in 2018 at 10,481 metric tons, 806 tons more than
the previous year. The increase demonstrates that years
of diligent cooperation and sacrifice to revive fisher-
ies have paid off—that marine conservation efforts,
combined with the oceans’ natural ability to renew
themselves, are bringing benefits to the citizens of the
world. As British journalist Charles Clover says in the
2009 documentary The End of the Line: “The sea belongs
to us, the citizen, not to the fishermen....” l
(Esther Tseng/
photos by Jimmy Lin/
tr. by Jonathan Barnard)
29
封面故事　COVER STORY

30 台灣光華 Taiwan Panorama 2018/06

乘風破浪 拚 經 濟
台灣巨型遊艇稱霸亞洲
The Wind in Their Sails
—Taiwan’s Asia-Leading Yacht Builders

文•曾蘭淑　圖•林 　版面設計•胡如瑜

台灣80呎以上巨型遊艇接單量全球第四，亞
洲第一。素有「遊艇王國」美稱的台灣，其實在
70年代歷經10年產業衰退、2008年全球金融海嘯
的挑戰，遊艇業者咬緊牙關，調整體質、蛻變求
生，以高科技與精益求精的工藝，依照客戶需求
打造客製化巨型豪華遊艇，再次稱傲全球市場，
重新開闢台灣遊艇產業新航路。

T aiwan’s “megayacht” industry—building

yachts 80 feet or more in length—is the largest
in Asia and the fourth largest globally. Taiwan long
ago earned the nickname “yacht kingdom,” but in
truth the sector experienced contraction in the 1990s
and was hit hard by the global financial crisis in
. n response firms ckled down adj sted and
transformed themselves into a high-tech industry
with the highest of standards, making customized
luxury megayachts. Once again, Taiwan’s yacht
industry has navigated through perilous
waters to establish a place for itself in
the global marketplace.

31
 豔陽高照的高雄亞灣遊艇碼頭，海天一色，長
達85英呎的豪華遊艇，造價2億台幣的東哥企業
自有品牌「Ocean Alexander」OA85閃閃發亮，
1,600匹馬力雙引擎、雙螺旋，最高船速可達22.5
節，海上疾行，激起節節浪花，加滿油可以繞行
台灣一圈。
登上遊艇，花蓮大理石拼花檯面、主人房配有
附地板加熱器的雙衛浴、UV殺菌光空調、真皮沙
發，都是基本配備；另針對船主特殊需求，上層
甲板2層都配備吧台，設計不用下錨的搖桿定位
系統，集合電力、娛樂、駕駛的單一觸控螢幕，
展現台灣享譽全球的遊艇精湛工藝與科技設計。
根據財政部關務署統計，去（2017）年台灣
遊艇出口金額為新臺幣42.7億元，出口主力美洲
佔79%，歐洲約佔10%，亞洲約佔7%，其餘是
非洲等地。國際知名遊艇產業雜誌《ShowBoats
International》統計2018年全球80呎以上豪華遊艇接
單生產國家，台灣位居亞洲第一，全球第四。
台灣遊艇業以80呎以上豪華遊艇見長的優勢，
其實是經歷10年衰退的刺激、2008年金融海嘯的
震盪下，埋首轉型、蛻變進化的成果。

景氣寒冬，蛻變求生
台灣遊艇工業同業公會秘書長張學樵認為，台灣長
久以來發展出完整的產業供應鏈，是一大競爭優勢。 台灣遊艇業發跡，始於駐台美軍輔導木造舢板
G eorge C h ang, general sec retary of th e Taiwan Y ac h t
I ndu stry A ssoc iation, b eliev es th at th e ex tensiv e 業者製作木造遊艇。由於製工精美，訂單愈接愈
su p p ly c h ains th at th e indu stry long ago dev elop ed in
Taiwan c onstitu te a m aj or adv antage. 多，1977年台灣取代加拿大成為美國主要遊艇供
應國，至1988年達到高峰，一百多家業者一年出
對遊艇玩家來說，遊艇不只是休閒娛樂與代步的
口1,755艘，出口金額1.9億美元，居世界之冠，
工具，更是身分表彰。
F or y ac h t enth u siasts, a y ac h t isn’ t m erely a tool of 因而贏得遊艇王國的美稱。
leisu re and transp ort. I t is an ex p ression of one’ s statu s.
然而，1988之後，新台幣兌美元匯率升值（從
40元升值到25元），一艘台幣2,000萬元的遊艇，
一出口，現值就反倒虧損1,000萬元，加上台灣工
資上漲，業者惡性削價競爭，遊艇業走入10年衰
退期，至少過半的遊艇工廠關門，出口量跌至高
峰期的三分之一。
為了提升外銷競爭力，遊艇業者以整併裁員
因應之外，力圖轉型，朝向製作巨型豪華遊艇方
向，靠著設計與創新勝出，除了提高附加價值，
也拉大利潤空間，為世界富豪打造彰顯身分、表
現夢想、追求享樂的海上移動樂園。

32 台灣光華 Taiwan Panorama 2018/06

 et off against blue skies and water at Horizon City
Marina in aohsiung, an 85-foot Ocean Alexander motor
yacht, with a price tag of NT$200 million, glistens under
the sun. With two 1 00-horsepower engines and twin
propellers, the OA 85 is capable of a top speed of 22.5
knots. Crashing through the waves and leaving a large
wake behind it, the yacht can circumnavigate Taiwan on
a single tank of fuel.
The Hua lien marble countertops, the master state-
room with twin bathrooms, the in-floor heaters, the ultra-
violet germicidal lights and the air conditioning all come
as standard. Customized to meet the owners’ needs,
the two upper decks each feature a bar, and the yacht is
equipped with a stabilization system that doesn’t require
dropping anchor, as well as a touchscreen system panel
for controlling power, entertainment, and navigation.
Collectively, these features amply demonstrate Taiwan’s
prowess in yacht craftsmanship, technology and design.
Figures from the Ministry of Finance show that in
2017 Taiwan’s yacht exports totaled NT$4.27 billion. Ex-
ports to the Americas accounted for 7 of total produc-
tion, to Europe 10 , and to Asia 7 . According to the
台灣以製作豪華遊艇見長，不僅靠著設計與
創新勝出，更強調客製化，吸引全球富豪買
家。（東哥遊艇提供）
Th e rep u tation th at Taiwan h as earned f or
b u ilding large lu x u ry y ac h ts c om es not only f rom
its innov ativ eness and p rowess with design.
Th e indu stry ’ s em p h asis on c u stom iz ation h as
also c au gh t th e attention of wealth y b u y ers f rom
arou nd th e world. (c ou rtesy of A lex ander M arine)
world-famous magazine ShowBoats International, Taiwan
is the largest Asian producer and fourth largest global
producer of luxury yachts of 80 feet or longer.
Taiwan’s excellence in producing these “megayachts”
is the fruit of a transformation that the industry here
undertook after a decade of decline and the shock of the
2008 financial crisis.
After hard times, rebirth
The origins of Taiwan’s yacht industry can be traced
to the wooden yachts that U soldiers instructed Tai-
wanese sampan makers in how to build when there
were U military bases here. Thanks to the builders’
33
 集合電力、娛樂、駕駛的單一觸控
螢幕，厚實橢圓型五金扶手，以及
精密的操控儀器，展現台灣遊艇業
精細工藝與科技實力。
Tou c h sc reen c ontrol p anels m erge
p ower, entertainm ent and nav igation
f u nc tions. S op h istic ated c ontrol
elem ents and stu rdy m etal h andrails
with an oval profile demonstrate the
technological prowess and refined
c raf tsm ansh ip of Taiwan’ s y ac h t m ak ers.

經過十多年的努力，根據台灣區遊艇工業同業
公會統計，2008年台灣遊艇出口值首次突破3億
美元，一共出口244艘遊艇，只比1994年最低潮
時多出口了16艘，但總產值卻多了近2.5億美元；
2008年台灣遊艇的平均單價約達132.5萬美元，是
1987年遊艇出口最高峰時的12倍，皆是拜轉型製
造豪華遊艇之賜。

「完全」客製化，區隔市場

然而，注重研發、實踐創新，才能以尖端工藝
與生產技術勝出。台灣是國際上唯一有官方出資設
置研發中心，支援遊艇材料與結構設計的國家。
船舶暨海洋產業研發中心遊艇產業處副處長江
載敏指出，歐美遊艇文化將遊艇當作另一個渡假
別墅，台灣為了區隔美國、義大利市場，專攻歐
美只走開模的生產線而較難變通的弱點，打出
「完全客製化」的訴求，小至沙發布的顏色，細
至冰箱內含製冰機，精細入微，力求滿足豪華遊
艇買家獨一無二的需求。
一般外人看遊艇外殼平滑光亮，甚至出現光線
折射的「波紋」。船舶暨海洋產業研發中心遊艇產
業處專案經理戴廣浩指出，這在專業買家眼裡稱為
「橘皮」，是不夠格的。為了「撫平」橘皮，台灣
業者以慢工出細活的方式，將同樣用在浴缸，也用
在船殼的玻璃纖維強化塑膠（FRP）材質，經過廿
多道烤漆，做到汽車鏡面塗裝的境界，這樣頂級工
藝，也因此滿足了LV總裁的要求。

34 台灣光華 Taiwan Panorama 2018/06

precise and beautiful workmanship, orders poured in.
In 1 77 Taiwan replaced Canada as the top supplier of
these boats to the United tates. Production peaked in
1 88 with 1755 boats, valued at a world-leading U $1 0
million. Taiwan thus earned the name “yacht kingdom.”
The NT dollar started to rapidly gain value after 1 88
(with the U to NT dollar exchange rate dropping from
40 to 25). NT$20 million yachts were suddenly earning
NT$10 million less when exported. What’s more, manu-
factur ing wages were rapidly rising in Taiwan, and
businesses became embroiled in vicious price wars. The
yacht industry spiraled into ten years of decline, with
more than half of yacht makers closing and with export
earnings standing at one-third of peak.
To raise export competitiveness, yacht industry enter-
prises, apart from consolidating their operations and
laying off workers, strove to transform themselves by
turning their focus to large luxury yachts and by relying
on innovation and design prowess. Apart from adding
value, these changes expanded profit margins, as the
industry concentrated on building floating paradises
that demonstrated their owners’ status and dreams and
provided leisure experiences. eviving from hard times,
Taiwan’s yacht industry exported boats worth a total of
more than U $ 00 million in 2008.
Finding a market niche through excellence
Yet only by innovating and emphasizing D can
you successfully introduce cutting-edge processes and
techniques. Taiwan is the only nation in the world
where the government supports an D center for
yacht materials and design.
For instance, most people looking at yachts will
notice their smooth, shiny hulls. ut hulls built from
fiber-reinforced plastic (F P) can be sub ect to an effect
called “print-through,” in which the pattern of the rein-
forcing fibers is visible in the hull surface in a way that
luxury yacht owners find undesirable. Eric Tai, pro ect
manager in the Yacht Industry Department at the hip
and Ocean Industries D Center ( OIC), explains that
to ameliorate the effect, Taiwanese yacht builders take
a labor-intensive approach, painstakingly putting more
than 20 coats of paint over the F P to achieve the kind
of mirror-like paint surfaces found on cars. These high
standards were enough to meet the needs of ouis uit-
ton’s CEO, for one.

35
 自創品牌，御水行遠

2008年因美國金融危機所引發的金融海嘯，
全球遊艇市場跟著萎縮4成，也殃及台灣遊艇產
業，尤其靠代理商接單，訂單銳減，面對景氣
寒冬，再度挑戰業者的因應能力，也突顯代理
的缺點。
台灣過去以專業代工見長，雖然產量穩定，卻
受制於代理商，甚至利潤都被代理商給賺走。與
歐洲大廠相比，台灣工資相對便宜，於是靠著價
格優勢與精良工藝，發展自有品牌，成為險中求
勝的策略。
目前全台卅多家遊艇廠已大多擁有自有品牌，
較知名品牌有嘉鴻（Horizon）、強生（Johnson
Yachts）、嘉信（Kha Shing）、巨星（Novatec）
等，以不同市場與客戶需求推出不同款型的產
品，多元布局，從代工製造走出自創品牌的路。
其中，1978年創立時即走自有品牌的東哥企業，
不同於「全部客製化」，採取標準化量產、半客製
化的策略。面對2008年之後的金融海嘯，東哥咬緊
牙關，調整體質，精進管理流程，縮短造船的時
效，等到寒冬一過，訂單接踵而來時，東哥即搭上
潮流御風前進，營收逐步放大。
東哥副董事長曾雄威指出，東哥除了從規劃、 五，在北美市占率第一的遊艇品牌，同時也是台
生產到行銷，全部自己來之外，現還代理7個遊 灣第一家興櫃的遊艇業。
艇品牌，同時已將美國西岸的服務據點一條龍
完整供應鏈，難以複製
化，加強租售、俱樂部等使用端售後服務，更
貼近市場的需求。根據國際知名遊艇產業雜誌 台灣遊艇工業同業公會秘書長張學樵長期觀
《ShowBoats International》2017年報告，東哥 察遊艇業消長指出，80、90年代大陸國營企
的自有品牌「Ocean Alexander」，是全球排名第 業曾想把台灣的遊艇業整批移植過去，祭出廠

36 台灣光華 Taiwan Panorama 2018/05

2018/06

Charting a course with their own brands
After Wall treet’s crisis triggered a worldwide finan-
cial tsunami in 2008, the global market for yachts shrank
by 40 . The crisis hit Taiwan’s industry hard. Orders
declined sharply as di cult economic times once again
challenged the industry’s ability to adapt.
A big part of the problem was that Taiwan’s yacht in-
dustry had an OEM orientation. Although that approach
強調手工打造的打模、噴漆等作業，是打造豪華遊
艇不可或缺的工序。（東哥遊艇提供）
L ab or-intensiv e op erations su c h as m old m ak ing,
buffing and painting are essential stages in the building
of any lu x u ry y ac h t. (c ou rtesy of A lex ander M arine)
手工打造的遊艇家具，力求精緻舒適，呈現海上
豪宅的質感。
Handcrafted furniture and fittings, with an emphasis on
refinement and comfort, offer a luxurious feel at sea.
had offered stability, it had also brought sub ugation to
the brand owners, who would take most of the profits.
In comparison to ma or European producers, Taiwan’s
labor was cheap, so the industry here began to leverage
its price advantages and outstanding workmanship to
develop its own brands. Crisis had forced a new strategy.
There are now more than 0 yacht manufacturers in
Taiwan, and most have their own brands. Among the
more famous firms are Horizon, ohnson, ha hing,
and Novatec, which make many different boat models to
meet the needs of a variety of customers and markets. To
varying degrees, these companies have each made the
leap from OEM producer to brand-name manufacturer.
Among them, Ocean Alexander immediately started
producing for its own brand upon its founding in 1 78.
ather than building completely customized yachts,
it has adopted a strategy of standardized production
combined with partial customization. Confronting the
financial crisis in 2008, the managers at Ocean Alexander
gritted their teeth and made changes to achieve better
37
房、租稅等優惠，頻頻向台灣招手；大陸廠家
再透過購併全球大廠，2008年以後突然竄升至
全球第8名。
「但遊艇製造工法繁複，從船殼打模的粗工
到高端的自動控制科技；加上涉及的零組件多
如牛毛，從硬化劑、樹脂、五金至發動機，台
灣長久以來發展出品質好又完整的原物料供應
鏈，不是說要複製就能複製。」
張學樵說，「大陸的技術與台灣相比仍有落
差，至今仍然鞭長莫及，因為『魔鬼藏在細節
裡』，遊艇是很精細的組裝產業，需要很強的
整合能力。」外國買家發現，台灣製造的遊
艇，內裝使用的零組件與家具，經過一、二年
後航行的風浪與最大扭力的考驗，沒有雜音，
舒適與穩定品質是台灣吸引買主回流，在全球
市場勝出的主因。

遊艇業隱憂：人才斷層

台灣遊艇廠目前面臨最大的挑戰在於人才斷
層，由於遊艇廠師傅普遍老化，加上打模切割、木
工、電焊等工法，作業環境差，年輕人不願吃苦耐
勞。縱使像有40歷史的老字號嘉信遊艇廠，都「搏
感情」用老師傅的第二代來留住技術員工，但人才
斷層的問題已是台灣遊艇產業的一大隱憂。
為了解決這個問題，台灣遊艇工業同業公會目
前與船舶研發中心合作，研發一樣可「客製化」的
模組化家具，以數位三維模型的「同步工法」將
打模、噴漆等作業在「陸上」家具廠做，船上的曲
線收邊再交由老師傅收尾，強化沒有接縫的訂製質
感，解決缺工的問題。
公會理事長、同時也是嘉信遊艇總經理龔俊
豪強調，台灣一定要加強CNC電腦自動切割等技
術，否則今日精細傳統工藝的強項，會變成明日落
後的弱點。
龔俊豪進一步表示，過去由於戒嚴、海禁的政
策，台灣遊艇雖然行銷全球，但沒有一艘給國人
用。隨著2012年法令解禁，與台灣購買力的提升，
開啟台灣內需的遊艇休閒市場，目前國內有遊艇駕
照者有1萬2,000位，500艘登記有案的遊艇玩家，
但「泊位」只有300個。
歷經產業轉型與景氣寒冬，台灣遊艇業蛻變
再升級，將繼續領先全球。（東哥遊艇提供）
A f ter f alling on h ard tim es, Taiwan’ s y ac h t
indu stry transf orm ed itself and u p graded. Today
it c ontinu es to c om m and a leading p lac e in th e
glob al m ark et. (c ou rtesy of A lex ander M arine)
他進一步與韓國相較，「韓國沒有遊艇製造
業，但15萬人有遊艇駕照，2萬7,000千人登記為遊
艇玩家，33座遊艇碼頭。如何在台灣提供更友善使
用遊艇環境，是目前努力的方向。」
台灣四面環海，海洋不應是阻礙，而是邁向全
球的通路。遊艇業從70年代生產遊艇外銷，到現在
豪華遊艇名列世界前茅，世界富豪以擁有台灣遊艇
為榮，造就另一經濟奇蹟。累積外銷二萬多艘最高
端的遊艇，航行在全球各地海域，重振台灣遊艇王
國美譽，繼續乘風破浪拚經濟。 □

38 台灣光華 Taiwan Panorama 2018/06


financial health, improving management procedures and
shortening the time required to build each boat. Once the
economy took a turn for the better, orders began to pour
in, and Ocean Alexander has been riding the warm cur-
rents ever since, increasing its revenues year after year.
According to a 2017 ShowBoats International report,
Ocean Alexander is the world’s fifth largest yacht maker,
holding the largest share of the North American market.
It is also the first publicly listed yacht maker in Taiwan.
Hard-to-replicate supply chains
Having observed the ups and downs of the industry
over many years, eorge Chang, general secretary of
the Taiwan Yacht Industry Association, notes that in the
1 80s and 0s mainland China wanted to transplant Tai-
wan’s yacht industry to the mainland. Many Taiwanese
yacht makers were approached with offers of tax and
lease subsidies. Chinese firms also bought up ma or yacht
makers around the world, and by 2008 the P C had be-
come the world’s eighth largest yacht-making nation.
“Taiwan long ago developed complete raw material
supply chains,” says Chang. “It’s not like you can ust
say let’s replicate it, and then replicate it.” Currently,
mainland China is technically behind Taiwan. The main-
land still hasn’t been able to overcome that deficit. That’s
because “the magic is in the details.” Yacht building is
a precision assembly industry and requires strong abili-
ties at integration. Foreign buyers have discovered that
the parts on yachts built in Taiwan don’t develop any
strange sounds even after weathering a stressful year
or two at sea. Comfort and reliability are what Taiwan
leverages for repeat business, and those qualities are a
big part of its global success.
Generation gap
The greatest challenge that Taiwan’s yacht industry
faces today is the aging of its master craftsmen. The
tough working environment for mold makers, carpen-
ters, welders and the like doesn’t appeal to many young
people, and the resulting generational labor gap consti-
tutes a looming crisis for the industry.
To overcome this problem, the Taiwan Yacht Indus-
try Association is currently working with the OIC to
develop customizable modular furniture, introducing
digital D modelling to enable “simultaneous construc-
tion”—with mold making, painting and so forth out-
sourced to “onshore” furniture factories—leaving the
old masters to handle the remaining work at the yacht
companies’ boatyards. The strategy will both make for
more seamless custom work and help to resolve the la-
bor shortage.
urrounded by water, Taiwan regards the sea as a
conduit to the rest of the world, rather than an obsta-
cle. From producing as OEMs for export in the 1 70s
to marketing world-famous luxury yacht brands in the
current era, Taiwan has long been building yachts that
the global rich have been honored to own. The yacht in-
dustry represents another economic miracle for Taiwan.
More than 20,000 yachts exported from Taiwan have
sailed the seven seas, bolstering Taiwan’s reputation as
the “yacht kingdom” and putting the wind in its sails as
it navigates toward continued economic success. 
(Esther Tseng/photos by Lin Min-hsuan/
tr. by Jonathan Barnard)
39
封面故事　COVER STORY
蚵寮漁村 歌 未 央
海風狂
Kezailiao: The Music Is Not Over
位於高雄梓官的蚵仔寮，乍看之下與許多西
部海岸沿線鄉鎮並無二致，2012年起，像是異軍
突起，舉辦了獨立音樂節「蚵寮漁村小搖滾」，
喧騰一時，吸引約萬人參與，就連總統蔡英文、
高雄市市長陳菊當時都曾前往觀賞，卻又忽地在
2015年宣告暫停。燈熄人散以後，唯獨靠海的觀
光拍賣魚市，每個週末依舊人潮絡繹，吸引不少
親子家庭前往。
三步一小廟、五步一大廟的蚵仔寮，實在稱不
上什麼絕美風景，平日只見稀稀疏疏的老人家走
動，偶爾才聽見遠方傳來孩童的喧鬧。不過，當
我們走入就開設在魚市旁的梓官漁會門市，只要
悉心留意，就能發現許多值得玩味的細節。
包含以有孩童手掌、腳掌拓印的「烏魚之子」
雕塑；價格直逼萬元，曾獲「海宴水產精品獎」
的「頂級野生烏魚子禮盒」；採用六角魚簍、
烏魚造型，獲得德國「紅點設計獎」、「iF設計
獎」獎項的伴手禮等……無不細細道出蚵仔寮的
獨特身世。
40 台灣光華 Taiwan Panorama 2018/06
人情濃 歌不歇
文• 圖•林格立　版面設計•胡如瑜
K aohsiung’s Ke zai liao fishing village, which
at first glance looks no different from many
communities along the western seacoast of Taiwan,
seemed to come out of nowhere in 2012 when it hosted
the independent music festival “Small Oyster Rock.”
The festival became an overnight sensation, attract-
ing upward of 10,000 visitors, and even President Tsai
Ing-wen and Kaohsiung mayor Chen Chu took time
out to attend. But it was suddenly suspended after the
2015 event. Now that the show is over and the people
ha e all gone home e ailiao relies on its fish market
and seafood auction, which attracts the usual tide of
people each weekend, including many families.
Kezailiao, which has “a small temple every three
steps and a large one every five,” cannot really be said
to have any impressive scenery. On weekdays one only
sees a scattering of old people walking about, and oc-
casionally hears the far-off sounds of children playing.
ut when we walk into the Tzukuan Fisheries Associa-
tion shop right next to the fish market, by paying close
attention we discover many details worth pondering.
推動蚵寮小搖滾的核心成員：蔡登財（下左）、
施合峰（下中）、曾芷玲（下右）、余嘉榮（上）。
C ore m em b ers of th e grou p th at initiated th e S m all
O y ster R oc k m u sic f estiv al in K ez ailiao: Tsai D eng-
tsai (lef t), S h ih H o-f eng (in doorway ), Tseng J h ih -ling
(righ t), and Y u C h ia-j u ng (in window).
 苦樂交織的烏金時代

原來，蚵仔寮雖以「蚵」為名，這是源於日治
時代先民在典寶溪出海口養蚵之故。但蚵仔寮最
風光的年代，當數1980年左右，由於每年11月至
隔年2月，會有大批烏魚從中國長江出海口往南
洄游，到台灣西南沿海產卵，在此被漁民攔截，
為漁家帶來豐厚的收入。
烏魚價格好，不論公母，1尾至少有300元以
上行情，出海一趟若豐收，便能賺得上百萬收
入，隨著「烏金時代」的蓬勃，也孕育出許多獨
特的漁村文化。好比汛期期間，家家戶戶煮烏魚
米粉、曬烏魚子，梓官區漁會供銷部主任黃志雄
提到「添載」的習俗，即是當地居民向自己看好
的漁家下注，在出海前便先送米、送飲料、送鞭
炮，豐收後也能分得幾尾，漁家也錦上添花。
同樣是當地人的《透南風》雜誌主編余嘉榮則
說，童年時父親出海，若是豐收回航，船長會依
慣例將收穫的十分之一分贈給同隊船員，還是孩
子的他便幫著父母親把分到的烏魚轉贈給住在鄰
近的親友。收到的人常以菜交換，甚至塞給小孩
糖果、零用錢，時間又臨近春節，感覺既豐足又
熱鬧。
然而，討海收入雖好，風險也高，尤其過去
科技不發達，漁民出海一趟約一個禮拜，音訊全
無，余嘉榮說：「小時候念書時，只要看到校長
臉神凝重走到教室，跟老師竊竊私語，再叫某個
同學出去，就知道一定是家裡有船難。」他半開
玩笑地說：「現在我們只要看到直升機（來打撈
罹難者），都還有陰影啊！」

意外爆紅的漁村小搖滾

轟動一時的蚵寮漁村小搖滾，其實是一場由當
地居民自發性發起的社區型活動，這場令眾人跌
破眼鏡，只從民間募款，不靠政府、企業贊助，
也不以營利為目的的獨立音樂節，即便停辦多
年，仍讓許多人津津樂道。
由吉他手維尼、鼓手宗翰、貝斯手薑薑組成的
「拍謝少年」，連續3屆登台演出。薑薑說，搖 漁船進港修繕，是日復一日的漁村尋常風景。
A fishing boat comes into port for repairs. This is
滾樂因為獨特的文化形象，常受到居民排擠，但 an everyday scene in a fishing harbor.

42 台灣光華 Taiwan Panorama 2018/06

 These include the sculpture Mullet Roe,
which incorporates children’s handprints and
footprints the “Premium Wild Mullet oe ift
ox,” priced near NT$10,000, that won a Hai-
yan Premium eafoods Award the souvenir
gifts whose packaging in the form of a six-sided
fish basket and a mullet fish won ed Dot and
iF design awards . Everywhere one sees ex-
pressions of the unique history of ezailiao.
The golden age of mullet
ezailiao means “oyster shack,” and it turns
out the village is so named because back in the
Japanese colonial era residents raised oysters
in the estuary of the Dianbao iver. ut ezai-
liao’s real heyday was around 1 80, because at
that time each November to February fisher-
men would catch mullet that migrated south-
ward in large shoals from the mouth of the
Yangtze iver. The fish followed the uroshio
Current to Taiwan’s southwest coast to spawn,
bringing these fishermen abundant income.
The price for mullet was good, with each
fish, male or female, selling at a market price
of over NT$ 00. This “golden age of mullet”
gave rise to many unique aspects of fishing
village culture. For example, during the mullet
fishing season every family would cook mullet
with rice noodles and dry mullet roes in the
sun. ic Huang, sales director at the Tzukuan
Fisheries Association, mentions the custom of
“tianzai,” whereby local residents would lay
“bets” on the fishermen they thought most
highly of, by delivering rice, drinks and fire-
crackers before the boat went out to sea. If a
big catch was brought back they could claim
several fish, and the practice added luster to
the fishermen’s work.
imilarly, Yu Chia- ung, editor-in-chief of
the local magazine The Blowing of the South
Wind, recalls that when he was a child and his
father went to sea, if the vessel returned with a
large catch, Yu would help his father give away
mullet from his share of the catch to friends
and family who lived nearby. People would
often repay this gift with vegetables, or would
give the child candy or some pocket money.
傍海而建的廟宇多奉祀媽祖、王爺等神明，
是漁民重要的心靈寄託。
Tem p les b u ilt near th e sea are m ostly dedic ated
to M az u or W angy e, and th ey p rov ide v ital
locations where people can find spiritual refuge.
43
 畫家尤辰允無師自通，退休後，將過去討海的經驗 這件事，讓因為風聞小搖滾而來的紀錄片導演
轉化成美麗的鄉土藝術。
P ainter Y u C h en-y u n is entirely self -tau gh t. S inc e retiring 施合峰心有戚戚：「我自己是雲林斗六人，許多來
f rom th e sea h e h as b een transf orm ing h is ex p erienc es
as a fisherman into beautiful hometown art. 自鄉下地方的孩子，外出念書時講到自己的故鄉，
往往沒什麼自信；加上我們的教育，一直以升學為
優先，缺乏鄉土教育。」他說：「這個演出，就是
創造出一個機會，讓小朋友站上舞台，主動去跟觀
蚵仔寮當地人並不了解這些樂團，卻意外地熱衷 眾說，我的故鄉是一個很美、很棒的地方，你們應
參與這一場盛會，令他們嘖嘖稱奇，他說：「他 該要來認識這裡。」
們都很享受那個festival的氣氛，甚至會看到他們 感動之餘，他把所見所聞放入自己的作品。
自發性地指揮交通、撿拾路上的垃圾。」 2014年，先以小搖滾為主軸，拍攝《蚵子寮漁
尤其饒富文化、教育意味的第2屆，更叫人印 村紀事》；隔年，聚焦於這批演出的國中生，
象深刻。宗翰回憶道，主辦單位利用了廢棄漁船 與導演陳惠萍共同完成《離岸堤》。
當作舞台，並且在沙灘上以帳篷搭出「蚵板印
人情攏絡起在地勢力
象」文創館，展出蚵仔寮的老照片、漁夫素人畫
家尤辰允的作品等，遊客除了觀賞表演，還能認 就在這個午後，在蚵仔寮從事營造業的蔡登
識地方，與蚵仔寮發生連結，宗翰說：「都是因 財，以及從事漁網生意的郭進順，加上幾位經
為他們的想像力，才讓這些事情變得不一樣。」 營漁網、鐵材、板車、汽車保險生意的老闆，
表演節目上，有蚵寮國中、小學生粉墨登場， 就聚在魚市附近的海產店用飯；而其中的蔡登
更是小搖滾的一貫傳統。除了合唱團、舞獅團的 財、郭進順，便是促成小搖滾的關鍵推手。
演出，第2屆甚至有專業老師指導國中生，以蚵 薑薑用「一群很需要開趴的大叔」來形容這群
仔寮為主題，演出舞台劇，演出時段更選在活動 人，三不五時的聚會，必備的海鮮、燒酒，偶爾還有
高潮、遊人最多的第2天傍晚。 卡拉OK助興，就是他們的日常生活。而在蔡登財

44 台灣光華 Taiwan Panorama 2018/06

 However, though the sea gave good incomes, the risks
were high. Especially in that less high-tech era, fishermen
would go to sea for a week without any communication.
Yu Chia- ung says half- okingly: “Even now when we
see a helicopter which would come to recover bodies it
sends a shiver down the spine.”
Small Oyster Rock
The mall Oyster ock music festival, which created
quite a sensation in its time, in fact started out as a com-
munity event initiated by residents themselves. This
amazing indie music festival was launched with funds
raised by local citizens. There was no government sub-
sidy or corporate sponsorship, and it didn’t aim to make
a profit. Even though it has been discontinued for a few
years now, many people still talk about it enthusiastically.
The second festival in particular, which had a richly
cultural and educational feel, left a deep impression. The
band orry Youth, formed by guitarist Weni, drummer
Chung-han and bassist iang iang, played the festival
for three years running. Chung-han recalls how the
organizers used an old fishing boat as the stage, and
put up marquees on the beach to create a “cultural and
creative hall” where they exhibited old photographs of
ezailiao, paintings by retired fisherman Yu Chen-yun,
and so on. Besides watching the performances, visitors
could get to know the local area and make connections
with ezailiao. Chung-han says, “Their imaginative ap-
proach turned it into more than ust a musical event.”
It was always the tradition at the mall Oyster ock
festival to have appearances by students from e- iao
unior High chool and e iao Elementary chool.
Besides choir and lion dance performances, for the
小搖滾以在地人的力量造成廣泛迴響，成功絕非
偶然。（一次映畫提供）
Th e S m all O y ster R oc k m u sic f estiv al, b y rely ing
on th e p ower of loc al residents, ac h iev ed h u ge
resonanc e. I ts su c c ess was no c oinc idenc e.
(c ou rtesy of S h ih H o F eng F ilm S tu dio)
45
的解釋下，我們才逐步了解，原來，是因著過去討
海的風險高，蔡登財形容，「命就像撿回來的」，
漁民也不懂得要積攢錢財為日後作打算，往往出海
回來，就像大難不死，大賺一筆之餘，就是喝酒，
甚至賭博，只圖個當下的痛快。從父執輩開始的嗜
酒文化，與及時行樂的態度，也一脈傳承至今。
特殊的環境條件，不僅造就他們海派樂觀的性
格，也淬鍊出對於故鄉的情深意濃，繼而匯聚起
強烈的向心力。郭進順提到，原來，小搖滾誕生
的契機，是源於蚵仔寮當地一直都有製作愛心書
桌的傳統，每年向鄉親募款，再集結當地居民，
利用工作餘暇製作書桌，免費餽贈給偏鄉學校。
而2011年活動結束後，剩下一筆餘款，大家動
念，除了用作聚餐以外，說不定還可仿效墾丁的
春吶，邀請歌手演出，大夥兒聽音樂、喝啤酒、
烤肉，豈不快哉，這個點子，被當時回到老家經
營民宿的年輕人曾芷玲聽到，平日便有關注台灣
獨立樂團的曾芷玲，一口向蔡登財承諾可行，小
搖滾的目標也就此確立。
46 台灣光華 Taiwan Panorama 2018/06
因著過去討海不易，漁民渴望心有所託，造成
當地廟宇林立，祭祀風氣盛行，平素就有管理廟
宇事務的蔡登財說：「我們可是把這場活動當成
進香的規模在辦！」
由蔡登財、郭進順負責募款、公關，募款的對
象，就是平素一起喝酒、往來的鄉親；曾芷玲負
責聯繫樂團演出、執行；海青商工的退休老師李
賢郎，擔綱起行政工作，向政府單位借調場地；
余嘉榮則負責執行文創企劃；活動演出前後，再
動員起社區巡守隊的志工與在蚵寮國中、小的志
工爸媽，前去撿垃圾、整理場地。
許多歌手因著參與小搖滾，與蚵寮結下不解
之緣，日後也會再到當地作liv e演出，為漁
村激發出不一樣的火花。（一次映畫提供）
M any singers f orm ed an indissolu b le b ond
with K ez ailiao as a resu lt of p erf orm ing at th e
S m all O y ster R oc k f estiv al. S inc e th en th ey
h av e of ten c om e b ac k to th e loc ale to p u t on
liv e sh ows, sp ark ing a dif f erent energy f or th is
fishing community. (courtesy of hih Ho Feng
F ilm S tu dio)
second festival a professional drama teacher instructed
the unior-high students, who performed a play with e-
zailiao as the theme. The performance was staged at the
peak of the festival activities, the evening of the second
day, when there were the most visitors.
This resonated with hih Ho-feng, a film director who
had come to make a documentary after hearing about
the music festival. In 2014 he shot Small Oyster Rock in
Kezailiao (released in 2015), with the festival as the center
of attention. The following year he put the focus on the
unior-high students who had performed, oining with di-
rector Chen Huiping to make Oceans Tide You Home (2015).
he st ength l al a e ti n
This same afternoon, Tsai Deng-tsai, who operates a
construction business in ezailiao, along with uo Chin-
shun, who runs a fishing net business, and several other
local business owners in the areas of fishing nets, metals,
hand trucks, and automobile insurance, are gathered for
a meal at a seafood restaurant near the fish market. Tsai
and uo were two key promoters of the mall Oyster
ock festival.
iang iang describes this group as “uncles who
really need to party.” Their life routine involves meeting
frequently with seafood and alcohol as essentials, and
karaoke on occasion to liven things up. When Tsai Deng-
tsai explains it to us we gradually come to understand
that this is because in the past making a living from the
sea was a high-risk endeavor. As Tsai puts it, “ ife was
something you held onto by chance.” Fishermen didn’t
think about saving money or accumulating assets for the
future. Often when they came back from the sea, they felt
as if they had survived a disaster. Having made a tidy
packet, they would drink or even gamble, seeking plea-
sure in the moment. This culture of drinking and of living
only for the present, which started with their fathers’
generation, continues to this day.
These unique environmental factors not only shaped
the generous and optimistic character of local residents,
it also produced a deep attachment to their hometown, in
turn generating powerful cohesiveness.
For the festival, Tsai Deng-tsai and uo Chin-shun took
responsibility for fundraising and public relations, target-
ing their fundraising efforts on the hometown friends with
whom they normally drank and hung out together. Tseng
 就這樣，動員了整個漁村能量的蚵寮漁村小 近年，蔡登財也在蚵仔寮海濱投資開設了「意滿
搖滾，包含謝銘祐、林生祥、巴奈、拍謝少 漁」餐廳，曾芷玲擔任店長，店裡時不時有歌手駐
年、農村武裝青年等知名歌手樂團，都曾共襄 唱，也舉辦時事議題講座，作為引入多元文化的平
盛舉，並獲得空前的成功。 台；余嘉榮在距餐廳不遠處承租下幾幢閩式古厝，
預計開設成結合書店、學堂、民宿、酒吧、個人工
漁村故事，永不止歇
作室等功能的複合空間，他回憶著：「一開始整理
因為小搖滾的緣故，寂靜的漁村開始轉動了 房子的時候，也是學校志工爸爸媽媽一起來除草
起來。 的！」這群朝夕相處的人，確實從來不曾離開過。
回到蚵仔寮近十年的余嘉榮，一直覺得故鄉很 蚵仔寮，就像台灣許多不起眼的偏鄉，但也
安靜，直到從臉書上看到第1屆小搖滾的消息， 不像一般的偏鄉。是這群特別的人，懷抱對故鄉
在大吃一驚之餘，自告奮勇地去作志工；曾芷玲 的一往情深，以及不由分說地團結，讓這片寂寥
則是回到蚵仔寮經營民宿，因為要做民宿三合院屋 的土地在地圖上熠熠發亮，就像濱海的花蕊，風
頂的整修工程，才結識了蔡登財，最後因緣際會 狂，卻挺拔，孤芳自賞地綻放著。 □
成為小搖滾重要的幕後推手；施合峰從前來駐點
拍片，最後甚至加入工作團隊，一同參與討論。
由於海岸線侵蝕嚴重，漁村沿岸風貌變化劇烈，但不
連來參與的表演者，也紛紛為海口大叔的熱情 變的是蚵寮鄉親的坦直、熱情，以及對故鄉的愛。
所收服。這既不像一般的商業演出，彼此的關係 S ev ere erosion h as dram atic ally c h anged th e c oastal
sc enery near K ez ailiao. W h at h asn’ t c h anged is th e
也就不同於尋常的主辦單位與表演者，薑薑說： residents’ straigh tf orwardness, warm th , and lov e of th eir
h om etown.
「一般的主辦單位也不會打電話問你要不要回來
吃飯吧！」這樣微妙的變化也改變了演出的本
質，少了制式用來炒熱氣氛的橋段，更多是台上
台下熱烈且自然的互動，維尼回憶著：「尤其你
知道大哥他們會在後台看你，就像被朋友包圍的
感覺。」
雖然，在舉辦了3屆以後，小搖滾的名氣扶搖
直上，但是大批遊客所帶來交通、噪音的問題，
加上如何不失初衷，活動內容又要持續演進，再
再都是挑戰，因此，在2015年活動落幕後戛然喊
停，「未來還是會辦啦！」郭進順肯定地說著。
小搖滾雖然暫停了，漁村裡的故事持續在發
生。好比說，有在小搖滾裡演出的學生，受到啟
發後選赴中華藝校就讀，還在暑假自發性組成
「蚵寮青年工作隊」，帶同學回來認識故鄉；施
合峰因為看見蚵仔寮鄉親對於故鄉的深情，動念
搬回自己的故鄉斗六居住。
這個從風土裡自然長出的音樂節，也激勵了台
南安平「南吼音樂季」、台南左鎮「故鄉是我的
愛人」音樂會、彰化「叫春小搖滾」等地方音樂
節的誕生，熱情的海口大叔也義氣相挺，南征北
討地趕去聲援。

48 台灣光華 Taiwan Panorama 2018/06

hih-ling, a young homestay operator familiar with the
indie music scene, handled contact with the singers and
bands who were to perform and the execution of the fes-
tival. i ianlang, a retired teacher from aohsiung’s Hai-
cing ocational High chool of Technology and Commerce,
took charge of administrative work and getting govern-
ment permission to use the site. Yu Chia- ung took on the
task of implementing the cultural and creative program.
And both before and after the festival, volunteers from the
neighborhood watch team, as well as volunteer moms and
dads from e- iao unior High and e iao Elementary,
were enlisted to clean up trash and put the venue in order.
In this way, the energies of the whole village were mobil-
ized for the mall Oyster ock festival, and famous singers
and bands including Hsieh Ming-yu, in hengxiang, Pa-
nai, orry Youth, and the illage Armed Youth and (aka
Armed Youth) all oined in this great undertaking.
Inexhaustible stories
ecause of mall Oyster ock, this quiet little fishing
village began to come alive.
Yu Chia- ung, who had been back in ezailiao for
nearly a decade, had always felt it was a quiet place.
After getting over his surprise at seeing news of the
upcoming first festival on Facebook, he stepped up to
volunteer. Tseng hih-ling had returned to ezailiao to
operate a homestay, and got to know Tsai Deng-tsai be-
cause the three-sided family compound that she wanted
to use for the homestay needed its roof repaired. Thanks
to this happenstance, she ultimately became an import-
ant behind-the-scenes promoter of mall Oyster ock.
hih Ho-feng had come here to make a film but ended
up oining the team and taking part in their discussions.
Even the performers who participated were conquered
by the enthusiasm of the “uncles.”
After three editions in four years the fame of mall
Oyster ock was skyrocketing, but there were problems
of tra c and noise brought by the large number of vis-
itors. There was also the challenge of how to maintain
the original intent while allowing the festival content to
continue to evolve. Therefore, it was decided to call a
temporary halt after the 2015 event.
Although the mall Oyster ock festival has been
discontinued for the time being, new stories continue to
emerge in Kezailiao.
For example, in recent years Tsai Deng-tsai has
opened a seaside restaurant called Yi Man Yu, with Tseng
hih-ling serving as manager. From time to time singers
perform there, and it also hosts lectures on topics of cur-
rent interest, acting as a platform for cultural pluralism.
Not far from the restaurant, Yu Chia- ung has rented sev-
eral old Minnan-style houses where he expects to open a
fusion space that will combine a bookstore with a lecture
space, a homestay, a bar and a personal workshop. He
recalls: “When I first began getting the houses in order,
it was volunteer moms and dads from the schools who
came here together to cut the grass ” This group of peo-
ple who interact all day long have indeed never left.
ezailiao is like many out-of-the-way locales in Tai-
wan that attract no special attention, yet it isn’t like your
run-of-the-mill remote community. It is this group of spe-
cial people, who deeply love their hometown and who
stick together, that have enabled this lonely piece of land
to shine brightly on the map. It stands straight and tall,
blossoming like a lone flower in a strong sea wind. 
(Lynn Su/photos by Jimmy Lin/tr. by Phil Newell)
49
 一種屬於視覺的
新語言 / /林
好讀
月 這些年，我們漸漸看到一些新方向。關於視覺的認知，我們有了
不同的感受。
人一出生後做的第一件事，就是在跟這個社會溝通。不能離群索
居的我們，總是時時刻刻，用著各式各樣的方式在跟人類社會做交流
與溝通。從人類的歷史來看，我們一直都在想方設法，改善交通、架
設網路、學習語言，讓彼此之間的距離縮短，交流更頻繁順暢。
溝通過程中，除了文字和語言，最需要使用的就是視覺圖像了，
它的重要性不亞於前兩者。因此在視覺圖像上面，我們也應該開始
用另一種角度去對待，在語言文字之外，學習新的溝通方式。

我 們 所 說 的「美」：生理、文
化與潮流 面

設計
更是一回賞讀美篇的心靈停駐
也是一段遍閱佳構的遨遊，
是一趟巡覽好文的旅程，

設計

設計

設計

格
台灣 設計 如

如 設計

社會文化
文 文
——
L ogo
/ /林
3 8 0 196
版 文
文

文 文
設計

設計 版設

如 如 計 設計 如

生理 如
設計

版設計 如 設 設計

25 3 0

流行趨勢

台 文

面設計

設計

53
 計

設計 A I

台灣 7- E L E V E N

文 版

設 格 如

台灣

文 面

文 台灣

面 文

A I

* * *
視覺作為一種語言
2013 華

A I S k y p e

54 台灣光華 Taiwan Panorama 2018/06

 台灣 光 文

文 文 文

圖 文

文 立

面 圖 台灣

台灣

設計

台灣 曾 設計

台灣 設計

台灣

台灣 圖 如

55
影像對話　PHOTO ESSAY

海 岸 線
Coastline
• 圖／文
簡信昌 版面設計
• 　
蕭郢岑

56 台灣光華 Taiwan Panorama 2018/06

57
58 台灣光華 Taiwan Panorama 2018/06
 國中之前，我對於暑假的記憶常常是：我趴在床上痛得
哇哇叫。因為白天在瑞濱海水浴場玩了一天，雖然有清涼的
海風吹拂，但因曬了一整天的太陽，隔天才發現背部早已曬
傷。不過國中畢業到了台北，我就再也沒有回到那片沙灘。
濱海公路開發之後，那片記憶裡的沙灘就完全消失了。

M y memories of summer vacations up through middle school

are mainly of me lying in bed crying in pain. That’s because
I would play at Ruibin Beach for a whole day, and despite the cool
ocean breezes, the next day I would find that my back was sun-
burned from being in the sun all day long. But after I graduated
from middle school and came to Taipei, I never again returned to
that beach. With the building of the coastal highway, that stretch of
beach that lives in my memories completely disappeared.

59
 2012 年底，決定暫停「機車台北」的拍攝之際，偶然去了一趟東北角，那時我感到那條
海岸線非常陌生，跟我的童年距離好遠，於是拍下了滿滿的消波塊，這也是《海岸線》這
個系列的開始。我開始嘗試理解，我們自稱「島國子民」，但對於這個小島一千一百多公
里的海岸線到底了解多少？

60 台灣光華 Taiwan Panorama 2018/06

 At the end of 2012, as I was deciding to take a break from shooting
my photo series “Scooters in Taipei,” I happened to go on a trip to the
Northeast Coast. The coastline seemed very strange to me, very dis-
tant from that of my childhood, so I photographed the wavebreakers
that filled the coastline, and this marked the beginning of my “11
M” series. I began trying to find an answer to the question: Though
we call ourselves an “island people,” how well do we really under-
stand the 1100-plus-kilometer coastline of this small island

61
62 台灣光華 Taiwan Panorama 2018/06
 我騎著機車從台北出發，一路沿著濱海公路往南，只要看到路，就會嘗試繞進海邊看看
海岸線。我一路從台北騎到雲林，第一次到麥寮。麥寮過去對我來說只是一個地名，這次
騎機車親自來過，從此再也難忘。

I set off by motorcycle from Taipei, and followed the coastal highway south. Wherever I saw a
side road, I would try to find a way down to the beach and have a look at the coastline. I rode all
the way from Taipei to Yunlin County, where I visited Mailiao for the first time. Until then Mailiao
had ust been a name for me, but after riding my motorbike there and visiting it in person, it became
unforgettable.

63
64 台灣光華 Taiwan Panorama 2018/06
 我曾經和幾位前輩討論過這個題目：「拍過海岸線題目的人那麼多，你為什麼想拍這個題
目，你有什麼不一樣的角度？」當初我只知道我必須去拍，那裡似乎有點什麼，卻又說不出
來。經過四年多，我想我大概知道了，出發的理由就在這些照片裡頭…… 

I have been asked by several senior photographers: “ o many people have taken photographs of
the coast. Why do you want to shoot this theme Do you have a different angle ” At the beginning all
I knew was that I had to go and take these photographs there seemed to be something there, though I
could not say what. After more than four years, I think I know, and my reason for starting out is to be
found in these pictures. 
(photos and text by Chien Hsin-chan/tr. by Phil Newell)

65
島嶼行旅　AROUND TAIWAN

Dreamers in the Rice Paddies:

Humpback Whale House

66 Taiwan Panorama 2018/06

 2017年12月海灣繪本館在台中熱鬧開幕，這座
由海灣故事文化創意協會所催生的夢想基地，致力
推廣台灣原創作品，繪畫、音樂、彩染、裝置藝術
都可以是藝術呈現的方式，吸引許多大朋友、小朋
友相偕來此聽故事、玩遊戲。從此台中清水，除了
高美濕地，又多了一個新景點。
這座長在田中央的繪本館為何叫海灣繪本館，
究竟蘊藏著甚麼浪漫的夢想，讓我們來一探究竟。

搭車來到台中市港區藝術中心，沿著對街眷村
文化園區的小路，走過第一排眷村，穿過一片片稻
田，忽然，一尾彩繪的大翅鯨出現在眼前，這裡是
台中清水的海灣繪本館。

H umpback Whale House opened its doors in Tai-

ch ng with a rr in ecem er dedicating
itself to promoting original Taiwanese artwork via
di erse orms o creati e e pression s ch as painting
m sic or installation art. rom that da onward the
house has joined the Gaomei Wetlands as a new attrac-
tion in ingsh i istrict a coastal s r o Taich ng.
What’s the origin of the name of this structure stand-
ing amidst padd ields and what sort o romantic
dreams are secreted there? Let’s take a closer look.

Arriving at the Seaport Art Center near Taichung Har-

bor, we take the narrow street opposite that runs through
Qingshui Art Village, housed in the buildings of an old
military dependents’ village. After cutting through the first
rows of houses and passing between some paddy fields,
we suddenly catch sight of the brightly colored image of a
marine mammal, painted on the wall of a house in a large
compound: this is Qingshui’s Humpback Whale House.

67

從沙洲長出的夢想堡壘
脫掉鞋子，走進館內，在大廳迎賓的，是天花
板上懸吊的一對雲朵大翅鯨。這是海灣故事文化
創意協會理事長顏名宏為繪本館的意象所創作，
而台灣是鯨魚迴游的必經之地，「台中清水到大
安一帶的沙洲，古地名為『海翁窟』（台語），
海翁是大鯨魚的意思，如果上網用Google Maps一
看，大安溪到大肚溪這一段海岸看起來就像一隻
大翅鯨。」每每遇到來參觀的民眾，館長陳旻昱
都這樣訴說海灣繪本館的概念發想。
這對雲朵大翅鯨，上方的鯨魚媽媽像是雲朵
般，形體不是那麼明顯，象徵母親的千變萬化，
也用雲朵的雨水滋潤下方的小鯨魚，以及所有來
到繪本館的人。
海灣繪本館是國內第一座由非營利組織所經
營的專業繪本館，參觀不用收取門票。大廳一整
68 Taiwan Panorama 2018/06
陳旻昱（右1）與幕後一群關心兒童教育的朋友共同打造
海灣繪本館，為繪本的呈現演繹更多可能。
Corn Chen (first right) and friends behind-the-scenes
activists for children’s education created Humpback Whale
House to foster the picture book’s evolution.
面牆的書櫃裡，擺滿了國內外精彩的繪本作品，
供民眾閱讀。木質地板的開放空間，每到假日
總是吸引許多親子前來，享受與繪本相遇的美
好時光。
往內走，還有幾間展覽廳，其中一間蝴蝶飛舞
的裝置藝術空間，引人注目，這是陳旻昱為繪本
館所做的示範展。畢業自成功大學都市計劃學系
的他，原本從事社區營造的工作，十多年前中年
轉業，以筆名「玉米辰」創作許多有關台灣環境
與生態保育的繪本。擅長立體紙藝的陳旻昱，以
探討台灣紫斑蝶的作品《捕蝶人》為發想，將繪

A sandbar, a whale and a castle of dreams
Admission to the house is free. Greeting visitors in the
main hall is a pair of whale-shaped clouds hanging from the
ceiling. This is a work created for Humpback Whale House
by Yen Ming Hung, director of the association that founded
and manages it. “Long ago, the sandbars that stretched
from Qingshui to Da’an were called ‘hangouts of the big
whales’ in Taiwanese,” recounts curator Corn Chen to each
visitor he encounters, in order to explain the inspiration for
the house’s intriguing name.
The larger and higher of the pair of clouds—whose shape
is more nebulous—symbolizes the ever-changing Mother
who disperses nourishing raindrops on the little whale be-
low, as well as upon all visitors here.
One entire wall in the hall consists of shelves stacked full
of wonderful picture books from Taiwan and overseas.
As visitors continue on inside, they will find several
exhibition rooms, one of which is an installation art space
filled with butterflies in flight, an eye-catching demonstra-
tion exhibit made by Chen himself. He has also
created many picture books about the local
environment and ecological conservation. Chen
excels at three-dimensional paper art, and tak-
ing inspiration from his book Butterfly Hunter,
which explores Taiwan’s crow butterflies, he has
transformed a castle from the book into a giant
pop-up that forms part of the exhibit.
Nearly 1000 paper butterflies, handcrafted
by female volunteers, dangle from the ceiling.
When sunlight showers the room, or when
night lights shine, the butterflies play hide-and-
seek with the light, and the space feeds one’s
imagination. It also serves as a reminder to fu-
ture exhibitors: displays need not be limited to
paintings; artists are welcome to use whichever
format appeals.
High-energy coastal area
Behind the transformation of dilapidated
military dependents’ housing into a base for
culture and the arts, replete with space for the
imagination, is a group of fun-loving dreamers,
explains Chen with a smile. They care about
children’s education and the culture native to
the city’s coastal area.
In 2016, this group founded Picture Your
tories Humpback Whale House, a non-profit
association. It frequently invites performance
troupes from around Taiwan to take part in
seasonal art festivals, and to lead local school-
children in painting, drama and handicraft ac-
tivities in the hopes of enriching their aesthetic
education.
Director Yen is himself a specialist in pub-
lic art. “We wanted a ‘base,’” he once said on
a radio show, “a place where children could
dream.” Thus was born the idea of establishing
Humpback Whale House.
The power of local people was harnessed to
make this a reality. Those with the means con-
tributed money, while others contributed their
labor. A door panel from the old village became
the sign for the Humpback Whale House; a
wooden deck was laid around the banana and
flamegold trees located in the back courtyard,
complete with tables and benches, transforming
69
本裡的城堡創作成一本巨幅的立體書，同時也化
身成室內裝置藝術的一隅。
陳旻昱還挑出各個作品裡的動物，如屏東陸
蟹、花東的鬼頭刀魚和曼波魚等，重新集結成一
面色彩繽紛的繪本牆。房間內吊掛著志工媽媽們
親手製作的近千隻紙蝴蝶，在空中飛舞，當陽光
灑落屋內，或入夜開燈後，紙蝴蝶與光影錯落，
空間充滿了浪漫的想像與驚喜。也讓後續的展覽
者參考，繪本的展示不侷限於畫作，海灣繪本館
歡迎創作者以各種形式盡情發揮。

台中海線的在地能量

海灣繪本館能從無到有，將頹圮的老舊眷村，
一點一滴改造成充滿想像空間的藝文基地，陳旻
昱笑說，這背後有一群愛玩、愛作夢的人，他們
是台中海線一帶一群關心兒童教育與地方文化的
人們。陳旻昱表示，這裡面很多人都參與過反對
高美濕地蓋工廠、台中清水國小的古蹟保留等社
會運動，持續為地方的文化發展投入心力。
這群人在2016年成立了海灣故事文化創意協
會，經常邀請各地的表演團體舉辦藝文季，深入
台中海線的小學，帶著孩子參與繪畫、戲劇、手
孩子小心翼翼地掀開親手印製的版畫，
藝品製作等各式活動，希望將藝術文化帶進偏 喜悅之情表露無遺。
鄉，為美感教育注入能量。 agical moment An expression of delight as his very own
woodcut print is revealed.
專長公共藝術的理事長顏名宏曾經在廣播節目
說：「想要有個基地，一個讓孩子可以做夢的地
方。」於是有了成立海灣繪本館的想法，邀集志
同道合的朋友們，一起讓被遺忘的眷村文化園區 期間繪本館的活動都以繪本家的作品為發想。佈
重新活絡起來。 展前舉辦說書人共讀會，讓所有的志工夥伴與有
匯集民間的力量，大家有錢出錢有力出力。眷 興趣的民眾共讀繪本家的作品，深入剖析創作理
村的舊門板成了繪本館的招牌；從清水高中募來 念，也會邀請作者前來分享，然後規劃一連串與
的課桌椅，是民眾在院子乘涼聽故事的地方；原 作品相關的主題活動，讓繪本展不再只是一閃而
本在後院的香蕉樹與台灣欒樹則被妥善設置了木 過的圖畫展。
棧板，成為野餐時最好的景觀台。佈展、設計、 館內第一個展出的繪本家，是國內少有以版畫
裝潢，大家發揮各自的所長，讓溫潤的人情味， 創作繪本的創作者張秀毓，曾經創作《爸爸的友
不斷地發酵，這座被稻田圍繞的夢想基地，竟在 善茶園》、《爺爺的玻璃店》、《媽祖春遊趣》
兩個月的時間就建置完成。 等充滿本土情感的作品。此次展覽以講述新埔曬
柿的《阿婆的燈籠樹》為主軸，故事圍繞著都市
繪本不只是繪本
小孩安安因故回到奶奶家幫忙曬柿子，從抗拒回
繪本館以深入介紹台灣本土創作者為目標，每 鄉下，到感受阿婆（客語：奶奶）的愛、鄰居間
季邀請一位繪本家展覽，除了展出作品，在展覽 互動的人情味，質樸且溫暖。

70 Taiwan Panorama 2018/06

it into an ideal picnic area. Design, decoration, exhibition
planning—everyone undertook the tasks for which they
were best suited, and their mutual enthusiasm combined
to shorten the construction time to just two months.
Not just a picture book
The Humpback Whale House’s mission is to offer
an in-depth introduction to Taiwanese artists. Each sea-
son, it invites a picture-book illustrator to exhibit, and
during that period, his or her works are the inspiration
for activities. Prior to the exhibition, a storyteller nar-
rates the tale before an audience, after which the cre-
ative concept behind the story is analyzed in depth. The
illustrator is also invited to share his or her experience,
and then a series of themed activities is put on.
The first illustrator to exhibit was Chang Hsiu-yu,
one of the few artists in Taiwan to create picture books
using woodblock prints. Her works, such as Dad’s
Friendly Tea Garden and Grandpa’s Glass Shop, are full of
love for Taiwan. This exhibition was designed around
The Grandmother’s Lantern Tree, a story about sun-drying
persimmons set in Hsinchu’s Xinpu Township. The tale
revolves around An’an, a city-bred child who returns
to his paternal grandmother’s place to help process the
persimmons. From initially resisting country life, to
the point where he recognizes the affection his grand-
mother holds for him, and the goodwill present in inter-
actions between neighbors, we sense rustic simplicity
and warmth.
During Chang’s presentation, everyone sat around
on the floor listening to the tale of a lantern tree, named
after its paper-thin fruit capsules that resemble a Chi-
nese lantern. Then the artist explained how woodblock
prints are produced, and lastly, each member of the au-
dience got a chance to experience how to make one.
In the moment when the children lifted up the prints
they had created with their own hands, delight and a
sense of accomplishment showed on their faces.
“I hope to operate a space where Taiwan’s artists can
be seen, and the best way to be seen is through interac-
tion with an audience,” says Corn Chen.
整面牆的精彩繪本與館員生動地講著故事，
海灣繪本館歡迎大家前來享受美好時光。
torytelling time veryone is welcome to join in the fun at
Humpback Whale House.
71
 大家圍坐在地板上聽著館員生動有趣地講著燈
籠樹的故事，而後介紹版畫的製作，最後再帶參
觀的民眾親手體驗版畫的印製。
初次體驗版畫的孩子們既興奮又緊張，當掀開
自己親手印製版畫的瞬間，即露出驚喜又充滿成
就感的神情。
一連串的體驗活動，讓民眾由淺入深地了解創
作者。張秀毓也曾跟陳旻昱分享，她在許多地方
演講、展覽，但如此多面向呈現繪本的內容還是
第一次。「希望運作一個空間，讓台灣的創作者
被看見，而且被看見的方式是與觀眾有更多的互
動。」陳旻昱說。
海灣繪本館五月中旬即將登場的是繪本家張
又然的作品，曾出版《春神跳舞的森林》、《少
年西拉雅》等，台灣山林之美都被她細膩的畫風
蒐羅到繪本裡。屆時將以她最新作品《藍色小洋
裝》為主要發想，設計藍染的體驗活動。
人人都能作夢
不只是專業創作者，海灣繪本館也為素人打
造藝術展演的舞台。繪本館外牆上的大翅鯨，名
為《飛行海灣的歌聲》，其實是一位素人的學生
作品。繪者盧政憲在高中時創作、大學時重製上
色，2017年在館方邀請下，以戶外裝置藝術的形
72 Taiwan Panorama 2018/06
式呈現，色彩繽紛的大翅鯨讓每位來到繪本館的
民眾驚艷。
館內的展廳也為非專業創作者保留了一個空
間，可能是孩子、也可能是對圖像表達有興趣的
民眾。例如，曾經展出一位化名畢卡信的孩子
的作品「1∼100隻小怪陶」，小朋友以陶土捏出
腦中天馬行空想像。四月份則展出自閉症女孩
林依慧與媽媽蔡威君共同創作的繪本《瑪莉不說
話》。不擅表達的林依慧，用繪畫作為她和外界
溝通的媒介，帶領大家走入自閉症孩子的世界。
開幕至今，海灣繪本館獲得許多迴響，也讓
台中市政府看見了發展的可能，文化局已著手規
劃將繪本館周邊閒置的眷村空間打造成國際繪本
館。能促成公共建設的發展，陳旻昱樂觀其成，
問起繪本館的下一步，他笑笑地說起OCOB（one
child, one book）的想像：希望繪本館不只展示繪
本，更能成為創作故事的場域，並計畫建立一個
機制，讓繪本創作成為學校課程，與孩子用一年
的時間共同創作，然後再將其出版典藏，更或者
是邀請專業藝術家合作將繪本重新演繹。當腦中
的故事化為真實，對孩子來說將會是多麼美好。
微風吹拂，稻田像是綠波浪，以繪本為載體，
海灣繪本館這座夢想的實驗基地，邀請大朋友、
小朋友一起讓美夢成真。 
 繪畫是患有自閉症的林依慧與外界溝通的
橋梁，她與媽媽共同創作的《瑪莉不說
話》，四月起在海灣繪本館登場。
rawing and painting are autistic child in
ihui’s bridge to the outside world. eginning
in April, the picture book she co-authored
with her mother, M ary Doesn’ t S peak, is
taking the stage at Humpback Whale House.
In mid-May, Chang Yu Jan’s illustrated works will
take the stage at Humpback Whale House. Thanks to
his highly detailed style, the beauty of Taiwan’s moun-
tain forests is captured in his picture books, such as
The Forest Where Spring Fairy Dances and Siraya Boy. His
newest work, The Little Blue Dress, will be the inspira-
tion for a hands-on indigo print workshop.
Everyone can dream
Humpback Whale House has also created a stage
for amateurs to display their art. Dubbed Song of Flight
Above the Bay,” the humpback whale painting that
graces the front wall of the house is actually the work
of a student. Its painter, Lu Zhengxian, created it while
still in high school, and redid it in color during his uni-
versity days. At the request of Humpback Whale House,
in 2017 he recreated it on the house’s outside wall.
The exhibition rooms also reserve some space for
non-professional creators, who may be children, or
adults who are interested in graphic expression. A pic-
ture book entitled Mary Doesn’t Speak—jointly created
by a young autistic girl, Lin Yihui, and her mother Cai
Weijun—is on display April 14 to May 27. Yihui, who
is not good at expressing herself verbally, uses illustra-
tions as her medium of communication to bring others
into her autistic universe.
Since opening, Humpback Whale House has gener-
ated much discussion. The Taichung City Cultural Af-
fairs Bureau plans to create an international version that
would take advantage of unutilized space within the old
military dependents’ village. Asked about Humpback
Whale House’s next move, Chen smiles and reveals his
“One Child, One Book” vision: He hopes that the house
can host a year-long course in which students would
interact with the house artists to create their own stories,
and the fruits of this collaboration would be published
and placed in the house’s collection. Or, artists specializ-
ing in a given domain could be invited to use a student’s
original work as a starting point for further creation.
How wonderful for a child to see his or her imagined
tale fully realized in the form of a picture book!
Through the medium of the picture book, Humpback
Whale House—this “experimental base for dream real-
ization”—invites friends young and old to help make
lovely dreams come true. 
hen h n ang photos in in hs an
tr. r ce mes
73
藝文脈絡　CULTURAL TRENDS

台灣
紀 錄片
1960 先鋒
s台灣
紀實
影像
特輯
Docu 文•

ment
　圖
•

—A aries of
　版
面設
計•

P t
ring Dhe 1960
ionee
Taiwa ecade s
nese for
Cinem
a

74 台灣光華 Taiwan Panorama 2018/06

 在台灣60年代就已出現許多紀錄電
影，有以家庭成員為題材，也有以城市
裡人們生活的紀實為主軸，更有以社會
關懷為背景的紀錄片，這是一個什麼樣
的時代？影片導演對當時創作的心境為
何？讓我們跟著台灣國際紀錄片影展
（TIDF）策展人林木材、知名攝影師
莊靈、藝術家韓湘寧，一同來回顧台灣
60年代的紀錄片。

D oc mentar films o rished in

Taiwan. The ilms oc sed on s ch
themes as amil li e and the ro tines
s

o cit dwellers and o ten pla ed o t

against a ackdrop o the social iss es o
the time. hat kind o era was it hat
was on the minds o the directors o that
da et s e plore these estions and
s r e a decade o Taiwanese doc menta-
ries with ood in program director o
the Taiwan nternational oc mentar
esti al T cele rated photographer
h ang ing and artist an siang ning.

75
 對比解嚴後百花齊放的台灣紀錄片，60年
代台灣紀錄片在影史上佔有先導的地位。而
一般人所想像紀錄片都是沉悶、無趣的刻板
印象，其實不盡如此，接下來就讓我們逐一
來剖析「紀錄」的種種樣貌。

「紀錄」的各種形式

什麼是紀錄片？不同的人可能會有不同的
解讀與見解，台灣國際紀錄片影展（TIDF）
策展人林木材認為，「真實」可能有很多不
同的面向，而紀錄片導演就是試圖去用他所
看到的角度，去接近那個真實。
而現今紀錄片所展現的形式，可謂五花八
門，有一種沒有任何實體拍攝的影片，完全
用Google Map的街景圖，用電腦側錄的方式，
呈現出導演被迫離開家鄉的鄉愁，「滑鼠點
兩下，畫面就會往前，配上旁白，這蠻顛覆
我們對紀錄片的看法。」林木材在巴黎真實
影展（Cinéma du Réel）中，對這位西班牙年
輕導演的作品印象深刻。
還有一些動畫片，是運用主角訪談的真實聲
音，再用動畫的影像來搭配，雖然當時可能拍
不到，或者當事人不便曝光，但只要是運用到
紀實的成分在裡面，可以是影像、聲音，甚至
是極富個人的感官經驗，都能為紀錄片增添多
樣的可能性。

60年代台灣紀錄片

50∼60年代中期以政令宣導為主的影片，
雖然也有記錄地方的風土民情，但離人民真
正的生活，仍有段距離。直到1967年導演陳
耀圻所拍攝完成的《劉必稼》，描述一個老
兵在花蓮豐田大壩裡工作，藉由問答的方式
呈現其生活與心情。像這樣的素人臉孔與庶
民生活，以及強烈的「社會關懷」意識，在
藝文界引起震撼，因為這是第一部具有現代
觀點的紀錄片。
而談到60年代的紀錄片，就不得不提1965年
陳耀圻拍攝一個老兵在花蓮豐田大壩裡工作的紀錄片
1月1日在台北創刊的《劇場》雜誌，這是以當
《劉必稼》。（國家電影中心提供）
ichard ao-chi Chen filmed a military veteran working on 代前衛電影與戲劇為主的刊物，創辦人莊靈提
the construction of a dam in Fengtian, Hualien County, in
L iu Pi- chia (19 7). (courtesy of the Taiwan Film Institute) 及當年的情形：「我們雜誌就是大家湊錢來

76 台灣光華 Taiwan Panorama 2018/06

 The pioneering documentaries of the 1960s, in fact,
set the stage for a boom in documentary filmmaking
in the years after the lifting of martial law in 1 87.
Reality’s many faces
ust what defines a documentary Definitions and
opinions vary from person to person. According to
Wood in, “reality” can have many faces, and docu-
mentary filmmakers are people who attempt to re-
flect those realities from their own perspectives.
in was particularly impressed by a documen-
tary screened at Cin ma du el, a French film festi-
val, which was made entirely without a camera. The
documentary was made from screenshots of oogle
treet iew captured on a computer, and it exam-
ined the nostalgia of a young panish director who
had been forced to leave home.
Today’s documentaries also include animated
films that pair the voices of interview sub ects with
animated images. This technique allows a director
to capture a sub ect’s “reality” even when it is im-
practical to film the sub ect or if the person doesn’t
want to appear on camera. As long as the films in-
corporate documentary elements, whether through
林木材認為，「真實」可能有很多不同的面向，而紀錄片
導演就是試圖去用他所看到的角度，去接近那個真實。
For Wood in, program director of the Taiwan International
ocumentary Festival, reality can have many faces, and
documentary filmmakers each approach those realities from
their own perspective.
images, sound, or even highly personal sensory ex-
periences, they can expand the possibilities of docu-
mentary filmmaking.
Documentary’s golden decade
From the 1 50s to the mid-1 0s, the mainstay
of Taiwanese documentary cinema was govern-
ment-sponsored fare. Although these educational
films recorded some aspects of life in Taiwan, they
failed to capture the actual lives of common people.
In 1 7 ichard Yao-chi Chen took an entirely new
approach in Liu Pi-chia, a film that told the story of
a military veteran working on the construction of a
dam in Fengtian, Hualien County. The director ex-
amines the conditions of the veteran’s life and atti-
tudes through a series of interviews. Chen’s socially
conscious approach and his examination of the life
77
 辦，沒有稿費，不是商業，在那個時代我 正因為60年代是台灣各類現代藝術開
們走的還蠻前面的。」 始萌芽的時候，除了戲劇、電影，也包
從古希臘的悲劇，到法國電影新浪潮 含了當時的《現代文學》，以及「五月
時期的導演楚浮（François Truffaut）、 畫會」的成立，這種跨界、跨領域的交
亞倫•雷奈（A l a i n R e s n a i s）等人的 流，形成了一股風潮，如作家陳映真、
作品，還有瑞典導演英格瑪•伯格曼 劉大任也參與了當時《劇場》雜誌實驗
（Ernst Ingmar Bergman）的《處女之 電影《等待果陀》的演出，甚至影響力
泉》（The Virgin Spring）……等，譯介 擴及至香港，如香港知名作家西西的作
了當時西方主要的戲劇和電影潮流。也 品《銀河系》（1968），就是在擔任
是在這個時期，聚集了如陳耀圻、邱剛 《劇場》編輯期間所吸收的養分，因其
健、李至善、黃華成……等藝文人士。 胞兄在電視台工作，獲得不少廢棄新聞
至於發行人是他夫人陳夏生這件事，莊 膠卷，經她重新剪輯後，成為時代的另
靈開玩笑地說：「她在講我們沒安好 類紀錄。
心，主要是萬一出了什麼紕漏，受到警 受到《劇場》雜誌影響的還有1967年
總關愛的話，發行人就要去報告。」 龍思良的《過節》，雖僅是5分鐘的短
片，卻呈現出台灣逢年過節前，一般民
眾的準備情景，而這部片也是當年《劇
場》雜誌第二次電影發表會時的作品。
此外，1966年張照堂的《現代詩展》，
紀錄了當時參展的藝術家黃華成、龍
思良、黃永松的作品；黃華成編寫的

《劇場》雜誌是以當代前衛電影與戲劇為主的
刊物，譯介了當時西方主要的戲劇和電影潮流。
T heater Q uarterly, which focused on contemporary
avant-garde film and theater, introduced important
trends in Western theater and cinema to Taiwanese
readers in the 19 0s.

78 台灣光華 Taiwan Panorama 2018/06

of a toiling everyman caused a sensation in the art
world. It was the first Taiwanese documentary to
employ this modernist approach.
No discussion of documentary filmmaking in
the 1 0s would be complete without mentioning
Theater Quarterly, the first issue of which was pub-
lished on anuary 1, 1 5. The Taipei-based mag-
azine focused on contemporary avant-garde film
and theater.
It introduced important periods of Western
theater and cinema, from ancient reek tragedy to
French New Wave directors like Fran ois Truffaut
and Alain esnais and films like The Virgin Spring
(1 0) by wedish director Ingmar ergman. It
also introduced the public to important directors
and screenwriters of that influential artistic period,
including ichard Chen, Chiu ang-chien (aka Yau
ong-kin), i Chi-shan, and Huang Hua-cheng.
The 1 0s was a wellspring for all kinds of
modern art in Taiwan. Aside from film and theater,
the period saw the publication of Modern Liter-
ature, a pioneering literary ournal, and the rise
of the Fifth Moon roup of modernist painters.
Cross-disciplinary influences became something of
a hallmark of the period. The writers Chen Ying-
zhen and iu Daren, for example, also acted in
Theater Quarterly’s experimental film version of
Waiting for Godot. The magazine’s influence also
spread to Hong ong when celebrated Hong
ong writer i i was invited to act as the editor
of its ninth issue. The experience inspired her to
make The Milky Way (1 8). Her brother at the
time was working at a T news station, and i
i collected discarded newsreel footage and then
reedited it into an alternative record of the times.
Theater Quarterly also influenced ong ih-
liang’s 1 7 documentary Getting Ready for the
Festival. Although the short film is only five
minutes long, it reveals the activities of ordinary
people preparing for the unar New Year festi-
val. It was featured in Theater Quarterly’s second
film exhibition, held the same year.
The publication influenced numerous other
works too: Chang Chao-tang’s documentary
Modern Poetry Exhibition (1 ) features the work
of Huang Hua-cheng, ong ih-liang, and Huang
Yong-song, who all participated in the exhibition
that is captured in the film. Huang Hua-cheng’s
stage play The Prophet was directed by ichard
Chen, who adopted a highly experimental ap-
proach. Pai Ching- ui’s work showed a debt to
Neorealism after he returned from studying in
79
 《先知》，導演陳耀圻則以不開啟布幕的方
式改編呈現；自義大利留學回來，受新寫實
主義影響的白景瑞，在1964年完成《台北之
晨》，紀錄了當時台北的清晨、人群、建築
等城市氛圍。這些影片在當時的主流黃梅調
與瓊瑤電影外，另開闢出了截然不同的電影
表現方式。
莊靈：《延》、《赤子》
「那時我剛進台視，電影攝影機還是上
發條的，16釐米，沒有聲音，我自己付錢買
片子來拍《延》（1966）這部作品。」莊靈
當時身兼攝影師、導演與編劇，利用休假時
間，用自己的家人來表達當時年輕人的生活
實況。
一個孕婦（莊靈的夫人）從一早起床，到
搭公車上下班買菜的日常，沒有化妝、打燈
與錄音，用動態的影像，做百分之百的真實
記錄。莊靈說：「你坐公車就公車，走路就
走路，你跟阿婆買菜，買一顆大白菜，或者
到肉攤買多少肉，就是現場。」
80 台灣光華 Taiwan Panorama 2018/06
他當時扛著機器，沿著圍牆，旁邊是水
圳，跟著夫人的腳步，一方面避免震動過大
影響畫面，另一方面注意全景、中景、近
景、特寫等鏡頭呈現，雖然人的身體幅度有
限，但可從蹲的站起來，或從近的拉遠，如
此獨力完成拍攝。
後來陳耀圻用當時美國流行的歌曲來幫
這部片配樂，呈現出溫馨的感覺。「這有點
出乎我自己的原始構想，原本我是希望呈現
出年輕人生活很單調、枯燥，沒有娛樂的一
面。」莊靈說，果然作品完成後有自己的生
命，他後來想想，這種溫馨與期待未出生下
一代的感覺，或許更能突顯本片也說不定，
只是當初拍攝時沒有這樣預設的想法罷了。
《劇場》雜誌編輯群邱剛健（左1）、陳夏生（左3 ）、
黃華成（右1）於邱剛健家前合影。（莊靈提供）
ome of the editors of T heater Q uarterly gathering at the
house of Chiu Kang-chien Chiu himself (first left), Chen
iasheng (center, holding child), and Huang Hua-cheng (first
right). (courtesy of Chuang ing)
Italy. In A Morning in Tai pei (1964), the filmmaker
records the sights and sounds of Tai pei at dawn,
including the crowds, the buildings, and the urban
ambiance. In an age better known for popular Huang-
mei Opera films and the melodramas of the author
Chiung Yao, these experimental works opened up an
entirely new mode of cinematic expression.
he fil s h ang ing
In the 1960s, Chuang Ling was working as a
photographer, director, and screenwriter. In his free
time he would capture daily life by filming his own
relatives. “In those days I had just started working
at Taiwan Television and the movie cameras we had
were still the 16-mm spring-wound type with no
sound,” says Chuang Ling. “I used my own money
to buy film to make Life Continued [1966].”
Chuang recorded the daily routines of a pregnant
woman (his wife) from the time she got up and took
the bus to work until she got off work and did the
grocery shopping. He created a faithful record, for-
going makeup, lighting and sound, and using only
the natural movements of the subject.
莊靈《延》、《赤子》兩部作品，用自己的家人
來表達當時年輕人的生活實況與社會變遷。（林旻萱攝）
I n L ife Continued (196 6 ) and M y N ew born B aby (196 7),
C h u ang L ing ex am ines lif e’ s realities and soc ial c h anges b y
filming the events of his own family members.
(p h oto b y L in M in-h su an)
Shouldering the camera, he walked along a low
wall with a drainage ditch on one side, filming his
wife’s every step. He had to make sure he was as
steady as possible to avoid affecting the image qual-
ity, while adjusting his lens for long, medium, short,
and close-up shots. In this way, he was able to com-
plete the film all on his own.
Richard Chen later put together a soundtrack for
the film from American pop music, creating a sooth-
ing ambiance. The warmth of the film’s atmosphere
combined with the anticipation of welcoming a new
life into the world perhaps exceeded even the direc-
tor’s original hopes for the film.
Chuang’s My Newborn Baby (1967) picks up the
story from the child’s birth until her first birthday. It
81
 《赤子》（1967）則是從小孩出生到周歲，
將每個月媽媽帶她出去所拍攝的照片連接在一
起。從在至善園旁的小松樹下，從娃娃因站不
住而坐下來的鏡頭拉出去，看著外雙溪的農人
耕作、長安東路的新蓋大樓、龍山寺虔誠拜拜
的人群，到兒童樂園遊玩等場景，文字則是請
黃華成寫成卡片再翻拍來呈現。跟《延》不同
的是，這些是刻意安排的劇本，透過娃娃好奇
的雙眼，來看當時台灣經濟從農業開始轉型到
現代都會的一個概念。
韓湘寧：《今日開幕》、《跑》
藝術家韓湘寧是「五月畫會」的成員，對於
從繪畫跨界到影像，他一點都不陌生。因為對
他來說，突破媒材與工具的界線與限制，正是
他源源不絕創作的動力所在。從油畫、滾筒、
噴槍，到結合影像的創作，一再地突破他自己
的極限，也帶給觀眾嶄新的視覺感受。
韓湘寧認為，「藝術」是一個人對生活上美
學的紀錄，而他自由思想的觀念很大的一部分
82 台灣光華 Taiwan Panorama 2018/06
韓湘寧認為，「藝術」是一個人對生活上美學的紀錄。
（林格立攝）
Han Hsiang-ning believes that art is a personal record of
life’s aesthetics. (photo by immy in)
是得益於這個年代。「我很慶幸60年代我有
一半的時間在台灣，因為這時期是台灣現代
主義剛開始啟蒙的時候。」文學有《現代文
學》，影像有《劇場》，繪畫則有「五月
畫會」的洗禮。他擁有的第一台攝影機，是
1964年到日本東京參加國際版畫雙年展時，
在那發現8釐米的攝影機，於是就託朋友帶了
一台回來。
當時他還在一家廣告公司擔任美術設計，
「我就覺得我要做一個片頭，正好工作時有
個照相打字，就有今日開幕的字，準備要
用 在 報 紙 上 …… 」 他 拿 來 翻 照 後 ， 變 成 反
的，覺得還不錯，也就成了《今日開幕》
（1965）的片頭。
features a montage of pictures taken on the
mother and daughter ’s monthly outings.
The dialogue, written by Huang Hua-cheng,
is written on cards and presented visually
in the film. Unlike Life Continued, the film
is meticulously scripted. Through a child’s
curious eyes, the audience sees the economic
transformation of Taiwan from an agricul-
tural society to a modern urban landscape.
Han Hsiang-ning’s Today and Run
Han Hsiang-ning is a member of the
Fifth Moon Group of modernist painters
and no stranger to crossing the boundaries
between painting and other visual arts.
Overcoming the limitations of an artists’
medium or tools is an endless source of cre-
ative inspiration for Han.
He believes that art is a personal record
of life’s aesthetics, and the 1960s was a for-
mative period for the development of his
concept of free thinking.
“I thought I ought to make a title se-
quence,” Han recalls thinking while he
was still working as an art designer at an
advertising agency. “While I was working I
came across the words jin ri kai mu (‘opens
today’). It was a piece of phototypeset text
for a newspaper ad.” Han photo graphed
the slogan and liked how it looked in re-
verse. This became the opening title of
Today (filmed in 1 5).
He had taken his camera to the seaside at
Yeliu, where he found a discarded headless
《跑》劇中席德進當時身上直橫條的
服裝，跟跑步的情境形成有趣的對比。
（韓湘寧提供）
S h iy D e-j inn’ s strip ed sh irt p rov ides
an interesting v isu al c ontrast with th e
su rrou nding sc ene in H an H siang-ning’ s
R un (196 6 ). (c ou rtesy of H an H siang-ning)
83
 藝術創作對韓湘寧來說，總是那麼地隨性與 繞著圓環跟著三輪車跑，8釐米攝影機時前時
自然，他當時帶著攝影機去野柳，在路旁隨意 後、時左時右地緊隨，正好跑到上班時間，
撿了個廢棄的女性無首人形，放在海邊隨著浪 逐漸被趕著上班的摩托車淹沒。而席德進當
沖上沖下，人形時而如雕塑般伸展，時而在潮 時身上直橫條的服裝，跟一路跑步的情境形
起潮落的間隙中若隱若現，如要說其創作意涵 成有趣的對比。
是少年對女性軀體的慾望，隨著海浪沖刷而被 1967年韓湘寧去了紐約，也用影像記錄了
洗滌也好，還是單純在沙灘上，海水沖在人形 許多紐約早期的蘇荷區（SOHO）景物，影像
上所展現的力與美也罷，這些都是韓湘寧在生 在他的創作中一直扮演著重要的角色。年屆
活中，對於「美」的感受與紀錄。 80的他，至今仍在台北、紐約與雲南大理的
《跑》（1966）的拍攝是當年韓湘寧的藝術 工作室，用影像持續記錄著三地的日出與日
家好友席德進剛從美國回來，「我就跟他說， 落，並想用新的輸出方式來進行創作。
明天我想拍個東西，你就一大早6點鐘來敦化 從充滿社會關懷的《劉必稼》（陳耀
南路跟仁愛路的那個圓環，那時有幾棟比較現 圻，1967），到家庭溫馨的《延》（莊靈，
代的房子，我們就在那邊碰面。」之後韓湘寧 1966），以及純藝術創作的《今日開幕》
就租了個三輪車，準備了幾個膠卷，請席德進 （韓湘寧，1965），不同題材、不同形式，
卻在同一個年代中醞釀與綻放，正如策展人
林木材所說：「很多人會想說紀錄片可能會
很嚴肅，或是很悲慘，但是我覺得就是不要
國家電影中心樹林片庫收藏許多年代久遠之珍貴影片。 預設這麼多，只要知道要看哪部片，用你的

The Taiwan Film Institute’s archive in hulin, New Taipei
City, houses many historical treasures of Taiwanese cinema. 直覺來感受就好。」

84 台灣光華 Taiwan Panorama 2018/06


female mannequin by the roadside. He tossed it into the
sea, where it bobbed up and down with the waves. The
figure at times appeared like a sculpture floating with the
ebb and flow of the sea, sometimes disappearing for a
time, hidden by the waves. One could say that the artistic
import of the work lies in its depiction of youthful desire
for the female body being cleansed by the sea, or simply
in the power and beauty of the waves washing over the
mannequin as it rests on the beach. The film produced a
record of the beauty that Han had experienced in his life.
影像在韓湘寧的創作中一直扮演著
重要的角色。（韓湘寧提供）
The photographic image has always
been at the heart of Han Hsiang-
ning’s artistic creations. (courtesy of
Han Hsiang-ning)
Han’s film Run (1 ) was made
with the help of his friend hiy De-
inn, an artist who had ust returned
from living overseas. “I told him
that I wanted to shoot in the morn-
ing and asked him to meet me at
a.m. at the tra c circle at the inter-
section of Dunhua outh oad and
en’ai oad,” Han recalls.
Han hired a pedicab from which
he filmed hiy as the latter ran laps
around the traffic circle. As the
morning rush hour built, hiy grad-
ually became lost in a sea of motor
scooters, and the sight of him run-
ning in his striped shirt provided an
interesting visual contrast with the
surrounding tra c.
Now in his 80s, Han still works
in his studios, located in Tai pei,
New York, and Dali, a city in main-
land China’s Yun nan Province.
Every day he films the sunrise and
sunset in whichever of the three
locations he happens to be in. He
hopes to use the stream of images
to create a new film.
The 1 0s saw a flourishing of creativity in docu-
mentary filmmaking that focused on varied sub ect
matter represented in diverse artistic forms. The de-
cade produced socially conscious films like ichard
Chen’s Liu Pi-chia, touching domestic dramas like
Chuang Ling’s Life Continued, and purely artistic cre-
ations like Han Hsiang-ning’s Today. 
an hen
photos h ang ng j
tr. o ert reen
85
藝文脈絡　CULTURAL TRENDS

莊坤儒攝 p h oto b y C h u ang K u ng-j u

86 台灣光華 Taiwan Panorama 2018/06

以抽象藝術豪賭的人生
陳正雄自我突破之路
Betting on Abstract Art
—Chen Cheng-hsiung’s Journey of Self-Discovery
文• 　圖• 　版面設計•
1999年、2001年，陳正雄分別以《窗》系
列、《數位空間》系列獲得義大利佛羅倫斯國際
當代藝術雙年展「終生藝術成就獎」及「羅倫佐
金質獎章」的肯定，是唯一連續兩屆獲此殊榮的
亞洲藝術家。第二度獲獎時，義大利佛羅倫斯國
際當代藝術雙年展總監史派克博士表示：「以抽
象畫表達今日數位空間的意境，迄今尚未發現第
二人，所以『再度』頒給陳君最高榮譽的『終生
成就獎』及『偉大的羅倫佐』獎項。」
從年輕時接觸抽象藝術開始，逾一甲子的時
光，陳正雄已晉升國際級藝術大師，抽象畫仍
是他「在天願作比翼鳥，在地願為連理枝」的摯
愛，突破創新仍是他不懈的人生課題。
C hen Cheng-hsiung is the only Asian artist to have
been conferred both a Lifetime Achievement in Art
ward and a oren o il agnifico ward in two di er
ent years at the Florence Biennale. In 1999 he received
both awards for his “Window” series, and in 2001 he
was honored again for his “Digital Space” series. Dr.
John T. Spike, chairman of the jurors’ committee for
the 2001 Florence Biennale, said that no other abstract
artist had shown so perfect an artistic conception of to-
day’s digital space through their work. He cited this as
the reason that Chen won the awards for a second time.
Chen has been working as an abstract artist for
o er ears since first disco ering the art orm in his
youth. He is now an internationally acclaimed master,
and yet not only is abstract painting still his greatest
passion, he still strives tirelessly to come up with in-
novative techniques for his artistic creations.
87
 按下電腦的啟動鈕，螢幕出現形如飄動
的窗子，這是美國微軟公司Windows作業
系統的開機畫面，也是全球使用者都熟悉
的圖示，但唯有陳正雄從中得到靈感，再
結合他旅遊俄羅斯所見的聖像畫構圖，讓
中國的狂草與繪畫元素的色彩、線條在畫
布上對話。開始《窗》系列的創作，那年
陳正雄57歲。
觀察人類進入到以「0」與「1」這最簡
單的數字元素所建構的虛擬空間，讓畫家
的靈感再次被啟動，創作《數位空間》系
列，他將畫布三分為上二下一的區塊，上
二的兩個空間填入藍色與黃色，下方橫貫
的長方體置入中國狂草的書法；曾為陳正
雄立傳的旅法華裔作家祖慰解釋，藍色象
徵海洋，黃色象徵陸地，兩者是我們賴以
生存的量子空間，下方涵蓋文字與圖像訊
息的狂草則是數位化生存空間。以如此簡
要的抽象元素呈現我們所處的數位時代，
這幅畫讓他再次攀登藝術的高峰，那年陳
正雄66歲。
當許多藝術家年近耳順，自覺歷史定位
已定案而歇筆時，陳正雄的筆刷還是繼續
在畫布上揮灑，敏銳的感受時代的變遷，
將對環境的觀察融入自己的情感，把不可
見的內在世界化為可見的視覺存在。「我 繪自然。」因此一樣畫風景，他的《池
不喜歡重複自己，這不是創作。」「50歲 畔》、《花瓶》、《九份風光》就在具
之後，我的巔峰期就開始了。從80年代末 象中帶有抽象，而自成一格。
葉一直到現在，是我最精華的時期。」年 成名甚早，陳正雄在高中時期的作
過八旬的他，還矢志要超越那「已經成功 品即獲選國內重要美展，高中三年級，
的自己」，讓人不難聯想是他對藝術創作 他早已準備去巴黎學畫，卻被父親勸
活跳跳的熱情，成就了畫家卓然不朽的藝 阻。他記得父親說：「你如果能夠靠畫
術生命。 生活，那我不反對，但我怕你一輩子潦
倒。」陳正雄因此改考入中興大學經濟
以生命為籌碼，為抽象藝術孤注一擲
系。英日文俱佳的他在這時期閱讀了大
回顧陳正雄的繪畫生涯，「守成」是 量西方抽象藝術的經典原著，如康丁斯
他生命中不曾出現的字眼。高中時期，在 基的《藝術的精神性》、英國藝評家伯
大師李石樵門下學畫，陳正雄的畫就與大 特•里德的《現代藝術簡史》等書，開
家長得不一樣。陳正雄說：「大概是天 啟了他對抽象藝術的認識。
性，我喜歡自由一點，我是把對風景的 抽象藝術的發展有其歷史演進過程，
感覺畫出來，也就是我以主觀的態度來描 當時少有人像陳正雄能直接閱讀經典

88 台灣光華 Taiwan Panorama 2018/06

 從微軟的W indows作業系統和俄羅斯的聖像
畫得到靈感的《窗》系列，陳正雄的藝術生
涯再創高峰。圖為《窗》系列十八。
C h en C h eng-h siu ng’ s artistic c areer reac h ed
new h eigh ts with h is “ W indow” series, wh ic h was
insp ired b y M ic rosof t W indows and R u ssian ic on
p aintings. S h own h ere is W indow S eries X V I I I .

Press the start button on a computer and a

floating window icon pops up on the screen.
This is the start screen of the Microsoft Win-
dows operating system. Although the graphic
is familiar the world over, only in Chen’s eyes
did it become a source of inspiration. He fur-
ther incorporated impressions of the shapes
of ussian icon paintings and made use of the
calligraphic brush style known as “wild cur-
sive” script. This was the origin of his “Win-
dow” series. At the time Chen was already 57.
Having observed that human life had
entered a virtual space constructed from the
most basic numerical elements—zeros and
ones—Chen was inspired to create his “Digital
pace” series. He divided his canvases into
three blocks, two at the top and one across the
bottom. The top two blocks were colored in
blue and yellow. The panel stretching across
the bottom featured Chinese calligraphy in the
wild cursive style. In introducing Chen’s work
his biographer, the French-based Chinese
author u Wei, once explained that the blue
represented the ocean and the yellow the land.
Together they represent the quantum world
in which humans exist. The text and images
adorning the lower portion, on the other hand,
represent the digital living space. Chen thus
captured our digital age with the simplest of
abstract elements. The series once again ele-
vated him to the pinnacle of his art form. He
was that year.
Many artists entering their 0s feel that
their reputations are already set, and put away
their brushes. ut Chen’s paintbrushes still
《數位空間》系列一。融合色彩與書法元素，以抽象畫
表達今日數位空間的意境，陳正雄在畫風上不斷開疆闢土。 dance on the canvas, keen to the changing
Dig ital S pace S eries I . C h en C h eng-h siu ng’ s ab strac t sty le is th e times. He mingles his observations with his
p rodu c t of c easeless innov ation. H e ex p resses th e c ontem p orary
c onc ep t of digital sp ac e b y c om b ining c olor elem ents with c alligrap h y . impressions and feelings, and creates visual

89
 原著，因此社會大眾常誤以 堅毅度過難關的一幕，陳正雄左
為「非具象即是抽象」。但陳 右思量，決定將東方水墨畫的寫
正雄解釋，西方20世紀的現代 意運用到油畫中，這幅畫很受委
主義運動，是冀望將藝術從宗 託者喜愛，自此許多外籍人士都
教、文學、自然的附庸解放出 找上門來，連美國大使、巴西大
來，其終極目標是要建立藝術 使都登門來向他買畫。陳正雄描
的自主性，主張讓繪畫的基本 述，那時候許多駐台的美軍都喜
元素——色彩、形象、線條—— 歡到他的畫室買畫，當時美金與
回復其原來的位置。因此當 台幣的匯率約1:48，陳正雄一幅
1905年野獸派的馬諦斯把色彩 畫的行情約300∼500美金，賣一
解放，1907年畢卡索以立體派 張畫就等於他同學在銀行工作一
將形象破解再重新組織，到 年的薪水。
1910年，康丁斯基的抽象畫就 雖然賣畫的收入不錯，但主要
產生了。 仍靠外籍人士的支持，國內藝術
陳正雄嚮往抽象畫中忠於 經紀市場尚未發展，以繪畫為正
自我內在的情感和自由精 職仍是人生的一場豪賭，但陳正
神，也讓他確認自己將以 雄像敢死隊一樣，毅然決然地辭
抽象藝術為終身的依歸， 了正職的工作，要以專業畫家的
那年陳正雄方23歲。但 身分跨步向前，那年他32歲。
想以專業畫家為職並非
從異文化擷取元素，融合創新
易事。大學畢業後，
陳正雄順利在當時 除了抽象的點、線、面，鮮豔
的美援機構謀得一 的色彩是陳正雄創作的基因。他
職，業餘仍持續繪 的作品總是色彩繽紛，帶給觀者
畫創作。 歡愉之感，因此有人稱他是「色
美援時期，有 彩的魔術師」，旅法的華裔作家
許多外籍人士 祖慰為他寫的傳記，書名就取做
駐留台灣，陳 《畫布上的歡樂頌》。
正雄受託為一 色彩的源頭，來自陳正雄的
位美軍少將畫 台灣原住民文物收藏，從31歲開
下他在風雨中 始，他收藏原住民的文物已歷半

90 台灣光華 Taiwan Panorama 2018/06

從異質文化中尋找新穎的藝術基因，陳正雄的作品
融合其收藏清宮廷服飾的柔美和原住民文化用色的
豐富，自成一家。（左為明黃緞繡十二章龍袍、右
為排灣族珠繡雲肩）
C h en C h eng-h siu ng h as f ou nd new sou rc es of artistic
insp iration in dif f erent c u ltu res, inc lu ding th e gentle b eau ty
of Q ing-D y nasty c ou rt ap p arel and th e u se of b rilliant
c olors in A b original art. Th e p h oto on th e f ac ing p age
sh ows a M ing-D y nasty dragon rob e in y ellow silk b roc ade,
em b roidered with th e au sp ic iou s “ 12 O rnam ents” th at
sy m b oliz e im p erial au th ority and p ower. A t righ t, a
b eadwork sh ou lder c ap e of Taiwan’ s P aiwan trib e.

representations of his invisible inner world.

Now in his 80s, Chen is determined to surpass
his past successes, an attitude that reminds us
that it is the passion for creation that leads to an
extraordinary artistic career.
Betting his future on abstract art
In looking back at his work, it becomes clear
that “stasis” was never in Chen’s vocabulary.
In high school, when he was studying under
the celebrated painter i hih-chiao, his work
already showed a unique style. “I think it’s
ust my nature,” Chen says. “I like a freer style.
When I paint a landscape, I prefer to approach
it sub ectively, capturing the feeling of the sub-
ect matter.”
Chen found success at an early age. In high
school his artwork was selected for important
art exhibits in Taiwan. In his final year in high
school he was planning to study art in Paris,
but his father talked him out of it. Instead he
enrolled in the economics department at Na-
tional Chung Hsing University. Chen, who is
fluent in apanese and English, spent much of
his time reading classic academic studies of
Western abstract art, including Wassily andin-
sky’s Concerning the Spiritual in Art (1911) and
ir Herbert ead’s A Concise History of Modern
Painting (1 5 ). The works gave him a better
understanding of abstract painting.
Chen longed for the liberating spirit of ab-
stract art and decided that his artistic future
would be devoted to its exploration. He was
only 2 at the time.
Making a career as an artist, however, is no
easy thing, so after graduation he took a ob
working in the U AID o ce in Taiwan and painted in
his free time.
In those days there was a large foreign community
residing in Taiwan. He was commissioned by a ma or
general in the U military to paint a portrait depicting
the American weathering a crisis with unbending res-
olution. The general loved it, and Chen continued to
paint in the abstract style. He later sold paintings to the
U and razilian ambassadors. At the time the exchange
rate was U $1 to NT$48. A single painting could fetch
U $ 00 to $500, the equivalent of a year’s salary for his
classmates who worked in banks.
Although his paintings fetched high prices, they were
purchased mainly by foreign collectors. The domestic art
market was not yet well developed. ut Chen threw his
concerns to the wind, quit his ob, and set out to make a
living as a professional painter. He was 2.
Creating a new species of art
Chen’s abstract paintings are known for their dots,
lines, surfaces and bright colors. His paintings feature a
riot of colors, and convey a sense of oy to viewers.
The inspiration for his color schemes comes from his
collection of art and artifacts from Taiwan’s Aboriginal
peoples. He began collecting at 1 and has been at it for

91
個世紀；當初陪外國友人收購原住民的文物，他
自己也買了幾隻菸斗，越看越有興趣，讓他開始
投入收藏原住民精品，還踏遍台灣各地，深入部
落進行人類學調查研究。原住民用色大膽、狂放
的生命力吸引著他。陳正雄畫中的柔美、華麗則
來自他收藏二十多年的清宮廷服飾文物，昔日帝
王世家衣飾講究富麗莊嚴亦轉化成為他創作的靈
感。
他還走遊世界，結交各地的藝術家，如美國
抽象畫大師山姆•法蘭西斯、法國當代藝術大師
彼爾•阿雷辛斯基、旅法的日本抽象畫大師菅井
汲、池田滿壽夫等，他和這些大師做朋友，同時
一探大師的腦內時空。
種種機遇都化成他創作的養分，他在著作《陳
正雄畫語錄》寫下：「藝術家需要建構自己的藝
術基因庫，懂得從異質文化的藝術寶庫中尋找新
穎的藝術基因，加以萃取後，以創造新物種的方
法，創作出無疆界的藝術作品來，這才是上上之
策。」融合了這些藝術基因，也為他的藝術生涯
創造一次次的高峰。
藝術是召喚的，是視覺的「隱喻」
祖慰在為《陳正雄畫語錄》寫的序言中，曾提
92 台灣光華 Taiwan Panorama 2018/06
色彩是陳正雄創作的基因，從他的畫中能讀到他詠讚自然、
擁抱生命的訊息。圖為《時空的流蘇》系列三。
C olor is p art of C h en C h eng-h siu ng’ s artistic D N A . H is p aintings
reflect his lust for life and love of nature. hown here is F ring es
of S pace and T ime S eries I I I .
到一段他與國際著名抽象畫家趙無極的對話，他
問趙無極，這幅畫傳達您什麼樣的內在體驗？趙
無極反答說：「我要是說得出來就不畫了。」
藝術家以視覺符號傳達心中的旨意，本是自
然。唯陳正雄不同，他一手拿畫筆，一手寫字，
是國內少數能畫能寫的藝術家。
他的文字著作洋洋灑灑地長長一大落，從接
觸抽象畫之初，1965年他就在《文星》雜誌發表
〈談抽象藝術〉一文，那是國內第一次真正正
確談論何謂抽象藝術的文章。之後陸續在《東
方》、《雄獅》各期刊中引薦西方藝術介紹給國
內讀者。他也將自己的原住民收藏化為文字，在
《聯合報》、《自立晚報》專欄發表。他更出書
立言，將一甲子的思想記錄下來，完成《陳正雄
畫語錄》，一字一句寫下藝術家的所思所言，讓
人理解何為藝術，何為抽象藝術。
 more than a half century. His interest was
sparked after accompanying a foreign friend
who was purchasing Aboriginal artifacts. Chen
bought a few traditional tobacco pipes, and he
admired them so much that he became a collec-
tor of Aboriginal art himself. ince then he has
traveled all over Taiwan visiting various indig-
enous communities and conducting anthropo-
logical studies. Chen was attracted to their bold
use of color and unrestrained lust for life. These
became elements of Chen’s own painting style.
Chen has also wandered across the globe,
cultivating friendships with other artists, such
《春之竹林》系列六 S pring B amboos S eries V I
as the American abstract painter am Francis,
French contemporary artist Pierre Alechinsky,
and umi ugai, a apanese abstract painter
living in France. As their friendships grew,
they also explored each other’s artistic ideas.
Chen’s varied serendipitous experiences
have all become elements of his art. “The art-
ist must establish a personal store of artistic
genes,’ and know how to seek out and select
novel components from the treasury of alien
cultures,” he writes in The Sayings of Chen
Cheng- hsiung on Art. “The utmost artistic
strategy is the utilization of these materials
93
 在書中，他寫道：「我的藝術是 to create new species of art and works of
『召喚的』，而非『描繪的』。如同 boundless meaning.” The interaction of
those “genes” has driven his career from
音樂，旨在激發內在情感，而非記錄
peak to peak of creative genius.
自然的外貌或述說故事。它是內在經
Art as visual metaphor
驗的一種強烈表徵，是視覺的『隱
In his introduction to Chen’s book,
喻』，而非視覺的『敘述』。」他又 u Wei recounts a conversation with
說：「我的作品一幅幅都用色彩表現 the famous Chinese-French painter ao
出生命在大自然中的躍動與歡愉。」 Wou-ki, in which he asked the painter
讀了這些字句，再連結到陳正雄的作 what feelings he had wished to convey
品，讓人對他畫中的世界有更深的體 in a particular painting. “If I could tell
you that,” ao said. “I wouldn’t have
悟。他的風景不需要輪廓線，世界也
painted it ”
沒有地平線，只靠著揮灑的色塊和看
Chen is a different case entirely. He
似隨興噴灑的彩點，觀者即能感其所 is one of those rare artists who can both
感。如《春天裡的春天》系列，其一 paint and express his ideas in writing.
的靈感來自巴黎的春天，以高彩度的粉 In 1 5 he wrote “On Abstract Art,” in
紅搭配鮮綠的色彩，畫者所感受到花都 Wen Hsing Magazine. It was the first real
巴黎的奔放和自由隨即溢於言表。另一 examination of abstract art published
in Taiwan. ubsequently he published
幅畫記錄了京都的春天，因此用色轉為
a series of articles in other magazines,
粉嫩而迷濛，即讓人聯想到日本的含蓄
including Oriental Magazine and Young
內斂。作品《志在四方》，用色塊表
Lion Monthly, introducing Western art to
現向前衝刺的動勢，蓄勢待發的氣魄 local readers. He introduced his collec-
藏在畫中蠢蠢欲動，站在畫前，即有 tion of Aboriginal art through columns
所感。陳正雄說：「那就對了，有共 published in the United Daily News and
鳴，就代表通了。」 the Independence Evening Post. He has
抽象畫一點都不難，只是一般人多 also published his ideas on art in book
form, in The Sayings of Chen Cheng-hsiung
懼於抽象畫「無可名之形」，而退避
on Art.
三尺。懂的人少，自然收藏的也少，
“My art is evocative, not descriptive,”
也因此陳正雄說他的創作是一條「孤 Chen writes in the book. “It is a visual
單、艱苦的漫漫長路」。 metaphor, not a visual narrative.”
2014年，陳正雄獲頒國家文藝獎， ooking at Chen’s paintings after
這份遲來的榮耀，是對藝術家一甲子 reading his writing on art allows for a
堅持的肯定；但藝術家的手仍不歇 deeper comprehension of the artist’s vi-
sion. His landscapes are painted without
止，他說，「只要我的手還能動，腦
筋還靈活，我的創作是不能停的。」
年逾八旬的藝術家還說要努力賺錢，
想在市區蓋一棟美術館，展示自己作
品和收藏；而筆者在筆記上寫下「樂 坐在《春天裡的春天》畫作前留影，
陳正雄的藝術生命如畫作一般繽紛燦爛。
此不疲，始終不渝」8個字，敬佩這位
（莊坤儒攝）
不輟自我突破的台灣抽象畫先驅── C h en C h eng-h siu ng’ s artistic c areer h as b een


as b rilliant and c olorf u l as h is “ S p ring W ith in
陳正雄。 S p ring” series. (p h oto b y C h u ang K u ng-j u )

94 台灣光華 Taiwan Panorama 2018/06

clear borders his world needs no horizon. iewers can
understand his sensibilities through his blocks of color
and seemingly random sprays of colored dots. In Cher-
ishing the Ambitions, the artist uses blocks of color to
express the energy and excitement of new beginnings.
tanding in front of the painting, the viewer can sense
the power stirring within the work. “That’s right,” Chen
says. “Only if it resonates is it a success.”
In 2014, Chen received a National Award for Arts
from the National Culture and Arts Foundation. This
honor recognized the artist’s six decades of creation.
ut Chen is not done innovating. “As long as I can still
paint and my mind is still active, I won’t stop creating
new art,” he says.
At over 80 years of age, Chen says he hopes to make
more money through his art so that he can open an
art museum in a downtown location and exhibit his
paintings and his collection of Aboriginal artifacts. In
my notebook, I otted down the following words, “ oy
makes him indefatigable his enthusiasm has never wa-
vered.” This encapsulates the relentlessly pioneering
career of this celebrated Taiwanese abstract painter. 
(Cathy Teng/photos courtesy of Chen Cheng-hsiung/
tr. by Robert Green)
95
產業新創　ENTREPRENEURSHIP

96 台灣光華 Taiwan Panorama 2018/06

Kamaro’an住下來吧！
輪傘草編織工藝再創生
Kamaro’an: The Revival of
Umbrella Sedge Weaving
文• 　圖• 　版面設計•

這是一個關於編織的故事，從舒米
•如妮（Sumi Dongi）復育水梯田、
輪傘草開始，遇見了在花東推動產業
輔導的Tipus Hafay，再加入了設計師
劉立祥、張雲帆，所有的環節被編織
起來，成為一盞簡約、現代風格的浪
草燈，說著品牌Kamaro’an的故事。

T his is a story about weaving. It

begins with Sumi Dongi, who was
working to restore terraced coastal paddy
fields and re i e the m rella sedge. he
got to know Tipus Hafay, who was men-
toring businesses in Hualien and Taitung;
later, they joined forces with designers
Shane Liu and Chang Yun-fann. All these
elements were woven together to create
the simple, modernistic “Riyar Light,”
and tell the story of the Kamaro’an brand.

97
 結合工藝與設計的浪草燈在國際上發
找回部落曾經消失的
亮，在地又時尚的設計於2017年拿下巴
黎家飾展（Maison et Objet）「亞洲新銳 被遺忘的不只有草蓆的編織台，在花蓮縣豐
設計師獎」；到歐洲參展最常聽到外國 濱鄉港口部落，隨著生活型態改變而逐漸消失
友人發出Elegant、Poetic、Sculptural和 或被替代的風景還很多，像被斷了水源的田地
Authentic的讚嘆；浪草燈也成為小英總統 荒廢成了叢林，部落婦女農閒時編織草蓆的畫
出訪友邦的伴手禮，台灣的工藝之美讓 面等等。
世人所見。 長年參與原住民「還我土地」運動的舒米，
在心中始終有個矛盾，當族人為著傳統耕地抗爭
位在華山文創園區紅磚區的花東選品店 時，原有的土地卻任其荒蕪，未加利用。她決心
「太平洋的風」，兩位阿美族女孩Ngodo
和Nacu正專注著眼前的編織。Ngodo用阿
美族「一繩到底」的藤編技巧編織三角包
的提把；Nacu則端坐在長寬約150×12公分
的編織台前，腿上放著一把經加工曝曬的
輪傘草片，另有兩條綠色的紙繩，兩端各
綁上鉛錘，垂在編織台的兩側，Nacu取了
兩片，固定在編織台上，將紙繩上下交叉
壓過草片，利用鉛錘的重量把草壓住。
Nacu一邊編，一邊說：「這是草蓆的編
法，小時候家家戶戶都有一架編織台，我
們都看過阿嬤編草蓆。……後來學做浪草
燈，手邊雖有輪傘草的材料，卻沒有編織
台，只好跑去舒米阿姨家扛一架回來。」

舒米想出只取輪傘草莖的
皮，再以陽光曝曬，解決
輪傘草容易受潮的問題。
（K am aro’ an提供）
To solv e th e p rob lem
of th e u m b rella sedge’ s
v u lnerab ility to m oistu re,
S u m i D ongi c am e u p with th e
idea of strip p ing of f th e ou ter
sk ins of th e sedge stalk s and
dry ing th em in th e su n.
(c ou rtesy of K am aro’ an)

98 台灣光華 Taiwan Panorama 2018/06

 The Riyar Light, which marries craft with de-
sign, has come to shine brightly on the international
stage. In 2017 its combination of local authentic-
ity with fashionable design won a “Rising Asian
Talents” award for Kamaro’an at Maison et Objet,
France’s leading trade fair for interior design. At ex-
hibitions in Europe, one can often hear Kamaro’an
designs being praised as “elegant,” “poetic,” “sculp-
tural,” and “authentic.” The Riyar Light has even
been taken by President Tsai Ing-wen as a gift on a
visit to a diplomatic ally. The beauty of Taiwanese
crafts is there for the whole world to see.
In Taipei’s Huashan 1914 Creative Park there is a shop
named “The Wind of the Pacific Ocean” that sells selected
products from Hualien and Taitung Counties in Eastern
Taiwan. Inside the shop Ngodo and Nacu, two young
indigenous women of the Amis tribe, are focusing their
attention on the weaving work in front of them. Ngodo
is using the “single thread” rattan weaving technique to
make a handle for a triangle handbag. Nacu, meanwhile,
is sitting upright before a weaving table about 150 centi-
meters long by 12 cm wide, where she takes strips of
umbrella sedge, fixes them on the weaving table, and
then ties over and under with paper twine to bind the
strips together, using hanging lead bobs to weigh the
twine down and hold the umbrella sedge in place.
As she weaves, Nacu says: “This is the weaving tech-
nique for straw mats. When I was small every house
had a weaving table, and we all saw our grandmothers
weaving straw mats . ater, when I was learning to
make iyar ights, there was umbrella sedge on hand
as a material, but there was no weaving table, so we
had to go to umi’s home and bring one back.”
Rediscovering what was lost
It is not only weaving tables that had been forgotten.
In the indigenous community of Makotaay in Hualien’s
Fengbin Township, there are many scenes of daily life
that have disappeared as lifestyles have changed. These
include, for example, the coastal paddy fields that fell
舒米復育輪傘草，同時也把阿美族傳統的編織工藝找回來。
S u m i rev iv ed th e p lanting of u m b rella sedge and redisc ov ered
traditional weav ing tec h niq u es of th e A m is indigenou s p eop le.
99
 著手復育水梯田，同時也把與水稻 復育了輪傘草，舒米花了許多時
共生的輪傘草和大葉田香種回來， 間思索輪傘草還能如何利用，進而
讓台11線上的澄黃色的海稻米景 建立在地產業，帶動部落有穩定的
致，還有阿美族的草蓆編織工藝， 工作機會。
重新成為港口部落的風景。 草蓆的編織技巧簡單，但前製的
輪傘草因葉形如傘骨而聞名，它 處理工序需經太陽曝曬3個月，完
的莖梗筆直無節，可長到3尺高， 全乾透後，方能編織。台灣因濕度
阿美族人用它來編織草蓆。舒米回 高，解決輪傘草容易因潮濕而發霉
憶起，6、7月的夏天，家家戶戶會 的問題，成了當務之急。
一邊曬穀子，一邊曬輪傘草，或是 幾經嘗試，舒米才從阿美族取藤
編草蓆。夏季大家都不睡屋內，一 皮的方式獲得靈感，只取輪傘草莖
家大小帶著草蓆在星空下入睡。昔 的皮，把中間輸送水分的維管束削
日務農田邊都有「Daruan」（音： 除，再經陽光曝曬的輪傘草片，材
達魯岸，指休息的小屋），部落 質就會穩定很多。她也從耆老那邊
的新婚夫婦都會帶著草蓆到Daruan 學習阿美族的編織技巧，招集部落
去，新婚的前兩年都在那邊培養感 婦女一起加入編織的行列，傳續阿
情。舒米說：「輪傘草是部落生活 美族的編織技法。
美學的一部分，而且是跟生活息息
相關的。」

100 台灣光華 Taiwan Panorama 2018/06

into disuse and became overgrown after the
supply of irrigation water was cut off, and
the sight of women of the community weav-
ing straw mats during slack periods in the
agricultural year.
umi decided to set to work restoring
the terraced paddy fields, while at the same
time replanting the umbrella sedge (Cyperus
alternifolius) and swamp leaf (Limnophila
rugosa) that grow alongside paddy rice. Her
efforts made it possible once again for vis-
itors to Makotaay to see golden paddy rice
ripening beside Provincial Highway 11, and
Amis people weaving straw mats.
Umbrella sedge is so named because its
leaves have the shape of an umbrella frame.
Its straight, unsegmented stalk can grow up
to one meter tall, and is used by the Amis
people to weave straw mats. umi recalls
that in the summer months of une and uly,
every household would be drying grains
and umbrella sedge in the sun, and weaving
straw mats. During the summer, no one slept
indoors instead, people took their mats out to
sleep under the starry skies. In the past there
was always a “daruan” (small hut for resting)
next to the fields, and newlyweds would
bring their straw mats into a daruan to be
alone together. umi says: “Umbrella sedge is
part of the aesthetic of community life, and is
also closely connected to daily life.”
umi also thought about what other uses
umbrella sedge could be put to, to establish a
local industry that would provide stable ob
opportunities to the community. The process
for weaving straw mats is simple, but because
Taiwan is so humid, the traditional method of
drying the sedge in the sun was not always
101

與當代設計相遇
張雲帆和劉立祥當初是跟著台灣科技大學董
芳武老師進到部落的。多年來，已有許多藝術
補助計畫借助學界、文史工作者及族人之力，
將部落的文化與技藝挖掘出來，但是往往剛產
出一些成果，就因計畫結束而終止，資源無法
永續。「很多文化跟故事被找回來了，後續就
是如何產業化的議題。」張雲帆解釋他們的團
隊想解決的問題。
Tipus出身吉安鄉的娜荳蘭部落，亦是港口部
落的媳婦。台大城鄉所畢業後，在台北工作五
年多，終有機會回鄉工作，協助輔導花東傳統
產業。
透過Ti p u s引薦，2013年，台科大的團隊初
到港口部落的第一年，選擇與漂流木藝術家合
作，計畫執行了一年，方了解到藝術創作不能
對比於產業化，藝術家該專注於創作，而非量
化的生產。第二年他們改找工藝家合作，「工
102 台灣光華 Taiwan Panorama 2018/06
「太平洋的風」精選花東工藝產品，手工製品透過情境
搭配陳設，營造出K am aro’ an想要的生活感。
The shop The Winds of the acific offers selected
h andic raf ts f rom H u alien and Taitu ng, p resented in a setting
th at c reates th e lif esty le atm osp h ere th at K am aro’ an wants.
藝較偏向設計產品的屬性，是大家生活裡需要
的，很多人都會編織，進入門檻沒有那麼高。」
張雲帆解釋。
台科大團隊看到舒米已研發成熟的輪傘草片很
「台灣在地」，很感興趣。再加上舒米已培訓了
一批熟習編織的部落婦女，有素材、有技術、有
人力；舒米提出：「輪傘草怕濕，燈飾有光有熱
度，是防止它發霉最好的方法。」第二年計畫就
從輪傘草的編織工藝著手。
計劃團隊從頭學習，長住在部落裡跟著族人一
起生活、聊天，種田、捕魚或許幫不上忙，但夥
伴們都在一旁見習，了解部落生活的真實樣態。
他們也親自跟舒米學習如何處理輪傘草和編織。
sufficient to prevent it remaining moist and thus becoming
moldy. This was a problem in need of an urgent solution.
After several experiments, umi took inspiration from the
method used by the Amis for processing rattan. The vascular
tissue inside the sedge stem is stripped out to leave only the
outer skin, which is dried in the sun. This produces a much
more durable material. umi also learned Amis weaving tech-
niques from tribal elders and taught them to younger women.
Encounter with modern design
Chang Yun-fann and hane iu first came to Ma ko taay
with Tung Fang-wu, an associate professor at National Tai-
wan University of cience and Technology (NTU T). For
many years now, there have been a number of arts sub-
sidy programs to rediscover the culture and handicrafts of
indigen ous communities. ut this revival often comes to a
halt when the program terminates, without any way being
found for the resources that have been identified to be used
sustainably. “A lot of culture and stories have been rediscov-
ered, but then comes the problem of how to commercialize
them,” says Chang. This is the issue that their
team is trying to resolve.
Tipus Hafay was born in another Amis com-
munity, Nataoran. After completing her studies at
the raduate Institute of uilding and Planning at
National Taiwan University, she worked in Taipei
for over five years until she finally got a chance to
return home to work, to assist in mentoring tradi-
tional industry firms in Hualien and Taitung.
Thanks to an introduction from Ti pus, the
team from NTU T cooperated with umi to use
the umbrella sedge strips that she had developed.
umi states: “Umbrella sedge is vulnerable to
moisture, but lamps produce both light and heat,
so turning umbrella sedge into lamps is the best
way to ensure it doesn’t go moldy.”
The pro ect team started learning from scratch,
and they personally learned from umi how to
process and weave umbrella sedge, so they could
understand the time required for weaving and the
adaptations they could develop.
hane iu says: “ iving in the indigenous com-
munity, seeing the mountains and ocean every day,
you unwittingly make shapes that resemble ocean
waves. In the iyar ight every angle is different,
ust like the swelling of ocean waves, bringing a
sense of rhythm.” The iyar ight is constructed
around a rhombus and two semicircles, simple
geometric shapes that give it an uncomplicated
and modern feel. The umbrella sedge, which has
absorbed the sunlight of Hualien, is twisted into
a wave shape, incorporating the natural setting of
Eastern Taiwan into the lamp’s design.
In order to highlight the craft of weaving while
also meeting the needs of future large-scale pro-
duction, the designers cleverly placed the hand-
woven element in the most eye-catching position
on the lamp, while using standardized compo-
nents for the remainder of the product in order to
reduce costs.
劉立祥（左）和張雲帆（右）嘗試用設計為
傳統工藝找出路、再創生。
S h ane L iu (lef t) and C h ang Y u n-f ann (righ t) are
ex p erim enting with u sing design to c reate a f u tu re f or
traditional c raf ts.
103
 劉立祥說：「住在部落裡，每天看山、
看海，不知不覺就做出很像海浪的形狀，
（浪草燈）每個角度都不一樣，很像海浪的
波濤，帶有韻律感。」用一個菱形加上兩個
半圓，簡單幾何圖形組合，浪草燈的設計簡
約且摩登，輪傘草吸收了花東的陽光，佐以
扭轉出的海浪形狀，是一件蘊含滿滿花東自
然的設計。其他以輪傘草發展出的旋草燈、
名片座、置物格等品項，同樣以簡約風格，
妝點桌上風景。
「我們的東西基本上不會嘩眾取寵，
設計看起來好像很少，其實很完整。要做
到這一點，還花蠻多時間的。」劉立祥表
示。為兼顧編織工藝的展現與未來量化需
求，設計師巧心地將手工編織設計在產品
最顯眼的地方，其他的部分就靠規格化的
方式減省成本。
浪草燈從雛形到打樣，逐漸發展成熟，
他們覺得可以讓輪傘草系列探探市場水溫，
因此以Kamaro’an為品牌，將輪傘草系列推
上「嘖嘖」募資。Tipus說：「那時候我們
想得很單純，募資如果有人買，就代表這個
品項推到市場上有可能跑得動。如果賣不出
去，嘖嘖募資結束之後也沒關係。」
當初設下新台幣20萬的集資目標，沒想
在「太平洋的風」生活風格選物店中，可看到阿美族的
到在12天內就達標。
年輕工藝師編織輪傘草、浪草燈。
At the Winds of the acific lifestyle boutique, you can see
Kamaro’an住下來吧 y ou ng A m is c raf tsp eop le weav ing u m b rella sedge and m ak ing
iyar ights.
Kamaro’an（音：嘎瑪魯岸）是阿美族語
中招呼大家「坐下來吧！」的意思，生活味
十足。張雲帆補充解釋，Kamaro’an另一層 梗的濕度，無法完全抽乾濕氣。舒米這才確認輪傘草
意思還有「住下來吧」，「如果品牌能夠成 一定得見陽光，曝曬的時間需是烘乾時間的兩倍，才
功，希望創造讓部落年輕人回鄉、住下來的 能確實乾燥。
機會。」這是品牌背後更深切的願望。 幾經波折，輪傘草系列的製作流程直到2016年才算
2015年Kamaro’an在嘖嘖募資成功，有了 順遂，也逐漸建立與部落的合作模式，盡量將成本留
訂單，卻也是輪傘草系列製作面臨量產的考 在部落，由部落負責建立生產線，希望取之於文化，
驗。舒米為了募資計畫早早採集輪傘草，儲 未來也能用之於文化，為部落建立在地產業，提供穩
備材料，但輪傘草須經夏季累月陽光的曝 定的工作機會，並使文化延續。
曬，使產品製作有時效性，不利量產。年輕 Kamaro’an也嘗試到國外參展，兩年多來他們跑了巴
一輩的夥伴想出利用烘乾機處理，想以此減 黎 、日本、曼谷、香港、米蘭、法蘭克福等地，在外
省長時間曝曬的工序，但烘乾機僅能控制莖 頭走了一圈，來自法國、義大利、西班牙的訂單也跟

104 台灣光華 Taiwan Panorama 2018/06

 As the Riyar Light progressed from concept to proto-
typing and gradually matured, they felt that they could
test the market for a series of umbrella-sedge products.
So they put a number of products onto the crowdfund-
ing website “zeczec” under the Kamaro’an brand.
When they started out they set their fundraising
target at NT$200,000, little expecting that they would
reach this goal in 12 days.
Kamaro’an: Settle down and live here!
Kamaro’an is an Amis phrase that means “Won’t you
all take a seat!” Thus it has a very strong sense of con-
nection to daily life. Chang Yun-fann explains that an-
other layer of meaning to kamaro’an is “Settle down and
live here!” If the brand was a success, they hoped to
create opportunities for young indigenous people who
had left the community to return home and settle there.
This is the even more heartfelt wish behind the brand.
With their fundraising success on zeczec and with
orders in hand, in 2015 they began to face the test of
large-scale production. Sumi had stored up reserves
of umbrella sedge well in advance, but the sedge has
to undergo months of drying in summer sunshine.
Her younger partners thought of drying the sedge by
machine to save time. But while the mechanical dryers
reduced the moisture in the material, they couldn’t
eliminate it entirely. This experience confirmed that
umbrella sedge has to be exposed to sunlight to ensure
it is fully dry.
After various ups and downs, it was only in 2016 that
the manufacturing process for umbrella-sedge products
could be said to have become smooth. A cooperative
model was developed with the aim of retaining as much
of the income as possible in the community, with the
community being responsible for creating a production
line. The hope is that sale of these products, which drew
on local culture for their creation, can in turn support
that culture and enable it to endure by creating local
businesses and providing steady jobs.
Kamaro’an have also tried their hand at overseas
trade fairs. Over the last two years and more they have
shown their wares in Paris, Japan, Bangkok, Hong
Kong, Milan, and Frankfurt, and orders have come in
from France, Italy, and Spain. Thanks to this exposure
in international trade shows, Kamaro’an were invited
to sell their woven triangle bags at the Museum of
Modern Art in New York, demonstrating Taiwan’s very
real capabilities in terms of design and crafts.
Made in Eastern Taiwan
In 2017, Kamaro’an opened a lifestyle boutique
named “The Winds of the Pacific” in Taipei’s Huashan
1914 Creative Park. Kamaro’an partners personally vis-
ited and selected workshops hidden away in the streets
105
 K am aro' an透過「再設計」，把文化的故事
藏在產品裡，讓部落的工藝之美驚艷國際。
Through redesign, Kamaro’an incorporates
stories b ased in c u ltu re into indigenou s c raf t
p rodu c ts, enab ling th eir b eau ty to daz z le th e world.

106 台灣光華 Taiwan Panorama 2018/06

著進來；透過國際參展的曝光，讓美國紐約的現
代藝術博物館（MoMA）邀請Kamaro’an的編織
三角包在現代藝術殿堂上架販售，展現台灣的設
計與工藝實力。
太平洋的風：MIT的花東選物店
2017年，Kamaro’an在華山文創園區開設「太平
洋的風」生活風格選物店，由Kamaro’an夥伴親自
走訪許多隱沒在花東鄉鎮、巷弄間的工作室，自
然材質、不過度加工，但又認真細緻是Kamaro’an
夥伴的選物標準，再佐以設計師透過情境搭配品
項，營造出Kamaro’an想要的生活感。
Kamaro’an一直想要有一間實體店鋪，能跟消
費者第一線互動，觀察消費者的喜好。再加上大
家對輪傘草的認識不深，到店裡來能實際看到輪
傘草的編織，更有感覺。劉立祥解釋，近年來，
台灣的生活選物店林立，但像「太平洋的風」一
般只挑選台灣製造的店家不多，華山園區有許
多國外觀光客，想購買made in Taiwan的東西，
Kamaro’an的產品就讓他們愛不釋手。
「太平洋的風」也保留了店內一方空間，以花
東工藝為題策展。不希望店內只有銷售，而期許
它是一個有內涵的空間，能帶給消費者新鮮感，
定期回來光顧。看到喜歡的工藝品，打開錢包，
把自己喜歡的買回去，成為生活的一部分。
有消費者回饋喜歡店鋪的風格，「很純粹」、
「都是生活上的必需用品，但是不會過度的造
作。」聽到這樣的回饋，劉立祥顯得開心，知道
設定的方向是正確的，要持續下去。不強調原住
民的圖騰符號，不想成為到此一遊的觀光紀念
品，Kamaro’an把更多屬於文化的故事，藏在產
品裡，靜待消費者細細去品味、慢慢去發掘。
Kamaro’an的初心，是期望將近年來部落不斷
湧現的藝術能量轉換成在地的文化產業，讓部落
青年能返鄉住下來。而未來，Ti p u s希望透過品
牌讓更多年輕人投入學習更多不同的工藝，「如
果沒有跟部落有更多連結時，這個品牌就會站不
穩。」她語重心長的說。透過年輕世代向部落耆
老學習，把傳統技法保留下來，未來才有機會有
所發揮，而設計可能就是一個方向或方法，讓工
藝成為活的文化。 
and alleys of townships throughout Hualien and Taitung
to find other makers of craft products that could be sold
in the shop. The criteria that the amaro’an partners
applied included using natural materials that were not
excessively processed, as well as a dedicated and meticu-
lous approach. In the shop’s displays, the designers ar-
range products thematically to create the lifestyle feeling
that amaro’an is looking for.
amaro’an always wanted to have a bricks-and-mortar
shop so as to able to interact with consumers directly and
observe what they like. Furthermore, most people have
little awareness of umbrella sedge, so consumers would
gain a better appreciation of woven sedge products if
they could come to the shop and see the weaving process
in person. hane iu adds that numerous lifestyle shops
have sprung up in recent years, but there are few that,
like The Winds of the Pacific, sell only products made in
Taiwan. Many foreign visitors go to Huashan 1 14 Cre-
ative Park wanting to buy something made locally, so
they love the products made by and for amaro’an.
The shop also has a space set aside for exhibitions
of craft products from Hualien and Taitung. This space
gives consumers a feeling of novelty, so that they regu-
larly come back to visit.
Without emphasizing Aboriginal motifs or symbols,
and without wanting to become a simple souvenir shop
for tourists, amaro’an ensconces within its products
even more stories that are part of culture, quietly waiting
for consumers to look at the details and appreciate them,
and to gradually discover these stories for themselves.
The original idea behind amaro’an was the hope
that the artistic capabilities that have continually
emerged in indigenous communities in recent years can
be transformed into a local cultural industry, enabling
young indigenous people to return home to live. For the
future, Tipus hopes that the brand can help more young
people to apply themselves to learning various craft
skills. “If we can’t build more links with indigenous
communities, then this brand won’t survive,” she says
earnestly. Only if the younger generations learn tradi-
tional skills from tribal elders and preserve them will
they have the opportunity to build on those techniques
in the future. Design can perhaps provide an orientation
and a means to make crafts into living culture. 
(Cathy Teng/photos by Chuang Kung-ju/
tr. by Phil Newell)
107
多元族群　COMMUNITIES

教室外的文化課
Culture Classes 東南亞移動圖書館在 台東
Beyond the Classroom
—Taitung’s Southeast-Asian Mobile Library
文• 　圖•林 　版面設計•

108 台灣光華 Taiwan Panorama 2018/06

 隨著東南亞移工來台人數增加，以及政府
「新南向政策」的推動，我們與東南亞國家的關 S tudents in Taitung have started their own “South-
east-Asian Mobile Library,” collecting books
in Southeast-Asian languages and lending them out
係越來越緊密。然而對這些生活在周遭的異國面
or ree to migrant workers in an e ort to help them
孔，我們是否試圖了解，甚或給予關懷。
ease their homesickness through reading. As time has
台東有間由學生發起的東南亞移動圖書館， passed the two sides ha e come to know one another
他們募集東南亞語言書籍，無償提供移工借閱， better, singing, dancing, and eating together as well
用移工熟悉的文字緩解思鄉的情緒；隨著相處時 as exchanging language study. What started as sim-
間演進，學生與移工一起唱歌跳舞、分享美食、 pl a wa to impro e li e or these workers ar rom
語言交換，以改善東南亞移工的生活環境為出 home has lossomed into riendship.

發，為在異鄉的心帶來了溫暖，也讓友誼在彼此
As noon approaches on a Sunday, we arrive at the
心中萌芽。
Indonesian store Toko Sumber Rejeki on Taitung City’s
Guangming Road in search of the Southeast-Asian Mo-
週日的近午時分，我們來到台東市光明路上的 bile Library.
印尼生活館，尋找東南亞移動圖書館的蹤影。 At first, all we see is a long table outside, but soon
只見外頭擺了張長桌，沒多久幾位高中生魚 a handful of senior-high students begin to file into the
貫地進入店內，熟稔地和老闆娘打了招呼。頃刻 shop, dragging along with them a suitcase. They lay out
間拖出一只行李箱，扛上長桌打開，將充滿異國 a length of exotically patterned cloth to serve as a table-
cloth, and before a half-hour is up, the table is covered
風情的紗巾當作桌布，俐落地在桌上擺滿了印尼
with books in Indonesian, Vietnamese, and Thai. The
語、越南語、泰語的書籍，愛情小說、驚悚文
Southeast-Asian Mobile Library is open for business!
學、美味食譜等各種內容，不到半小時，東南亞
Beginning with goodwill
移動圖書館就正式開館啦！ The mobile library was launched by Andreas Liu, a
teacher at Junyi Experimental High School, and several
善意的起點
of the school’s students, with a focus on serving mi-
東南亞移動圖書館由均一實驗高級中學老師劉 grant workers in Taiwan. Those who want to borrow
政暉及幾位學生專為來台移工發
起。在這裡借書不用借書證也不
需要身分識別，即使彼此的語言
不那麼通暢，但憑著信任，只要
向學生館員登記，付上押金，就
能無限期借閱。
說是圖書館，其實更像書攤，
每周前來借書的人數多寡不一。
不屬於校內課程，更沒有志工時
數，當其他年輕人在逛街玩樂
時，這群學生卻堅持在寶貴的週
日時光前來開館。看著他們自然
地與往來的移工打招呼，讓這間
一張桌子見方的圖書館，充滿對
移工關懷的滿滿暖意。

109
 這一切的緣分，就從一門課開始。
任教社會科的劉政暉，包辦高中部全年級的
公民、地理、國際連結課程，曾在國合會任職，
負責印尼事務，加上自己赴印尼旅遊時受到當地
人許多幫助，東南亞國家的溫暖人情讓他印象深
刻。長年關注移工議題，課堂上劉政暉也會與學
生分享東南亞文化與在台移工的生活情況。這些
異國面孔，如此貼近台灣人的生活，然而多數的
民眾對他們卻是十分陌生與疏離。因為不瞭解，
所以產生許多想像與誤解。劉政暉和學生們希望
藉由一點小小的活動，為這樣的關係帶來改變。
2017年5月開齋節前夕，劉政暉與學生帶著親
手製作的炸香蕉、辣椒蛋等異國點心，到台東富
岡漁港與移工分享，學生們還以吉他伴奏秀了大
家苦練的印尼情歌，現場熱鬧而溫馨。
在這個被劉政暉笑稱是「勞軍」的活動裡，學
生因而有機會與移工近距離接觸，親眼見識移工
在船艙的狹小居住空間。長時間的海上工作，語
言不通外，或許還帶有歧視的船上生活，內心悽
苦不安有如孤島。即使生活如此艱辛，但看到學
生的付出，他們還是以開朗的笑容回應，這一切
讓學生們心有所感。
110 台灣光華 Taiwan Panorama 2018/06
希望為移工做些什麼的使命感，就這樣在幾位
學生心中萌發。在一番討論激盪後，移動圖書館
的概念逐漸成形。他們向東南亞書店燦爛時光募
書，前往台東市人潮聚集的秀泰廣場外擺攤。沒
想到第一天就遭到驅趕，也許是上天的安排，劉
政暉和學生不知該何去何從時，他們遇到之前在
漁港擔任移工翻譯的李秀蓮。這位從印尼嫁到台
灣近二十年的新住民，就住在秀泰廣場附近並經
營印尼生活館，販賣各式來自印尼的日用品與雜
貨。聽聞劉政暉他們的理念，二話不說便慷慨地
讓這群師生使用店面外的空間，東南亞移動圖書
館就此有了落腳處。
美食是最平易的文化交流
不僅無償提供空間，身兼人力仲介的李秀蓮，
每逢回印尼洽公探親時，便會自掏腰包為移動圖
書館帶幾本新出版的小說，學生在移動圖書館顧
攤時，她也會協助翻譯和介紹。
深知移工與新住民在異鄉的辛苦，每逢周日李
秀蓮更會使出她的好手藝，用自己磨製的印尼香
料煮上幾樣道地小吃，照顧移工們的胃，也撫慰
他們寂寞的心；移工則暱稱李秀蓮「Mammy」。

均一高中老師劉政暉與學生帶著親手製作的點心前往台東富岡漁港，並現場
唱起印尼情歌，希望讓東南亞移工感受台灣人的友好。（劉政暉提供）
A ndreas L iu , a teac h er at J u ny i E x p erim ental H igh S c h ool, and h is stu dents b ring
h om em ade snac k s to F u gang F ish ing H arb or and p erf orm som e I ndonesian
lov e songs f or th e S ou th east-A sian m igrant work ers th ere, giv ing th em a taste of
Taiwanese h osp itality . (c ou rtesy of A ndreas L iu ).
books from the library need neither library cards nor
ID—they just need to sign the books out with the stu-
dents and put down a deposit, then they can borrow the
books for as long as they want.
The whole project started with a lesson at school.
Liu is currently a social studies teacher, but previ-
ously worked with the International Cooperation and
Development Fund (TaiwanICDF) handling Indone-
sian affairs. During his own trips to the country he
was helped out by the locals, and their warmth and
kindness left an impression on him. Long interested in
migrant labor issues, in class Liu often shares with his
students his experiences with Southeast-Asian cultures
and the living conditions of migrant workers in Taiwan.
Despite how closely they live with Taiwanese, these
workers still seem strange and alien to many locals. An-
dreas Liu and his students hope to change that.
In May 2017, prior to Eid al-Fitr, Liu and his students
made some Indonesian dishes like pisang goreng (deep-
fried banana in batter) and telur balado (Indonesian chili
eggs) and took them down to Fugang Fishing Harbor to
share with the migrant workers there. The students also
put on a show, playing some hard-practiced Indonesian
love songs on their guitars.
During their visit, the students got to see for themselves
the cramped living conditions the crew
members endure on the boats. Working for
prolonged periods out at sea with people
who don’t share their language and might
even discriminate against them, they can
feel alone and isolated.
What they saw sparked in the hearts
of some of the students a feeling that they
had to do something for these people.
After some discussion, the mobile library
plan began to slowly take shape. They
collected books from the Southeast-Asian-
themed bookstore Brilliant Time and then
headed to Showtime Plaza in Taitung City
to set up a stand. But that first day they
were kicked out of the plaza, and Liu and
the students were at a loss as to where to
go next. It was then that they encountered
Li Shiu-lien, who had previously served
as an interpreter for migrant workers at
Fugang Fishing Harbor. Li, who moved
to Taiwan some 20 years ago after marrying a Taiwanese
man, runs Toko Sumber Rejeki, selling a variety of daily
necessities and groceries. When she heard about the stu-
dents’ plan, she generously offered her storefront for their
use, and the Southeast-Asian Mobile Library moved there.
Cultural exchange through cuisine and language
Understanding the hardships immigrants and migrant
workers can face in a foreign land, each Sunday Li whips
up a variety of authentic Indonesian snacks for the work-
ers, who have nicknamed her “Mammy.”
When the library opens up each Sunday, Li also in-
vites Liu and the students to partake. Alongside Li’s
delicious Indonesian dishes like krengsengan daging (beef
stew), kari ayam (chicken curry), and gado-gado (Indo-
nesian salad), Liu contributes Taiwanese dishes like
Taiwan-style pickled vegetables and braised dried tofu.
Everyone gathers around to eat and chat in Indonesian
and Chinese like one big family. And when the migrant
workers visit Toko Sumber Rejeki for some karaoke,
they’ll invite the students along too. Li even lets them try
on some of the traditional Indonesian outfits on display
in the store and teaches them some traditional dances,
bringing everyone closer one step at a time.
After a little while of this, the students’ sincerity had
touched Li Shiu-lien, and she asked Liu if he could teach
111
 每逢周日移動圖書館開館，李秀蓮也會熱情
邀請劉政暉和學生一起享用。餐桌上紅燒牛
肉、咖哩雞肉、涼拌沙拉等美味的印尼料理，
還有劉政暉帶來的台式泡菜、滷豆干等台灣
味，移工、學生、劉政暉、李秀蓮大家圍坐一
起吃飯談天，席間中文、印尼文夾雜，感覺像
家人一樣。美味的食物、爽朗的笑聲，也模糊
了國籍的界線。
有時學生也會跟著李秀蓮學做菜，將辣椒、
香料、花生、椰子糖等材料在石缽裡磨碎，再
加上印尼的醬油膏，淋在切好的青芒果和鳳梨
上，又辣又香甜的水果沙拉就完成了。大家一
起切菜，一邊閒話家常，還會分享各種水果的
印尼發音。
除了飲食，當移工們在印尼生活館裡歡唱卡拉
OK時，也會熱情邀請學生們一起唱歌，李秀蓮甚
至會將店內展示的印尼傳統服飾讓學生換上，並
教她們跳起傳統舞蹈，文化的交流就如此不知不
覺，一步步拉近彼此的距離。
112 台灣光華 Taiwan Panorama 2018/06
語言交換讓友情增溫
歷經一段時間的相處後，也許是學生的真誠打
動了李秀蓮，她向劉政暉詢問能否教她寫中文。
「要把自己不懂的、脆弱的那面展現出來，其實
是需要很大的勇氣，很不容易的。在累積的過程
中，她們相信學生是可以教她們，不會笑她們
的。」劉政暉說。
然而上課當天，事情卻有了意想不到的發展，
原本預定要教已有一定中文表達能力的李秀蓮閱
讀認字，有助她在合約、銀行往來文件等的閱
讀。只見李秀蓮面色凝重地將劉政暉他們一行人
帶到權充為教室的印尼生活館2樓。簡單的一面
白板和幾張桌椅，裏頭已坐了幾位移工在等待，
看見劉政暉他們，立即露出往常燦爛的笑容與渴
望學習的眼神，似乎忘了整天工作的辛苦。「先
幫他們上課，他們比我更需要學中文。」李秀蓮
說。
原來不久前一位移工在缺乏翻譯的情況下，雇
her to write Chinese. “It takes a lot of courage to Because of the migrant workers’ working hours, the peo-
admit you don’t know something and to show that ple who show up for each lesson aren’t always the same, and
vulnerable side of yourself,” says Liu. “Over time nor are their Chinese levels. As a result, the students have
Li and the others came to trust that the students taken to teaching in smaller groups to make things a little
could teach them and wouldn’t laugh at them.” easier. And in addition to teaching Chinese to the workers,
When the day of the first lesson came, iu had they also ask the workers to teach them some Indonesian.
been expecting to help Li, who already speaks Liu explains that in teaching there is a kind of top-down
Chinese quite well, go over things like contracts relationship, but he and the students want a more equal
and bank documents. But then, with a look of ser- relationship with the workers, and by teaching Indonesian
iousness, Li led Liu and his students up to a make-
shift classroom set up on the second floor of Toko
Sumber Rejeki with a whiteboard and a few tables
and chairs. Seated at the tables were a handful of
migrant workers, ready and waiting. “Teach them
first, they need it more than I do,” said i.
As it turned out, not long before, the boss of a
migrant worker had taken advantage of a lack of
interpreters to get him to sign an unfair contract
that had him working several 24-hour days. When
he requested some time to rest, the boss got some-
one to beat him, and ultimately got him kicked out
of the country. Li thought if she could have been
there, or if the migrant workers could read Chi-
nese, such things would be less likely to happen.
The students began the lessons teaching Man-
darin Phonetic Symbols, leading the workers
through pronunciation and writing drills. Some-
times they would even hold the workers’ hands,
guiding them through characters stroke by stroke.
“Before the end of the lesson, I taught one woman
how to write her own name. She almost cried at
finally knowing how to do that,” recalls one of the
students, Judy Li, who was herself deeply moved
by the experience.

學生們利用課餘時間與移工們進行語言交換課程，隨著
相處時間推進，彼此的情誼也一筆一畫的刻進心坎裡。
I n th eir sp are tim e, th e stu dents engage in langu age
ex c h ange lessons with m igrant work ers, p rom oting m u tu al
u nderstanding and gradu ally b u ilding f riendsh ip s.

113

主讓他簽了份條件十分不平等的合約，在幾天連
續24小時的工作下，他提出休息的要求，卻遭雇
主找人毆打他，最後被遣返。說起這段過程，李
秀蓮還是好生心疼，試想如果她能在旁邊，或是
他們能看懂中文，是不是能減少類似的憾事。
就像我們小時候學認字一樣，學生們從注音
符號開始教起，帶著移工念發音、練寫字。甚至
是握著移工的手，一筆一畫的在生字簿上練習，
「課程結束前我教姊姊寫她的名字，她眼眶濕濕
地跟我說原來自己的名字是這樣寫。」當下的感
動讓學生李紫緹印象深刻。
因為移工們工作的關係，每次前來上課的人
數、程度都不一定，學生們機動性在簡易教室裡
分組教學，除了學生教移工中文，單字教學時也
會請移工指導印尼語的念法。劉政暉表示，教中
文仍有一種給予，無形中會有上對下的關係，
但他與學生都希望他們與移工之間的關係是對等
的，彼此用中文及印尼文互相學習，讓移工相信
自己也有付出的能力。
即使課業、社團等各種活動已將生活排得滿
檔，但學生仍利用課餘時間討論教學內容。他們
以移工生活會遇到的狀況為發想，如看醫生、買
車票、看電影等，設計生動的上課講義。今年寒
假，這群來自台中、台南、花蓮等地的學生，明
114 台灣光華 Taiwan Panorama 2018/06
東南亞移動圖書館用行動證明，
無論再微小的善意，
都能在彼此的心裡泛起漣漪。
The outheast-Asian obile ibrary
p roj ec t is a dem onstration th at ev en
th e sm allest rip p les of goodwill c an
c reate wav es in th e h earts of oth ers.
（右圖）劉政暉（右2）和李秀蓮（右1）共同促成東南亞
移動圖書館這樁美事。
(f ac ing p age) Th e ef f orts of A ndreas L iu (sec ond righ t) and L i
hiu-lien (first right) in creating the outheast-Asian obile
L ib rary h av e ac h iev ed b eau tif u l resu lts.
明就是返鄉放假的日子，還特地回到台東進行兩
天的密集中文課程，甚至相約搭車前往富岡漁
港，想更了解移工的工作情況。
「有時候事情繁多，很想放棄，但心裡就會
有個聲音告訴自己，如果她放棄了，以後誰教
他們中文？」學生張慧懿說。經過長期的相
處，學生與移工之間像是朋友家人般的情感，
也讓他們主動關注移工相關的社會議題，透過
研究文獻或是與其他耕耘東南亞議題的非營利
組織聯繫合作的機會，沒有為志工時數，也不
是課業需要，一切都是學生自發的使命感。
東南亞移動圖書館凝聚了一群師生對移工的
關懷，借出幾本書不重要，他們就是想讓移工們
知道，有一個地方，有群人固定會在這裡陪著他
們。當文化交流成為日常，會發現彼此的良善與
相似，帶來更多的理解和包容，也共同為這群遠
道而來的朋友點盞溫暖的燈。 
the workers get to feel that they have something to give
in return.
The students try to develop engaging lessons around
situations the workers will encounter in their daily lives,
like seeing a doctor, buying train tickets, or going to a
movie. This winter, some of the Junyi students who come
from as far afield as Taichung, Tainan and Hualien spe-
cially set aside two days during their holidays back home
to return and hold a two-day intensive Chinese language
course, including arranging to take a ride to Fugang Har-
bor to get a better understanding of the working condi-
tions of migrant fishing crews.
“Sometimes when there’s a lot on my plate I think
about giving up the teaching, but then there’s a voice in
the back of my mind that says if I give up, then who’s
going to teach them?” says one of the students, Scarlett
Chang. Over time, the students and workers have become
like family, and this growing relationship has led to the
students getting more involved in social issues relating to
migrant labor, whether through reading relevant studies
or volunteering with NGOs. What they do, they do not
do to add volunteer hours to their resumes, nor to get
class credit, but entirely from their own desire to help.
The Southeast-Asian Mobile Library is one result of
this concern. Lending out books really isn’t even the
point for the students so much as letting migrant work-
ers know that there is a place where people will be there
for them. When we make cultural exchange part of our
lives, we learn that both sides are good and that there are
many similarities between us all. This fosters greater un-
derstanding and inclusiveness, and puts up a welcoming
light for our friends from afar. 
hen h n ang photos in in hs an
tr. by Geof Aberhart)
115
多元族群　COMMUNITIES

跨海築夢
印 尼 華 僑 吳 俊 星 台 灣 打 拚 記
Building Dreams Across
the Sea: Antonius Sunarto’s
Success Story
文• 　圖• 　版面設計•

吳俊星，台灣人可能不認識他，但卻是
印尼移工眼中的「天王」。他口條活潑風
趣，在廣播節目中為移工們解決生活上或
工作上的疑惑，擁有許多忠實聽眾。拜現在
網路直播之賜，吳俊星外型親和帥氣，不時
加上俏皮動作帶動節目氣氛，不但使他成
為人氣王，還成為大型移工活動主持人的
不二人選，包括2017年台北市政府所舉
辦台北開齋節的前導活動「夢想歌喉
讚」。透過他自己的臉書，粉絲人數
目前多達7萬人，更有遠從日本、
埃及、香港、新加坡的聽眾加
入追隨，讓他的聲名越洋
遠播。

來自印尼雅加達的吳俊星，是華裔第四代，
1996年為了一圓父親的夢想來台灣讀書，後來在
此就業發展、娶妻生子，連他的兄弟都追隨其腳
步到台灣念書、就業。他從廣播節目起家，進而
成為印尼移工們家喻戶曉的主持人，最近這幾年
則在政府大力推動新南向政策中找到商機，轉戰
商場。雖然已在台灣居住了22年，他仍心繫印尼
故鄉，並希望在不久的將來，能帶著豐碩的成果
衣錦還鄉。

116 台灣光華 Taiwan Panorama 2018/06

L ocals may not recognize the name, but Antonius
Sunarto is a king in the eyes of Indonesian migrant
workers in Taiwan. Endowed with a lively and witty
tongue, he earned the loyalty of many among them via
radio broadcasts in which he brought clarity to the un-
certainties they encounter in daily life and on the job.
Thanks to more recent live video appearances, with
his friendly and handsome looks, and the occasionally
playful behavior that enlivens his shows, Sunarto is
no longer simply a reigning king of popularity; he has
become the top choice to host large-scale events for
overseas workers, such as the “Dreamers Singing Con-
test” held by the Taipei City Government in the run-up
to last year’s Eid al-Fitr, the feast that celebrates the
end of Ramadan. His own Facebook fans exceed 70,000,
and with followers in Egypt, Singapore, Hong Kong
and Japan, his reputation now extends far and wide.
A native of Indonesia’s Jakarta, Antonius Sunarto is a
fourth-generation Chinese-Indonesian. In 1996, he came
ostensibly to realize his father’s dream of studying in
Taiwan, but stayed to develop his career and raise a
family—only to be followed by his brothers, who have
also come for education and work. He started out in
radio, and as a program host became a household name
in the Indonesian migrant community. In recent years,
he has found opportunities in the Taiwan government’s
vigorously pursued “New Southbound Policy,” and is
now competing in the business world. Although he has
resided in Taiwan for 22 years, he is still emotionally
attached to his Indonesian roots. In the near future, Su-
narto hopes to accomplish a glorious homecoming, the
considerable fruits of his labors in tow.
Living his father’s Taiwan dream
Sunarto’s great-grandfather emigrated from main-
land China’s Guangdong Province, and he and several
generations of his descendants settled in Indonesia, so
Sunarto spoke Cantonese, Teochew and Hokkien with
his parents. His Indonesian accent was so impacted by
these Chinese dialects that his teachers often corrected
his Ba hasa pronunciation. As a child his father had
learned to read and write at a school established by the
ROC government, which engendered strong feelings in
him for Taiwan. It was his deepest hope that, provided
he had the means, he would send his children to Taiwan
to study and live. In order to realize his father’s dream,
吳俊星在家中5 個小孩中
排行老大，因為父親對台
灣的美好憧憬，堅持讓所
有的孩子來台灣上大學。
（吳俊星提供）
The eldest of five siblings,
unarto was the natural
candidate to realize his
father’s dream of sending
his children to Taiwan for
schooling. (courtesy of
Antonius unarto)
as soon as Sunarto graduated from high school he ap-
plied for a place in the university entrance preparatory
course for overseas Chinese that was taught at National
Taiwan Normal University. Thus in 1996 he arrived, a
rucksack on his back, ready for a new life in Taiwan.
“At first, I couldn’t read Chinese or speak Manda-
rin very well,” says Su narto with a smile, “so I ate a
month’s worth of fried rice, the only dish I knew how to
order!” Fortunately, during the period of the preparatory
course when he was still so green, he met many ethnic
Chinese from Southeast Asia who became good friends,
including the woman he would marry. They all studied
Chinese and learned about Taiwanese customs together,
gradually establishing deep friendships for one another
and accumulating affection for Taiwan. His skills honed
by the preparatory course, Sunarto passed the entrance
exam for business administration studies at Chung Yuan
Christian University. This located him at Zhongli in Tao-
yuan County where he immediately took root, residing
117
 書兼打工終於完成了學業，之後就在人力仲介
圓父親夢想，跨海來台發展
公司擔任翻譯。
吳俊星的曾祖父來自大陸廣東，之後世世代代 他的第二份工作則是駐台北印尼經濟貿易代表
定居於印尼，所以他從小就跟著父母說廣東話、 處的助理職務，負責翻譯與接待。這份工作開啟
潮州話、福建話，連印尼話都含著濃厚的鄉音常 了他的新視野。他參與過與台灣政府以及民間商
被老師糾正。父親小時候曾在中華民國政府於印 界的會議，接待來自印尼的貴賓，不但有機會主
尼開設的學校讀書認字，因此對台灣政府有濃厚 持會議，還擔任了晚會司儀，這些經驗滋養了他
感情，他期許自己只要有能力，一定要讓孩子到 的國際觀，也豐富他的工作閱歷，讓他職涯的下
台灣念書、生活。也因此吳俊星念完高中後，隨 一步有更寬闊的選擇。
即申請師範大學的僑生先修班，1996年他背了一
主持節目，圓自己的夢
只行囊，開始了台灣生涯。
「剛開始，我中文看不太懂，也不太會說，所 吳俊星個性開朗活潑，有表演天分，平常與
以連續吃了一個月的炒飯，因為那是我唯一會點 人交談習慣加上肢體動作，面部表情更是豐富，
的菜！」吳俊星笑著說，那段青澀的先修班學習 很有戲感；在求學時期組過樂團，夢想過登台
時間，認識了很多來自東南亞華僑的好友，包括 表演甚至出唱片，後來進入中央廣播電臺主持節
現在的太座。大家一起學中文，一同認識台灣的 目，就像如魚得水般自在。「大學的學長告知，
風土民情，漸漸地建立了彼此深厚的友誼，也堆 中央廣播電臺正在招募印尼語節目主持人，他覺
疊出對台灣的依戀。經過僑生先修班的磨練，吳 得我表達能力強，又在經貿代表處做事，可以
俊星順利考取中原 兩相結合提供移工
大學企管系，自此 資訊。」在學長的
在中壢落地生根， 建議下，他抱著姑
一住就是廿多年， 且一試的心態去應
不但買了一間房， 徵，居然順利考取
還在這裡創業成立 資格。「我一直很
公司。 希望能登上舞台發
「來台灣不到2 揮才藝，雖然當不
年，印尼就發生排 成樂團歌手，主持
華暴動事件，父親 廣播節目也算圓了
因此失了業還要想 我的夢想。」吳俊
辦法養家，根本沒 星說。
錢幫我付學費。」 吳俊星的主持風
還在上學的吳俊星 吳俊星很早就使用手機直播節目，並帶起直播風潮。
格輕鬆有趣，他會在
連生活費都得靠父 As a radio host, unarto was a pioneer of live broadcasting 節目中舉出很多生活
via mobile phone.
親借貸支付，雖然 小故事說明異鄉人的
想過休學回家幫 困境，以及語言不通
忙，但是來台灣念 而鬧出的笑話，讓聽
書是父親的願望。 眾開懷大笑，吸引
他身為長子，又懷抱著父親的夢想，讓他下定 了不少人成為忠實粉絲。不僅如此，每周還會接
決心——生活再艱苦也要完成學業。「為了繳學 獲十多封來自聽眾的支持信函，讓他越主持越有
費，我做過板模工，也做過資源回收工，反正 勁。「有些聽眾會寫出自己的故事，秀一下生活
所有能賺錢的工作，我都做。」就這樣一路念 照，或是談到自己的問題，我都會在節目中把這

118 台灣光華 Taiwan Panorama 2018/06

there for more than two decades. He not only bought a
place there, he also based his start-up in the city.
Upon graduation, Sunarto first worked as an inter-
preter at an employment agency. His second job was
with the Indonesian Economic and Trade O ce to Taipei,
where he was responsible for receiving visitors and inter-
preting. This assignment opened up new horizons as he
took part in meetings between the government and the
business community, and hosted Indonesian VIPs. He
not only had the opportunity to chair meetings, he also
served as master of ceremonies for evening galas. These
experiences nurtured his international outlook; they also
added to his professional résumé and provided him with
more options for the next step in his career.
Show host: Living his own dream
Sunarto’s personality is open and lively, and he has an
irrepressible desire to perform. When chatting with others
he often gestures animatedly, and his facial expressions
are varied and dramatic. While at university he recruited
a band and once dreamed of performing on stage—even
cutting a record—so later when he worked as a presenter
at Radio Taiwan International, he took to it like a duck to
water. “A senior classmate at the university told me that
RTI was recruiting an Indonesian-speaking presenter.
He reckoned I could express myself well, and said that
since I was then working at the Indonesian Economic and
Trade O ce, the combination made me a good candidate
for providing information to migrant workers.” Embold-
ened by this encouragement, Sunarto threw caution to
the wind and applied, and lo and behold, he got the job.
“I had always hoped to perform on stage and display my
talent. Even though I couldn’t become a singer, hosting a
radio show counted as a way of realizing my dreams.”
Sunarto’s hosting style is humorous and laid back.
He recounts many anecdotes taken from life that capture
the plight of the foreigner, as well as awkward moments
that occur due to the language barrier. This helps his
audience have a good laugh, and has attracted many to
become loyal fans. He receives a dozen or so letters of
support weekly, and this too helps keep him motivated.
At times, he randomly telephones a member of his
audience who has written him, and each contact is a
total surprise. “There was one who suddenly began sob-
bing quietly when he took my call,” recounts Sunarto. “I
didn’t know what was going on. Later on, he wrote and
explained that back then he couldn’t adapt to his job and
119
些故事與大家分享，也會回答他們的
問題。」
有時候，他隨機打電話問候來信
的聽眾，每每讓他們驚喜不已！吳俊
星提到，「有位聽眾接到我的電話，
突然小聲地哭了起來，當時不知道發
生了什麼事。後來這位聽眾寫信告訴
我，他那時候對工作不適應，生活也
不順利，正想一走了之，沒想到接到
了我慰問的電話，讓他的情緒得以宣
洩了出來。之後反而他安住了心緒，
不但繼續留駐在工作原地，逃跑的念
頭也煙消雲散了。」
吳俊星談到另一件令他印象深刻的
事，央廣曾經舉辦過讓優秀移工家屬
來台省親的活動，希望藉此關心離鄉
背井的移工。某次主角的工作地點在
雲林，雇主因為不信任而遲遲不肯答
應讓他隻身來台北參加活動。直到活
動的前一天，吳俊星還在盡力地說服
雇主，最後他拍胸脯保證，一定親自
接送這位外勞回到工作崗位上，才獲
同意。「當我後來看到那位移工與許
久未見的孩子相抱擁泣，我的淚水也跟著笑意一 即加入印尼、馬來西亞地區很夯的BIGO LIVE 直
起停不下來。」 播平台主播之列，但是每天得想辦法取得粉絲量
在央廣主持9年間，吳俊星的暖心暖語深入印 是件辛苦的事。「後來看到有人藉臉書開放的直
尼移工的生活，伴隨他們度過每一天。雖然人在 播平台販售商品，引起了我的興趣。」
異鄉，有了節目的伴陪與調劑，單調的工作生活 儘管主持廣播節目的工作時間很自由，待遇也
不再盡是枯燥乏味。 很好，但是這份工作的挑戰性不再，吳俊星想趁
年輕再轉換新跑道。「大學的本科是企管系，應
走出廣播舒適圈，創業再挑戰
該回歸所學，學以致用！」而正當台灣政府提出
中壢市一間賣衣服的店鋪外，聚集不少圍觀的 「新南向政策」並大力推動，他認為就是進入商
群眾。這間販售流行服飾的店鋪，空間不大，一 業領域的最佳時機。
旁則架起燈具及簡單的電腦設備。燈具光線聚焦 2016年他開始利用下班時間幫朋友銷售美容
在一邊拿起架上服裝一邊介紹的吳俊星，女店主 用品，馬上獲得很好的回饋。「我的粉絲量從
則在一旁搭腔解說服裝款式，他們倆頗有默契的 3萬多人倍增至一倍多，而且有許多人來自其
唱和，卻是一人說著印尼語，另一人說國語，他 他國家，還有回到印尼家鄉仍持續關注我的粉
們正透過電腦做直播，觀眾對象則是台灣的印尼 絲。」正因為影響力大，他反而開始重視商品
移工。 的品質。「之前幫朋友販賣，是在試水溫，後
像這樣收看直播節目並購買生活用品，早已是 來在挑選商品的時候，我一定會親自使用，確
許多移工生活的一部分。吳俊星雖然早在2015年 保商品的品質。」當他確定了商業模式後即開

120 台灣光華 Taiwan Panorama 2018/06

 政府新南向政策的推行，
讓他開始思索如何進軍印
尼商業市場，並結合自己
的優勢。
Taiwan’s New outhbound
olicy inspired unarto to
consider how to exploit his
unique strengths to gain
a foothold in Indonesian
markets.
things weren’t going his way. He was thinking of pack-
ing his bags and leaving Taiwan behind. I’d never have
imagined that my call to extend greetings would lead to
his feelings getting the better of him. But afterwards, he
was able to master his emotions. He not only remained
at his post, his thoughts of running away vanished.”
Sunarto mentions another thing that left a strong
impression on him. Intent on showing concern for these
isolated migrant workers far from home, RTI once orga-
nized an activity that brought relatives of outstanding
workers to Taiwan for family reunions. One of the se-
lected workers was based in Yunlin in central Taiwan,
but his employer wouldn’t consent for him to travel
north to Taipei on his own, because he didn’t trust his
employee. In the end, on the day before the event, Su-
narto tapped his chest and guaranteed that he would
personally chaperone him to Tai pei and back to his
place of work; only then did the employer agree. “When
I saw that migrant worker hug his long-unseen child, I
couldn’t hold back my tears even as I smiled.”
During his nine-year tenure as an RTI presenter, Su-
narto’s warm heart and words penetrated deeply into
the lives of Indonesian migrant workers, accompanying
them each day. Although they are in a foreign land,
thanks to the change of pace and sense of companion-
ship provided by the program, their drab workdays no
longer seemed so boring.
Exiting his comfort zone
Despite the good pay and flexible working hours, for
Sunarto the presenter’s job was no longer challenging,
and he was keen to switch tracks while still young. With
Taiwan’s government aggressively promoting its New
Southbound Policy, he saw an opportune moment to en-
ter the business world.
In 201 he began using his time off the ob to help his
friends sell beauty products, and he immediately received
positive feedback. “My fans more than doubled to 70,000-
plus, including many from other countries, as well as
those who returned to Indonesia but continued to follow
me.” Aware of the extent of his influence, he began to pay
more attention to the quality of the goods he was mar-
keting. “At first when I helped friends make sales, I was
testing the water. But later when I selected goods, I would
always use them personally in order to ensure quality.”
Having confirmed his business model, he set up a firm
along with his wife and one of his younger brothers.
Although the firm is still in its early days, sellers of
more than 50 products have already contacted Sunarto,
including stores selling Korean-wave fashion that hope
to exploit the attraction of his live video broadcasts to
convey their message to Indonesian consumers. “Actually,
121
新公司剛起步，頗有雄心壯志的吳俊星，希望很快能衣錦還鄉，讓家人分享他的成功。
His startup just out of the gate, an ambitious unarto dreams of a glorious homecoming and
sharing the fruits of success with his family.

始籌組公司，與他的太太、三弟一起創業。 Indonesians prefer objective and sincere product rec-

事業才剛起步，已經有五十多種品項找上吳 ommendations, not empty advertising,” he points out.
Sunarto believes that when products are presented real-
俊星，連附近販售韓風流行服飾的商店，都要
istically to an audience in a live broadcast format, and
借助他的直播力量傳達給印尼消費者。「其實
questions can be posed online and answered then and
印尼人喜歡真實、真心的商品推薦，而不是不 there, it’s easier to win the consumer’s trust. Particu-
實的廣告手法。」他認為以直播的方式讓商品 larly for brand names that have not yet acquired name
真實呈現在觀眾面前，並且讓有疑問的觀眾可 recognition, this is a very good start. “The next step is
以線上提問、立即獲得回覆，更容易得到消費 to cooperate with the biggest Indonesian e-commerce
者的信賴，這對於尚未建立知名度的品牌而 platform, and arrange for them to sell our products.”
“The Indonesian market is becoming increasingly
言，是很好的開始。「下一步則是與印尼最大
open, much like mainland China’s ten years ago. The
的電子商務平台合作，讓商品上架販售。」接
conversion to cash-free transactions is happening much
著希望能讓商品走進印尼坊間的店鋪及百貨公
faster than in Taiwan, and everyone wants to start a
司裡。 business and make some money, so it’s all very dy-
「現在的印尼市場越來越開放，很像10年前 namic.” With each visit back home to see his parents,
的中國大陸，加上無現金社會的速度比台灣快很 Sunarto can deeply sense the positive impact of rural
多，每個人也都想創業獲利，非常有動能。」每 residents’ yearning for success. Blessed with his dual

次回到印尼老家探望父母，吳俊星就深刻感受當 advantages—as an Indonesian citizen and an ethnic

Chinese—his ultimate goal is to build a prospsperous
地鄉親渴望成功的積極力量。同時具擁印尼人與
business that spans both Taiwan and Indonesia. 
華人身分優勢的他，最終的目標希望能在印尼與
(Yang Ling-yuan/photos by Chuang Kung-ju/
台灣的貿易商場上，旗開得勝！  tr. by Bruce Humes)

122 台灣光華 Taiwan Panorama 2018/06

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Title dition rice uantity rdered

畫說成語 平裝 aperback U S $ 11 本
Chinese ayings Told in ictures

臺灣特稀有生物
平裝 aperback U S $ 11 本
Taiwan’s xtraordinary lants and Animals

當西方遇見東方──國際漢學與漢學家 平裝 aperback U S $ 11 本
When West eets ast International inology and inologists

中國草藥故事 平裝 aperback U S $ 11 本
tories of Chinese Herbal edicine

台灣保育動物新傳 平裝 aperback U S $ 10 本
A New Age for Wildlife Conservation in Taiwan

擁抱台灣──百張圖片看現代台灣 平裝 aperback U S $ 13 本
mbrace Taiwan 100 Images of Contemporary Taiwan

顯影台灣──百張圖片看現代台灣2
平裝 aperback U S $ 13 本
Taiwan evealed 100 Images of Contemporary Taiwan ( )

弦歌不輟──台灣戲曲故事 平裝 aperback U S $ 13 本
Hold that Note tories from Taiwan’s tage

築夢荒野──台灣自然映像 平裝 aperback U S $ 13 本
Call of the Wild Taiwan’s Natural World

台灣民俗筆記 平裝 aperback U S $ 16 本
hindigs and olemnity in Taiwan

台灣青春紀事 平裝 aperback U S $ 16 本
ays of eing Wild outh Culture in Taiwan

台灣好滋味 平裝 aperback U S $ 12 本
A Taste of Taiwan

合計 本
Total

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□附寄款項（支票抬頭請開 Kwang Hwa Publishing (USA), Inc.)
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★第一期訂閱雜誌將於二週內寄達
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