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台灣光華雜誌

中華民國108年5月 第44卷 第5期

中英文北美版
Vol. 44 No. 5 May 2019
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X

5
Taiwan Panorama
翻轉城市．設計美學
中華民國一〇 八 年五月

城市治理的新可能
特效化妝師儲榢逸
第四四卷第五期

當文化遇見科技
FNG世代設計寶特袋
建議售價
NT$150
US$5
HK$40
¥600
 雪白花毯

A Snow-White Carpet of Flowers

圖／文‧林旻萱　版面設計‧王敬勛

夏交替之際，苗栗三
春義的油桐樹綻放雪白 A s spring turns to summer, snow-white flowers bloom
on the tung trees of Sanyi Township in Miaoli
County. When the wind blows, the falling blossoms
花蕊，風起時落英繽紛，散
落在草皮上，朵朵嬌嫩的油 spread over the grass in a luxuriant white carpet, adding a
桐花宛如白毯，為翠綠的山 new decorative element to the emerald-green mountains.
區鋪上新裝。 (photo and text by Lin Min-hsuan/tr. by Phil Newell)
 編人 的
編者 絮話語
公私協力‧設計啟航
文．陳亮君

中華民國108年5月1日出版（月刊）／
中華民國65年1月1日創刊
近年來，公部門將設計思維導入城市治 * * *
出版者 光華畫報雜誌社
發 行 人／ 吳釗燮
理，使人眼睛一亮，也讓民眾對於自身文 本次「騎行台灣」鎖定台24線從屏東縣三
Publisher: Jaushieh Joseph WU
社 長 ／ 陳銘政 化更添驕傲與自信。 地門到霧台鄉，感受排灣族與魯凱族部落豐
Director: Henry M.J. CHEN
總 編 輯／ 陳亮君（代理）
Editor-in-Chief (acting): Ivan CHEN 而如何將設計帶入公共政策，進一步打 沛的產業生態與文化工藝。什麼是排灣族三
副 總 編 輯／ 陳亮君
Deputy Editor-in-Chief: Ivan CHEN
文 稿 主 編／ 曾蘭淑 造富含地方特色的「台灣品牌」，本期 寶？經過八八風災過後所形成的旅遊秘境
Editor: Esther TSENG
文 稿 副 主 編／ 郭玉平
Deputy Editor: Camille KUO
《光華》封面故事將從「公部門攜手設計 在哪？讓我們跟著《光華》編採團隊，逐
文 字 編 輯／ 鄧慧純 陳群芳 蘇俐穎
Writers: Cathy TENG, CHEN Chun-fang, 界」、「國際型頒獎典禮」、「策展台 一踏查沿路生態、景觀、人文與工藝之美。
Lynn SU
版 面 主 編／ 胡如瑜
Director of Layout: HU Ju-yu 灣」與「翻轉工藝教育」等四面向，作深 而用紙藝傳承台灣原住民文化的心象工
美 術 編 輯／ 蕭郢岑 王敬勛
Art Editors: HSIAO Ying-tsen, Henry WANG
攝影組召集人／ 莊坤儒 入的探討與報導，讓公私協力的成果，帶 作室，以「洄游計畫」與部落合作生產紙
Photographic Coordinator: CHUANG Kung-ju
攝 影 組 長／ 林格立
Photographic Director: Jimmy LIN
我們進入城市設計的新篇章，創造屬於台 藝品，培訓種籽師資，也打造在地循環經
攝 影 編 輯／ 林旻萱
Photojournalist: LIN Min-hsuan 灣的品牌價值。 濟，不但於2016年獲得文化部藝術與文化
英 文 編 輯／ 陳瑩潔 唐樂榕 倪凱駿

* * *
English Editors: Audrey CHEN, Robert TAYLOR,
Phil NEWELL 應用類第一名，2017與2018年，更是兩度
日 文 編 輯／ 山口雪菜 施家騏
Japanese Editors: Yukina YAMAGUCHI,
Shila SHIH 此外，來自民間的設計能量正不斷地發 入圍定位為「全球華人市場最頂尖設計獎
印 尼 文 編 輯／ 陳德銘
Indonesian Editor: Temmy WIRYAWAN
越 南 文 編 輯／ 武秋香
酵，強調環保、公益的環保紗寶特袋，從 項」的金點設計獎。看心象工作室如何從
Vietnamese Editor: VU Thu Huong
資深行政編輯／ 段蜀華 募資、研發、協力到成品的使用、回收與 善念出發，用一張紙，摺出美好願景。
Senior Administrative Editor: DUAN Shu-hwa

總 監 ／ 鍾宜蓉 再利用，讓資源永續不再是口號，而是身 本期《光華》的報導內容充滿了「設計」

Marketing Director: Carianne CHUNG
業 務 協 理／ 陳俊偉
Deputy Manager: CHEN Jyun-wei 體力行的一種生活方式，這不但開闢了另 能量，從公部門到原住民部落，從國際級
綜合服務組長／ 陳淑英
Chief of General Affairs: CHEN Shu-ing
綜 合 服 務 組／ 李淑慧
一條環保的綠色商機，也是用「設計」喚 頒獎典禮到環保紗寶特袋，還有第一手台
General Affairs: S.H. LEE
發 行 組／ 何世隆 醒大家對減塑認識的一條途徑。 灣職人的深度專訪，讓台灣各行各業的佼
Circulation: HO Shih-lung

另本期也特別針對「文化」與「科技」 佼者，分享工作經驗，訴說自己的生命故

的匯流作一深入的剖析，當文化遇見科 事，正如特效化妝師儲 榢 逸受訪時所說：

技，一場場藝術、機械、科技、建築、哲 「路就是這樣，走著走著一定會找到路

學等跨領域的碰撞與火花，盡在本期《光 的。」也讓台灣的軟實力，透過《光華》

華》報導當中。 的報導，持續在世界的各個角落發酵。 l

更正：
本刊108年2月號（國內版）
〈情深意動的茶文化〉報導中，
第31頁上圖圖說「瓷器」應為
「陶器」，特此說明。
Public–Private Cooperation:
Design Takes Off
R ecent efforts to introduce “design think­
ing” into urban governance are giving
citizens greater pride and confidence in their
own culture.
But just how is the government integrating
design into public policy to refine the Taiwan
“brand” and flavor it with local character?
This month we explore the question from sev­
eral angles, looking at cooperation between
government and the design community, as
well as international awards ceremonies, de­
sign curation, and handicrafts training. These
kinds of public– private partnerships are
opening a new chapter in urban design and
enhancing the value of Taiwan’s brand.
Meanwhile, the private sector has also
continued to elevate its design skills. An en­
vironmentally friendly tote bag made from
recycled PET fibers has made sustainability
more than just a slogan. The tote has created
“green” business opportunities by helping
make sustainability a lifestyle, and its design
has increased public interest in reducing plas­
tic waste.
This month’s issue also dissects the cul­
ture industry’s encounter with tech, one in
which the collision of disciplines ranging
from engin eer ing and technology to art,
architecture and philosophy is giving rise to
new ideas.
Join us too as we take a bicycle journey
along Provincial Highway 24 through Ping­
tung County from San di men Township to
Wutai Township, exploring the culture­ and
crafts­related businesses in the many Paiwan
and Rukai villages along the way. What are
the “three treasures of the Paiwan?” What
must­see travel destinations did Typhoon
Morakot open up? Let our team introduce
you to the area’s scenic, ecological, cultural
and crafts­related attractions.
And we visit Mental Image Studio, a
group passing on Taiwanese Aboriginal cul­
ture via paper arts. Working with indigenous
communities and taking advantage of the
Rural Up! Program to produce paper handi­
crafts, the studio is training seed teachers
and building a local circular economy. The
group ranked first in the “artistic and cul­
tural applications” section of the Ministry of
Culture’s 2016 iMatch competition and was
a 2017 and 2018 Golden Pin Design Award
nominee.
This issue is permeated with “design” in
contexts ranging from government depart­
ments, Aboriginal villages, and international­
caliber awards ceremonies to environmentally
friendly tote bags. It also includes first­hand
interviews with Taiwanese workers, giving
well­known people in a variety of fields the
chance to share their work experience and tell
their own stories. As special­effects makeup
artist Chu Chia­Yi said in our interview:
“That’s how you get there—just keep going
and you’ll find the way.” Let’s hope that
Taiwan’s soft power continues to develop all
l
over the world!
(Ivan Chen/tr. by Scott Williams)
EDITOR’S NOTE
GPN: 2008000038 ISSN1991-525X
原刊名光華 Sinorama Magazine
中華民國95年1月改為台灣光華雜誌
Taiwan Panorama
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本刊物印刷油墨使用環保認證大豆油墨
目次
CONTENTS 中華民國108年5月 第44卷 第5期 Vol. 44 No. 5 May 2019

8
封面故事 Cover Story

6 翻轉城市‧設計美學
Design and the City:
Breaking the Mold

8 設計驅動創新思維
城市治理的新可能
Design Thinking:
A Force for Innovation in Local
Governance
文‧鄧慧純　圖‧莊坤儒

20 不只是頒獎典禮

20
串流民間設計力
Golden Awards Ceremonies:
Channeling the Private Sector’s
JL Design 提供　courtesy of JL Design
Design Capabilities
文‧蘇俐穎　圖‧JL Design提供

30 策展走入常民生活
換個角度看世界
Displaying the World from a
Different Angle:
Curation Goes Mainstream
文‧鄧慧純　圖‧衍序規劃設計提供

30
40 翻轉台灣工藝
台灣工藝美術學校
Taiwan School of Arts & Crafts:
Revitalizing the Craft Industry
衍序規劃設計提供　courtesy of BIAS Architects 文‧曾蘭淑　圖‧林格立

編者的話 來自地方的明信片
Editor’s Note Postcards from Home

2 公私協力‧設計啟航 1 雪白花毯 52 月月好讀

Public-Private Cooperation: A Snow-White Carpet of Variety Pages
Design Takes Off Flowers 鄧慧恩
文‧陳亮君 圖／文‧林旻萱
 影像對話 Photo Essay

封面說明：
56 南竿風景
Sights of Nangan
在台灣，以設計為名的起義正遍地開花，
圖／文‧莊坤儒
圖為《現代—台東》特展現場。（莊坤儒攝）
Cover: A revolution in the name of design is
sweeping Taiwan. The photo shows the exhibition 全球視野 Global Outlook
“Modernity in Taitung.” (photo by Chuang Kung-ju)
66 為修復設立標準
回溯時光的修復師蔡舜任
Art Conservator Leo Tsai:
Setting High Standards for Art Restoration
文‧鄧慧純　圖‧莊坤儒

島嶼行旅 Around Taiwan

78 雲深不知處
騎行霧台

90
A Ride to the Clouds:
Cycling Through Wutai Township
文‧曾蘭淑　圖‧莊坤儒

藝文脈絡 Cultural Trends

90 驚悚電影‧世界發光
特效化妝師儲榢逸
Creating Thrills:
Special-Effects Makeup Artist Chu Chia-yi
文‧郭玉平　圖‧林格立

產業新創 Entrepreneurship

98 當文化遇見科技

98
啟動想像力的新戰場
Sparking Imagination:
When Culture Meets Technology
文‧蘇俐穎　圖‧林旻萱
何理互動設計有限公司提供　courtesy of WHYIXD

108 設計×環保×公益
FNG世代設計寶特袋
Design + Environmental Protection +
Helping the Disadvantaged:
Recycled PET Tote Bags by FNG Design
文‧陳群芳　圖‧林旻萱

多元族群 Communities

108
116 摺出原味‧守護祖靈
用紙藝傳承台灣原住民文化
Mental Image Studio’s
Aboriginal Origami
FNG 提供　courtesy of FNG 文‧李珊瑋　圖‧心象工作室提供
封 面 故 事 　 　 C O V E R S T O R Y

（格式設計展策提供，汪德範攝　photo by Wang Te-fan, courtesy of InFormat Design Curating）

6 台灣光華 Taiwan Panorama

翻轉城市˙設計美學
Design and the City:
Breaking the Mold

7
封 面 故 事 　 　 C O V E R S T O R Y

設計驅動創新思維
城市治理的新可能

Design Thinking:
A Force for Innovation in Local
Governance

一張小小的名片，被注入台東特有的人文風情，讓人一拿到手馬上就發現台東不
一樣了。一張樸素的塑膠紅椅頭，跨越國際，成為台南與大阪民眾情感的聯繫。近
年來公部門將設計思維導入城市治理，使人眼睛一亮，也讓民眾對於自己的文化更
添驕傲與自信。

A calling card infused with Taitung’s local color that immediately conveys what makes
this place unique. An unassuming stool in red plastic that transcends national bound-
aries and has become the symbol of a bond between the residents of Tainan and Osaka. In
recent years, government departments have begun to apply the modes of thought of profes-
sional design to the business of urban administration. This has not only resulted in a refresh-
ing new look, it has also strengthened residents’ pride and confidence in their own cultures.

文•鄧慧純　圖•莊坤儒　版面設計•蕭郢岑

改變發生在台灣最偏遠的城鎮──台東。2016 One such transformation has occurred in Taitung, one

of Taiwan’s most remote counties. Typhoon Nepartak
年尼伯特颱風重創台東，也是台東改變的契
wreaked havoc on it in 2016, but also served as a turn-
機，最初縣府只想著將街景招牌美化，卻逐步
ing point, stimulating the authorities to integrate design
演變成將設計思考帶入公共政策，打造城市品 thinking into public policy, create an exclusive “city
牌，讓台灣的後山誕生全台第一個縣市等級的 brand,” and inaugurate the first-ever county-level de-
設計中心。 sign center on the less-developed eastern side of Taiwan.

8 台灣光華 Taiwan Panorama

將設計思維導入城市治理，台東
設計中心跨出了重要的一步。圖左
至右：游適任、張基義、羅淑圓。
Taitung Design Center has taken a
strategic step by introducing design
thinking into local governance.
Shown from left to right: Justin Yu,
Chang Chi-yi and Lo Shu-yuan.

9
 驅動創新思維作出不一樣的可能性，將是台灣未
來的機會。」
台東子弟張基義，在2010年回到家鄉接任副縣
長，他自稱實際上的名稱應該是「美學總監」，
當時縣長黃健庭借重他的專長把關台東美學，台
東自此踏上品質管控與創新理念的路途。
但要將設計思維落實成為縣府上下通盤的共
識還有一段磨合的路。2017年成立的台東設計中
心，原隸屬於國際發展及計畫處，但那時「各局
處還沒準備好，常以為是多一個管考單位。」張
我們「進入體制，改變體制。」張基義（中）率領的
團隊是點火者，帶動公部門跟民間想像創新的契機。 基義說。後來設計中心改直屬縣長之下，成立專
“Transforming the system from within”: The team led by
Chang Chi-yi (middle) is the “spark” that will hopefully ignite 案辦公室；同時也反思，設計中心的工作不該干
creative interaction between the public and private sectors.
預局處原本的業務，而應是超越局處，設定好願
景，與局處同行。「最好的方式是不在過程中給
予過多干預，而是在機制還沒形成前，就先導入
好的觀念，先鋪陳好戰略，順著走，自然就水到
用設計驅動台東創新
渠成。」
什麼是設計？台東設計中心執行長張基義開宗 張基義解釋，地方基層人員多被沉重的行政業
明義地說：「設計一定是生活的一部分，不只處 務困住，再無餘力細究公共政策之所為何事，致
理最基本美不美的問題，設計更進一步要能提出 使公部門的專案多數只求把採購程序走完，無法
方法，解決問題。」 真正解決問題核心。設計中心想要改變這樣的局
台灣的產業發展從代工轉型到科技產業，但下 勢，創造台東未來的高度。「你去看醫生，不會
一步在哪裡？「應該是創新跟回歸到生活所面對 找開價最便宜的醫師吧？一定是找專業對應、最
的議題」，張基義說。而「如何讓公部門用設計 有口碑的醫師才是。」張基義用簡單的比喻解釋

關注台東「治理思維」、
「自然地景」、「城市
生活」相關議題，設計
中心策劃各式的展覽，
邀請觀者一起思索、
對話。
In order to highlight topics
such as “concepts of
governance,” “natural
landscapes,” and “urban
lifestyles,” Taitung Design
Center conceptualizes
a variety of exhibitions
and invites audiences to
ponder them and engage
in dialogue.

10 台灣光華 Taiwan Panorama

 Design drives Taitung innovation
What is design? “Design is part of our lives,” ex-
plains Chang Chi-yi, CEO of Tai tung Design Center
(TTDC). “It doesn’t merely grapple with the basic ques-
tion of what is or is not ‘beautiful.’ It should provide
techniques and solutions to resolve problems.”
A native of Taitung, Chang originally returned to his
hometown to serve as deputy county commissioner. His
actual job title should have been “aesthetics director,”
he confides. At the time, Commissioner Huang Jian-
ting made use of Chang’s expertise to ensure Taitung’s
aesthetic appeal, and henceforth the city embarked on a
path toward quality control and innovative concepts.
A challenging period of acclimation, however, was
required before “design thinking” achieved wide-
spread consensus within the county administration.
Established in 2017, TTDC was originally under the
International Development and Planning Department.
“County government departments weren’t prepared,”
展場空間運用「窗」、天井的意象，象徵透過窗戶「觀察探索」、從不同視角發現創造台東的未來。
Window on Taitung-to-be: The presence of such an opening within the TTDC exhibition space symbolizes future-oriented
observation and exploration from various perspectives.
says Chang, “and the center was often perceived as
just one more body engaged in oversight and micro-
management.” Later the center reported direct to the
county commissioner, and established a project office.
Meanwhile, the idea of the center ’s function was re-
visited. Its work was “ideally not to frequently inter-
vene in the execution of projects themselves, but rather
to introduce good ideas before everything is set in
stone. If appropriate strategies are first elaborated, then
as projects proceed things will naturally fall into place.”
In Chang’s view, frontline civil servants at the local
level are often overburdened by administrative tasks.
They haven’t spare time to carefully consider what the
underlying policy is intended to achieve. As a result,
in most government projects officials simply focus on
completing the procurement process, but when a project
is conducted in this way it often fails to meet core goals.
Chang explains the center’s role via a simple analogy.
“When you visit a doctor, you don’t choose the one who
11
設計中心的角色，設計中心扮演協助局處在計畫
前期釐清問題核心的角色，問對問題，然後對應
業務需求，知道台灣最好的團隊在哪裡，能提供
怎麼樣的服務。
2018年，設計中心邀請民間專業企畫團隊
P l a n b加入，共同驅動設計導入台東的理念。並
活化閒置的台東鐵路警察局，作為設計中心的實
體場域。空間保留原初建物的質地，設計師馮宇
在LOGO設計和展間運用「窗」的意象，象徵由
設計的視角切入、透過窗戶「觀察探索」與「發
現創造」台東的未來。常設展「台東未來生活提
案所」則邀請民眾從自身不同的生活經驗及視角
出發，寫下對台東未來的想像。
讓台南被正確認識
擁有豐富的人文、自然資源的「台東」冀望透
過設計打造城市品牌；而台灣最古老的城市「台
南」則思索著如何讓城市被正確的認識。
2015年，台南與大阪直飛航線開啟，台南市
政府思考如何吸引大阪民眾到台南走走。時為台
南市觀光局局長的王時思（現為台南市副市長）
12 台灣光華 Taiwan Panorama
指出，太過廣告式的城市行銷，其實沒有說出什
麼真相，比拚的只有價格，淪為市場上的競爭，
「那實在談不上是讓城市被正確理解的模式」，
王時思說。「我們決定把旅遊的動機放在最前
面，而非旅遊市場。呈現台南真實的樣子，先讓
他們想要來台南，喜歡台南。」
王時思決定要辦一個展，能展現台南真實樣
貌的展覽。策展團隊找上風尚旅遊的游智維，同
時也是蚯蚓文化的創辦人。游智維是推動台灣在
地小旅行的先驅者，他認為一方風土養一方人，
每個城市都值得深入體驗經歷。旅行該像蚯蚓翻
掘泥土一般挖掘地方的價值。他也藉由旅行為媒
介，溝通他認為重要的，如老屋保存、環境永
續、多元價值等。
台南的樣子是什麼？「我們總愛說『台灣最
美的風景是人』，但我們卻從來不用人來做深度
溝通。」游智維說。「我們曾經用明星來代言，
但那並不是我們，所以不能真正讓你感受到人情
味。」王時思補充。想要呈現台南真實的樣子，
他們找來莉莉冰果店的老闆李文雄、剪紙藝術的
楊士毅、「奉茶」主人葉東泰、「屎溝墘客廳」
找到對的人，一起前進。王時思
（右）和游智維（左）合作，
讓台南被正確的認識。
Find the right person and move
forward together: Collaborators
Sue Wang (right) and C. W. Yu
(left) aim to convey an accurate
understanding of Tainan.
紅椅頭渡海到了大阪，展示台南最真實的樣貌。
（蚯蚓整合文化提供）。
The red stool crossed the East China Sea to Osaka, highlighting
the true face of Tainan. (courtesy of Join Cultural Integration)
charges the lowest fee, right?” he says. “You seek the
one whose expertise lies in the appropriate field, and
who has the best reputation.” The center’s role is to flag
core issues for county government departments during
the early phases of project planning, pose the right
questions, and then, in keeping with the needs of the
project, to be familiar with Taiwan’s best organizations
and the nature of the services they can provide.
In 2018, the center invited Plan b, a private-sector
consultancy and planning firm, to jointly promote the
introduction of professional design concepts in Taitung.
The former railroad police station in Taitung City, then
idle, was refurbished to serve as the site for the TTDC.
For both logo design and exhibition space, designer
紅椅頭聯繫了台南與大阪民眾的感情。
（蚯蚓整合文化提供）
Tainan’s ubiquitous red stools somehow tapped into emotions that
connect the Japanese and Taiwanese. (courtesy of Join Cultural
Integration)
Feng Yu employed a “window” image that symbolizes
the world as seen from a design perspective. Via this
window one can both “observe and explore” and “dis-
cover and create” Taitung’s future.
Conveying “authentic” Tainan
While Taitung hopes to create a unique “city brand”
via design, Taiwan’s oldest urban center—Tai nan—
intends to use design to convey its genuine persona.
In 2015, when direct flights were inaugurated
between Tai nan and Osaka, the Tai nan authorities
13
主人蔡宗昇、「優雅農夫藝術工廠」執行長黃鼎堯、藝 本驚艷，在2018年獲得日本Good Design
術修復師蔡舜任、金曲歌王黑哥謝銘祐等等，分享他們 「地域‧社群創造」類別獎項。
的台南故事。「這個就是人情味，當我們相信這個城市 找到對的合作夥伴是成功的關鍵。這兩
裡面的每一個人背後都有故事可以去跟別人溝通，那這 年游智維也關注地方創生的議題，走訪日
個城市怎麼會說得完呢？」游智維說。 本許多創生小鎮，他得出：「政府如何在
而在小吃攤上最常見的塑膠「紅椅頭」，是游智維團隊 民間找到擁有共同目標的合作夥伴，並且
找出來代表台南的元素。看起來質樸簡單，耐摔不怕日曬 保持信任與開放的合作關係，一步一步地
雨淋，外表直接但是內心熱情真誠，與台南人的性格很相 往前走，至為關鍵。」
似，同時，一張張擺著的紅椅頭也像是台南人熱情的招呼 「我們無論遇到什麼事情，沒有失去
「來坐喲！」一張張展示著一個台南故事的物件，承載台 過對彼此的信任。」王時思說。執行公
南生活的樣貌，「台南紅椅頭アンイータウ観光倶楽部」 部門案子有一定的查核時程，但游智維
就此開幕。 總是想為合作的藝術家爭取更多的時
間，「要多一些時間，才能產生出感動
找到對的人，一起前進
的事情。」他說。但另一方面，案子的
「台南紅椅頭觀光俱樂部」不僅連續兩年獲得國內指 執行又仰仗理性的節奏，才能成就最終
標創意設計獎項的肯定，更讓素來注重創意和質感的日 的圓滿。這時王時思就要從公部門的角
度做專業判斷，設定停損的時間點，不
然藝術家會一直發想，越做越大。「當
然他們是特例啦！很少有人這麼不計成
本，但是台南就是運氣很好，或是說很
得人疼。」王時思笑笑地表示。
而原本不太接觸公部門案子的Plan b創
辦人游適任，確定成為設計中心的夥伴
後，曾拜會台東縣府各局處，他發現長官
們「都蠻愛台東的，事事皆以台東利益為
優先出發，這件事情蠻可貴的。」台東縣
府近年來的努力，創造的改變，讓在地居
民以身為台東人而自信。
台東設計中心可說是官方與民間產業
間的一個平台，其中的成員要十足了解
公部門的行政流程，才能變成設計中心
對外鏈結的觸媒；另一方面，設計中心
也要借助民間參與，吸納其創新能量與
靈活，張基義解釋。所以他找來曾歷練
台東縣府建設、觀光、文化、農業各局
處副手的羅淑圓擔任副執行長，居間進
行跨局處協調，包括與主計單位溝通讓
設計中心的工程採購標案能更有彈性空
間，透過專案整合不同的專業者，以實
現 設 計 驅 動 的 理 想 。 「 我 們 開 的 K P I是
要有公共影響力的重要企劃案3件，至

14 台灣光華 Taiwan Panorama


contemplated how to attract Osaka residents to visit.
Sue Wang, then director of the Tai nan City Tourism
Bureau (and now deputy mayor), points out that overly
commercialized marketing of a city doesn’t communi-
cate anything particularly true; it simply facilitates
price-based comparisons. “You can’t really say that’s a
method for accurately conveying a city’s reality,” she
comments. “We decided to highlight motivators for a
visit, rather than focusing on Tainan as a tourism mar-
ket. That meant creating an urge to visit Tainan.”
Wang decided to hold an exhibition that could high-
light the “true face” of Tai nan. The Tourism Bureau
sought out C.W. Yu, general manager of L-instyle Bou-
tique Travel Services, founder of Join Cultural Integra-
tion Company, and a pioneer in promoting small-scale
travel within Taiwan.
What makes Tainan what it is? “We like to say, ‘Tai-
wan’s loveliest scenery is its people.’ Yet we never
utilize people to communicate this in depth,” says Yu.
In order to convey the real Tainan, Yu’s team contacted
宮廟、老屋、巷弄，台南這個城市故事多到
說不完。
Tainan’s never-ending story: Picturesque
temples, houses and alleyways.
several locals to share their “Tainan story”: Li Wenxiong,
owner of Lily Fruit, a shaved-ice shop; paper-cutting
artist Yang Shiyi; Feng Cha teahouse boss Ye Dongtai;
Cai Zongsheng, owner of Sai Kau Kin Old House, built
in 1897 and now functioning as a bed and breakfast;
Huang Dingyao, executive director of the Togo Graceful
Farmer Art Factory; art conservator Leo Tsai; and award-
winning singer-songwriter Hsieh Ming-yu. “This is the
requisite ‘human angle.’ When we believe that behind
each resident there is a story worth telling, then aren’t a
city’s stories inexhaustible?” says Yu persuasively.
The ubiquitous red plastic stool that dots the city’s
food stalls was selected by Yu’s team to serve as Tai-
nan’s icon. Deceptively simple and unadorned, the
robust stool fears neither sun nor rain, and—not unlike
the character of the Tainan ese—it is welcoming and
dependable. The sight of a group of the bright red stools
brings to mind the hearty local greeting: “Take a seat!”
At the annual “Red Stool Travel Club of Tainan” exhibi-
tion in Osaka, each stool is used as a stand to display an
15
 融入台東人文、自然、物產特色
的台東縣政府名片再設計，一出
手就讓人發現台東不一樣了。
（Plan b提供）
When Plan b took on the project
to redesign business cards for the
Taitung County Government, the
result was a series that highlights
unexpected aspects of the county.
(courtesy of Plan b)

於是什麼樣的企劃，內容保留空白。」「確實
我們是在挑戰過往採購案中，K P I怎麼訂定這
件事情。」羅淑圓此話一出，知曉政府工程採
購案流程的行家應該都會吃上一驚，了解其中
要說服主計單位的難度，光定義何謂「公共影
響力」就會搞得人仰馬翻，張基義玩笑地說。
「但我們相信把專業團隊引進來，給他空間，
他自然會創造社會影響力，這就是我們的共
創。」這似乎才是最合乎設計中心的K P I，大
家的目標明確，過程由官方與執行單位討論共
創，最後的細節容許專業團隊自由發揮，創造 「台東未來生活提案所」邀請民眾寫下對台東的未來
設計提案。
社會影響力。 Visitors to Taitung Design Center are invited to submit
their ideas for future Taitung lifestyles.
合作的過程，游適任引張基義的比喻，專案
辦公室就像是陸軍，深入當地，了解在地需
求，而P l a n b像是空軍，急切地想把人運送過
來投遞下去，急著創新，做出改變。這時候專 飛魚、三仙台、公東教堂、熱氣球、釋迦、衝
案辦公室評估放行或是踩剎車，兩者就像是男 浪等元素簡化線條，傳達出台東特有的意象。
女朋友交往，試探著彼此的底線，互動也產生 「重新設計縣府名片，除了讓民眾馬上c a t c h到
火花。 設計中心想解決的問題；而且名片是每天都在
台東設計中心今年年初就打出一手漂亮的 交換的東西，馬上就能讓別人發現台東不一樣
牌──「台東縣政府名片再設計」，由Plan b提 了；以這個不一樣為起點，也意味著台東願意
案，以台東的山海空為主題，將台東產的米、 接受更多的可能性。」游適任解釋。

16 台灣光華 Taiwan Panorama

item that represents a “Tainan story,” and carries with it
an aspect of life in Tainan.
Find the right person and move forward together
The Japan Institute of Design Promotion, which tradi­
tionally emphasizes innovation and sleek design, sur­
prised the design world by recognizing the Red Stool
Travel Club with a Good Design Award in the category
“Activities for Regional/Community Building” in 2018.
Scouting for the right partners has turned out to be
the key to success. Over the last two years, Yu has visited
Japan with an eye for issues related to “regional revitaliza­
tion.” “How the government identifies private-sector part­
ners who share common goals, and then nurtures trust and
open­minded collaboration, is absolutely crucial,” he says.
“No matter what problems we’ve encountered, we’ve
never lost faith in one another,” says Wang. For govern­
ment projects, there is a certain verification schedule to
be followed. But Yu always tries to win more time for col­
laborating artists. “A little more time can mean increased
opportunity for inspiration to occur.” On the other hand,
execution of a project depends upon a reasonable pace in
order to culminate in a satisfactory outcome. At times like
these, Wang must make a professional assessment from
the perspective of the commissioning department, and de­
termine the maximum permissible delay.
After deciding to join forces with Taitung Design Cen­
ter, Plan b’s founder and senior partner Justin Yu called
設計中心策劃Raw Trip ──
臺東採集計畫，以不同的視角
發掘台東。
“Raw Trip”: A memorably
named campaign undertaken
by Taitung Design Center
that aims to explore Taitung’s
natural world from a host of
different perspectives.
on various departments of the county government. Senior
officials “were really very fond of Taitung, and put the
county’s interests first in considering all matters,” relates
Yu. “That was truly remarkable.” For deputy CEO, Chang
Chi­yi selected Lo Shu­yuan, who possesses abundant
experience in business, to liaise between county depart­
ments. This included communicating with the accounting
department to grant the design center greater flexibil­
ity regarding procurement standards for projects, and
bringing in professionals from different fields in order to
achieve optimal results from the design­driven approach.
“The key performance indicators that we set require our
partner to deliver three key projects that can exert public
influence. As for what sort of projects they would be, we
have left the content undefined,” says Lo.
“It is true that we are challenging past procurement
practices in terms of key performance indicators.” For
anyone knowledgeable about the procurement process
for government­commissioned projects, Lo’s descrip­
tion would sound rather surprising; just in terms of the
difficulty of persuading the accounting office, defining
the phrase “exert public influence” would suffice to sew
utter confusion, chuckles Chang. “But we believe that
if we introduce professional teams into the process and
give them space to function, they will generate social in­
fluence in and of themselves. And that will be the result
of our collaborative efforts.”
17
18 台灣光華 Taiwan Panorama
 This year TTDC launched a campaign to redesign the
設計驅動創新思維，也促動民眾對在地文化的認同與驕傲。 county government’s business cards. Centered around
The fresh approach to design in Taitung has not only provided an the theme of Taitung’s mountains, sea and sky, elements
impetus to creative thinking, it has also strengthened residents’
pride and confidence in their county’s own culture. such as rice, sugar apples, flying fish, Sanxiantai Island,
Kung-Tung Church and hot air balloons appear on
the cards in sketched form. “Besides aiming to convey
to local residents the problems that the design center
hopes to resolve, the county’s redesigned calling cards
are exchanged daily and therefore can help recipients
不見得是大事，卻是偉大的事
discover what makes Taitung different,” explains Yu.
一張小小的名片，蘊藏了台東的人文風土，也 “This point of difference implies that Taitung is open to
宣示了台東的改變。 accepting a greater variety of new possibilities.”
Small item, big impact
「它不見得是超大的事，卻是偉大的事。」
A visiting card embodies Taitung’s unique culture,
張基義說。這不是找一位知名設計師就能解決
and communicates how it is changing. “Perhaps it isn’t
的問題，是設計中心以專案包裹的方式，委由
a big thing, but it can have a big impact,” says Chang.
P l a n b團隊尋求專業設計師張溥輝共同執行。 What other counties and cities have not been able to do,
「當初找設計師也有很多眉眉角角，希望是年 Taitung has achieved via this petite but widely influen-
輕人，暗示台東希望了解年輕人，但是又不能 tial item. “So we are the ones lighting the torch, driving
太年輕，要小有知名度，有影響力，又要熟悉 the public sector to imagine opportunities for innovation
公部門的規矩，還要人緣好。」游適任苦笑著 by working in tandem with the private sector.”
Meanwhile, the red plastic stool has become a symbol
補充。其他縣市做不到，而台東透過設計中心
of Taiwan in Japanese eyes. At the closing of the annual
讓這件具有公共影響力的小事被實踐了。「所
exhibition held in Osaka, the organizer encourages
以我們是點火者，帶動公部門跟民間想像創新 attendees to take a stool with them as they leave. At first
的契機。」張基義說。 some locals told Yu that attendees would be averse to
而紅椅頭在日本成了台灣的符號，每年展覽 be seen transporting a stool home on a train, but in the
結束後，主辦單位宣布歡迎日本朋友把紅椅頭帶 event, each and every one was snapped up. “It’s emo-
回家，一開始日本友人告訴游智維，日本人不會 tions that cause us to do the irrational,” says Yu. The red
stool connects the ordinary people of Japan with ordin-
拿著塑膠的紅椅頭搭電車，卻沒想到展會後被搶
ary Taiwanese. “This isn’t about price, it’s about value.”
搬一空。「是情感這件事情讓你不理性」游智維
“A red stool is actually an inconspicuous element in
說，但透過紅椅頭的展會，紅椅頭聯繫了日本與
our lives. But if we have the confidence to present such
台灣的民眾，「這件事情就不是價格的問題，是 an element to others and concede that this is us, that
價值的問題。」 signifies that we have the courage to face up to who we
「紅椅頭其實是生活裡最不起眼的元素，但如 really are,” says Wang. She has constantly been hoping
果我們有信心把這樣的元素放到大家面前，坦承 that tourism can be correctly perceived, and thereby
這就是我們，就表示我們有勇氣面對自己真實的 help more people get to know Taiwan and understand
that this is a country that maintains freedom, demo-
樣子。」王時思說。她一直期盼觀光旅遊能被正
cracy and human rights despite adverse conditions. This
確的理解，除了產業面的意義外，讓更多人認識
realiza tion is the unseen raison d’être for tourism—to
台灣，了解台灣是在這麼多惡劣不利的條件下仍 convey this message to more visitors.
維持自由、民主、人權的國度，這才是背後想要 We continue to look forward to a wealth of possibili-
讓更多人看見的事。 ties generated by design-driven innovation. l
從設計驅動的創新，我們還在期待更多不一樣 (Cathy Teng/photos by Chuang Kung-ju/
的可能性。 l tr. by Bruce Humes)

19
封 面 故 事 　 　 C O V E R S T O R Y

不只是頒獎典禮
串 流 民 間 設 計 力

Golden Awards Ceremonies:

Channeling the Private
Sector’s Design Capabilities

曾幾何時，守在螢幕前，引頸期盼著頒獎典禮直播，可比追星、聽演唱會，成
了日常生活裡的一樁大事。每年從6月拉響第一炮的金曲獎開始，接連著9月的金鐘
獎，到11月的金馬獎，熱熱鬧鬧、風風光光迎來星光璀璨的下半年。這一回獎落誰
家？有哪些巨星共赴盛會？成了大眾茶餘飯後談不膩的話題。

W e’ve all spent time staring expectantly at the TV screen during awards broad­
casts. Which superstars will attend the show? Who will win this year’s awards?
It’s a big deal, like following celebrities or going to a concert. Awards shows are end­
lessly enjoyable fodder for after­dinner conversation.

20 台灣光華 Taiwan Panorama

 （台北金馬影展執行委員會提供　courtesy of the Taipei Golden Horse Film Festival）

文•蘇俐穎　圖•JL Design提供　版面設計•蕭郢岑

金馬、金曲、金鐘，坊間合稱的「三 The Golden Horse, Golden Melody and Golden Bell

Awards, collectively known as the “Three Golds,” were
金」，創辦的立意相去不遠，都是為了扶
all established for roughly the same reason: to recognize
植娛樂產業、鼓勵優秀創作人。過去由行
outstanding entertainment companies and encourage
政院新聞局主持，自從1990年代始由民間 artists. Stately affairs when the Government Information
單位來承辦，莊嚴肅穆的頒獎典禮就此華 Office ran them, the ceremonies became more glamorous
麗轉身。 when private organizations took them over in the 1990s.

21
 1989年的新聞局時期，平面設計師前輩劉開就曾
那些年，我們一起追的頒獎典禮 以前衛的書法線條，作出令人耳目一新的設計；
就以金曲獎為例，過去多次由TVBS-G、東風 千禧年之際，交由台北金馬影展執行委員會負
團隊製播，張小燕、陶晶瑩等人是主持的固定班 責，格局更加開闊，插畫家張治倫、可樂王、聶
底，逐步流露出的新氣象，開始吸引到一小撮人 蕙芸、吳孟芸、幾米，平面設計師王志弘等人，
固定追蹤，在無名小站、PTT三金版等社群媒體 都曾是合作對象，更屢屢締造出話題。
也不乏討論。「頒獎典禮不再只是頒獎典禮，更 然而，真正宣告設計革命的，當屬2013年第50
是一個show。」資深觀眾、同時也是自媒體「設 屆。該年度的主視覺海報由聶永真操刀，已是第
計發浪」創辦人Chad說。 二次承接任務的他，更加確立走上極致簡約的風
然而，三金在今日享有名氣，據Chad觀察，首 格，加上該年度張曼玉受邀擔任金馬大使，聶永
先必須歸功給社群媒體，由於網路環境成熟，觀 真大膽切割了張曼玉的肖像，留下了眼睛、鼻子
賞方式推陳出新，與昔日由老三台把持的狀況， 等五官局部，演員的神韻與氣場再度被突顯，同
儼然不可同日而語，線上直播讓觀眾在收看之 時呼應了當年度40位影帝影后回娘家的活動，典
餘，還能即時回應、討論、轉發；另外，在民間 禮現場一時星光燦爛，更勝往昔。
單位主持下，邀請到平面、動態設計師包裝，一 同時，這也是主視覺設計首次強調「屆數」
舉提升典禮的高度，也掀起典禮設計的熱潮。 而非「年度」的一年，由過去多以典禮資訊的
揭露為主，到強調獎項自身的發展歷史脈絡，
金馬50，拉響設計革命的第一炮
設計概念的躍進，證成了獎項本身的高度，而
三金之中，歷史最悠久的金馬獎一向最勇於突 由極簡線條構成的「50」，融合了拍板、導演
破、創新。為了包裝、宣傳影展，邀請知名設計 筒、聚光燈、放映機等經典電影意象，成為logo
師打造主視覺海報，已是行之有年的慣例。早在 設計的經典之作。

（台北金馬影展執行委員會提供　courtesy of the Taipei Golden Horse Film Festival）

22 台灣光華 Taiwan Panorama


The awards we used to see
At the Golden Melody Awards, for example, TVBS-G
and Azio TV made actress and television personality
Chang Hsiao -yen and singer Matilda Tao staples as
hosts for the many years they broadcast the events. This
resulted in a gradual change in the shows’ vibe, attract-
ing new viewers and turning the awards into regular
topics of discussion on social media sites like Wretch
and PTT. “The programs ceased to be purely ceremon-
ies, and became shows,” says Design Surfing founder
and longtime viewer Chad Liu.
Liu attributes the Three Golds’ current renown to so-
cial media. He says that the way people watch the shows
evolved with the maturation of the Internet. Streaming
enables viewers to not only watch, but react, discuss
and share highlights, making viewing the awards a
very different experience from what it was when the TV
networks controlled the broadcasts. The companies cur-
rently broadcasting and streaming the shows have also
elevated their presentations and even created interest in
event design by hiring designers to package them.
First shot in a design revolution:
The 50th Golden Horse Awards
The Golden Horse Awards are the oldest and the most
innovative of the Three Golds. For example, the show
「想做出一張自己也會
想貼 起 來 的 海 報 。 」 是
方序中設計金馬影展海報
的初心。（林旻萱攝）
Joe Fang says his guiding
principle when designing
the Golden Horse Film
Festival poster was to
create one that he would
like to hang on his own
wall. (photo by Lin Min-
hsuan)
（台北金馬影展執行委員會提供　courtesy of the Taipei Golden Horse Film Festival）
has long invited well-known designers to create visually
striking posters that package and promote the awards
and the associated film festival. And it was the Golden
Horses that heralded Taiwan’s revolution in awards-
ceremony design with their 50th anniversary in 2013.
Aaron Nieh handled the key visual design for that
year’s posters, his second year doing so, and went with
a pared-down style. With Maggie Cheung serving as the
2013 Golden Horse ambassador, Nieh chose to use pieces
of a photographic portrait of her in the poster, retaining
her eyes, nose and ears in a way that made her grace and
charm even more evident. The use of Cheung’s image
also highlighted the festival’s celebration of the return
of 40 screen icons for the event in a parade of stars that
made the show itself even more brilliant than usual.
23
 金曲25的22支入圍短片，平面、動態設計師聯手，讓世界看見台灣設計力。
Graphic designers and motion graphic designers worked together to produce short videos about 22
Golden Melody Awards nominees, demonstrating Taiwan’s design capabilities to the world.

24 台灣光華 Taiwan Panorama


金曲25，典禮設計再升級
金馬50革命性的躍進，好似喚醒了另外二金的
設計魂。就在翌年舉辦的金曲25，台視重新得到
製播權，由資深製作人陳鎮川的公司源活娛樂負
責執行，陳鎮川一呼百應，過去團隊重新歸隊，
就連老同事JL Design負責人羅申駿也接下典禮視
覺設計的重責大任。
金曲25的典禮規格再升級，除了同樣採屆數作
為logo設計的方式，甚至比照奧斯卡頒獎典禮的
規格，製作了22支入圍獎項短片，11位平面設計
師，如蕭青陽、王志弘、聶永真、顏伯駿、廖小
子、賴佳韋等不同世代的平面設計師紛紛出列，
搭配上仙草影像、Bito Studio、賴志彥、王民賢
等13組動態設計團隊或設計師。
對於羅申駿來說，這樣大費周章的安排，可說
是用心良苦，「希望藉著這一次的案子，讓大家
看到跨境、串聯、合作的可能性。」他這樣說。
下一波趨勢：品牌化、跨域化、專案化
接連兩年，金馬50與金曲25破格性的演出，一
舉為台灣的典禮設計樹立下標準，不論設計師或
The 50th anniversary poster design highlighted the
Golden Horses’ history and reputation, its key visual
design stressing for the first time the anniversary nature
of the event, in contrast to the design focus of previ-
ous years, which was to provide the particulars of the
individ ual year ’s festival and awards ceremony. The
simple lines of the focal “50” on the poster also evoke
movie symbols ranging from a clapperboard and a dir-
ector’s viewfinder to a spotlight and a film projector,
and are a seminal example of logo design.
Classic design upgraded:
The 25th Golden Melody Awards
The design revolution of the 50th Golden Horses
seemingly inspired the designers for the other two
“Golds” to aim for new heights. When Taiwan Tele-
vision (TTV) renewed its broadcast rights for the follow-
ing year’s 25th Golden Melody Awards, it hired veteran
producer Isaac Chen’s Young Hope Entertainment to
登峰造極的金曲29頒獎典禮，以綿密的整合度帶出設計的
新高度。
The 29th Golden Melody Awards ceremony was amazing, with
tightly integrated design that raised the show to new heights.
25
觀眾，都對再來的典禮投以前所未有的期待。另
一面來說，想到達相當的高度，已不能如過往，
只將頒獎典禮視為辦一場活動那樣地單純。
首先，不僅是設計師，就連政府當局，也想藉
獎項之名將獲獎作品推廣到國外，都已紛紛意識
到必須將「獎項」視作「品牌」。而所謂的品牌
化，絕非只是生產更多的周邊產品，好比制定CI
規範，讓標準字、色彩，在周邊項目的應用上有
原則可循；另外，過去常見平面與動態常因發包
給不同單位製作，有著各自為政的現象，也必須
藉視覺總監的高度，彼此統整，發揮出綜合效益
的最大值。
參與過多次三金典禮的方序中解釋：「品牌
化，是讓所有的東西都團結起來，雖然有各式各
樣的訊息，都必須環繞著同一個主軸。」以他
擔任主視覺海報暨頒獎典禮視覺總監的金馬55為
例，從「周年的一半」來作延伸發想，因此不
再強調一向萬眾矚目的「主角」，反倒將題旨收
束在不被注意的「配角」，這些無名的幕後英
（三頁文設計提供 © 文化部　courtesy of Yen Po-chun Design, © Ministry of Culture）

顏伯駿以拼貼的人臉 雄，恰如成就了榮耀之「光」背後不可或缺的
作為金曲29主視覺設計，
呼應分眾化的時代已然 「影」，因此主視覺海報、預告影片，環繞著
降臨。
「光╱影」的邏輯層層鋪展。
Yen Po-chun’s key designs
for the 28th Golden 突破框架的跨域合作不僅被落實在執行層面，
Melody Awards feature
a face assembled from 也能成為企畫上的亮點。好比顏伯駿所設計的金曲
pieces of photos of other
faces, suggesting that an 28主視覺，做唱片設計逾十年的他，尤其希望藉機
era of fragmentation is
upon us. 彰顯整個流行音樂產業鏈中罕被關注的創意工作
者，再加上呼應當年首次開放數位音樂報名，他
以「載具萬變，音樂永存」的slogan，邀請到在音
樂界耕耘多時的服裝設計師、時尚攝影師共同參
與主視覺創作，以時裝的形式將音樂具象化。
較之以往，現今的頒獎典禮需要通盤考量的事
情更多了，大量溝通工作少不了，為了執行如此
龐大的案子，專案管理制度是唯一解方。顏伯駿
甚至說：「在這樣的案子中，設計只是其中一個
環節，專案制度才是更重要的。」
擔綱金曲25、26、29典禮視覺統籌的羅申駿
也分享自己的工作方法，他將JL團隊墊在最後，
先將每個環節、框架都事先設計好，讓工作人員
（林旻萱攝　photo by Lin Min-hsuan） 可在框架裡發揮創意，如果有任何環節的差錯，

26 台灣光華 Taiwan Panorama

organize the show. Chen, in turn, brought back former requires that there be a head of visual design who can
colleague Johnason Lo, the founder of JL Design, to unify the various graphics to ensure they achieve maxi-
handle the show’s visual design. mum impact.
Upgrades to the 25th anniversary show’s design in- Nowadays, multidisciplinary cooperation takes place
cluded adopting the Golden Horses’ use of the event’s at both the planning and production levels. Take Yen Po-
iteration in the logo, borrowing an aspect of the Acad- chun’s key designs for the 28th Golden Melody Awards,
emy Awards presentation format by producing 22 short for example. Yen had been designing album covers for
videos about nominees, and hiring 11 leading graphic more than a decade when he was hired onto the awards
designers who were subsequently assigned to 13 mo- program, and wanted to use the project to highlight
tion graphic design teams or individual designers. the rarely noticed creators linking together the entire
The next wave: pop-music production chain. Taking the idea that music
Branding, multidisciplinarity, project-based approach endures in spite of the changes in the world around it
The changes to the Golden Horse and Golden Melody (that year’s slogan), he hired music-industry fashion de-
awards over this two-year span set a new design stan- signers and photographers to help create the key visual
dard for Taiwan’s awards shows, one that heightened designs and contextualize music through fashion.
audiences and designers’ expectations
for the future. It also caused organizers
hoping to meet these expectations to
recognize that arranging these shows
involved more than simply coordinat-
ing an ordinary event.
And it isn’t just the designers. The
government would like to use the
reputation of the “Golds” to market
award-winning works overseas, and
has come to recognize that it must
treat the awards as brands. This kind
of “branding” is similar to establishing
a corporate identity system, which
creates principles for the use of stan-
dard fonts and colors on related items.
In the past, awards-show producers
often contracted the show’s graphic
and motion-graphic design work to
different groups, each of which took
its own approach. Branding the shows

猶如時尚攝影的金曲28主視覺，將流行
音樂產業的幕後人員推往聚光燈之下。
（三頁文設計提供 ©文化部）
The key visual designs for the 27th
Golden Melody Awards resembled fashion
photography and pushed the pop-music
industry’s behind-the-scenes workers into
the spotlight. (courtesy of Yen Po-chun
Design, © Ministry of Culture)

27
 像（motion graphics）產業所衍生出的一份使命
感，好比他所參與的金曲25，為了傳遞跨界合作
的重要，除了連結前輩與新銳、動態與平面，讓
不同世代、不同領域的設計師攜手合作，更有意
識向這些創意工作者慷慨分享，十餘年來在工作
執行上所累積下來的know-how。
另值得一提的是，近年他也為前身是「優良產
品評選制度」的「金點設計獎」策畫頒獎典禮，
從典禮logo設計、典禮流程、配套舉行的藝術表
演、國際論壇、記者會，甚至尋找贊助廠商等，
羅申駿藉著每一次的金曲活動執行，放入個人對設計產業、
均重新定調、企劃，讓這個號稱「第四金」的獎
對台灣的關懷命題。（林旻萱攝）
Designer Johnason Lo has used his Golden Melody Awards 項，提升至相應的水平。
designs to engage with questions he has about the design
industry and about Taiwan. (photo by Lin Min-hsuan) 讓這個有意效法iF、紅點，由國家背書的華人
設計獎，不僅成了設計師爭相競逐的榮譽，對於
一般民眾也有另一層意義，Chad便指出，金點獎
JL團隊再隨時遞補。設計團隊也好，製作團隊也 正是國家以平易近人的方式，藉由獲獎作品，一
罷，背後仰賴的都是高度規劃、整合的能力。 步步協助國民建立起對好設計的認識。
由此看來，頒獎典禮不僅是設計師發揮創意的大
除了美以外的重要事
舞台，也是社會參與的機會與管道。但有趣的是，
亮眼的設計成功喚起民眾觀看頒獎典禮的興 這些成功演示的前輩，都不打算霸佔機會不放。
趣，但站在創意的案發現場，設計師考量的可不 「我們既然已經做到了一些事，為什麼不讓不
僅只是「好看」。Chad說得直接：「做得美只是 同的設計師也去操作看看？我們想看的，不是做
基本，但不是目的，也不是結果；重點在於，目 不做得到，而是想看到設計的可能性。重點不在
的是什麼？」 於好不好，關於好，大家都會有自然的壓力，重
換言之，以設計之名，想傳遞出什麼理念？解 點是你想表達的是什麼？只要有表達，就是好設
決什麼問題？達到什麼結果？藏在有形之物背後 計。」羅申駿為典禮設計下了如此註腳。 l
的概念與精神，比具體的
事物更為重要。
故此，讓設計師最費
心琢磨的，並不是創意發
想本身，而是確立初衷
何在。
以羅申駿為例，也許是
作為台灣最早投入動態圖

上百場的跨領域討論，是成就
頒獎典禮好看的關鍵。
Multidisciplinary discussions
are crucial to producing a great
awards ceremony.

28 台灣光華 Taiwan Panorama


Planning these recent awards ceremonies has re-
quired more comprehensive thinking and more com-
munication than it did in years past, making project
management crucially important. “On this kind of proj-
ect, the design is just one link in the chain,” says Yen.
“The overall structure of the project is more important.”
Non-aesthetic considerations
Eye-catching design stirs public interest in watching
awards shows, but designers working in the thick of
such projects aspire to more than just a “good looking”
show. Chad Liu bluntly states: “Making it pretty is just
one of the basics. It isn’t the goal nor the end result. The
key question for designers is: what’s the objective?”
In other words, what ideas are the designers aiming
to convey? What questions are they answering? What
effect do they want to achieve? The spirit and ideas that
the objects embody are more important than the objects
themselves.
Johnason Lo felt a sense of mission when designing
the 25th Golden Melody Awards, perhaps stemming
from his position as one of the first people in Taiwan
to be involved in the motion graphics industry. Seek-
ing to convey the importance of multidisciplinary co-
operation, he integrated the old-fashioned with the
cutting edge and motion graphics with 2D design. He
典禮設計，是以設計之名為
金點獎提昇至設計獎應有的
水平。
Event design has lifted the
design-oriented Golden Pin
Awards ceremony to a new
level.
also got designers from different generations and fields to
work together, generously sharing his own decade-plus
of knowhow with all of them.
It’s important to mention that Lo had previously
organized the Golden Pin Design Awards cere mony,
completely revamping its logo design, the flow of the cere-
mony, the performances, the international forums, and the
press conferences. He even recruited corporate sponsors
in his effort to elevate it into Taiwan’s fourth “Gold.”
While these ethnically Chinese design awards, which
deliberately emulate international giants like iF and Red
Dot, have become the focus of enthusiastic competition
among designers, they also have significance for the pub-
lic at large. Liu explains that Golden-Pin-winning works
offer the general public an accessible means of gaining a
better understanding of good design.
Speaking about designing awards ceremonies, Lo
says, “We’ve already achieved some things, so why not
give other designers a shot? We want to see design’s
possibilities. The point isn’t whether something is good
or bad—everybody naturally wants to make something
good—the point is what you’re trying to express. If it
says something, it’s good design.” l
(Lynn Su/photos courtesy of JL Design/
tr. by Scott Williams)
29
封 面 故 事 　 　 C O V E R S T O R Y

一夜限定的「白晝之夜」，解放台北
城市空間，街頭成為藝術文化的舞台。
The all-night Nuit Blanche art festival turns
Taipei’s streets into a stage for culture and
the arts.

策展走入常民生活
換 個 角 度 看 世 界

Displaying the World from a

Different Angle:
Curation Goes Mainstream

彷彿集結了一股新的能量，台灣新生代的策展人，帶著他們想與社會溝通的概
念，將資訊重新整理、詮釋，再注入設計的思考，使源自於藝術領域的策展慢慢
發生質變，再再驚艷大眾的體驗與想像。

T aiwan’s new generation of curators are transforming art curation, creating dazzling
experiences for the general public by applying ideas from the field of design to the
presentation of the concepts they want to communicate.

30 台灣光華 Taiwan Panorama

 文•鄧慧純　圖•衍序規劃設計提供　版面設計•蕭郢岑

一夜限定的「白晝之夜」，讓上萬民眾湧進 Fantastic design festivals have popped up all over

Taiwan in recent years. Celebrations such as the all-night
台北街頭藝術狂歡；以「我們在文化裡爆炸」為
“Nuit Blanche” art festival in Taipei, the mind-blowing
主題的文博會，引爆觀者五感與思想的小爆炸；
“Cultural Explosion” themed Creative Expo Taiwan; the
將文化資產再轉化成展覽的「電力大地──台灣 fascinating exhibition “Power Infrastructure as Land-
電力文化資產保存特展」；將傳統宮廟遶境文化 scape: Taiwan Power Cultural Heritage”; the innovative
注入創新的「大溪大禧」；讓新竹人重新因出產 “Daxi Daxi” festivities; and the “Light Driving” themed

31
玻璃而驕傲的「新竹市玻璃設計藝術節──光動
Light Driving」。近年台灣的設計展多元且精彩，
每次逛完一場展，都讓觀者像經歷一場思維的洗
禮，帶著新的想法滿足離去。
一種新的觀看方式
「策展是幫社會去『翻譯』一種聲音。」說
起話來慢條斯理，彷彿每個用字都經過鍛冶、打
磨的格式設計創辦人王耀邦如是說。年紀輕輕的
他，率領的團隊已屢屢獲得德國紅點設計獎Best
of the Best、日本優良設計獎Good Design Award
best 100、台灣金點設計獎年度最佳設計等殊榮。
在他而言，「設計是邏輯性的思考」，而「策
展是讓設計發生的源頭」。2017年，王耀邦擔任
文博會總策展人，他跳脫過去商展以「產品」的
角度出發，而是從觀察到的社會現象，作為策展
「概念」的起始點，王耀邦發現當時社會大眾高
度關注文化及設計議題，各式各樣的設計展吸引
了大量的人潮參觀，趁機把策展的教育功能帶
入，以「議題」的方式包裝策展主題，帶起民眾
對社會議題的思考。他感知到文化創意在社會
中集結成一股蠢蠢欲動的能量，而將觀察加以翻
譯，以「我們在文化裡爆炸」為文博會的主題。
32 台灣光華 Taiwan Panorama
概念清楚成形，接著設計進場。王耀邦重視
展場空間不可替代的體驗，在設計上呈現傳統產
業與文化創意連結的可能性，讓白色紙片從天而
降作為空間穿透的中介，產生新的觀看可能；用
40噸透明回收玻璃珠作為地坪鋪面，讓觀者可赤
足踩踏在回收玻璃珠上。透過設計的重新編整，
「在文化裡爆炸」的概念，轉移到空間與視覺的
體驗，各種媒介都聯繫觀者的五感，每件事情都
提醒著「我們在文化裡爆炸」。
創造與大眾溝通的語彙
曾在2016年喊出「好呀！大家都不要睡」的口
號，號召了超過二十萬民眾一晚不睡，遊晃在台
北街頭，感受白晝之夜的藝術祭典氛圍，是衍序
規劃設計創辦人劉真蓉的創舉。
景觀設計出身的劉真蓉，除了說話、思考飛
快，最讓人注意到的是她話中、句尾不時出現呵呵
呵的笑聲。經手策劃過許多有趣的展覽，對她來
說，curate（策展）是一個議題經過爬梳、整合的
過程，產出的不一定是一個展覽，一種論述、甚至
一個事件都有可能，「它其實是一個重新的論述，
整理成一個重新被經驗、觀看的方式。」最重要
的是你如何把核心的價值鋪陳成吸引人的故事。
王耀邦說：「策展是幫社會
去『翻譯』一種聲音。」
（林格立攝）
“Curation helps society
interpret a voice,” says
Pang Wang. (photo by
Jimmy Lin)
「港區邊緣，策一種時空過渡的可能」發生在廢墟空間，希望引起大眾對閒置空間更多的思考。
（格式設計展策提供，汪德範攝）
“On-Site Interference/Contemplating Possibilities” encouraged the public to think about unused spaces
and buildings. (photo by Wang Te-fan, courtesy of InFormat Design Curating)
Hsin chu International Glass Art Festival honoring
Hsinchu glassmaking, have all provided visitors with
baptisms in intellectual waters filled with new ideas.
A new way of looking at things
“Curators help society interpret a voice,” explains
Pang Wang, director of InFormat Design Curating, in
his unhurried voice.
Design, he says, is a “logical reflection,” while “cur­
ation is the way that we make design happen.” As
the head curator of Creative Expo Taiwan in 2017,
Wang chose to move the expo away from its previous
commercial- expo-style focus on objects, and instead
orient it around issues. Having sensed that Taiwan’s
creative–cultural capabilities were beginning to come
together, he used the expo’s “Cultural Explosion” theme
as a medium for interpreting the phenomenon.
Wang then donned his design hat and began think-
ing about how to make his concept tangible to visitors.
Recognizing the importance of the exhibition space to
the experience, he designed it to demonstrate the feas-
ibility of linking the traditional and the creative–cultural
industries. He created new visual possibilities by using
huge white paper banners, some blank, others printed, as
intermediaries, breaking up and reshaping the exhibition
space. He also covered the floor in 40 tons of clear beads
of recycled glass, and encouraged attendees to walk on
them barefoot. His design-oriented reconfiguration ap-
plied to both the space and the visual experience, with
each medium connecting the five senses and each inter-
action drawing attention to the “cultural explosion.”
Creating a vocabulary
Tammy Liu, creative director at BIAS Architects, was
the creative force behind the Nuit Blanche Taipei art fes-
tival, which persuaded more than 200,000 people to stay
up all night wandering the streets of the city, enjoying
the art-festival atmosphere.
33
 策展走入常民生活，經過設計，展覽就如一場美學體驗。（林格立攝）
Curation has entered ordinary people’s lives, using design to turn exhibitions into
aesthetic experiences. (photo by Jimmy Lin)

以「白晝之夜」為例，「白晝之夜」是全球的 君生日，在地社頭自主出陣參與慶典迄今不墜。大
夜間城市藝術祭，2002 年創始於法國巴黎，根 溪居民視此為第二個過年，每年都要熱鬧一番。
基於「都市創新」及「公共空間設計」兩大核心 「現今台灣很多神明遶境都是由職業社頭擔當
概念，為市民提供親近藝術及城市的場域。2016 了。但大溪很厲害的是，迄今大溪遶境還是由在地
年，劉真蓉將之引入台灣，但要怎麼跟還不熟悉 的31個社頭出陣，是整個城市的動員。」這般精實
的台灣民眾溝通呢？劉真蓉和藝術總監李明道左 的社頭文化，讓劉真蓉看見文化的價值，更期望
思右想，「好呀！大家都不要睡」，這個口號蹦 在未來能發展成為台灣節慶的品牌，輸往國際。
出來，有點好笑，又引人好奇，用大眾能夠了 將傳統與當代對接，劉真蓉用策展的概念操
解的語彙溝通，先把民眾吸引出來，親身參與活 作，將節慶重新命名為「大溪大禧」，將原本兩
動，是策展中重要的溝通。那一夜，果然號召了 天的遶境活動，展延成為期三周的節慶，不僅在
超過二十萬的民眾，竄動在台北舊城區的街弄巷 地居民返鄉參與，更吸引外地民眾前來親身體驗
道，共同參與這場以光與藝術妝點的城市慶典， 「與神同巡」的遶境盛會。
是台北捨不得睡的一夜。 對於傳統，劉真蓉說：「不只想要保存，還
要讓它活起來。」於是邀請了跨領域的設計師
重新認識在地
與藝術家，與傳統社頭合作，成為節慶的新亮
一種新的觀看方式，也意味著對在地重新的 點。「大溪大禧」的平面視覺設計，讓關公露
認識。 齒一笑，還鑲了金牙，更添喜氣。社頭的旗
2018年劉真蓉走入桃園大溪，被當地仍保存的文 幟、神明的服飾等都因注入當代設計的能量，
化在地性感動。這個小鎮，每逢農曆6月24日關聖帝 有了新的氣象。

34 台灣光華 Taiwan Panorama

 A landscape designer, Liu has curated a number of
interesting exhibitions. To her, curation is “a way of turn-
ing a rediscussion into something to be experienced and
viewed again.” The key thing is finding a way to narrate
your core values in an interesting way.
A global urban art festival that began in Paris, France,
in 2002, Nuit Blanche revolves around the concepts of
urban innovation and public space design, and provides
citizens with a means to encounter art and the city itself.
Liu brought it to Taiwan in 2016, but faced the question
of how to communicate the festival’s idea to Taiwanese
unfamiliar with it. Liu and art director Akibo Lee racked
their brains before finally coming up with the slogan, “Let’s
源自於藝術領域的策展慢慢發生質變，再再驚艷大眾的體驗與
想像。圖為2017年文博會「我們在文化裡爆炸」展場空間。
（格式設計展策提供，汪德範攝）
Curation has been slowly transforming from its roots in the arts,
offering the public breathtaking experiences and spurring their
imagination. The photo shows the exhibition space for the 2017
“Cultural Explosion” themed Creative Expo Taiwan. (photo by
Wang Te-fan, courtesy of InFormat Design Curating)
not sleep tonight!” A little bit humorous, the slogan also
piqued people’s curiosity. By putting the idea in a way the
general public could understand, they succeeded in bring-
ing people out for the event. In fact, more than 200,000
people attended that year’s Nuit Blanche. Who could bear
to sleep with Taipei dressed up in art and lights?
Knowing a place anew
New ways of seeing things also imply the possibility
of coming to know a place anew.
In 2018, Liu attended Daxi District’s birthday celebra-
tion for the god Guan Yu, which the Taoyuan community
holds each year on the 24th day of the sixth lunar month.
Local clubs (“shetou”) that participate in the deity proces-
sions elevate the festivities into something that residents
regard as almost a second Lunar New Year, and celebrate
enthusiastically.
“Nowadays, most of Taiwan’s deity processions are
handled by shetou associated with trade or professional
groups. The amazing thing about Daxi is that it still
has 31 local shetou participating in its processions. The
whole community mobilizes for the celebrations.” This
well-established shetou culture showed Liu the value of
35
 僅只一晚在李騰芳古宅舉辦的「神嬉舞夜」，
更結合了老宅、光影與電音搖滾的元素，打造一
晚傳統與當代設計的大溪限定。是一場跨越當代
設計與民俗信仰的城市祭典，更讓在地居民從文
化中找到自信與驕傲。
不僅傳統祭典，在地產業也需要被重新認識。
玻璃產業已與新竹並行九十多個年頭了，新
竹居民是否因為新竹出產玻璃而驕傲呢？王耀
邦在承接2018年新竹玻璃藝術節時如此提問。
他以「光動L i g h t D r i v i n g」為主題，導入設計
元素，玻璃的晶瑩通透與光影的互動宛如一場
秀，藉由設計、藝術及觀者的參與，新竹的玻
璃與城市居民的生活產生連結，產生共感，
「市民觀展時產生了榮耀感，那就是很好的社
會設計，因為民眾參與其中。」王耀邦說。
改變的起點
除了傳達業主的訊息，開放地廣納意見、勾起
大眾的思考與討論，是許多策展人背後想要達成
的意圖。
因白晝之夜與劉真蓉結緣的台灣電力公司，可
說是台灣基礎建設的始祖，近年老企業盤點了老水
壩、老電廠的資料，捧著這些文資素材，卻不知
道如何跟民眾溝通，因而找上了衍序規劃設計。

一夜限定的「神嬉
舞夜」，結合老宅、
光影與電音搖滾的
元素，是一場跨越
當代設計與民俗信仰
的城市祭典。
The “Gods’ Dance
Night” event at the
Daxi Daxi festival
blended an old
building, a light
show and electronic
rock music into an
urban ceremony that
transcended both
contemporary design
and folk beliefs.

「電力大地──台灣電力文化資產保存特展」引人
思考台灣未來能源的方向。
The exhibition “Power Infrastructure as Landscape:
Taiwan Power Cultural Heritage” invited visitors to think
about the future direction of power generation in Taiwan.

36 台灣光華 Taiwan Panorama

“culture” and stirred an ambition to turn it into an ex-
portable Taiwanese festival “brand.”
Liu’s re-envisioning of the festival joined traditional
and modern elements, renamed it “Daxi Daxi” (the
first Daxi being the name of the district, meaning “Big
River,” and the second meaning “great happiness”), and
extended the original two-day procession into a three-
week event that attracted people from outside the com-
munity who wanted to experience “making the rounds”
with the gods for themselves.
Liu says, “I didn’t just want to preserve tradition, I
wanted to bring it to life.” To that end, she invited de-
signers and artists from multiple fields to work with the
shetou to turn the festival into an attraction.
The festival’s “Gods’ Dance Night” event at the his-
toric Li Tengfang residential compound combined an old
building, lights and electronic rock music into an evening
of contemporary and modern design. Liu’s efforts have
made Daxi Daxi into an urban festival that extends con-
temporary design and folk beliefs in a way that enables
locals to find pride and self­confidence in their culture.
Traditional festivals aren’t the only ones needing a
makeover. Local industries do too.
Hsinchu has maintained a glassmaking industry for
more than 90 years, but do Hsinchu residents take pride in
it? That was the question Pang Wang asked himself when
he took over the Hsinchu International Glass Art Festival in
2018. Choosing “Light Driving” as that year’s theme, Wang 策展讓劉真蓉深入地方，重新認識自己的文化。（林格立攝）
Curation has helped Tammy Liu see her own culture with fresh
designed the festival to make it as clear as glass and as inter- eyes. (photo by Jimmy Lin)
active as a show. Using visitor participation and elements
drawn from the arts and design, he forged links between the
festival and city life. “When locals take part in the festival,
they become proud of Hsinchu’s glassmaking,” says Wang. Combing through the data, they learned that TaiPower
“Public participation makes for good social design.” initially relied on hydropower to generate electricity,
The beginning of change and that the water that drives hydropower systems
Many curators seek to elicit a broad range of opinions gains its power from mountainous terrain.
through their work. They hope to solicit the general pub- The exhibition “Power Infrastructure as Landscape:
lic’s thoughts and initiate discussion. Taiwan Power Cultural Heritage” began its story with
Taiwan Power Company, which connected to Liu via a map from 1919. At the time, the Japanese colonial
Nuit Blanche, can be considered the progenitor of Tai- government was studying the relationship between Tai-
wan’s infrastructure. A few years ago, the company took wan’s terrain and its water resources to develop a 50-
inventory of documents related to its old dams and power year roadmap for power generation. This terrain-reliant
plants, and decided it wanted to make those records avail- power supply system established the basis for Taiwan’s
able to the public. Unsure how to communicate with soci- modern development. Even though hydropower now
ety at large, it turned to BIAS Architects for help. accounts for only a very small percentage of Taiwan’s
Liu and her team dove straight into the documents. electricity generation, “the TaiPower exhibition aimed to

37
 衍序規劃設計於2018
年桃園農業博覽會
策 劃 「鼓勵好室Green
House」，用溫室實現
未來生活家屋的想像。
BIAS Architects designed
the Green House for the
2018 Taoyuan Agriculture
Expo, using an actual
greenhouse to imagine
the home of the future.

劉真蓉的團隊一股腦兒地跳下去研
「UP TO 3742｜臺灣屋脊上」用科技載具把台灣
究，梳理資料，了解台灣的電力供給最 的高山壯闊搬進展間，讓觀者體驗一種新的
觀看方式。（格式設計展策提供，汪德範攝）
初是仰賴水利發電，水力則依附山勢地
“Up to 3742 – Top of the Ridge” used technology
形而生，因此可說台灣的電力是從大地 to bring the majesty of Taiwan’s mountains to an
exhibition space, enabling visitors to experience
而來。 them in a new way. (photo by Wang Te-fan,
courtesy of InFormat Design Curating)
「電力大地──台灣電力文化資產
保存特展」就從1919年一張古地圖
說起，當時日本人盤點了台灣地勢與
水文，做為未來50年發電所的預測。 紛紛從台北專程搭車到基隆來，體驗
依附山川大地而建置的供電系統，構 空間的過渡性。
連著台灣現代化發展的脈絡。雖然如 王耀邦提出：「是否『翻修』是都
今水力發電佔總發電量極低的比重， 市空間的唯一途徑？」希望引發大眾對
但是，「台電文資展的背後，更可以 閒置空間更多的思考，更多公共性的想
討論的是台灣的電力未來要往何處發 像，這或許就是策展推動改變的開始。
展，這或許是當今社會的敏感議題， 2019年春天，文博會蓄勢待發，劉
但卻是電力公司需要跟台灣社會溝通 真蓉接下文博會的棒子，更將場館擴展
的課題。」劉真蓉說。 到華山文創園區、圓山爭艷館、松菸文
王耀邦則提及先前策劃的「港區邊 創園區、台灣當代文化實驗場C-LAB以
緣，策一種時空過渡的可能」展覽。 及台北機廠一隅。玩心不減的劉真蓉，
利用閒置的基隆市警察局第二分局為 打出「Culture on the move」的主題，
辦展空間，不花預算在空間整修，只 對接傳統與現代的表演藝術，台上3分
在裡頭安置大量的植栽，請花藝師在 鐘，台下10年功，不停擺的演出，展演
空間中稍事妝點，請詩人創作關於基 文化的變動與產出的永無休止，一場文
隆的詩，在基隆多雨潮濕的氣候，展 化的動態實驗進展中，怎能不讓人引頸
場裡的植物愈發欣欣向榮，許多民眾 期盼呢？ l

38 台灣光華 Taiwan Panorama

spark a discussion about the future direction of electric-
ity generation in Taiwan. It’s an issue the power com-
pany needs to talk to the Taiwanese community about,”
says Liu.
The exhibition “On-Site Interference/Contemplating
Possibilities” that Pang Wang once curated in an unused
space belonging to the second precinct of the Keelung
City Police Bureau may have marked the beginning of
the use of curation to promote change.
Underlying the project was a question: “Is rebuilding
the only option for urban spaces?” Wang hoped to make
people think more about idle spaces and spur their col-
lective imagination. He spent no money renovating the
building, and instead simply installed numerous potted
plants to transform it into a transitional space.
In the spring of 2019, Creative Expo Taiwan has
momentum at its disposal. Liu has taken the baton
from Wang and extended the expo’s stage to include
Tai pei’s Hua shan 1914 Creative Park, Expo Dome,
Song shan Cultural and Creative Park, Taiwan Con-
temporary Culture Lab (known as “C-LAB”), and a
corner of the Tai pei Song shan Airport. Having cho-
sen “Culture on the Move” as this year’s theme, the
ever-playful Liu is connecting traditional and con-
temporary performing arts with a nonstop series of
performances demonstrating the ever- changing and
ever-productive nature of culture. Who isn’t curious
about that? l
(Cathy Teng/photos courtesy of BIAS Architects/
tr. by Scott Williams)
39
封 面 故 事 　 　 C O V E R S T O R Y

翻 轉 台 灣 工 藝
台灣工藝美術學校

Taiwan School of Arts & Crafts:

Revitalizing
the Craft Industry

有「台灣工藝之父」稱號的顏水龍在《台灣工藝》這本書中，提倡活用台灣原有
材料之美，設計符合現代人生活的工藝用品，透過美術設計與工藝技術的結合，不
但可以外銷，也可保持傳統技藝、豐富文化素質，又可兼顧國家經濟利益。
顏水龍提倡「工藝設計」的精神，映照這幾年來，有一股強調手作工藝的風潮默
默崛起，包括工藝體驗課程方興未艾，傳統工藝產業創新轉型等，這一切可以從台
灣工藝美術學校的創辦說起。

I n his 1952 book Formosa Industrial Art, Yan Shui-long, dubbed “the father of Taiwanese
crafts,” proposed the creative utilization of Taiwan’s indigenous materials in the design
of craft products that would conform to a contemporary lifestyle. By fusing artistic design
with craftsmanship, not only could these goods be exported, they could preserve artisanal
skills and nurture society’s cultural awareness, while also benefiting the national economy.
Influenced by the spirit of Yan’s vision for craft design, over the last few years a wave of
emphasis on handmade crafts has quietly arisen, including recently popular hands-on “ex-
perience courses,” and the transformation of traditional craft industries via innovation. These
trends can all be traced back to the establishment of the Taiwan School of Arts & Crafts.

文•曾蘭淑　圖•林格立　版面設計•蕭郢岑

「顏水龍的年代，工藝是穩定農村經濟的力 “In Yan Shui-long’s era, craftsmanship was a stabiliz-

量；現今，用現代的語彙，振興工藝就是地方創 ing force for the rural economy. Nowadays, to use modern
termino­logy,­ revitalizing­ craftsmanship­ signifies­ ‘regional­
生。」台灣工藝美術學校創辦人陳明輝開門見山
revitalization,’” opines Chen Minghui, founder of the Tai-
地指出，顏水龍當時致力推動台灣工藝教育，與
wan School of Arts & Crafts. In the past, when Chen chan-
他創辦工藝美術學校的初衷是一樣的：「希望台
neled his energies into Taiwanese crafts education, his aims
灣工藝不只是博物館展出的藝術品，而是透過設 were the same as when establishing the school: “I didn’t

40 台灣光華 Taiwan Panorama

41
三和木藝製作木工桌的下半部，運用製造神桌的工法，十分穩重。
Solidly moored: Sanhe Wood Art applies the same techniques to constructing
woodworking benches as to making shrine tables.

計，讓充滿文化與美感的工藝品，回到現代人的 原來台灣傳統工藝自1980年代以後，由於
日常生活中，同時創造穩定在地經濟的地方創生 塑膠等工業製品大量取代天然材質的用品，經
模式。」 濟規模銳減，產業鏈出現斷裂，工藝師產生斷
層，一路朝向工藝產品沒落的命運，導致竹
創辦台灣工藝美術學校
材、金屬、染織及刺繡等不同的工藝製品逐漸
留著一臉絡腮鬍的陳明輝，談起創辦工藝學校 從日常生活中消失。
的緣由，卻是起因於在公部門的挫折。 在經營面不斷摸索，發現要振興台灣工藝不
曾在國家文化藝術基金會擔任扶植社區與部落 只在加強行銷，而是從體質來改變。要同時解決
工藝的工作，他發現，台灣木業代工能力很強， 生產端工藝師養成太晚，與培養消費者的工藝素
曾是全球前3大的代工產業，年輕一輩設計師的 養，2018年陳明輝決定成立台灣工藝美術學校：
產品，能夠做出比照歐盟標準品質的好產品，卻 「解決人的問題得從教育下手。」
苦於沒有通路，陷入難以營生的窘境。 累積10年的想法與能量，在創校之際一併爆
為了幫年輕的工藝設計師行銷，陳明輝自己 發，先是與亞洲手創展、29個工藝品牌合作，一
跳出來，2008年開了一家「河邊生活」台灣工藝 口氣開了50個工藝課程，得到很好迴響。還有教
品專賣店，2坪大的店，卻用博物館導覽的方式 育部不約而同在108學年度新課綱，強調回復手
來介紹與販賣台灣工藝品，可以說是「生活選物 作的工藝課，回應工藝教育的需要。
店」的前身。但真正接觸市場面後，卻面臨年輕 工藝課程方興未艾，陳明輝分析，現在台灣
一輩的消費者對竹、藤等天然材質工藝品的不熟 人很愛學東西，來自於社會情境的改變，雖然
悉，以及在生產端工藝師嚴重不足的雙重挑戰。 生活無所缺，但能夠自己做一個杯子，有學習

42 台灣光華 Taiwan Panorama

want Taiwan’s craftsmanship to be limited to items on
display at a museum. I wanted handicrafts that, thanks to
their design, would be full of culture and aesthetic appeal,
and­could­once­again­figure­in­the­modern­person’s­daily­
life. At the same time, I wanted to create a modality for re-
gional revitalization that would stabilize local economies.”
Establishing Taiwan School of Arts & Crafts
While chatting about how he came to found the school,
Chen Minghui, who sports a neatly trimmed beard, reveals
that the school’s origins were rooted in setbacks he faced
while working in the public sector.
At one time, Chen worked for the National Culture and
Arts­Foundation,­offering­support­to­community­and­tribal­
crafts. He discovered that Taiwan possessed strong capabili-
ties in woodworking, and once ranked among the top three
contract suppliers worldwide. But while the younger genera-
tion of designers could turn out goods that were comparable
in quality to EU craft products, due to a lack of distribution
channels the industry found its livelihood under threat.
木工課老師Elbracht從德國帶來木槌的工具，讓工藝老師體驗不同年齡學童使用不同工具的程序。
Woodwork teacher Stephan Elbracht transported his own set of mallets from Germany to let his trainees—handicraft
instructors themselves—experience using different tools appropriate for students of different ages.
In order to help young designers market their ori-
ginal works, Chen exited the public sector and in 2008
opened “Liv’in Riverside,” a shop specializing in
Taiwanese handicrafts. It utilized a “guided museum”
approach to introducing and selling made-in-Taiwan
crafts, and can be considered as a predecessor to “con-
cept stores.” This interaction with the real market-
place, however, revealed the industry’s dual challenge:
younger consumers’ lack of familiarity with crafts made
from natural materials such as bamboo and rattan, and,
on the production side, an extreme shortage of artisans.
As he continued his explorations in operating a retail
outlet, Chen realized that rejuvenating Taiwan’s handi-
craft industry was not simply a marketing challenge;
the existing system required change. So in 2018 Chen
made up his mind to establish Taiwan School of Arts
& Crafts, because “if you want to solve the personnel
problem, you must start with education.”
The ideas and energy Chen had accumulated over a
43
 台南光彩繡莊的傳統刺繡
課 程，學員們專注聆聽。
（台灣工藝美術學校提供）
Trainees are clearly engrossed
in this lesson on traditional
embroidery offered by Tainan’s
Guangcai Embroidered Craft.
(courtesy of Taiwan School of
Arts & Crafts)

的體驗，又有創造物件的成就感。 教5∼12年級木工課，長達30年木工教育經驗的
這是體驗經濟的時代，透過工藝課的深度體 Stephan Johannes Elbracht來台灣培訓木藝老師。
驗，甚至學到一個技能，創造轉職的機會，也是 培訓課一開始，他先用一把「斧頭」鑿開木頭，
成就一個職人經濟的契機。他說：「不同領域人 這一「劈」，嚇醒了前來上課的工藝老師，也翻
才的加入，超乎我們的想像，例如原先從事科技 轉了大家對木工課程的想法。
業、公關業的人，也讓台灣工藝發展更多元。」 在充滿木料香氣的教室中，E l b r a c h t的工藝
課，讓學生從感受木頭纖維的味道與質地開
翻轉對工藝課的想像
始，領悟使用自然材質做工藝品的價值；再從
教育部108課綱計劃回復在九年一貫課程中消 做一支木湯匙的過程中，教孩子體會湯匙背後
失的工藝課，將「科技領域」分為資訊和生活科 線條所表現的韻律感與軸線。
技兩個不同科目，屬於生活科技領域的工藝課有 做一支湯匙的木工課，拆解了對森林的知識
專屬的時數，強調動手實作的知能，進一步也能 面、在地連結的文化面，以及如何做的技術
培養對工藝的素養。 面。工藝課程的精髓在於感受自然的材質與動
工藝課希望結合木工、陶瓷、植物染等在地 手做的價值，或許更進一步發掘孩子對工藝的
工藝產業，例如桃園大溪是神桌、木製家具的重 興趣，打開孩子手作天賦的開關，與建立自信
鎮，又有木藝生態博物館，台灣工藝美術學校則 等種種可能性。
協助培訓師資，設計課程，在校園推動適合兒童 「木工課在德國是主流課程，不像在台灣是
的木工課程。 副課程，用來休息或是被借去上理化或數學。」
但是，要讓兒童在學校拿鋸子做木工？ 協助設計教案的政治大學幼兒教育研究所所長倪
台灣工藝美術學校邀請一位在德國華德福學校 鳴香指出，「木工課程的設計不在教技術，而在

44 台灣光華 Taiwan Panorama

decade literally exploded upon the establishment of the
school. It first collaborated with Pop Up Asia exhibi-
tions and 29 handicraft brands, and launched 50 arts
and crafts courses all in one go. Feedback was positive.
Furthermore, in an uncoordinated but fortuitous move,
the Ministry of Education announced that it would re-
introduce a school handicrafts curriculum in Taiwan’s
2019–20 academic year syllabus.
Turning conventional wisdom upside down
After an absence of nine years, the return of handi-
crafts to the syllabus follows the division of the “tech-
nology domain” into two distinct subjects: IT and life
sciences. A certain number of class hours will be devoted
to handicrafts that emphasize practice of manual skills,
in order to cultivate appreciation for craftsmanship.
For example, Taoyuan’s Daxi District is a center for
fabrication of shrine tables and wooden furniture, and
home to the Daxi Wood Art Ecomuseum. In order to 台灣工藝美術學校創辦人陳明輝，希望能讓充滿文化與
promote in-school woodworking classes for young stu- 美感的工藝品，回到現代人的日常生活中。
Chen Minghui, founder of the Taiwan School of Arts & Crafts,
dents, Taiwan Arts & Crafts School assists the district in hopes to bring handcrafted items full of culture and aesthetic
appeal back into the daily lives of the modern citizen.
teacher training and curriculum design.

木工車床製木筆課程，學員從過程中，體驗製作一支獨一無二筆的成就感。（台灣工藝美術學校提供）
Operating a woodturning lathe, students experience the sense of accomplishment that comes from creating a unique
wooden pen body. (courtesy of Taiwan School of Arts & Crafts)

45
 於讓木工文化與手作文化回到台灣社會；木
工教育是扎根的教育，重點不在頭部，而是
『心與手的連結』。」
木工課老師Elbracht強調必須根據孩子身心
發展的不同階段施教，並使用不同的工具。
因應Elbracht的建議，在桃園三和木藝工作坊
的協助下，做出了第一個台製的木工桌，桌
面可以固定夾鉗等不同木作物件。負責製作
的「阿郎師」林明郎說，木工桌的下半部運
用製造神桌穿戴、榫接的工法，厚達3吋的桌
腳，讓從事木作時更安穩、踏實，希望藉此
提供學童更安全與專業的學習環境。

設計即是生活

然而，台灣傳統工藝的凋零，似乎說著相
同的故事，老師傅的凋零、產品不再為時代
所需。這個看似難以扭轉的趨勢，是否能透
過充滿創新的設計思維促成實際改變？
台灣其實有愈來愈多傳統工藝產業，試著
以創新、創意的設計，與新一代的消費者溝
通，建立工藝品的新形象與品牌。重新回到
家族接手漆藝製作的賴信佑，便是一例。
賴信佑是漆藝家族光山行的第三代，他的
祖父賴高山，曾在日本人山中公在台中市自
由路所設立的工藝傳習所學習漆藝，並以難
度高的千層堆漆技法製造茶器、碗盤、菸盒
等禮贈品，外銷日本，所賺的錢買了現今賴
高山藝術紀念館的房子，並且栽培兒子賴作
明前往日本留學，成為漆藝創作的藝術家。
然而漆器與其他傳統工藝一樣，由於塑
接手家族漆藝製作的賴信佑，透過體驗課推廣漆器，
經營粉絲。 膠、不鏽鋼等大量製品，讓這項極度費時費
Lai Hsin You has taken over the family’s lacquerware
production, and utilizes “experience classes” to promote
力的傳統工藝面臨嚴重的打擊。作為第三
lacquer art and build fan loyalty. 代，賴信佑沒有走上傳統漆藝工藝師創作、
得獎、參展的路，「這樣無法讓被淘汰的東
西回來。」賴信佑反而選擇他祖父的路線
──回到漆藝生活用品，以設計結合現代的
元素，例如漆器耳環、筷子餐具組，推動漆
器生活化。
「大約有百分之八十的人不曾買過漆器，
並且一聽到『漆』，都會以為是化學塗料，
作裝潢用的。」賴信佑每週末奔走於全省各

46 台灣光華 Taiwan Panorama


製作漆器基礎塗裝，先用濾紙將天然的樹漆過濾。
To make lacquer base coating, filter paper is employed to
filter the sap of the lacquer tree.
not on the head, but on the connection between hand
and heart.”
Design is life itself
The demise of one after another of Taiwan’s tradi-
tional crafts seems to recount the same sad tale: the
disappearance of master craftsmen, and products no
longer essential to contemporary lifestyles. Can this
trend, seemingly irreversible, actually be addressed
through innovative design concepts?
In fact, more and more traditional craft industry
sectors are experimenting with creative designs and
interaction with a new generation of consumers in or-
der to establish a fresh image for handicrafts carrying
new brand names. Lai Hsin You, who returned to take
over his family’s lacquer art business, is one example.

But does this mean students, saw in hand, practicing car- 賴信佑的祖父賴高山，以難度高的脫胎技法所創作的
pentry in school? 漆藝作品獨木舟，上有原住民的圖騰，充滿台灣風味。
Taiwan style: Lai Gaoshan, Lai Hsin You’s grandfather,
Taiwan Arts & Crafts School invited Stephan Johannes El- employed the “bodiless lacquer” method to create this
bracht, who has three decades of education experience in the lacquer canoe, which features decorative patterns inspired
by indigenous culture.
field—including­teaching­carpentry­to­students­in­grades­five­
to­12­at­a­Waldorf­School­in­Germany—to­train­craft­
teachers on the ground in Taiwan. For the opening
of his training course, he used an axe to cleave a
large block of timber. This dramatic act of sunder-
ing shocked his trainees, and turned upside down
their ideas of what constitutes a woodworking class.
In his classroom, filled with the fragrance of wood
shavings, students can experience the flavor and texture of
wood­fiber,­and­become­aware­of­the­value­of­utilizing­natural­
materials to create crafts manually; or, via the process of shap-
ing a wooden soup spoon, a youngster can be taught how to
appreciate the rhythm and patterns represented by the wood
grain on the back of that eating utensil.
“In Germany, woodworking is a mainstream course, unlike
in Taiwan where it is secondary and treated as an excuse to
take­a­rest,­or­from­which­time­gets­‘borrowed’­for­classes­in­
the sciences or mathematics,” explains Ni Mingxiang, director
of the Graduate Institute of Early Childhood Education at Tai-
wan’s National Chengchi University, who helped design the
lesson plans. “The woodworking curriculum is not designed to
teach technical knowhow. It is intended to help woodworking
culture and manual craftsmanship to return to Taiwan society.
Training in carpentry is fundamental education. The focus is

47
三和瓦窯迷你型的「起厝」砌磚組，
以創意將磚材變工藝品。
Sanhe Wood Art’s miniature housebuilding kit creatively
transforms bricks into a handicraft item.

地市集，推廣漆藝，面對面與消費者溝通：「漆
是取自天然漆樹的材質，將漆一層一層的堆疊
至數十層做成的漆筷，溫潤光滑，耐高溫又好
清洗，沒有木筷容易發霉的缺點。」他同時透過
「漆藝體驗課」，讓消費者在細膩繁複的工序
中，感受漆器的價值與美好。

社會設計，工藝智慧

除了光山行的賴信佑，五十多年歷史的木器行
三和木藝，以體驗木作課程，讓學員製作感受鑿
孔、榫接的力道及實木的厚度，做出抽屜凳、鍵
盤桌或是珠寶盒，體驗木作工藝品的價值，也是
以推廣適合現代生活風格的工藝設計。
台灣工藝美術學校計劃今（2019）年7月舉
辦「砌磚大賽」，創辦人陳明輝希望藉由與近
Lai is the third generation of his family to operate
百年歷史的三和瓦窯合作，讓傳統工藝不斷地 Kousan Craft, a lacquerware producer. His grandfather
被看見。位於高雄大樹的老窯廠，已從建材供 Lai Gaoshan formerly studied at the Taichung Institute
應的老磚廠朝向古蹟修復等方向轉型，並且基 for Crafts Education, run by Tadasu Yamanaka of Japan,
於「推動磚瓦文化」的使命感，將磚材變工藝 and employed the difficult-to-master “thousand-layer”
品，例如迷你型的「起厝」砌磚組，讓時下的 technique to create gift items such as tea ceremony uten-
sils, tableware and cigarette cases. Proceeds from exports
消費者透過D I Y，做成燭台、咖啡座等，享受
to Japan were used to purchase the building that today
「現代」砌磚的樂趣，也是透過創意，創造傳
houses the Lai kou san Memorial Art Museum, and to
統工藝價值的設計。
dispatch his son Lai Zuoming, who eventually became a
陳明輝認為，許多傳統工藝產業朝向知識服務 master craftsman of lacquerware, to Japan for studies.
業轉變，製造產品的價值不在產品本身，而是技 Like other traditional crafts, however, with the mass
術與在地文化的連結。他相信透過教育系統的努 production of plastic and stainless-steel items, lacquer-
力，讓台灣工藝充滿了未來性。「或許10年後， ware—due­ to­ its­ extremely­ time-consuming­ and­ labor-­

當孩子告訴父母，我要去當木工師傅時，父母親 intensive­ fabrication—is­ under­ serious­ threat.­ Lai­ Hsin­

You has chosen to follow in the footsteps of his grand-
會說，非常好。」希望從教育著手的陳明輝笑著
father, returning to production of more mundane items
作出結論，就像顏水龍所強調的「工藝設計」
in which design can be integrated with modern ele-
的理念，提供歷久彌新的解答：用工藝設計的智 ments—like­earrings,­or­chopsticks­with­rests—in­order­
慧，重新架構我們的生活。 l to promote lacquerware’s quotidian usage.

48 台灣光華 Taiwan Panorama

 “As many as eight out of ten people have never
bought an item of lacquerware, and when they hear the
term­‘lacquer,’­they­assume­it’s­a­chemical­coating­used­
for interior decoration,” laments Lai. Each weekend he
commutes between markets across the island, promoting
the art and communicating face to face with consumers.
“Lacquer is made from the sap of the lacquer tree. Lac-
quer chopsticks consist of multiple layers applied one by
one. They are warm and smooth to the touch, resistant
to high temperatures and easy to clean, and unlike their
wooden counterparts, they don’t tend to grow moldy.”
Via his lacquer art experience classes, Lai helps consum-
ers feel the value and beauty of lacquerware through the
complex process of their fabrication.
Craftsmanship with society’s needs in mind
In addition to Kousan Craft’s Lai Hsin You, there is
also furniture supplier Sanhe Wood Art with more than
five­decades­of­experience.­It­employs­carpentry­courses­
to help students use their hands to get to know the thick-
ness of the wood and the force needed to chisel out a
木工師訓營的老師們，擔負著培育手作與教育工藝人才的使命，重現工藝在這個時代的價值。
Woodworking “boot camp” trainees: The mission of these teachers is to nurture the manual arts and
handicraft talent of tomorrow, thereby highlighting the value of traditional craftmanship in the 21st century.
hole or assemble a joint, by making a stool with drawers,
a table with a keyboard tray or a jewelry box. In so do-
ing, they experience the real value of an item fashioned
from wood. At the same time, this is a way of promoting
handicraft design that suits a contemporary lifestyle.
In Chen Ming hui’s opinion, many traditional craft
industries are transitioning toward becoming knowledge-
based service industries. The value of a handmade product
is not in the product itself; rather it lies in the link between
technology and localized culture. He believes that thanks
to­the­efforts­of­the­island’s­educational­system,­Taiwan’s­
crafts industry is full of promise. “Perhaps ten years from
now,­when­a­child­tells­his­or­her­parents,­‘I­want­to­be­a­
master­ craftsperson,’­ they­ will­ respond,­ ‘Great!’”­ Chen,­
who is keen to start from education, concludes with a
smile that like Yan Shui-long and his emphasis on the con-
cept of “craft design,” he is hopeful that a lasting solution
can be found: utilizing the wisdom of revitalized craft de-
sign to add a new structure to our lives. l
(Esther Tseng/photos by Jimmy Lin/tr. by Bruce Humes)
49
 我感
謝《
這片 光華
土地 》，
Th 上許
ank 因為
hav you
, Ta
許 多多 這道
e sh i 光，
『光 o ne w an P 瑰麗
華美
華』 upon th anorama 的吉
了
をよ の光 is la , fo
r
光片
り美 は台 nd
for the
l
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しく 湾 so i g ht
（新 照ら の数々 many y you
我從 北 して の美 ear
s.
朱哲 くれ
ます しい瞬
光著 輝/
閱著 腳ㄚ Jull
《光 子到 ian
Ch 。 間
為華 華》 踩著 u, N
麗的 ， 異國 ewT
因為 土地 aip
I’ve 永恆 它記 翻 ei C
ity）
been 。 錄剎
from read 那成
m ing T
my t y ba aiwa
ime refo n Pa
ot yo noram
mom abro uth a for
ent a ad, b all th yea
ecau e wa
裸足 nd m se it y thr rs,
akes capt ough
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華』を から autif the
読み 異国 ully
eter
つづ を 訪 n al.
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けて で『光
にと つの きま
どめ 素晴 した
てく らしい 。
『光
れま 瞬間
（挪 す。 を永
威E
ll isa
Yao
遠
/ Ell
isa
Yao
, No
rway
）

我在
海外
擁有 40年
《國 的歲
法， 家地 月裡
以及 理雜 特別
《財 誌 喜愛
As s
om
》 的 《光
富》 內涵 華》
fond eone wh 雜誌 、《 ，因
ness o ha 的 編排 時代 為它
Geog for T s live 》雜
raphic aiwa
n Pa
d ab
r
形 式。 誌的
, wri noram oad for 寫
海外 ting li a be 40 y
に暮 ke T caus e
e it o ars, I ha
んで らし ime,
a v
きま て4 nd a ffers eap
した 0年 layo cont artic
フィ 。
『光 、いつ ut lik
e For
ent li
ke N
ular
ック 華 も『光 tune. ation
我的 『フ 』 誌に 』の内 華』を al
記憶 ォー 匹敵
在美 中有 チュ し、文 容は『ナ 楽し
み
好的 一片 ン』誌 章は『 ショ に読
年代 《光 に匹 タイ ナル
更有 裡除 華》 敵し ム』誌 ジオ
著「 ，因 ます グラ
Taiw 光華 了 美好 為 。 、 レイ
an P 」 的輝 的記 アウ
mem anora
ma h 煌。 憶， （美
國王
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ori
es be a
s its 福權
not cau own / Ke
only n
my o se then spac tW
e in an
but wn m I get my
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an P emo old o
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ries
of g n to
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,
出 。美 し 光 華 .
とと い時 』の世
もに
常に『 代の、美 界が
光華 しい
（台
北徐 』があ 思 い
志蓮 りま
/ Xu
Zhil
す。
ia n, T
aipei）

我喜閱《
光華》，
閱讀台灣 因為它讓
的風土民 我透過其
情與歷史 他語言來
I love Tai 風采。
wan Panor
Taiwanesa because am
e it lets me
trends, cu
stoms, an read abo
外国語で d history ut
台湾の風 in other
langu
とができ 土や民俗 ages.
る『光華』 、歴史な
が大好き どを読む
です。 こ
（桃園
廖文安/
Daniel Li
ao, Taoy
uan）
感謝您陪同
《光華》四十年之久的故事旅行，
這些發自內心的真誠書寫，是《光
華》勇敢邁向新興階段的鼓舞與激
勵，在光陰韶華與世代變遷裡，我
們繼續一起迎風前行。

Thank you for accompanying us on

Taiwan Panorama ’s 40-year journalistic
odyssey. The heartfelt letters we have
received have encouraged us to be bold
in launching the magazine onto the next
leg of its journey, and we look forward
to traveling with you for years to come....

40年にわたる『光華』の物語ととも
に歩んでくださり、ありがとうござ
います。ここに寄せられた皆様の言
葉は、これから新しい時代に向けて
歩もうとする『光華』の大きな力に
なるものです。時代が変わっていく
中、これからも一緒に前進していき
たいと考えています。

請利用雜誌所附訂閱單或信用卡專用單訂閱。
To subscribe, please use the form in the back of the magazine.
お申込みには、本誌についている専用お申込書をご利用ください。

廣告
 成長‧螟蛉 ◎ 鄧慧恩
好讀
月 慧恩所寫《亮光的起點》，完成於二十一世紀的今天，
鄧 在書寫策略上，似乎與前行代的歷史小說家頗為不同。
文化認同或國族認同的問題，在整個故事敘述過程中稍稍有
所轉移。文化認同的問題隱藏在故事的背後，從一位從未受
過正規教育的台灣青年，挖掘了不為人知的故事。

王雨卿是勤勞的工友，時時刻刻都能滿足教授的要求。整
個故事的場景鎖定在台南的師範學校，他協助教授建立植物
與生物的標本。從未受過正規訓練的工友，每天站在教授身
旁供其驅使。長期的觀察，使他開始也對台灣本地的生物植
物產生興趣。日本人對台灣的生態特別注意的原因是，希望
能夠站在帝國的立場建立殖民地知識。

位階甚低的王雨卿，並不知道教授為何要捕捉那麼多生物
做為標本。對他本人而言，只是熟悉自己的生活環境。從蝴
蝶到昆蟲，就是他從小成長過程中一起陪伴的生活事物。當
他跟著教授學習之際，終於也慢慢地理解了台灣自然環境的
是一趟巡覽好文的旅程，
更是一回賞讀美篇的心靈停駐……
也是一段遍閱佳構的遨遊，

奧妙。他不知道這些標本對他的生命具有何種意義，也不知
道教授的研究是有何種企圖。在日日夜夜重複的生活過程
中，他終於使自己的生命與自己的鄉土慢慢結合起來。

（節錄陳芳明教授推薦序）

雨 卿 喜 歡 登 山，喜 歡 獨 自 一 個 是 圓 的，這 種 蝸 牛 的 殼 尖 尖 長 長

人帶 著 些 許 的 米 跟 曬 乾 的 高 麗 菜 的，殼的內口外 唇緣邊，有一 個弧

干、小鍋、帆布帳 棚上山去面 對大 度優美的突 齒，「像 是校長抽的煙

自 然，背 袋 裡 裝 著 牧 先 生 借 他 的 管啊！」他微笑地想著。

珍 貴論 文，走 到疲 累了的 時 候，坐 這 些 像 煙 管 的 蝸 牛，殼 的 顏 色

下休息，就著日光閱讀。 泛 著 咖 啡 褐 色 的 紫 光，是 一 種 難

有時，飛鳥從頭頂上飛過去，風 以 言 喻 的 顏 色。雨 卿 小 心 地 撿 起

吹 過來，聽見樹 葉搖曳的聲 音，那 牠 們，像 是 紡 錘 的殼，中 央 渾 厚，

是一種被撫慰的感覺。 尖端漸 趨於細，起伏的線條，手感

他後來著迷於一種 殼 的形 狀像 飽滿而豐潤。

紡 錘 的 蝸 牛，不 像 一 般 蝸 牛 的 殼 回 到 研 究 室 後 的 雨 卿，學 牧 先
生一樣，拿起 厚紙板，在光滑的紙 潮 蟹，大 正十 一年（19 2 2）更在阿

面 寫 著 下 這 隻 蝸 牛 的 記 述，後 來 里山首次發現台灣 特產的山椒 魚

這種 蝸牛，就被命名為「王氏煙管 （サンセウウ），命名為Hynobius

蝸牛」。 f o r m o s a n u s，將F o r m o s a冠入

牧 先 生不僅 將雨卿當成自己的 命名之中，加上拉丁文的「屬於」

學 生來教導，更像 是自己的孩子， a n u s，把 這 種 身 長 有 尾，且有 四

從內地、台北寄 來 的 資 料、刊 物， 肢，皮 膚 表 面 有 特 殊 山 椒 的 刺 激

都讓雨卿一睹為快，也因為這樣， 性 味 道 的 兩 棲 類 動 物，與 台 灣 的

雨卿發現，牧先生每趟出門採集， 名字連 結在一起。

並非只 是單 純 踏遊、記錄而已，事 不 僅 如 此，雨 卿 也 發 現，牧 先

實 上，牧 先 生 將 記 錄 資 料 帶 回 來 生 不 僅 對 動 物 有 研 究，對 於 植 物

後，遍 查 各 種 資 料，做 科 學 的 分 也 有 熱 愛，尤 其 對 於 樹 木 的 病 蟲

析、研 究，課 餘 時 間，他 常 埋 首伏 害 著 力 甚 深。雨 卿 讀 過 他 發 表 於

案，撰寫研究報告。 《 林 業 試 驗 場 特 別 報 告》第 一 號 書名：亮光的起點

作者：鄧慧恩
幫 忙 找 資 料，大 量 閱 讀 相 關 資 文 章，以 非 常 長 的 篇 幅 討 論 行 道
定價：350元 頁數：312頁
料之後，雨卿驚異的發現，眼前的 樹 與 觀 賞 植 物 的 害 蟲 問 題，他 也 出版： 印刻文學

這 位 牧 先 生，是 一 個 如 此 熱 中 發 對 蛀 蝕 房 屋 的 白 蟻、妨 礙 蔬 菜 生

掘新物種的博物學家。 長 的 蚜 蟲、減 少 柑 橘 收 成 的 果 蠅

大 正 七 年（1 9 1 8），牧 先 生 最 進 行 研 究，分 別 著 有 論 文 闡 述 研

先在鹿港採集到台灣特有種的招 究成果。

所以，牧先生擔 任的「博 物學」

科，指 的 是 廣 義 的 自 然 科 學，分

來源：《數位典藏與數位學習聯合目錄》/ 中央研究 數位文化中心 別 有 動 物 學、植 物 學、礦 物 學 等

著作權人：台灣貝類資料庫 / 中央研究院生物多樣性研究中心
專 門 知 識，是 對 於 自 然 物 進 行 收

集 及 分 類 的 學 問，以 他 的 學 識 而

言，當之 無 愧。

只 是 牧 先 生 從 來 不 提，為 何 他

從 農 事 試 驗 場、林 業 試 驗 場 一 路

轉 往 國 語 學 校，最 後 到 台 南 師 範

學 校 任 教。從 台 北 轉 到 台 南 來，

難 道 只 是 為了 更 方 便 採 集 標 本 而

已嗎？

雨 卿 抬 頭 望 向 牧 先 生 的 書 櫃，

整 齊 劃 一 的 書 籍、資 料 按 照 他 的

習慣 歸 類、擺 置，然而右側有一本

53
小書，比 其他的書 冊 短小許多，因 牧先生常利用這段書中的對 字一起並列為論文的寫作人。這在

為 翻 閱 的 手 感 造 成 微 微 開 掀，與 話，只 是 將 地 名、植 物 名 變 換 成 自 以 為 優 越 的 日 本人 來 說，是 從

其他書本略 顯不同。 其 他 的 名 詞，尤 其 舉 例 柑 仔、芎 來沒有見過的事，可是我很堅持。

雨 卿 想 起 牧 先 生 外 出 時，常 把 蕉、桃仔的 部分，後面 加上了語助 我 也 努力 讓 他 從 臨 時 雇 員 成 為 正

這本書帶在身邊。 詞「 嘮 」（ラア），牧 先 生 學 起 來 式雇員，薪水也增加。」

雖 然 採 集 標 本 時，並 不 需 要 多 後，常 常 將它 加 在 字 後，形成「蝦 牧 先 生 的 臉 色 出 現 一 抹 寂 寥：

與 他 人 交 談，但 是 牧 先 生 喜 歡 在 仔 啦 」、「魚 仔 啦 」之 類 的 隨 意 口 「 有 努 力 的 人 就 該 有 回 報，不 能

路 途 中 跟 遇 到 的 台 灣人 用他 不 標 語，聽 起來很有親切感。這本書 裡 因 為 他 的 出 身，就 抹 滅 一切。」他

準的台語聊上兩句，因此這本《林 面 的 用 字 標 上 片 假 名，注 出 台 語 敲了敲桌面，發出沈重的聲響。

業 應 用日臺語集》，變 成他 翻 閱、 發音，句子後面附上日語的意譯， 把 寡 言 的 牧 先 生 說 過 的 話，前

學習台語的重要用書。 便 於 學 習 者 學 習 台 語，遇 到 不 會 後 連 貫 起 來，一 些 事 實 便 能 拼 湊

的台語用字，牧先生請雨卿教他， 出來。
「汝要搭到何位」
他再記錄在書冊裡。 明治 四十四 年（1911），他 剛從
（汝ハ何處迄御乘リデスカ）
也 是 一 次 偶 然 的 機 會，牧 先 生 廣島師範學校畢業，就來到台灣，
「要到八芝蘭」 問 雨 卿，一 般 台 灣 小 孩 子 拿 著 去 在 農 業 試 驗 場 或 是林 業 試 驗 場 的
（士林迄行キマス） 黏 黤 蜅 蠐 7（蟬）的 竹 竿台 語 怎 麼 表 現 都 極 為 優 秀，發 表 過 許 多 篇
「要創何大事」 說時，他提 到了這本《林業應 用日 有 關 樹 木 害 蟲 的 論 文，但 是 隸 屬
（御用向ハ何デ御座イマス 臺語集》。 於 臺 灣 總 督 府民 政 部 殖 產 局 下 的
カ） 「 這 本 書，是 我 在 農 事 試 驗 場 農 林 單 位，多 由 札 幌 農 學 校 出 身

「要去園藝試驗場」 時 認 識 的 一 個 台 灣 人，叫 做 林 學 的 研 究 者 把 持，也 不 乏 知 名 學 府

（園藝試驗場ヘ行キマス） 周編寫的。他長著圓圓的臉，待人 的 研 究 者，如 先 後 兩 次 來 台 灣 調

很 客 氣，我 還 小 他 兩 歲。」牧 先 生 查樟 樹 害 蟲 的 知 名 學 者 佐 佐 木忠
「彼內面是植何貨」
接過雨卿倒的茶水，喝了一口。 次 郎，便 是 東 京 大 學 培 養 出 來 的
（其內ニ何ガ植エラレテアリ
「我們需要會日文跟台語的人， 學者。
マスカ）
來幫我們把一些農林業的專有名 十 九 世 紀 初，日 本 本 土 的 博 物
「柑仔嘮、芎蕉嘮、桃仔嘮、」
詞 整 理 出 來，也 需 要 有 人 教 我 們 學 教 育，基本上 分為兩大系統。東
（密柑トカ、芎蕉トカ、桃ト
基 本 的 對 話，否 則 我 們 要 在 台 灣 京醫學校、東京帝國大學醫學 部，
カ、）
這 塊 土 地 上 做 採 集，不 靠 本 島 人 聘 任 的 是當 時 歐 洲 以 實 驗 科 學 著
「尚有的我不識」
的幫忙，也是很難的。」 稱 的「德 國學派」學 者，教 授博 物
（未タ他ニ多クアリマスケレ
「 說 真 的，林 學 周 真 的 是 好 頭 學 或 動 植 物 學，另 一 派「 美 國 學
モ能ク知リマセヌ）
腦 的 人，雖 然 只 讀 過 大 稻 埕 公 學 派」，則源自畢業於美國麻州農科
「何時要返來」
校，可是做 起事 來又快 又 好。我來 大 學 的 克 拉 克 博 士，他 受 聘 到 北
（何時オ歸リニナリマスカ）
台 灣 後，首 先 先 做 台 灣 昆 蟲 名 稱 海道的札幌農學校，教授植物學、
「要搭尾幫車返來」 的 調 查，之 後 做 了竹 筍 害 蟲 的 研 農 學 及 化 學。相 較 於 東 京 醫 學 校
（終列車デ歸ル積リデス） 究，他幫忙很多。所以我 把他 的名 採 行 德 國 式 的 嚴 格 教 育，札 幌 農

54 台灣光華 Taiwan Panorama

學 校 因 為 美 國 學 者 的 加 入，充 滿 試 驗 」，取 得 等 同 中 學 校 畢 業 的 自 家 的 書 籍 也 帶 來 給 雨 卿 閱 讀，

開拓 精神，兩者 學風極為不同，許 學歷。 甚至從日本訂購《教 育學 術界》、

多 位 渡 海 來 台，從 事 博 物 學 的 研 其 後，雨 卿 也 順 利 考 取 台 灣 公 《 文 檢 世 界》等 等 相 關 消 息 的 書

究者，均來自札幌農學校。 學校乙種本科正教員的資格。 籍給他閱讀、練習。

「農 事 試 驗 場 昆 蟲 部 的 部 長 素 一 天 下 午，走 進 研 究 室 的 牧 先 三 月 的 報 名 時 間 一 過，很 快 到

木 得 一、技 師 崛 健，來 自 札 幌 農 生手上拿著一份文件，遞給雨卿。 了 預 備 出 發 到 內 地 考 試 的 時 候，

學校，發 表〈糖 業 改 良 意 見書〉的 「你 已 經 有 中 學 校 的 同 等 學 歷 可是雨卿很擔憂。

新 渡 戶 稻 造，也 是 札 幌 農 學 校 畢 了，再 來，如 果 想 要 走 出 自 己 的 博 物 科 的「文 檢」考 試，分成 五

業 的，還 牽 成 他 的 侄 子 新 渡 戶 稻 路，應 該 試 一 試 這 個「 文 檢 」的 月 的 預 備 試 驗 和 七 月 的 本 試，預

雄，也 來 到台灣，我們曾一起研 究 考 試！」 試 要 通 過 才 能 繼 續 考 主 試。一 般

害蟲。」 「文檢？」 而 言，內 地 人 是 在 自 己 所 居 在 的

相 較 之 下，牧 先 生 出 身 師 範 學 這 是 什 麼？文 件 的 封 面 上 有 很 地方先參加預試，等通過後才上京

校 的 經 歷 並 不 出 色，無 論 產 出 多 長的名稱：「文部省師範 学 校中 学 考主 試，但 是雨卿是台 灣人，台 灣

少 豐 碩 的 研 究 成 果，始 終 無 法 升 校高等女 学 校教員檢定試驗」。 並 沒 有 舉 行 這 樣 的 考 試，因 此 兩

到 高 等 官，因 此 牧 先 生 轉 到 台 北 「 這 是 讓 有 志 要 當 教 員，但 不 次 的 考 試 都 得 在 日 本 進 行。等 待

國 語 學 校 任 教，繼 而 來 到 台 南 師 是出身師範學校的人，可以參加的 預 試 結 果 要 一 個 月，本 試 也 得 考

範學校。 一種 檢 定 考 試，如 果 通 過了，可以 三天，雨卿勢必得 待 在日本。生 活

「 努 力 當 然 是 必 要 的，要 讓 自 取得中等學校的教 員資格。」牧先 費、交通費加上 船票，是一筆很大

己一 直 進 步，一 直往 前 走。」牧 先 生說。 的金 額，他 的薪水無 法 負擔。上一

生 勉 勵雨卿：「以你的家 庭 狀 況， 「也 就 是 說，我 如 果 通 過了，就 次 前 往 東 京考 中 學 校 檢 定 考 試 的

雖 然 到 內 地 去 求 學 不 太 可 能，可 可 以 在 學 校 擔 任 先 生，而 不 只 是 費 用，是 靠 著 阿 母 向 左 鄰 右 舍 東

是 你 可 以 自 學，自 己 通 過 檢 定 博 物室的管理 員而已嗎？」雨卿在 借 西 湊 來 的，這一次，無 論 如 何，

考 試。自 己 的 未 來，可 以 自 己 創 心 裡 低 語，胸 臆 裡 有 個 正 在 沸 騰 都無法開口向阿母提起這件事。

造。」 的熱源。 儘 管 心 情 不 定，雨 卿 仍 然 勉 強

牧 先 生 的 鼓 勵，讓 雨 卿 的 人 生 雨卿泰半時間在博物室裡讀 自 己 積 注 意 力 投 注 於 研 讀，讓 自

打開 一扇透 氣、明亮 的窗。 書，有 些 考 試 用 的 指 定 教 科 書， 己不要分心去想其他的事情。

研 讀、準 備 考 試 的 過 程，雨 卿 他 之 前 已 經 跟 著 牧 先 生 讀 過，例 這 天 凌 晨，一 晚 沒 回 去，待 在

從 來 不 覺 得 苦，他 相 信 那 只 是 一 如 飯島魁的《動 物學 概 要》、谷津 博 物 室 讀 書 的 雨 卿，聽 見 外 面 有

段 上 坡 的 過 程，就 像 他 自 己 前 往 直秀的《動物分類表》、飯塚 啟 的 奇 怪 的 聲 音，打 開 門 才 看 到，行

野 外 採 集、觀 察 時，攀 坡、開 路 一 《動 物 發 生學》、丘 淺次 郎 的《進 前說要在野外待個五六天的牧先

樣，他 知 道，只 要 自 己 撐 過 去，就 化 論 講 話 》等 等 的 這 些 書 籍，變 生，忽 然 回 來了，神 色 疲 憊，把 手

將 柳 暗 花 明。 成 了他 生 活 中 重 要 的 部 分，有 不 上 的 布 袋 遞 給 他：「 幫 我 做 這 隻

透 過 牧 先 生 的 教 導、自 己 的 苦 懂 的部分，就請 教牧先生，他的勤 標 本吧！」……

讀，只 有 公 學 校 學 歷 的 雨 卿，後 奮 和 認 真，深 深感 動了牧 先 生，他

（本書榮獲2018年全球華文
來 通 過「 實 業 學 校 卒 業 程 度 檢 定 非 常 有 耐 心 地 教 導 他，連 帶 地 把 文學星雲獎歷史小說獎）

55
影像對話　PHOTO ESSAY
南 竿 風景
Sights of Nangan
圖／文•莊坤儒　版面設計•胡如瑜
南竿是馬祖列島最重要的政經中樞，如果是坐
船從基隆橫渡台灣海峽，當船緩緩駛進福澳港，
「枕戈待旦」牌樓的四個大字會先映入眼簾。極
盛時期，馬祖有數萬名的駐軍，花崗岩裡的據點
與砲台，是捍衛台海和平的最前線。
自從解除戰地政務以來，馬祖地區的風景便有
顯著的不同。碉堡據點撤軍了，開起了書店咖啡
館；軍人滿街跑的景象亦不復見，取而代之的是
一波又一波的觀光客，馬祖的神秘面紗慢慢被掀
開了。
近四十年的備戰準備，讓馬祖留下許多戰事
地景，如今時空轉移，這些都成為歷史的證據。
「戰地風景」已然成為馬祖地區最顯著的註記，
這是台灣民主化進程裡非常重要的紀錄。
56 台灣光華 Taiwan Panorama
N angan is the political and economic center of the
Matsu Islands. If you arrive by boat from Kee­
lung across the Taiwan Strait, the first thing you see
as you gently glide into Fu’ao Harbor is a ceremonial
archway with four Chinese characters meaning “Fully
prepared, waiting for battle.” When the garrison was
at its height, tens of thousands of soldiers were sta­
tioned on Ma tsu, and the strongholds and artillery
platforms built into the granite were the most forward
positions defending peace in the Taiwan Strait.
The scenery in Matsu has undergone a clear change
since the lifting of military administration. Soldiers
have left their pillboxes and strongpoints, while book­
stores and coffee shops have opened. One no longer
sees platoons of soldiers running through the streets;
they have been replaced by wave after wave of tour­
ists. Matsu’s veil of mystery has been slowly lifted.
Nearly 40 years of preparation for war added many
military installations to Matsu’s landscape. With the
l
passage of time, these have become the most visible
testaments to the islands’ history, and they constitute
an important part of the record of the process of demo­
cratization in Taiwan. l
(photos and text by Chuang Kung-ju/tr. by Phil Newell)
57
58 台灣光華 Taiwan Panorama
59
60 台灣光華 Taiwan Panorama
61
62 台灣光華 Taiwan Panorama
63
64 台灣光華 Taiwan Panorama
65
全球視野　GLOBAL OUTLOOK

為修復設立標準
回溯時光的修復師 ─────

Art Conservator Leo Tsai:

Setting High Standards for Art Restoration
66 台灣光華 Taiwan Panorama
──── 蔡舜任

文‧鄧慧純　圖‧莊坤儒　版面設計‧王敬勛

67
 2014年，蔡舜任發起「帶著門神去旅行」，4
扇由知名廟宇畫師潘麗水繪製的門神作品，經過
他與團隊巧手修復，得到國際建築彩繪裝飾藝術
研討會（APR）認可，赴瑞典發表，除了讓國際
社會知道台灣的修復技術外，也代表蔡舜任團隊
一直以來堅持的修復標準為國際承認；在眾多的
聖母、聖子、天使的環繞中，色彩繽紛華麗的台
灣門神圖像一眼就吸引眾人的目光，與會者殷切
地詢問這件作品來自哪裡？──台灣。
旅居歐美近十年的蔡舜任，習得西方的修復概
念與技術，回到台灣。他參與修復潘麗水（1914
∼1995）、柯煥章（1901∼1972）、陳玉峰
（1900∼1964）、陳壽彝（1934∼2012）等傳統
彩繪大師的作品，再現當年大師筆下雅緻綺麗的
世界。蔡舜任修復過的作品，每一件都在他手上
華麗轉身，恢復文物舊有的面貌，又保留時間淬
鍊的痕跡，也讓下個世代能親睹台灣特有的宮廟
彩繪藝術。
68 台灣光華 Taiwan Panorama
蔡舜任在國際知名油畫修復大師Stefano Scarpelli門下
工作的情形，迄今他仍是大師門下唯一的台灣弟子。
（TSJ藝術修復工事提供）
Leo Tsai at work in the studio of the internationally renowned
oil painting conservator Stefano Scarpelli. To this day, Tsai
remains the only Taiwanese ever to be an apprentice to
master restorers. (courtesy of TSJ Art Restoration)
處理「時間」的問題
「我很能感同身受哆啦A夢的辛苦，他常因為
要幫倒楣的大雄，必須搭時光機回到過去，他就
是以時間回溯的方式解決問題，我也是。」蔡舜
任打趣地比喻修復師的工作。
就讀東海大學美術系時，因為自己的畫作受
損，讓蔡舜任興起念頭，遠赴義大利翡冷翠學
藝，除了修習史賓內利宮修復學院內的課程，他
用所會不多的義大利文挨家挨戶找尋能收他做學
徒的修復工坊，只求有更多修復實作的機會。之
後轉往美國爵士之都紐奧良，完成17世紀初的小
I n 2014, Leo Tsai (a.k.a. Tsai Shun-jen) launched
his “traveling with door gods” activity. He and
his team had deftly restored four paintings of door
gods made by the famous temple artist Pan Li-
shui, after which they received endorsement from
Inter national Architectural Paint Research (APR)
to exhibit the restored paintings in Sweden. This
showed that there is international recognition of the
restoration standards upheld by Tsai and his team.
Amidst numerous images of the Virgin Mary, Jesus,
and angels, it was the beautiful, brightly colored
door gods that attracted the attention of the pub-
lic. Visitors eagerly inquired where these works had
come from, and the answer was “Taiwan.”
Leo Tsai, who lived in Europe and the US for nearly
ten years, learned Western art restoration concepts and
techniques before returning to Taiwan. He has partici­
pated in the restoration of temple artworks by tradi­
tional painters including Pan Li­shui (1914–1995), Ko
Huan­jang (1901–1972), Chen Yu­feng (1900–1964), and
Chen Shou­yi (1934–2012), uncovering the refined and
enchanting worlds produced by these masters in days
gone by. Each piece has been beautifully transformed
by his craftsmanship, which restored the original ap­
pearance of these cultural artifacts while preserving the
marks of their tempering by the passage of time, thereby
allowing the next generation to see first-hand the home­
lery, where he worked on restoring paintings by Giotto di
Bondone, considered the father of the Renaissance.
Despite his impressive resumé, Tsai ultimately decided
to return to Taiwan, where he founded TSJ Art Restoration.
Before specialized restoration techniques were intro­
duced into Taiwan, traditional temples mainly hired ar­
tisans or artists to handle “restoration” work. However,
this was less restoration than repainting the work, and
once the brush had passed over the piece, the former art
was covered up, and the feeling created by the passage of
time was swept away. Later, the appealing but misguided
notion of “restoring old objects to their old appearance”
also caused damage to cultural assets.
“Time is ruthless. Materials will age, paint will change
or fade. These changes are all caused by the passage of
time, yet only with the tempering of time can good things
appear,” says Tsai. The duty of a conservator is to apply
their knowledge of art history and their understanding
在廟宇狹小的廊柱空間裡，蔡舜任搭設專業的系
統鷹架，其為修復工事設立的標準展現在方方面
面。（TSJ藝術修復工事提供）
In the narrow spaces between pillars in a temple,
Tsai has set up professional-grade scaffolding. The
standards he sets for art restoration are visible in all
aspects of his work. (courtesy of TSJ Art Restoration)

grown Taiwanese art of temple painting.

Handling the problem of “time”
“I feel for Doraemon. He often has to take the hapless
Nobita Nobi back in time on his time machine. The prob­
lem he faces is that of going back in time, and mine is the
same,” says Leo Tsai, selecting a humorous analogy for
the work of an art conservator.
When Tsai was studying in the Department of Fine
Arts at Tunghai University, some of his own paintings
got damaged, which gave him the idea to go and study
at the Institute for Art and Restoration (Palazzo Spinelli)
in Florence, Italy. While taking classes there, despite not
being able to speak much Italian he went door to door
looking for someone to take him on as an apprentice at a
restoration workshop, asking only the opportunity to do
more hands­on restoration work. After entering the stu­
dio of the internationally famous oil painting conservator
Stefano Scarpelli, he was able to proceed to the Uffizi Gal­

69
 公主肖像修復，這件作品讓他取得投入國際知名
油畫修復大師Stefano Scarpelli門下的門票，進而
得以進入烏菲茲美術館，修復文藝復興之父──
喬托的畫作。
儘管擁有傲人的經歷，蔡舜任最終選擇回到
台灣，成立TSJ藝術修復工事，修復的文物從西
方的油畫擴展到東方傳統廟宇的門神彩繪，處
理的文物不盡相同，「時間」始終是修復師的
重要命題。
早期尚未引入專業修復技術的台灣，傳統廟宇
10年一小修，20年一大修的慣習，多是請工匠、
藝師處理，常有保存狀況差的作品直接被重繪，
刷子一過，前人的藝術被掩蓋，時間的醍醐味也
一併被抹除。晚近，修復界也曾經出現過「修舊
如舊、復舊如舊」，一味復舊的做法，似是而非
的概念，對文化資產亦是傷害。
「時間是無情的，材料會老化，顏料會變化
褪色，都是時間造成的。時間同時也是無敵的，
經過時間的淬鍊，才會有好東西出現。」蔡舜任
說。修復師的任務是透過藝術史的知識、對材料
的瞭解，閱讀時間在文物留下的線索，慎重地清
潔表面的髒污，再以加固、清潔、填補、全色等
工序，將文物恢復成原初的樣貌，但保留時間在
其上淬鍊的痕跡。而且修復可說是一場與時間的
等價交換，「基本上，我們是用青春去換取文物
的壽命。」蔡舜任玩笑地補上一句。

為修復工事建立標準

初到義大利時，蔡舜任在Andrea Ciprian的工坊
實習，兩年多無止境重建畫布肌理的練習，練就
他深厚的基本功。之後又投入國際油畫修復大師
Stefano Scarpelli的門下，成為唯一的台灣弟子，
蔡舜任赤手空拳在歐洲全是金髮碧眼的修復同業
中競爭而出，足見他對修復的用功與堅持。
回到台灣後，他仍以同樣的標準要求自己、面
對待修復的文物。台灣廟宇的彩繪作品，除了承
受高溫多濕的氣候外，常被馨香薰上厚厚一層油
垢。再加上壞了才修的慣習，通常交到他手中的
門神多是表面脫落斑駁，慘不忍睹，岌岌可危。
但不管任務多艱鉅，TSJ團隊總是細細考究，
做足事前的準備功課，或以溶劑謹慎地清潔，或

70 台灣光華 Taiwan Panorama

of materials to carefully clean impurities off the surface,
consolidate the original paint where it has begun to
flake, and fill and retouch the areas where the paint has
been lost, returning the artifact to its original appearance
while preserving the evidence of the passage of time.
Setting standards for restoration work
In Taiwanese temples, besides being exposed to a
hot, humid climate, the paintings are often covered by
a thick layer of greasy dirt from the burning of incense
and candles. When you add in the habit of only initiat­
ing restoration after works show obvious signs of dam­
age, the door god paintings that come into Tsai’s hands
are mostly in a parlous state, peeling and mottled and
on the verge of being irreparable. 做喜歡的事，
But no matter how challenging the task, the TSJ team 讓喜歡的事有價值。
members always study the work in great detail to pre­
pare for the task ahead. They first use solvents to care­
Do something you enjoy,
fully clean the work, and then, advancing millimeter by and give it value.
millimeter, they use a scalpel to carefully scrape off the
dirt, and any paint that has been applied by repainting
over the original work. Next they use filler to consol­
idate the existing paint, and use brushes to carefully
paint color into areas where the paint has been lost, re­
turning the door god to its former luster and radiance.
It’s amazing how they can restore even the fine lines (less
than 1 mm thick) of the door gods’ beards and whiskers
strand by strand to vivid elegance.
Setting such high standards means that “many peo­
ple surely sense that the bar is gradually being raised.
But if you don’t do this, the victims are the artifacts and
artworks,” says Tsai earnestly. Because the success of
restoration is determined within areas of a single square
centimeter, the use of any inappropriate procedures or
materials can cause irreparable harm to the artifact.
Quality comes from skills and technology, but also
from meticulous attention to detail.
Tsai has personally trained his own team. At the
routine videoconferences between his firm’s northern
and southern branches every morning at nine, he sin­
cerely reminds the conservators what details they must
look out for in each of the restoration procedures to be
conducted that day. During our visit, Tsai periodically
checks out the situation in the restoration studio, and if
any member of his team has questions or concerns, Tsai
goes over and explains, or even directly takes the tools
in hand to demonstrate the proper approach.

71
拿著手術刀以0.1公分為維度，慢慢清潔刮除髒 品質來自於技術，也來自於對細節的講究。
污或不屬於原作的重繪，以填補材料加固，再用 他一手培訓自己的團隊。每天早上9點整南北
筆細細補色，讓大師手中的門神又恢復昔日的光 分部的例會，耳提面命提醒各修復案必須注意的
彩，復原被污漬掩蓋的線條、細節與色彩，連門 細節。採訪中，他不時盯著修復室裡的狀況，團
神不到0.1公分的鬍鬚細線，都一根根栩栩飄逸， 隊成員一有疑慮，他便起身去說明，或直接拿起
讓人驚嘆。 工具示範。工作過程中沒有音樂，因為每一個動
立下這望之彌高的標準，「很多人一定感受到 作、工序都要仔細思索，極其專注，不容干擾。
標準逐漸增高了，但問題是不這樣做，受害的即 就像是球賽裡的教練，蔡舜任設下高標門檻，
是文物，是藝術品。」蔡舜任語重心長地說。因 要求團隊努力達標，也不時向團隊精神喊話，建
為修復決勝的面積往往小於1×1公分的範圍內， 立修復師們對自身手藝的自信、對自己專業的
任何不適切的工序、材料，都會對文物造成難以 驕傲。
彌補的傷害。 位於台南的修復總部剛啟用不久，空間是蔡舜
任邀請一石設計共同設計打造。溫、濕度的控制，
利用玻璃磚牆引入自然光源，專業的抽氣設備，各
式顏料、溶劑齊全的實驗室，處處可見他對修復工
事細節的講究。蔡舜任近似吹毛求疵地要求環境的
整齊，從電線的收束，棚燈的位置，器材的收納，
凝神專注，修復師處理的是時間的問題。 都有方法規矩，他笑稱在IG上分享的工作照，一
Working with great concentration, art
conservators mitigate the ravages of time. 定會怎麼拍都好看，盡是專業的姿態。

72 台灣光華 Taiwan Panorama

 Tsai sets high standards and requires his team mem­
bers to work hard to meet those standards, but he also
periodically gives pep talks to his team, to build up their
confidence in their own skills and their pride in their
profession.
The Tainan headquarters of TSJ Art Restoration has not
been in operation long. Tsai invited Lab B Design Com­
pany to work with him to design and build the work­
space. Everywhere you can see his meticulous attention
to the details of restoration work, from the temperature
and humidity controls and ventilation system to the fully
stocked laboratory with its paints and solvents. He fastidi­
ously requires that the working environment be neat and
well­kept, with methods and rules for everything from
binding electrical cables to putting away equipment and
materials. He quips that whenever he shares photos of the
workshop on Instagram, every photo looks good, because
this is what it means to be professional.
A blue ocean market
From the high standards that he has set, the conversa­
tion turns to the future of restoration work in Taiwan.
Tsai says: “I am mainly concerned about where these
young people will end up in the future.”
He is familiar with the costs, techniques, and know­
ledge behind every brushstroke in the restoration pro­
cess, and he also understands that ultimately, art services
can only survive by taking account of market forces.
Therefore, most restoration projects in Taiwan are
still handled as one­off contracts, limited by the time
and funds available to the art owner. Tsai is already
thinking about what business model will keep his com­
pany afloat. He has hired a designer to redesign the TSJ
logo and corporate identity, and he has participated in
the design of new company uniforms to highlight the
professionalism of his team. Each day he forces himself
蔡舜任為修復工事建立望之彌高的標準。
Leo Tsai has set very high standards for art
restoration work in Taiwan.
73
 時也設計公司的新式制服，兼具機能性與美觀，
修復的藍海市場
並以顏色區分資歷級別，凸顯團隊的專業性。他
從他立下的高標門檻，聊到台灣修復工作的未 每天強迫自己閱讀艱深的書（包括經營管理、財
來，「我比較在意這些年輕人未來何去何從。」 務報表等），認為這是經營者的必修課題。
他一瞥身後的修復團隊，口氣略微嚴肅。 國內諸多修復的觀念，尚缺乏前置調查、維護
修復的訓練讓蔡舜任能與藝術極度靠近，卻又 的思維，仍停留在修後不保養、等壞了再修的循
切出一條清楚的分界線，讓他理性思考。他知曉修 環中；蔡舜任已經超前百步，規劃TSJ要成為亞
復工序中每一筆背後的成本、技術、知識；也深切 洲最知名且最有規模的修復公司，提供從作品倉
體悟藝術服務終歸必須考量商業機制才能生存。 儲（storage）、藝術品修復（restoration）、物
因此，在國內多數修復工作仍停留在專案發 流運輸（transport）、安裝（installation）、展示
包，囿限於業主有限的時間與經費；蔡舜任已在 （display）等服務，未來成為藝術及文物的醫療
思索公司生存的商業模式，他請設計師重新設計 中心，另外，尚有一間修復相關的美術館在他的
TSJ的LOGO，包括整套的CIS企業識別設計；同 腦中盤旋構築著。

74 台灣光華 Taiwan Panorama

to read heavyweight books on subjects outside his discip­
line (such as management or financial reporting), con­
sidering these to be required subjects for managers.
The concept of restoration that largely prevails in
Taiwan is still stuck within a mindset of not initiating
conservation until a work has badly deteriorated, and do­
ing nothing to maintain works in good condition after they
are restored. Tsai is already far ahead of his competitors,
and he plans on making TSJ Asia’s largest and best­known
restoration company, providing services that include stor­
age, restoration, transportation, installation, and display.
Tsai’s expectations for his team are inscribed on glass
in the restoration studio: “Do what you like and create
the value.” Value refers not only to the significance of
preserving cultural assets, but also to commercial profit­
ability, which is key to restoration work’s long­term
viability.
Filling a gap in Taiwan’s art history
“What I really want to do is to enable these things
[door god paintings] to one day take their rightful
place and be seen in art museums,” says Tsai.
The first time Tsai worked on the restoration of
traditional door gods after returning to Taiwan, it was
only after carefully removing a dark layer of incense
smoke residue that he saw the deft brushwork and
distinctly vivid style of the master painter who had
created them. But the artistic value of these magnificent
works was underestimated, all because they have long
been deemed to be merely “things from a temple.”
Knowledge of Taiwan’s native culture has long been
inadequate. While the art history of Taiwan is still in a
phase of uncertainty, determination of what is art lies
in the hands of academic experts. But without theoret­
ical underpinnings, the question of whether the works
75
 蔡舜任認為打造專業的修復環境須從教育著
手。時間回溯是複雜的問題，修復領域內人才培
訓、專業認證、修復專業的定義、修復的標準、
推廣教育等等，均是政府單位需著力之處。
在修復室的玻璃上，刻印蔡舜任對團隊的期
望：「做喜歡的事，讓喜歡的事有價值。」價值
除了文化資產保存的意義外，商業上的獲利，亦
是修復得以走得長遠的契機。

為台灣藝術史補一塊拼圖

「我真正想要做的事情就是讓這些物件（門神
彩繪）有一天能堂堂正正在美術館裡展出。」蔡
舜任說。
回國後的蔡舜任，初次接觸傳統門神的修復，
在他細細抹除被香燻黑的表層後，才看見大師的
筆觸靈活，氣韻生動。但如此精彩的藝術表現，
長久被忽視，藝術價值被輕估，這一切只因為長
期被認定只是「廟裡的東西」。
長久以來對本土文化的認識不足，台灣藝術史
尚在重建討論的當口，藝術的認定掌控於學院專
家之手，但缺乏理論支持，宮廟裡面誰是真正的
藝術家，尚莫衷一是。
但是，「我用修復『藝術品』的方式修復它，
或許可以成為一個證實其為藝術品的論點。」蔡
舜任說。
把文物的價值留給時間去證明，修復師能做 他們用青春換取文物的壽命，與時間無止盡的拔河，
他們是回溯時光的修復師。
的是在時間的手中搶救每一件岌岌可危的文物， These people are devoting their youths to extending the
life of artifacts, in an endless tug of war with time. They
回復其原初的樣貌。蔡舜任跟TSJ團隊在業主的 are conservators who travel back in time.
支持下，要為下個20年把文物留下來，讓下一個
世代欣賞到大師級作品，認識台灣特有的宮廟藝
術，而非等到文物已殘缺佚失了，徒留遺憾。
「我希望有一天台灣的孩子能自信的說出誰
是心中最喜歡的台灣藝術家。」蔡舜任說出他 1966年，算一算，6位門神已守護佛寺接近一甲
的心願。這個在歐洲幾乎每個人都能給出答案 子的時光了。但受濕氣、西曬、香火的影響，損
的提問，在台灣卻因為藝術教育相對薄弱，而 壞程度不一。
難有答案。 在這台北發跡之地，人來人往匯集之所，只見
2018年，蔡舜任接受台北艋舺龍山寺委託修復 TSJ團隊駐守在修復中心，靜靜地、低著頭、彎著
三川殿的門神彩繪。艋舺龍山寺去年剛得到文化 腰，在燈光下，專注手上的工作，跟時間對話。
部「遲來的肯定」，晉升為國定古蹟，是訪台外 時間成就文物的經典，他們則用青春換取文物
國旅客必遊的景點。 的壽命，一場無止盡與時間的拔河，他們是回溯
三川殿的門神彩繪出自大師陳壽彝之手，繪於 時光的修復師。 l

76 台灣光華 Taiwan Panorama

created by temple artists are genuinely “art” is still under
discussion.
However, says Tsai, “I use the same methods to restore
temple art as I use for acknowledged ‘artworks,’ and per­
haps this can become a point in favor of confirming their
status as works of art.”
Leo Tsai and the TSJ team, with the support of owners,
aim to keep these artifacts around for the next 20 years.
They want the next generation to have the chance to ap­
preciate these masterpieces and get to know Taiwan’s
homegrown temple art, rather than waiting until these arti­
facts are badly deteriorated, and all that is left is regrets.
“I hope that one day the children of Taiwan will be
able to say who their favorite Taiwanese artist is,” says
Tsai. This question, to which virtually anyone in Europe
can give an answer, is still hard for people in Taiwan to
respond to because art education is comparatively weak.
In 2018, Tsai accepted a commission from Longshan
Temple in Taipei’s Wanhua District to restore the door
god paintings on the doors of the temple’s front hall.
The paintings were made by the master artist Chen
Shou­yi, who completed the work in 1966. But through
the impact of moisture, sunlight, and incense smoke, the
paintings have suffered varying degrees of damage.
Here in the cradle of Taipei’s history, in a space where
people come and go, you see the TSJ team hunkered down
in the restoration center installed in the temple’s base­
ment. There they quietly concentrate on their work under
the lighting, heads down and backs bent, engaged in a
dialogue with time.
It is time that makes classics out of cultural artifacts. The
TSJ team, meanwhile, are devoting their youths to extend­
ing the lives of these artifacts, in an endless tug of war with
time. They are conservators who travel back in time. l
(Cathy Teng/photos by Chuang Kung-ju/
tr. by Phil Newell)
77
島嶼行旅　AROUND TAIWAN

雲深不知處
騎 行 霧 台
A Ride to the Clouds:
Cycling Through Wutai Township
文•曾蘭淑　圖•莊坤儒　版面設計•王敬勳

78 台灣光華 Taiwan Panorama

 美國文豪海明威曾說：「騎單車翻山越嶺、揮汗
寸土踏查，是了解一個國家風土民情最好的方式。」
《光華》「騎行台灣」系列報導，在初春的季節鎖
定台24線從屏東縣三地門到霧台鄉，群山顯得新綠，
部落已走過風雨，踩著踏板環山而上，感受排灣族與
魯凱族部落豐沛的產業生態與文化工藝。

10年前的莫拉克颱風（又稱八八風災）重創屏北三
鄉，好茶、大社與瑪家部落遷到三地門鄉重建，命名為
「禮納里部落」，先造訪部落與社區的餐廳「瑪家穀
倉」，以原住民風味餐為騎程暖身。

Adiri

Sandimen Culture Center

Guchuan Bridge Flagstone path

Kabalelradhane Hayou River Valley

T he American writer Ernest Hemingway once said, “It

is by riding a bicycle that you learn the contours of a
country best, since you have to sweat up the hills and can
coast down them.”
For this latest in our series of articles about cycling in
Taiwan, in early spring we set our sights on the stretch of
Provincial Highway 24 that runs from Sandimen Township
to Wutai Township in Pingtung County. As we pedal up
through the fresh greenery of the mountains, we experience
the flourishing business environment of the Paiwan and
Rukai indigenous communities, as well as their rich culture
and handicrafts.

79
 從菜單上的祈納富、金伯樂、煙燻 專屬自己的琉璃之珠。二樓故事館，展示著創辦人施秀菊老
石板烤肉，立即感受原鄉的氛圍，尤其 師的收藏與作品，其中有罹癌早逝的母親為她親手縫製的嫁
推薦排灣族人年節與迎賓的點心：「祈 衣，也有各式運用複合媒材、華麗繁複的作品。經常代表台
納富」，以甲酸漿葉包著混和小米的豬 灣到國外展示原住民工藝的施秀菊，也用琉璃珠拼了一個台
肉，水煮40分鐘，充滿特殊草香與肉汁 灣地圖。一顆顆色彩繽紛的裸珠，不只傳揚了排灣族文化，
的甜味，單純又樸實。主廚廖秀美說， 也是一個就業的機會與平台，培力部落婦女自立。
每當有婚喪喜慶時，排灣族獵人會將獵 買了「勇士之珠」的手環戴上，為連續上坡的騎乘之路
到的山豬，拿到大頭目家，與大家一起 打氣，若不是眼前蜿蜒的山路，溫暖的天氣，真有騎在平
烤肉、包著祈納富共享。 地的錯覺。
運用部落特殊食材的餐點，還有以小
米、南瓜糕作成的「金伯樂」、帶著特
殊香氣的月桃粽、以刺蔥、馬告醃過的
山豬肉，就地取材用相思木烘烤，每一 三地門文物館展示的陶壺，是排灣族人象徵身分的寶物，還有「蜻蜓雅
道都是驚喜的美味，如此味蕾的滿足， 築珠藝工作室」創辦人施秀菊的嫁衣，是母親留給她最珍貴的紀念。
The pottery works on display at the Sandimen Culture Center are
開啟了探索原鄉文化的動力與憧憬。 indicators of status among the Paiwan people. In Sandimen you can also
find Dragonfly Beads Art Studio, where founder Remereman displays the
wedding attire made for her by her mother.
排灣族三寶，銘刻不忘

一段蜿蜒的上坡路，天氣晴朗，遠
眺可望見高雄的85大樓。來到台24線約
22公里處的三地門文化館，展示的主題
「排灣族三寶：青銅刀、琉璃珠、陶
壺」，訴說著天地起始的傳說、神靈信
仰的由來。
排灣族三寶所呈現不同的形式，
可以看出排灣族人的社會階級與生命
禮儀。以陶壺為例，身為排灣族頭目
家族一員的策展導覽解說員日馬力茲
（Remaljiz）指出，有著耳朵與乳釘狀
的是母壺，有著浮貼百步蛇紋樣的是公
壺，其中又以輕薄光亮的誕生壺最為尊
貴，只有頭目、貴族才能珍藏，族人相
信有神靈住在其中，或是將家中珍藏的
古琉璃珠置於其中，供奉在神龕上。
至於作為聘禮、傳家寶等重要信物的
琉璃珠，每一顆琉璃珠上的圖騰，對排
灣族人來說，有著代表著天、地、人之
間的思維與信仰，例如「高貴之珠」是
頭目結婚的聘禮，配戴「勇士之珠」顯
示勇士英勇的功績。
但對遊客來說，可從造訪「蜻蜓雅築
珠藝工作室」的DIY過程中，親手燒製

80 台灣光華 Taiwan Panorama

 After Typhoon Morakot ravaged three townships in northern
Pingtung ten years ago, the three Aboriginal communities of Kuca­
pungane (Chinese name Haocha), Paridrayan (Dashe) and Maka­
zayazaya (Majia) were relocated to live together in the newly built
community of Rinari in Sandimen. We decide to warm up for our
cycling trip by first visiting the community’s “Kubav” restaurant to
enjoy an authentic indigenous meal.
Just by looking at the menu you get a sense of being in an indigen­
ous community. In particular, the offering at Kubav includes cinavu,
a food that the Paiwan people have traditionally eaten only at the
New Year or when greeting honored guests. It is made by wrapping
a mixture of millet and pork in the leaves of Trichodesma calycosum
and boiling it for 40 minutes. This simple and unadorned dish has a
special sweet flavor of meat juices combined with the fragrance of the
leaf wrapping.
Other dishes that use special local ingredients are kinepel, a cake
made from millet and pumpkin; a sticky­rice dumpling that is
wrapped in shell ginger leaf and has a unique fragrance; and wild boar
meat marinated using alianthus prickly ash
(Zanthoxylum ailanthoides) and aromatic litsea
(Litsea cubeba). These are cooked over locally
sourced acacia wood. Every dish at Kubav is a
delicious surprise, and besides satisfying our
taste buds, they give us the energy and desire
to further explore Aboriginal culture.
Three treasures of the Paiwan
Riding up the twisting mountain road,
from which the clear weather gives us views
of Kaohsiung’s 85 Sky Tower in the distance,
we arrive at the San di men Culture Center,
located at the 22 kilometer mark of High­
way 24. The main theme of the exhibition is
“The Three Treasures of the Paiwan,” which
are pottery, colored glass beads, and bronze
machetes. The center also relates the Paiwan
creation myth and the origins of belief in
supernatural entities.
The three treasures come in different forms
that illustrate the stratification of Paiwan soci­
ety and its rituals. By way of example, exhibi­
tion curator and guide Remaljiz, a member of
a Paiwan chief’s clan, explains that pots with
handles and nipple­shaped protrusions are
called “mother pots” and those with hundred-
pace snake decorations are “father pots,”
while the most respected are “birth pots,”
which are light, thin, and glossy.
In the case of glass beads, which are often
kept as family heirlooms or serve as important
keepsakes such as betrothal gifts, to the Pai­
wan people the motifs on each bead repres­
ent beliefs about heaven, earth, and relations
between people. For example, a “noble bead”
is a wedding gift for the marriage of a chief,
while wearing a “warrior bead” indicates
that the person has performed courageous or
heroic exploits.
「瑪家穀倉」主廚廖秀美，介紹祈納富是排灣族
人婚喪喜慶與迎賓時必備的點心。
Kubav restaurant owner and head chef Liao Xiumei
introduces us to cinavu, a Paiwan treat that is
essential at major events like weddings and funerals
or when greeting honored guests.
81
 原本近54公尺延長到654公尺，橋墩離地面有99
霧台岩板巷的浮雕，與杜再福經營的卡拉瓦石屋，屋內所展 公尺高。果真騎上谷川大橋，在奔馳的瞬間睥睨
示的藝術品，展現魯凱族人藝術的天賦。
The relief carvings along the flagstone path and the artworks 隘寮溪谷，有著「高處不勝寒」的激動。
on display inside the Kalava Homestay demonstrate the Rukai
people’s talent in the arts. 溫煦的和風、光影的耀動，沿路的峻嶺風
光，彌補了爬升蜿蜒山道的艱辛。屏東縣原住
民處處長伍麗華推薦，霧台是台灣部落型態保
留最完整的魯凱鄉。當抵達台24線40公里處，
醒目的頭目與勇士人像雕塑映入眼簾，魯凱文
石板屋、岩板巷，魯凱智慧
物館便在眼前。
一路踩踏進台24線29公里處的明隧道，壯觀程度 在文物館了解魯凱族庶民文化，不論一片片頁
可比美「東西橫貫公路」，往前行31公里處，先在 岩交錯砌成的岩板巷，或是霧台國小色彩豔麗的
觀景台俯瞰隘寮北溪河谷全景，同時遠距欣賞有著 彩繪浮雕，都是出自杜勇男、杜再福兄弟之手。
全台灣最高橋墩──谷川大橋的壯麗風光。 杜家兄弟的父親是國寶級的雕刻藝術家杜巴
這處通往霧台鄉的唯一通路，昔日稱為「伊 男，玉山山頂的于右任像基座是由杜巴男揹著水
拉橋」，在八八風災時被沖毀，隘寮北溪的河道 泥上山做成，讓玉山標高可以躋身4,000公尺之
寬度從50公尺瞬間變寬成200公尺，為了行車安 列。兒子們也都傳承了他的藝術天賦，整個霧台
全，公路總局將谷川大橋的設計拉長又拉高，由 部落都有他們父子的傑作。

82 台灣光華 Taiwan Panorama

 But tourist visitors can make their own glass beads
DIY­style at the Dragonfly Beads Art Studio. On the
second floor is a gallery which displays collected items
and works of the studio’s founder, Remereman. These
include the wedding attire hand­sewn for her by her
mother, who died of cancer, as well as gorgeous and
complex mixed­media works.
I bought a bracelet of “warrior beads” to get a morale
boost for the upcoming continually uphill ride. If not
for seeing the winding mountain road before my eyes,
the unexpectedly warm weather at this elevation might
have fooled me into thinking I was riding in the plains.
Stone houses, Rukai knowledge
Approaching the open­sided tunnel at the 29 km mark
of Highway 24, the scenery is as spectacular as on the
Central Cross­Island Highway. At the 31 km mark, we
stand on the observation platform and look down over
the entire North Ailiao River Valley, while also admir­
ing in the distance the remarkable sight of the Guchuan
Bridge, which boasts the tallest bridge piers in Taiwan.
騎行在有著全台灣最高橋墩的谷川大橋上，
享受御風而行之樂。
Cycling across the Guchuan Bridge, which has the
tallest bridge piers in Taiwan, we enjoy the feeling of
riding with the wind all around us.
The warm breezes, the beautiful interplay of light
and shadow, and the lofty mountains along the route all
compensate for the difficulty of climbing up the steep
winding road. Saidai Latarovecae, director of the Ping­
tung County Indigenous Peoples Department, recom­
mends the Wutai indigenous community as the place
where the social patterns of the Rukai people are most
intact. When you see eye­catching sculptures of a chief
and a warrior at the 40 km mark of the highway, you
know you have arrived at the Rukai Culture Museum.
You can learn about the culture of ordinary Rukai
people at the museum. Whether it be the flagstone path
83
 的禱告，有次颱風，樟樹就被吹落了下來，正好
騎行霧台，一路大武環山相伴。
掉在門前。」
On our cycling trip through Wutai Township, the Dawu Mountains
are our constant companions. 教會會堂裡偌大的檜木十字架，是一位老獵人
在台東與屏東縣際交界的深山裡所發現，是日本
人砍伐留下的檜木，族人來回走了4天拉回來，
由於兄弟已分家，大哥杜勇男承繼了杜巴男紀 成為台灣少見最大的檜木十字架。仰望十架，感
念館，老二杜再福的卡拉瓦民宿，展示著射日故 受到部落族人齊力一心、奉獻互助的精神，勤力
事、貴族與勇士的對談等雕刻藝術品，但要參觀 打造地上的天堂。而且這個建造十字架的辛苦過
均得先預約。 程，已化為立體雕塑，展示在教會外面的階梯扶
扶著單車拾級而上，可以看到岩板巷的地標 手上。
「霧台長老教會」。這個由杜再福設計、監製的
失落的阿禮部落，賞櫻賞蝶
教會，花了6年時間才建造完成，並且充份表現
了魯凱族人同心協力的精神。 為避免夜騎，住宿在霧台部落的民宿，經過一
教會有著霧台石板屋中最陡的斜屋頂，石板堆 日好眠，第二天騎程向台24線最後一個魯凱部落
疊的技術、計算承載的重量，來自老一輩的智慧 ──阿禮部落挺進。
與建築石板屋的經驗。用樟木做的講道台是教會 一路上坡，有著一坡未平一坡又起的挑戰，
一對九十多歲的老夫婦所奉獻。霧台長老教會幹 莫拉克颱風讓此處山塌路斷，現路旁雖已架設好
事盧華英述說著建造過程的點滴說：「這棵樟樹 簡易護欄，為免落石，加快騎乘速度時，道路一
就長在老夫婦家門旁的峭壁上，十多年前夫婦倆 旁卻是山林峽谷，頗有騰雲駕霧的驚險感。海拔
就盤算著要把它奉獻給教會。果真上帝聽了他們 1,200公尺的阿禮部落，常年雲霧繚繞，此時再遠

84 台灣光華 Taiwan Panorama

laid with irregularly shaped slabs of slate, or the brightly
colored relief sculptures at Wutai Elementary School, 霧台櫻花含羞綻放。
both were made by the brothers Besakalane and Kalava. The cherry trees in Wutai
shyly begin to blossom.
Carrying our bikes up some stairs, we see the main
landmark on the flagstone path: the Wutai Presbyterian
Church. This church was designed by Kalava, who also
oversaw construction, which took six years to complete.
It demonstrates the Rukai people’s spirit of working to­
gether for a common goal.
The church has the steepest roof of any stone struc­
ture in Wutai Village. The methods for building in stone
and for calculating the weight to be supported came
from the knowledge and experience of the older genera­
tion in constructing stone buildings.
The large crucifix inside the church is made from the
wood of a Taiwan cypress tree cut down and left be­
hind by the Japanese, that was found by an old hunter
deep in the mountains on the border between Taitung
and Pingtung counties. Villagers walked for four days
to drag it back to Wutai, where it was turned into the
biggest cypress­wood cross in all Taiwan. Looking up at
the cross, you can appreciate the Rukai people’s spirit
of helping each other and working for the common goal
of creating a heaven on earth. The arduous process of
constructing this cross is memorialized in carvings dis­
played on the stairs outside the church.
Cherry blossoms and butterflies at Adiri
To avoid cycling in the dark, we spend the night at a
homestay in Wutai. After a good sleep, on day two we
head toward the last Rukai community on Highway 24:
Adiri (Chinese name Ali).
The entire road is uphill, and we often have to face
a new climb even before the one we are on has leveled
off. Ten years ago, Typhoon Morakot caused landslides
that cut the highway off. Although simple guardrails
have since been set up along the roadside, when we
speeded up the pace of our journey, between the moun­
tain forests on one side of the highway and a gorge on
the other, we feel a sensation of giddiness and danger.
Adiri, at an altitude of 1200 meters, is shrouded in
mist and clouds year­round. When we gaze downhill
at search of communities such as Wu tai and Kabalel­
radhane, they are enveloped in a sea of clouds.
We pass by two areas of steep rock faces exposed by
landslides, which are unusual geological features cre­
ated by Typhoon Morakot. Looking up to observe them,

85
眺「山下」的霧台、神山等部落，均已籠罩在雲 蜂、種植金線蓮，探索林下經濟的可能。
海之中。 在幾近廢村的阿禮部落，包泰德夫婦在此過著
經過吉露崩壁、阿禮大崩壁，這兩段壯麗的陡 自給自足、遠離塵囂的生活。下午走過山櫻步道，
岩峭壁，是莫拉克颱風才形成的特殊地質結構。 直至夜色來臨，無垠星空，重溫往事，享受這寂靜
近前抬頭仰視，每片岩壁都有不同的形狀，一刻 的夜晚，頗有身處桃花源，怡然寧謐的安適。
一鑿、一雕一琢，似乎是上天深沈專注留下的作
風災後現身的秘境
品，令人心生敬畏，是最有感的地理課。
台24線通車的終點在44.5公里處，同時也是臨 下山時天氣清朗，爽快的下坡，是騎乘之旅的
45便道的起點，到達阿禮部落時，錯落的石板建 快意時光。經過下霧台的神山部落，吃一碗神山愛
築，卻是一處人煙荒涼的村落，緋寒櫻含羞待 玉，新鮮愛玉加了香甜小米與酸甜的金桔檸檬，一
放，這個原是西魯凱族最高的古老部落，八八風 碗35元的愛玉是犒賞自己辛勞的絕佳小點，遠眺大
災過後族人遷村，僅剩一對夫妻留居此地與假期 武群山，蒼翠蓊鬱，療癒、放空卻是無價。
來做小生意的族人。 席間收拾愛玉碗盤的老闆巴義成，是曾在1985
經過阿禮大頭目的家屋，從屋外的祖靈柱、陶 年徒步全球的「台灣之光」，他參加自立晚報舉
甕、巴冷公主與百步蛇郎君的木雕紋飾與彩繪， 辦的活動，以2年時間走訪亞、歐、非3大洲22個
這些建築語彙都彰顯了頭目在部落中的地位。 國家，還把當時在自立報系上班的陳春暉娶回
一直留守在阿禮部落的包泰德、古秀慧夫婦 家，忙著為排隊人龍製作愛玉的陳春暉回憶說：
經營「穌木谷民宿」，招待前來阿禮賞鳥賞蝶、 「當時我們倆人就是天雷勾動地火啦！」已經自
探索阿魯彎古道的登山客。為了營生，夫妻二人 警察職務退休的巴義成，目前種植約2公頃的愛
在屏東科技大學森林系教授陳美惠的輔導下，養 玉特有種，是部落裡的特產。

造訪哈尤溪秘境，
需先經過一個多小
時，在溪床河谷中
崎嶇前行的車程。
To visit the hidden
beauty of the
Hayou River
requires a rugged
car ride of more
than an hour along
the riverbed.

86 台灣光華 Taiwan Panorama

you notice that each stretch of cliff wall has a different
shape. They are like works of art carved by heaven with
careful precision. This most moving geography lesson
leaves one with a sense of reverence.
The current end point of Highway 24 is at the 44.5
km mark, beyond which the remaining few kilometers
of the original highway have been downgraded to the
status of an emergency access road. When we arrive at
Adiri, with its jumble of slate houses, we find a desol-
ate, almost abandoned village, with Taiwan cherry trees
waiting shyly to display their blossoms.
Passing by the stone slab home of the chief of Adiri,
you see ancestral spirit pillars, woodcarvings of ceramic
vats, and woodcarvings and paintings of the legend of
Balenge ka abulru, in which Princess Baleng marries the
Hundred­Pace Snake deity. The architectural vocabu­
lary of the building indicates the status of the chief
within the community.
Husband and wife Bao Taide and Gu Xin hui, the
only people to remain permanently in Adiri when its
residents relocated after Typhoon Morakot, operate the
Sumuku Homestay, where they host visitors who come
哈尤溪的七彩岩壁是八八風災後才能接近的奇景，過去只能從
獵人古道的山陵線往下俯瞰。
The magnificent Qicai Rock Walls along the Hayou River became
accessible as a result of Typhoon Morakot. In the past they could
only be seen by looking down from an old hunting trail along the
ridgeline.
to Adiri to watch birds or butterflies, and hikers who
come to explore the Old Aluwan Trail.
In the afternoon, we walk a trail lined with bloom­
ing Japanese cherry trees, and when night falls, the sky
fills with countless stars. Revisiting old memories and
enjoying this tranquil night is like being in a paradise, a
place of joyful contentment and serenity.
Secret place revealed by a typhoon
When we set off back down the highway the next
morning, the weather is clear as we happily ride down­
hill; this is the most enjoyable part of our journey. We
stop by the side of the mountain road to take in the dis­
tant views of the Dawu Mountains, lush with verdant
vegetation.
87
莫拉克風災10週年，原鄉部落也以大自然為師，重新建立人與
土地的共生關係。
This year marks the tenth anniversary of the highly destructive
Typhoon Morakot. Indigenous communities have learned from
nature to rebuild a symbiotic relationship with the land.

旅程中臨時決定前往哈尤溪，這處在4月底枯
水期前才能前往的限定景點，採訪團隊選擇搭乘
大武部落越野車接駁，而不騎乘入山。
哈尤溪是隘寮北溪的支流，經過一個多小時
在溪床河谷中的車程，再步行溯溪抵達壯麗的
七彩岩壁，沿途有著硫磺溫泉、玄武岩混鐵與石
英質沙岩顯露的岩壁，映照潺潺溪水，閃爍著金
黃波光，景色懾人，體驗了穿梭於自然與文明之
間，破壞與重生的變化，更是地球說故事的最
佳寫照。
大武部落族人巴英雄說，八八風災前，這是一
處深潭峽谷，七彩岩壁只能從獵人古道的山陵線
往下俯瞰，並且是魯凱族人眼中的聖地。這處因
風災後形成的旅遊秘境，可能在下一個風災就又
會消失藏匿於土石之中。
然而哈尤溪秘境旅遊，帶來爆增的旅客，產生
了破壞生態的疑慮。為了讓美景及文化永續，屏
東科大老師陳美惠多年來倡議將霧台、神山、大 Passing through the Kabalelradhane indigenous
武、好茶及阿禮等部落劃設「自然人文生態景觀 community below Wutai, we stop to eat a bowl of aiyu
區」，目前已在相關單位審核中，希望未來能透 fig jelly. A bowl of fresh fig jelly flavored with fragrant,
sweet millet and sweet and sour kumquat and lemon
過總量管制，由專業解說員帶隊，為保護環境、
is the best treat to reward our physical effort. A NT$35
振興部落經濟，建立正向的循環。
bowl of jelly and the mountain vistas have a priceless
今（2019）年正值莫拉克風災10週年，陳美 therapeutic value.
惠培力部落族人，一路走來與部落一起努力，她 At present the shop owner cultivates about two hect­
說：「原鄉部落並沒有因風災的摧殘而被放棄， ares of jelly figs (Ficus pumila var. awkeotsang), which are
尤其這些部落充滿文化的底蘊，有凝聚力，如果 the community’s special local product.
能秉持土地倫理，發展在地特色，融入部落的農 During this day’s journey we decide on the spur
of the moment to visit the Hayou River. To get to this
耕文化自己自足，並且與市場接軌，發展台24線
scenic spot, which is only accessible during the dry
的生態旅遊，必能將風災扯斷如珍珠項鍊般的部
season before the end of April, we choose to take an all­
落美景重新串流起來。」
terrain vehicle from the Labuwan indigenous commun­
陳美惠所勾勒的願景，就像騎程中感受到部落 ity rather than cycle into the mountains.
溫暖的人情，以及霧台美麗的風情，在回程的路 The Ha you River is a tributary of the North Ai­
上，腳下的踏板更堅定了。 l liao River. After more than an hour’s drive along the

88 台灣光華 Taiwan Panorama

riverbed, we begin trekking upstream to reach the ma­
jestic Qicai (“seven-color”) Rock Walls. Along the way
are sulfur hot springs, and rock walls of basalt streaked
with iron, and of quartz arenite. Reflected in the bab­
bling stream they create an awe­inspiring scene of twin­
kling golden light.
Labuwan resident Ba Ying xiong says that before
Typhoon Morakot this was a deep ravine, and the Qi­
cai Rock Walls could only be seen from above, looking
down from a mountain ridge on an old hunting trail. It
is considered a sacred place by the Rukai people. This
“secret place” opened up to tourists by Typhoon Mora-
kot could one day be buried under rock and soil as a
result of another typhoon.
2019 marks the tenth anniversary of Typhoon Mora­
kot. Chen Mei­hui, a professor in the Department of
Forestry at National Ping tung University of Science
and Technology, has been working side by side with
indigenous communities for their empowerment for the
last ten years. She says: “The indigenous communit-
ies that were damaged by Typhoon Morakot have not
been abandoned. They are cohesive and culturally rich.
If they can uphold a harmonious relationship with the
land, develop their distinctive local characteristics, and
practice indigenous farming culture to pursue self­
sufficiency, while also gearing themselves to the market
and developing ecotourism along Provincial Highway
24, they can remake the string of pearls that was broken
by the typhoon.”
Like the warmth of the indigenous communities and
the beauty of Wutai that we experienced on our ride,
during our return journey this vision of the future por­
trayed by Chen Mei-hui makes us feel even more firm
and steady on the pedals beneath our feet. l
(Esther Tseng/photos by Chuang Kung-ju/
tr. by Phil Newell)
89
藝文脈絡　CULTURAL TRENDS

Creating Thrills:
Special-Effects Makeup Artist Chu Chia-yi

文•郭玉平　圖•林格立　版面設計•王敬勛

「路就是這樣，走著走著一
定會找到路的。」採訪這天， “T hat’s how you get there—
just keep going and you’ll
find the way.” On the day of our
儲榢逸輕聲細語為迷路的工作
interview with Chu Chia-yi, he
人員指路，也偶然說出他的生
is quietly giving directions to the
涯寫照。 crew, but could just as easily be
年輕，是他的優勢，當眾人 describing his career path.
還在觀望年輕人的表現，他已 Chu’s youth has been an ad-
繳出了電影《紅衣小女孩》、 vantage. While everyone was still
《美人魚》和電視劇《麻醉風 wondering how far he could go,

暴2》三張特效化妝指導的成績 Chu was heading up makeup spe-

cial effects for the films The Tag-
單，不但紅遍國際，也踏上金
Along and The Mermaid, along
鐘獎、好萊塢和馬德里國際電
with the TV series Wake Up 2.
影節的紅地毯，走出一條台灣 These have sent him on an un-
特效化妝的不思議之路。 common journey for Taiwanese
in his field, all the way to the red
特效化妝是什麼？「只要你 carpet in Hollywood, the Golden
看到的不是普通妝，都是。」 Bell Awards, and the Madrid
International Film Festival.
儲 榢 逸入行10年來，常和人說
明自己所從事的工作，不只是
What is special-effects makeup?
撲白粉扮鬼妝爾爾，特化師
“If what you’re looking at isn’t
是實現導演天馬行空想像的關 ordinary makeup, then it’s special-
鍵人物之一，而且總是藏身幕 effects makeup.” Chu has been in
後，直到電影上映的那一刻， the business for a decade, and when
令人驚呼的特化畫面將為電影 people ask about what he does, he
帶來最大的話題爆點。 explains that it’s not just powdering
people up to look like ghosts, but
rather a crucial part of making the
director’s imagination reality.

90 台灣光華 Taiwan Panorama

儲榢逸
驚悚電影．世界發光 特效化妝師

91
 儲榢逸提供　courtesy of Chu Chia-yi

儲榢逸的3部特化代表作《美人魚》、《紅衣小女孩》、《麻醉風暴2》。（瀚草影視提供）
Chu Chia-yi’s masterworks of special-effects makeup have featured in films such as The Mermaid
and The Tag-Along, along with the TV series Wake Up 2. (courtesy of Greener Grass Production)

92 台灣光華 Taiwan Panorama

 Tagging along on a global journey
名揚國際的《紅衣小女孩》 In the evolution of Taiwanese thriller films, 2015’s
若要描述台灣驚悚電影的流變，2015年由程 The Tag-Along, from director Cheng Wei-hao, will prove
to be an important milestone.
偉豪導演的《紅衣小女孩》會是一個重要的里
In both story structure and style, the film has taken
程碑。
local thrillers to a higher level, resulting in a movie that
電影的故事結構和造型設計，都將本土驚悚片 not only succeeded at the domestic box office, but also
提昇到更高的水平，不僅國內賣座，更受到國際的 captured attention internationally. The titular tag-along,
矚目。其後接連推出國內票房破億的第二部續集和 a ghoulish little girl dressed in red, was the work of
去（2018）年的《人面魚：紅衣小女孩外傳》，是 Chu Chia-yi.
台灣唯一有「三部曲」的恐怖片，而這恐怖駭人的 The film draws its inspiration from an urban leg-
end, and so to bring to life the little girl in the public
「紅衣小女孩」造型就是出自他的手。
imagination, Chu used the image of an entangled ban-
紅衣小女孩取材自民間的V8靈異影片，儲榢逸
yan tree to create “urban” and “jungle” versions of her.
為了呈現民眾記憶中的女孩，考究民間傳說、到
Normally a quiet, reserved type, Chu animatedly
影片現場勘查，融合當地百年榕樹糾纏變形的型 talks to us about this, the work he is most happy with.
態，塑造了「都會版」、「叢林版」兩款造型。 “The idea was even captured in the publicity photos,
一派沉穩靦腆的他，這時興奮地和我們介紹他 where you could see the wonderful banyan-like pat-
最滿意的作品，「劇照裡面有拍到，她整隻手上 terns on her hands and arms.”

面有很漂亮的榕樹紋路。」 Using The Tag-Along as an example, he explains the

magic of special-effects makeup. With the director’s ef-
「我們特效化妝有一個好處，大家都以為只是
forts to integrate the effects with all the characters, what
化妝而已，其實加上特化可以讓電影一夕之間從
was originally a film tied very much into Taiwanese
凡人變巨星。」儲榢逸說明特化的神奇點綴，以 culture became more of a modern thriller.
紅衣小女孩為例，原本是傾向描述台灣文化的電 A self-taught SFX artist
影，經導演修改後，把特效化妝融會貫通在所有 Looking back on how he got into the business, Chu,
角色上面，電影就變得更具驚悚特色。 27, goes back to when he was 16 and helped some class-
mates make themselves up as zombies for a school fair.
自學入行的契機 What seemed like a one-off school event would end up
being a turning point for Chu.
回溯入行的機緣，現年27歲的儲 榢 逸，16歲
Chu self-deprecatingly jokes that he was never much
那年，為了讓高中同學能從創意園遊會上脫穎而
for school. “I never could work up any passion for
出，他四處找尋道具，幫大家化上與眾不同的活 studying or ‘chasing my dreams’ through it, but I still
屍妝。這看似高中生涯一段小插曲的校慶活動， managed to find my own direction.”
卻成了儲榢逸的人生轉捩點。 After that school fair, he started reading through
考試成績是高二學生每日必要面對之惡，「還 foreign-language books on special-effects makeup from
好我大考小考都一樣，零分。」儲 榢逸風趣地自 Kari Ben Nye Effects Makeup in Xi men ding, as well
as studying YouTube tutorials. He also went with the
我調侃，眉宇間卻不經意地微微皺起，「我以前
store’s manager to give seminars at various schools to
真的找不到讀書的熱情跟夢想，看不到未來，但
encourage students of film, television, and cosmetics to
是，我還是要找一個自己的方向和出路。」
come up with more fantastical ideas.
校慶之後，他持續到採買道具的西門町花 He ended up with the chance to join the effects team
莉特效化妝店，日以繼夜地研究原文書、透過 on Joe Chien’s 2012 film Zombie 108. Working on his first
YouTube和向國際知名特化師請益自學；再和特 film, Chu had to transform 217 people into zombies in
化店長到各大專院校辦講座，鼓勵影視創作、美 one go. “I heard that in one scene we would go through
妝科系的學生多發想特化相關的題材。 as much makeup as a whole season of the TV series The

93
刀傷妝從塗抹矽膠、塑型、上色再到打粉定裝，儲榢逸花不到10分鐘便迅速完成。
Knife wound prosthetics are created through a process of applying, molding, coloring, and
powdering silicone that Chu Chia-yi can complete in a quick ten minutes or less.

偶然機緣下，他加入導演錢人豪《Z-108棄城》 「完全不能天馬行空，不管是開刀場次、化什
電影特化團隊，儲 榢 逸回想起來，第一次拍電 麼傷妝，全部都要按照醫院的規則來走。」儲 榢
影，就要一口氣為217人化上喪屍妝，「一場戲 逸和演員們都接受了近四個月的專業醫療訓練，
的化妝量聽說是一整季的《陰屍路》的量。」片 了解縫線、鉤針、止血夾怎麼使用，還有手術室
場完全比照好萊塢分站化妝的模式，化妝師於各 裡所有流程，從洗手到戴手套口罩、遞手術刀
站定點不動，由演員繞點化妝，「多虧那部片讓 ⋯⋯程序複雜到令儲榢逸印象深刻。
我們練就了一身快速的功夫。」 《麻醉風暴2》帶給他另一個難忘的經驗是到戰
地拍攝。參與到首部赴約旦取景的台劇，需要克服
跨國合作，金鐘肯定
的困難更多，必須更有效利用資源，包含材料與劇
有人說：「攻頂，不是爬山唯一的目標。」儲 組人員的時間。「像第一場爆炸戲，蕭政勳（黃健
榢逸攻頂之後，是緊接著攻掠下一座高峰。陸續 瑋飾演）的妝認真化要一兩個鐘頭，但是我們6分
擔任周星馳電影《美人魚》、公視電視劇《麻醉 鐘就完成了，這是我有史以來最快最快的速度。」
風暴2》的特化指導，更在2018年以後者拿下第 無論是《美人魚》和《麻醉風暴2》，都需要與
53屆金鐘獎美術設計，再創新的高峰。 多國人員溝通，在極度高壓的拍片環境中，所幸儲
《麻醉風暴2》定位為專業醫療劇，以每一集 榢逸的態度溫厚、配合度高，沒有遇到太多的溝通
1場手術戲，和多達5場的爆炸畫面的節奏作為劇 問題，也在工作中學習到不同專業的技術。
本設定。
為醫學教育盡一份心
持續和好萊塢特化師作交流的儲榢逸分析，相
較於歐美特化著重在大方向的戲劇效果，台灣則 戲劇以外，儲榢逸將特化發揮在醫學教育領域。
更重視細節和拍攝的質感。力求寫實，他用自己 我們跟著儲榢逸到國立台北護理健康大學
的身軀翻模製作擬真的假人體，內部加裝開腹手 （簡稱「北護大」），參加他在「標準化病人」
術時製造湧血效果的幫浦，假人體既能切、割、 （standardized patient）課程的講座。
挖、剖，還可以重複使用。 邀請他演講的陳皓羽老師，是臺北醫學大學標

94 台灣光華 Taiwan Panorama

Walking Dead.” Thinking back on that experience, Chu
says he is grateful for the crash course in movie effects.
Cross-border cooperation and awards recognition
From there, he went on to serve as special effects
supervisor for Stephen Chow’s The Mermaid and the PTS
TV series Wake Up 2, the latter earning him the Best Art
and Design award at the 2018 Golden Bell Awards, a new
career high.
A medical drama, Wake Up 2 demanded realistic effects,
and so Chu used his own body as a model for a fake hu-
man body, inside which he installed a pump that would
create realistic blood-pumping effects for surgery scenes.
In the end, he produced a fake body that not only could be
cut open and have pieces removed, but was also reusable.
Chu and the actors underwent nearly four months
of specialist medical training to understand the use of
sutures and hemostatic clips, as well as operating-room
procedures. The whole complex process left a profound
impression on Chu.
Most unforgettable for him was traveling to Jordan
for shooting, where they had to deal with all kinds of
challenges, including making the most effective use of
the materials and crew time available. For the first ex-
plosion sequence, for example, he had just six minutes
to complete the makeup for the male protagonist Hsiao
Cheng-hsun, played by Jag Huang.
On top of this, both The Mermaid and Wake Up 2 re-
quired communicating with cast and crew from differ-
ent countries. Amid the high-pressure shooting environ-
ments, it was fortunate that Chu Chia-yi is a warm, co-
operative person, because that helped ensure he didn’t
run into too many problems and was even able to learn
a bit about other specializations.
Helping medical education
Outside of film and television, Chu also puts his pro-
fessional skills to use in the field of medical education.
Taiwan Panorama accompanied him to National Taipei
University of Nursing and Health Sciences for a lesson
on “standardized patients.”
儲榢逸打開自己的化妝包，比起一般化妝師，更多了矽膠、
血漿等昂貴的特化道具。（金宏澔攝）
Beyond the usual paraphernalia of a film makeup artist, Chu
Chia-yi’s makeup kit also includes specialist items like silicone
and fake blood. (photo by Chin Hung-hao)
95
準化病人訓練師。她提到2015年八仙塵爆事故發 作，是為特效化妝界開闢另外一條道路，也希望
生當下，許多第一線醫護人員面對大量的爆炸傷 自己能為台灣醫學教育界貢獻一份心力。
患是不知所措的，因此，醫學界更加重視「標準
轉型幕前，展開新旅程
化病人」的訓練。
透過標準化病人（又稱「模擬病人」）忠實 關於特化培訓，儲榢逸說，只要學生有熱誠和
表現病患的傷勢和反應，準醫生提前做好心理建 態度，他願意毫無保留的傳授，也讓學生參與影
設，以備實務時能做出準確的判斷。 劇實作。
而儲榢逸閱讀過的身體構造書籍，在這時派上 而他自己則是逐步實現最初定下的導演夢想，
用場，「傷口邊緣會因為細菌感染發炎而凸起， 以及轉型作歌手和演員，走向幕前。
且呈現不規則狀⋯⋯」他一邊說明一邊在學員身 特化使他長時間處在相當負面的情緒狀態中，
上化傷妝，連不常見的燒傷、斷指之類的嚴重傷 「可是在演戲的狀態裡，又好像慢慢找到了自
勢，都能如實地創作。 己，有一種情緒被釋放開來的感覺。」儲 榢逸透
「有些人不知道實際現場會有多可怕，我們先 過演戲和唱歌來調節自己的氣場，「期待有一天
呈現出來，讓他之後遇到時能冷靜急救、包紮， 可以創造一個完全屬於自己的角色，之後，我們
或防範突發狀況。」儲 榢 逸說，特化與醫院合 再打敗他。」而多元的身分也使他的特化有了不
同的層次。
身為基督徒的儲榢逸用「曠野之地」來形容特
化師這份工作，看似物質缺乏的荒野，但在一無
北護大學生在「標準化病人」課程中學習化傷妝，也學
習如何克服面對重大創傷的心理壓力。（金宏澔攝）
所有中卻蘊含著特別的祝福。
In classes on standardized patients at National Taipei 正如金鐘得獎感言「忘記背後，努力向前。」
University of Nursing and Health Sciences, nursing
students learn to apply special-effects makeup, which helps 儲榢逸將和特化師們持續不懈地把台灣的特效化
l
them to handle the psychological pressure that comes with
treating severe injuries. (photo by Chin Hung-hao) 妝從在地推向國際。

96 台灣光華 Taiwan Panorama


He had been invited to the lesson by Chen Hao-yu,
chief standardized patient trainer at Taipei Medical Uni-
versity’s Center for Education in Medical Simulation.
Chen talks about how many of the first responders to the
2015 dust explosion at the Formosa Fun Coast water park
were overwhelmed by the large number of victims, and
how this motivated Taiwan’s medical community to focus
more on standardized patient training.
Through “standardized patients”—persons trained to
realistically portray patients in medical situations—in-
structors are able to recreate injuries and victim reactions,
helping prospective medical professionals mentally pre-
pare ahead of time and ensure they are better able to make
the necessary judgments when the time comes.
It is at times like these that Chu’s knowledge of human
anatomy really comes to the fore. As he applies the injury
makeup to the medical simulation trainees, he explains
how you can realistically recreate even serious injuries like
burns and broken fingers.
Cooperation between hospitals and special effects artists,
Chu says, opens up new opportunities for the special-ef-
fects makeup industry, while also enabling people like him
10年的片場經歷，儲榢逸
練就專注化妝的同時，還
能觀察四周的變化。
In his ten years of experience
in film and television, Chu
Chia-yi has not only focused
on makeup effects, but also
observed how the industry
environment has changed.
to potentially do some good for medicine in Taiwan.
Transitioning to the spotlight
If a student is eager to learn, says Chu, he is more
than happy to pass on what he knows about special-
effects makeup, as well as to help them get started in
film and television.
Chu himself is eager to develop his career in new
directions in the industry as well, and he is gradually
working both on transitioning to on-camera roles and
toward his long-held goal of becoming a director.
A devout Christian, Chu describes the work of a
special-effects makeup artist as being like wandering
in the wilderness—while it may seem to be lacking
in material comforts, there are special blessings to be
found therein.
As he said in his Golden Bell Awards speech, one must
forget what has gone before and forge onward. With this
attitude, Chu Chia-yi and Taiwan’s other special-effects
makeup artists are helping lead the local industry out of
the wilderness and onto the global stage. l
(Camille Kuo/photos by Jimmy Lin/
tr. by Geof Aberhart)
97
產業新創　ENTREPRENEURSHIP

當文化遇見科技
啟動想像力的新戰場
Sparking Imagination:
When Culture Meets Technology
文‧蘇俐穎　圖‧林旻萱　版面設計‧王敬勛

何理互動設計有限公司提供 courtesy of WHYIXD

98 台灣光華 Taiwan Panorama

 科技的躍進，翻轉了習以為常的觀念。當理
性與感性相濡以沫，創意、技術、知識、娛樂 T echnological leaps turn everyday ideas on their
heads. When thoughts and feelings work in tandem
the boundaries between creativity, skill, knowledge,
的分野漸次模糊，文化在科技裡激盪出絢爛的火
and fun can blur. Culture is striking dazzling sparks
花，前所未見，任憑想像力馳騁的新戰場，正向
in the world of technology in unprecedented ways and
所有人開放。 opening new realms for the imagination to roam.

猶記得，兩年前令全民共榮的世大運，聖火一 It was just two years ago that Chen Chin-feng lit
路由玉山傳遞到會場，陳金鋒的一記強力揮棒， the Universiade cauldron using the flame carried from
瞬間點燃了巨大的機械聖火台，這個結合了體育 Mt. Jade and a swing of his bat. This magical moment
與藝術展演的魔幻時刻，就連在電視機前觀賞的 moved viewers, even those watching on TV, with its
lovely integration of the arts and sport.
觀眾，也為此激動不已。
Luxury Logico, the group that created this giant
打造這個巨型裝置的「豪華朗機工」，即是台
spectacle, is a contemporary Taiwanese multimedia
灣當前以跨界聞名的多媒體藝術團隊。這個整合 arts collective that has built its name on such multi­
藝術、機械、科技、建築、哲學等不同領域的組 disciplinary work.
合，乍聞之下雖令人匪夷所思，實際上卻是當前 New methods, new public
最具潛力的發展模式，他們向世人作出宣示，單 The company is one of a number of new media
打獨鬥的時代已是過去。 art collect ives that have popped up in recent years

歸功於北藝大鼓勵多元學習的環境，由此畢業的莊杰霖
（左）、葉彥伯（右）共同創業。
Chuang Chieh-lin (left) and Fancy Yeh (right) benefited from the
multidisciplinary studies encouraged by National Taipei University
of the Arts, and started a business together after they graduated.

99
 術臻於純熟，甚至有許多免費資源，今之博物館
新方法，新公眾
也正與時俱進地演化。
豪華朗機工之外，這幾年新媒體藝術團隊簡 科技始終來自於人性，博物館科技的演進全民
直如雨後春筍，作品形式往往不拘陳格，常常就 雨露均霑。以民眾來說，運用App協尋特定的展
出現在你我的身邊。而返溯這樣的風潮，估計醞 品、藏書；展覽資訊的主動推播通知；館所周邊
釀期逾二十年，科技的發展是核心關鍵，當大數 的餐飲、旅遊景點等資訊的串聯；不同館所之間
據、雲端計算、物聯網、人工智慧等各項技術趨 的館藏資訊整合等，好處多多。
於成熟，使用門檻也隨之下降，不僅藝術家嗅聞 於館方而言，主要用於學術研究與博物館管
到新機，文武百業也因應發生質變。 理，林詠能舉例，近年由Apple所推出的iBeacon
就連作風相較保守的博物館群也靜極思動。 （低功率藍芽的微型定位技術）便是一項利器，
2018年的世界博物館日，國際博物館協會便提出 台北科教館已率先在館內建置474個服務點，當
「新方法、新公眾」的口號，好似正與之呼應。 民眾使用科教館的行動導覽App，軟體除了提供
台北教育大學文化創意產業經營學系教授，同 數位學習服務，同時能以去識別化的方式分析到
時也是教育部智慧博物館專辦主持人林詠能便解 每位民眾的參觀動線、停留時間、情緒反應等大
釋，由於博物館的硬體設備維持時間較長，因此 數據，除了可依據民眾需求，客製化參觀路徑，
通常會等待科技成熟後才採用，一來出於成本考 疏解人潮壓力，館方同時也能針對人流與民眾的
量，二來故障率也較低；不過，隨著近年不僅技 回饋，進一步優化展覽的動線與內容。

當代的多媒體藝術團隊，除了擁有藝術家的靈魂，也兼具科學家的
精神與自造者的實踐力。（何理互動設計有限公司提供）
Contemporary multimedia arts collectives have the souls of artists, the
spirits of scientists, and the practicality of makers. (courtesy of WHYIXD)

100 台灣光華 Taiwan Panorama

producing surprising, outside-the-box work. The trend
has been brewing for more than 20 years, driven in large
part by advances in technology. The ongoing maturation
of big data, cloud computing, the Internet of Things, and
arti­ficial­intelligence­have­lowered­the­barriers­to­entry,­
transformed­fields,­and­offered­artists­new­possibilities.­
Even the staid world of museums has gotten in on
the act.
The public can now use apps to search for specific
works­ on­ exhibition­ or­ in­ collections;­ receive­ notifica-
tions­about­exhibitions;­find­out­what­other­destinations­
and restaurants are in a museum’s neighborhood; and
pull together information on the collections of multiple
­museums.­The­technology­offers­users­many­benefits.­
For museums, the new technology is primarily a
tool for academic research and museum management.
Dr. Lin Yung-neng, a professor in the Department of
Cultural and Creative Industries Management at Na-
tional Taipei University of Education, mentions Apple’s
iBeacon, a Bluetooth Low-Energy wireless technology
that provides location information, as an example. The
National Taiwan Science Education Center has already
installed 474 such beacons, which provide visitors us-
ing the museum’s mobile app with digital education
services, while also gathering de-identified data with
which to analyze the route each visitor takes, the places
where they tarry, and what they react to. This enables
the museum to tailor routes to better meet the public’s
needs, use visitor flows and feedback to hone exhibi-
tions, and relieve crowding.
A multidisciplinary generation
Artists who are sensitive to the possibilities of dif-
ferent­ media­ have­ been­ especially­ bold­ in­ their­ efforts,­
and Taiwan is now home to many young collectives like
Luxury Logico that were founded in the last ten years.
While each of these groups has developed its own
techniques, specializations, and approaches, they share
one key commonality: the multidisciplinary backgrounds
何理互動設計有限公司提供 courtesy of WHYIXD
101
 由3位台北藝術大學數位藝術研究所（現已改
跨域時代，混種新生
為新媒體藝術學系碩士班）同學所共同創辦的何
對於媒材最敏感的藝術家，尤其勇於嘗試。正 理，致力於電子造景藝術創作，主要作為豪宅公
如豪華朗機工一般，民間現已有不少成軍不滿十 共空間的藝術品、商業性地標。這些作品與傳統
年的年輕團隊，創辦元老均相當年輕，平均落在 靜態大型雕塑截然不同，團隊除了針對場域的背
三十歲上下。 景文化作設計，同時經常用上燈光、機械結構等
他們擅長的領域、技術各有不同，發展的進 元素，透過光影、機械動力的效果，創造出根生
路也大異其趣；但相同的是，核心成員多擁有跨 土長、動靜皆宜的作品。
域的學養背景，藝術、設計之外，不乏資工、機 至於擅長於數位體驗設計的 叁 式，在展覽、
械、數學等理工領域，他們儘管擁有科學素養， 活動、品牌行銷等場合，都有發揮的空間。 叁式
但本於對創作的熱情，讓他們在畢業以後自然而 的強項在於運用設計、程式打造出一套客製化的
然重新回歸創意工作。 數位體驗，這與純粹的藝術創作不同，由於每個
「現在沒有一個職業可以那麼好玩。」在去年 案子的背後，都有著明確的需求，承接任務的他
底由文化部主辦的文化科技論壇上，受邀與談的何 們，就像要依業主指示的命題，完成解題任務，
理互動設計執行副總葉彥伯在座談會上這樣說。 由於沒有前例可循，「就連業主也不知道會買到
「科技藝術有特殊的迷人之處，擁有前所未 什麼東西。」曾煒傑說。
有的可能性，可以看到以前從來沒有看過的事 以品牌行銷為例，傳統方法不外乎刊登戶外
情。」同一場活動上，參與對談的 叁式有限公司 看板廣告、發送傳單、邀請民眾玩小遊戲送贈品
總監曾煒傑也有所共鳴。 等，但時髦的多媒體體驗遊戲，不僅更容易吸
引到消費者主動參與，在遊戲中融合品牌形象訴
求，效果事半功倍。

插旗全球，MIT的飛行劇院
即便創業多年，面對新的合作案，曾煒傑仍保有
躍躍欲試的玩心。 作為舉世聞名的科技島，台灣在科技藝術的發
Even though he’s been in business for many years, Jay Tseng
still gets excited about working with others on new projects. 展潛力，也許遠比你我的想像都來得大。

102 台灣光華 Taiwan Panorama


of their core members. Though trained in technological
fields, their passion to create has driven them to pursue
creative work in their post-collegiate lives.
Three graduate students in the digital arts program
(now the master’s program in new media) at the Taipei
National University of the Arts formed WHYIXD and
threw themselves into creating electronic artworks for
residential public spaces and commercial landmarks.
Unlike more traditional large, static sculptures, their de-
signs draw on the cultural background of the venue, and
use lighting and mechanical devices to create a sense of
growth and dynamism.
Ultra Combos, meanwhile, uses design and tech-
nology to create customized digital experiences, and is
expanding in the exhibition, event, and brand market-
ing spaces. Its work differs from pure art in that each
叁式與表演藝術家合作，打造出可配合人體動作變化的劇
場特效。（叁式有限公司提供）
Ultra Combos worked with performing artists to create special
effects that follow the movements of people’s bodies. (courtesy
of Ultra Combos)
參與合作蔡健雅演唱會，叁式團隊運用體感偵測、攝影測
量法與粒子系統等技術，在舞台上作出巨型的立體人像投
影。（叁式有限公司提供）
Ultra Combos participated in the design of a Tanya Chua show,
which made use of motion sensors, photogrammetry and a
particle system to project 3D human figures above the stage.
(courtesy of Ultra Combos)
piece is driven by explicit client needs and instructions.
“But even the company commissioning the project
doesn’t know what they’re going ultimately to get.”
Staking a claim
Taiwan’s renown as a “technology island” suggests
that we have almost unlimited potential within the field
of digital art.
The Brogent Group’s i-Ride Experience Center, which
opened this year at Breeze NanShan, is just one example.
Once the lights dim on the science-fictiony theater,
visitors’ seats rise and slowly move towards a giant
screen. Riders are then “launched” into the sky as a
journey through the air unfolds. They not only see the
terrain, but also experience the wind, humidity and
even scents of their trip.
The ride tightly integrates software and hardware.
103
多媒體互動設計整合程式編寫、數據計算與視覺美術等 用，可隨時將人緊緊縛住沒有空隙的安全帶；可
專業，技術含量相當高。（叁式有限公司提供）
Highly technical interactive multimedia design draws on 輕鬆將人托住不會搖晃的網布座椅；由本來是製
programming and cloud computing. (courtesy of Ultra Combo)
作鋼雕藝術的廠商，跨界出手打造的曲線投影螢
幕⋯⋯竟是道道地地的made in Taiwan。
而這一切，除了源於敢夢敢想的心，還得要擁
有懂得跨域妙用的靈活腦袋，同時能將計畫不斷
推進、糾錯、解決問題的實踐力；而藉著這一套
讓我們把鏡頭拉回到今年才剛開幕的微風南 飛行劇院，將全台各地製造業的隱形冠軍相互串
山，在這個各大品牌的兵家必爭之地，由智崴集 聯、重新擦亮使之熠熠發光的幕後推手，正是智
團所營運的i-Ride Taipei飛行劇院，在以零售、餐 崴集團執行長歐陽志宏。
飲服務為主的商場中一枝獨秀。 「台灣有很多厲害的小工廠，專門生產零件
具有太空科幻感的情境吸引著遊客一步步踏入 在高級產品上。」、「台灣不是我們想像中那麼
劇院，當燈光驟暗，座椅被緩緩抬升，推入巨大 貧乏的地方，只是都各做各的。」歐陽志宏觀
球幕前，像被投入天際一般，一段結合視覺、風 察到。
動、水氣、香味，必須全神投入的飛行旅程，就 本業是工程師的他，公司最早由手機軟體起
此展開。 家，當10年前，義大世界想仿效迪士尼樂園建置
而這套高度整合軟硬體，甚至奪得歐洲地區 飛行劇院，才發現重要的專利被迪士尼壟斷，難
主題樂園最佳新設備獎的高科技設備，包含：擁 以突破，在多數人不看好的情況下，他自告奮勇
有獨家專利，享有6個自由度，可輕鬆前後、上 地投入千萬重本，自行研發，才成就了今日娛樂
下、左右移動的飛行椅；專門供給高級跑車使 設備製造商的龍頭地位。

104 台灣光華 Taiwan Panorama

Its patented webbed seats possess six degrees of
freedom and hold riders comfortably in position with-
out swaying. Its safety belts, originally designed for
high-end sports cars, can be fully tightened on the fly.
Interestingly, its curved projection screen is made by a
company that used to produce steel sculptures. And all
of these components were made in Taiwan.
The design of the daring ride required some clever
multidisciplinary work. That the company was able
to continuously advance its plans, fix problems and
resolve issues, while also linking up and coordinating
with “hidden champion” manufacturers all over Tai-
wan, comes down to CEO C.H. Ouyang.
Ouyang is an engineer by training, and cofounded
the company as a maker of cellphone software. But
when the E-DA theme park decided ten years ago to
build a Disney-style flying theater, he ignored the pre-
vailing skepticism about the project and spent heavily
on the necessary R&D. That development work ulti-
mately propelled the company to a leading position in
the entertainment equipment manufacturing space.
如履實境的數位體驗，吸引人們躍躍欲試。（智崴集團提供）
People are eager to experience realistic digital environments for
themselves. (courtesy of the Brogent Group)
Their products now rival Disney’s flying theaters,
and can be found in theme parks around the world.
In fact, the company holds a roughly 60% share in its
market segment and is viewed as a serious competi-
tor by many well-established European and American
entertainment equipment brands.
The company’s rise suggests that there’s no conflict
between technology and culture.
A new age
As we move into a new age of multi disciplin ary
integration and cooperation, the distinctions between
the liberal arts and the sciences are rapidly becoming
obsolete. Old ways of thinking are loosening up, as
demonstrated by Ou yang’s mention of incorporating
educational content into the ride to transform it into a
more meaningful kind of entertainment.
WHYIXD’s Fancy Yeh, meanwhile, says that because
his company’s large electronic installations are used
as corporate landmarks and attract large numbers of
people, they aren’t budgeted as artworks but as market-
ing expenses. And Ultra Combos director Jay Tseng
105
i-Ride飛行劇院九成以上均是在地製造，智崴集團
執行長歐陽志宏擦亮MIT招牌。
Some 90% of the i-Ride attraction was made in
Taiwan. Brogent and CEO C.H. Ouyang are adding
new luster to the Made in Taiwan label.

如今這一套設備，不僅可與迪士尼獨家的飛行
劇院匹敵，在世界上各大遊樂園插旗無數，市佔
率高達六成，更被許多歐美老牌的娛樂設備廠商
視為可敬的對手。
歐陽志宏回憶，當他8歲時第一次踏入電影院，
看的就是科幻電影《星際大戰》，一個井底之蛙的
鄉下孩子猶如看見了另一扇窗景，自此決定走上理
工之路，雖然長大後才了解到，電影裡的星際旅程
難以實現，但虛擬體驗足以彌補遺憾。如今從科技
領域大膽跨足到可天馬行空的娛樂產業，「大概是
潛意識裡的驅動。」他開玩笑地說。
而這個異軍突起的案例，似乎在告訴我們，科
技與文化，從來都不相違。

共融╱榮新世代

文科、理科逕渭分明，轉眼已成舊世代的思
維，重視跨領域的整合與合作的新世代驟降。許
多因循已久的觀念逐漸在鬆動，好比歐陽志宏便
談到，除了進軍各大遊樂園，他們也進一步思考
將這一套設備結合教育內容，為娛樂事業的意義
更上一層樓。 除了有意識地梳理產業趨勢發展的背景脈絡，
葉彥伯則提及，因商業地標的大型電子藝術裝 政府部門也積極以國家資源建制良好的發展環
置，往往能吸引人潮回流，因此他們的作品，不只 境，「台灣數位模型庫」為國家資源建置出共享
被列入藝術預算，甚至也被涵納行銷費用的範疇。 的高階3D模型平台；「國定古蹟3D掃描計畫」針
曾煒傑則分享，民眾參與多媒體互動裝置的現場， 對國定文化資產建置模型，確保文化資產能在雲
再透過攝影、錄像，重新剪輯成短片，於業主而言 端永存，降低因天災人禍造成的損失，更為內容
也是由設備衍伸的一套行銷利器。 產業好比小說、電影等，提供創意發揮的舞台。
若從政策面來看，近年連同文化部、科技部， 是以，當文化遇見科技，文化產業同時亦是
甚至故宮，首開先例向科技部等部會爭取科技與 科技產業；娛樂的同時，也能兼顧教育；經由科
前瞻計畫預算，每年的總額高達5∼6億之譜。 技的轉譯，藝術品紆尊降貴，不再高處不勝寒，
文化部政務次長丁曉菁指出，當文化與科技匯 反倒因通俗的魅力，能為商業行銷所用；透過科
流，也許多數人僅懵懵懂懂感覺到趨勢變化，但 技的普及，甚至能弭平階級差異，落實文化平權
站在公部門的高度，「要解決什麼問題？達到什 ⋯⋯種種革新正在同時間發生，恰如電影《一級
麼效果？過去也許很模糊，但這幾年在戰略上的 玩家》所講述的，一個吸引所有人前仆後繼地前
位置，都已被釐清。」 往的新綠洲，正在形成。 l

106 台灣光華 Taiwan Panorama

 當上天下海輕而易舉，進一步消弭階級差異，文化平權得以落實。（智崴集團提供）
The ease of virtual travel through the sky and beneath the sea helps level class differences
and brings us closer to cultural equal rights. (courtesy of the Brogent Group)

notes that when photos and videos of people visiting
interactive multimedia installations are recut into short
films, they serve as secondary marketing tools for the
companies commissioning the projects.
On the government side, the Ministry of Culture and
the Ministry of Science and Technology (MOST) have
been working together in recent years, one result of
which is that museum groups have received as much as
NT$500–600 million per year from MOST’s technology
budgets.
Government departments have been piecing to-
gether the drivers of business trends, and actively using
public resources to build an outstanding developmental
en viron ment. For example, the Taiwan Digital Asset
Library is a government-supported shared platform for
high-resolution 3D models. Its “3D Scanning Program
for Desig nated Historic Structures” builds models of
nationally designated cultural assets and saves them to
a cloud-based platform both to reduce the risk of them
being lost to a natural or human disaster, and to serve as
a resource for the content industry.
When culture meets technology, the two can become
indistinguishable: entertainment becomes educational
and technology translates art, making it more accessible
and growing its potential as a marketing tool. Tech-
nology’s ubiquity can even level class differences, helping
bring about a kind of cultural equal rights. All of these
innovations taking place at the same time suggest that an
immensely attractive oasis, like that depicted in the film
Ready Player One, may be beginning to take shape. l
(Lynn Su/photos by Lin Min-hsuan/
tr. by Scott Williams)

107
產業新創　ENTREPRENEURSHIP

設計×環保×公益
FNG世代設計寶特袋
Design + Environmental Protection +
Helping the Disadvantaged:
Recycled PET Tote Bags by
FNG Design

文•陳群芳　圖•林旻萱　版面設計•胡如瑜

108 台灣光華 Taiwan Panorama

 FNG世代設計創辦人蔡蔡，運用設計力讓回收後的寶特瓶有了新生命。
“Tsai Tsai,” the founder of For Next Generation Design (FNG), uses the power of design
to give new life to recycled PET bottles.

據環保署統計，2018年台灣的寶特瓶回收量約
為52億支。如此龐大的數量，可塞滿超過三座的 I n 2018, Taiwan recycled about 5.2 billion PET
bottles. Even though recycling cannot completely
compensate for the negative effects of plastic on
台北101，回收場內堆積如山的寶特瓶磚，即使回
the environment, the social enterprise “For Next
收也不能否認塑膠對環境造成的負擔。社會企業
Genera­tion­Design”­is­working­to­find­more­uses­for­
「FNG世代設計」致力為回收寶特瓶尋找解方， recycled PET, and pays five times the market price
並以5倍價格收購的方式關懷回收者，希望用設計 for recyclable bottles in order to improve the lives of
喚醒大家對減塑的認識，創造良善的循環。 recyclers. They hope they can use design to create a
virtuous circle for the environment.
2018年群眾募資平台上最受矚目的募資案竟是
一只環保袋！不僅有許多環保團體支持響應，吸 The most noticed campaign on crowdfunding plat­
forms in 2018 was one for environmentally friendly tote
引了媒體的目光，最後還創下台灣募資平台環保
bags. In fact, it set a record for the highest number of
概念產品最多人次贊助的紀錄。這只看似日常的
contributions on Taiwan crowdsourcing platforms for
提袋究竟有什麼魅力，何以獲得民眾青睞？ a product promoted as being environmentally friendly.
What is the attraction of these seemingly mundane bags?
裝載理想的提袋
A bag for carrying ideals
這款名為「寶特袋」的提袋是F N G世代設計 These tote bags took For Next Generation Design
（以下簡稱FNG）費時兩年開發，每個提袋的材 (FNG) two years to develop. Each bag is made of 100%

109
 常成熟，許多國際品牌服飾裡都有台灣環保紗的
身影。例如2018年的世界盃足球賽，就有16國的
球員穿著台灣寶特瓶回收紗製作的球衣。
F N G創辦人蔡僅鵬（綽號「蔡蔡」）表示，
雖然台灣的寶特瓶回收紗技術成熟，但大部分的
服飾品牌每件產品使用的回收紗約在10∼50％之
間。沒有百分之百使用，不是因為技術達不到，而
是成本考量。寶特瓶回收後，必須先以人工揀選，
將不同顏色的寶特瓶分開，並挑出髒污嚴重的，
像是內含菸蒂、檳榔渣的寶特瓶就必須挑出來加
以清洗，若是含有油漆則無法使用；加上寶特瓶
回收紗的製程複雜、技術門檻高，使得寶特瓶回
收紗的成本比以新料製作的紡織纖維多約40％。
結合環保、公益與設計的寶特袋，承載了使命而生。 即使成本高出許多，一心想實踐循環經濟理
（FNG提供）
念的蔡蔡認為，唯有材料百分之百使用寶特瓶回
FNG’s PET tote bags, which marry design with environmental
protection and helping the disadvantaged, are born of a sense of 收紗製作，當產品用壞了以後還能回到它原本的
mission. (courtesy of FNG)
樣子，重新回收利用，才能真正落實循環經濟、
「從搖籃到搖籃」的理念。因此他希望FNG設計的
料都是100%回收寶特瓶及3顆木質鈕扣，力求減 產品在到達使用年限、破損不能用時還能回收再
少對地球資源的使用。 利用，不會成為垃圾，也不會對環境造成負擔。
寶特瓶的原料為PET塑膠，經過回收清洗、壓 除了關心環境，蔡蔡也希望幫助弱勢團體，所
碎後，熔融成聚酯粒，再經過抽絲、紡紗、織布 以寶特袋的募資案同時蘊含了回收者友善收購計
等步驟，讓寶特瓶再生為寶特瓶回收紗，運用在 劃。FNG與長期關注回收者的社會企業「人生百
服飾織品裡。台灣製作寶特瓶回收紗的技術已非 味」合作，以5倍市價向回收者收購寶特瓶。

回收者以勞力換取
收入，認真生活的
精神，值得尊重。
（FNG提供）
Recyclers get their
income through physical
labor. Their spirit
of perseverance in
adversity deserves our
respect. (courtesy of
FNG)

110 台灣光華 Taiwan Panorama

recycled PET plus three wooden buttons, with the goal
of reducing use of the planet’s resources.
PET bottles are made from polyethylene terephthal­
ate (PET), a type of polyester. After recovered bottles
are washed, shredded, and melted into polyester resin
pellets, the material is drawn into fibers and spun into
yarn, which is used to weave fabric to be made into
clothing and other woven goods. Taiwan’s recycled PET
fiber technology is already extremely mature, and many
international clothing brands use environmentally
friendly fiber from Taiwan.
FNG founder Tsai Jinpeng—nicknamed “Tsai Tsai”—
states that most such brand­name garments contain
10–50% recycled fiber. The reason they do not use 100%
recycled fiber is not due to technological issues, but to
cost. Fiber made from recycled PET is about 40% more
expensive than fiber from new materials.
Despite the much higher costs, Tsai Tsai argues that
only when products are made from 100% recycled PET
fiber, and the materials can be returned their original
紡織業資深師傅們的力挺，讓FNG順利推出百分之百
寶特瓶回收紗製作的寶特袋。
The support of veteran textile-industry staff has enabled FNG to
produce tote bags from 100% recycled PET fibers.
state when they are recycled after the products have
worn out, can the ideal of the circular economy be
genuinely put into practice, without creating any bur­
den on the environment.
The crowdfunding campaign for the PET tote bags
included plans for purchasing used bottles from re­
cyclers on better terms. FNG has been cooperating with
Do You a Flavor, a social enterprise that has long been
helping recyclers, to purchase PET bottles from them at
five times the market price.
Tsai Tsai says that the individual recyclers who col­
lect recyclables in local communities are usually poor
people, and are often stigmatized. But each one has his
111
 格，讓弱勢擁有自己的力量，提供合理報酬，不
僅對回收者的經濟有所幫助，也是對認真生活的
他們的一種尊重。
不想打著環保與公益的口號來販售普通的環保
袋，蔡蔡更希望FNG設計的寶特袋必須美觀、實
用，因此在袋型開發上費了許多苦心。寶特袋除
了是手提袋，經過摺疊就能變身手搖杯飲料提袋；
高30公分以上的寶特袋摺疊收納後不到一個手掌
大，方便攜帶。展開寶特袋，全部材料只有寶特
瓶回收紗和3顆鈕扣，就能使提袋形體產生三種變
化，鈕扣的位置除了收納，還要考慮變身飲料提
袋時的重心，諸如此類的小細節都是1公厘1公厘
慢慢地調整，讓看似簡單的手提袋變得不簡單。

整合紡織產業鏈

FNG雖然在2018年才正式成立，但首次推出的
寶特袋就令人驚豔，背後靠的是創辦人蔡蔡20年
紡織業經驗的累積。
一般而言，回收紗的受力會比新料差一些，
若希望寶特瓶回收紗製作的產品質感、受力比新
料好的話，就必須靠經緯紗的編排，包括紗線的
粗細、編排方式等不斷地調整，從紡織技術去克
服，最終使寶特袋達到耐重15公斤、防潑水、不
易髒的特性。
寶特袋的製作流程是在織布廠抽紗、織布後，
然後印刷，再裁剪、車縫。傳統的作法是將布料
裁剪後再印刷，但考量寶特袋外觀設計上的特
性，蔡蔡與具有四十多年資歷的裁剪師傅溝通，
改變傳統流程。起初刀膜必須時時調整，師傅得
FNG與關注海洋環境的海湧工作室合作，計畫將海廢再 一片一片裁，經過許多技術和工具的運用後，如
製成夾腳拖鞋。
FNG is working with Hiin Studio, which is very concerned about
今一次可以裁剪20層，還能保持最上層和最底層
the marine environment, on a plan to convert marine debris into 的切線一致。
flip-flops.
蔡蔡表示，寶特袋的製作工廠們，其實就是國
際品牌訂單在台灣的紡織產業鏈。這些工廠都具
有全球回收標準（GRS）認證，代表工廠的產品
曾有人質疑為何不直接捐款給回收者？蔡蔡 至少需含有20%的原材料是由回收纖維組成，並
表示，回收者常被汙名化，並非不想工作才撿拾 且是100%無污染的。過去在紡織產業累積的人
回收物，每位回收者背後都有各自辛酸的故事。 脈與經驗，讓他能找到具有GRS認證並願意支持
回收工作時間長，可能撿一整天才換得幾百元的 FNG理念的工廠，一起嘗試新的做法與技術，甚
收入，選擇回收是沒有選擇的選擇。但回收者仍 至推掉部分代工訂單，共同堅持製造屬於台灣自
努力以勞力換取收入，若能提高寶特瓶的回收價 創品牌的包袋。

112 台灣光華 Taiwan Panorama

or her own sad backstory. Despite earning only a few
hundred NT dollars from a whole day of collecting
recyclables, they choose waste collection because they
have no other choice. Nevertheless, recyclers earn their
income through their own toil, so if FNG can raise the
price for collecting PET bottles, this will not only help
recyclers economically, it will also be a sign of respect to
these people who work so hard to make a living.
Rather than marketing PET tote bags using slogans
based on environmental protection or improving the
welfare of the disadvantaged, Tsai Tsai hopes to sell the
bags based on their attractiveness and functionality. Be­
sides being used as tote bags, they can be folded down
into bags for carrying a fitness bottle or other drinks
container. The tote bags, which are over 30 centimeters
deep, can also be folded down to the size of one’s palm,
making them very convenient to carry around. The
only materials in them are recycled PET fibers and three
wooden buttons, and their design has been gradually
optimized by adjusting the position of the buttons to
make the bags easier to fold away, and to correctly place
the center of gravity when they function as a drinks
bag. These adjustments were made millimeter by milli­
改變拖鞋穿壞了只能丟棄的命運，FNG將其結合天然橡膠、
寶特瓶回收紗，做成繽紛的寶特拖。（FNG提供）
Formerly flip-flops were invariably just thrown away after being
worn out, but FNG can combine them with natural rubber and
PET fibers to make a wide range of new PET-based sandals.
(courtesy of FNG)
meter, revealing that what appears to be a simple tote
bag is not simple at all.
Integrated industrial value chain
Although FNG was only founded in 2018, its first
product—the PET tote bag—has been a real hit. But be­
hind this success story are Tsai Tsai’s 20 years of experi­
ence in the textile industry.
Generally speaking, recycled fiber is not as strong
as newly made fiber. If you hope to make the texture
and load capacity of products made from recycled fiber
better than those made from new fiber, this depends
on the structure of the yarn and the arrangement of
the warp and weft yarns in the weave. Optimizing the
fabric through textile technology created tote bags that
can hold 15 kilograms and are both water repellent and
stain resistant.
The process of making the PET tote bags starts with
drawing out the fiber, spinning it into yarn, and weav­
ing the yarn into fabric at the weaving plant. After vari­
ous other processes, the fabric is printed, cut and finally
machine­sewn. Traditionally, the cloth was printed after
cutting, but considering the styling of the tote bags,
after consulting a master fabric cutter with more than
40 years of experience, Tsai Tsai decided to change the
traditional process. When they first started out, the die
blades on the fabric cutting press had to be periodically
adjusted, and only one piece could be cut at a time.
After adopting a variety of techniques and tools, today
they can cut 20 layers at once and can still cut the pat­
tern accurately from the top layer to the bottom.
Tsai Tsai says that the factories that manufacture
FNG’s tote bags are in fact part of the textile industry
value chain that supplies international brands. These
manufacturers all have Global Recycled Standard (GRS)
certification. He has been able to find plants with GRS
certification that are willing to support FNG’s ideals
thanks to the contacts and experience he accumulated
in the textile industry. They are working together to try
new approaches and technologies, even turning down
some other orders to focus on manufacturing bags for a
Taiwanese brand.
FNG has also overturned tradition in putting out
sewing work to women homeworkers with their own
sewing machines. In the past, after receiving an order
a company would just send their material to a contract
factory, and they only had to communicate with that
113
 用設計結合環保與公益，FNG期望集眾人之力，為下個世代帶來改變。
Combining design with environmental protection and helping the disadvantaged,
FNG hopes to bring everyone together to make changes for the benefit
of the next generation.

114 台灣光華 Taiwan Panorama

 將車縫工作交由代工媽媽執行也是FNG顛覆傳 plant. Sewing together a bag involves many different
統的嘗試。過往接到訂單，就是將材料送到縫製 steps, each requiring different machinery and tech-
niques. A factory may be able to complete all these pro-
的代工廠，所有的出貨數量、進度，都只要向代
cesses in house, but women working at home each only
工廠溝通即可。一只提袋的縫製，提把、鈕扣、
have one machine, and so can only undertake one step,
布面接縫等，每個部位需要的機器和技術都不一
making it necessary to send the semi-finished products
樣。一間工廠可以完整車縫一個袋子，但每位代 to different homeworkers for different stages of the
工媽媽都只有一台機器，只能負責一個部分，必 sewing. The system is like a widely spread out series of
須由團隊將半成品逐一按步驟送往不同代工家庭 mini-factories, so the team have to spend more time on
縫製。就像一間間四散各地工廠，團隊必須花費 communication and management, which makes it more
更多時間溝通管理，也使得出貨時間更難掌控。 difficult to complete orders on schedule. Despite this,
FNG has still chosen to give orders to women working
即便如此，FNG仍選擇了代工媽媽，希望能為這
at home, hoping to provide them with stable incomes.
些媽媽們提供穩定的收入。
The next step
寶特袋後的下一步 Thanks to the efforts of its partner factories and home-
workers, FNG has already completed production of
發起寶特袋募資時，雖然設定的提案金額為30 the more than 60,000 tote bags envisioned in its crowd-
萬；但蔡蔡坦言，「實際上必須要到300萬，才 funding campaign. In the hope of finding even more uses
能勉強讓這個計畫在小賠的狀況下完成。」但沒 for recycled PET bottles, FNG is now developing bags
想到，最後超乎預期地募資1,800萬，獲得一萬人 for boxed meals, as well as combination picnic and board
game pads, similarly made from 100% recycled PET fiber.
次以上的贊助與肯定。這宛如一劑強心針，讓團
FNG has also been working with Do You a Flavor,
隊能加快腳步實踐理念。
the drinks chain Milkshop International, and the auto-
在工廠及代工媽媽們的多方努力下，目前已將
mated recycling station operator Fun Lead Change, to
募資計畫的6萬多只寶特袋順利出貨，並持續開 promote the “Recycling-Friendly Project 3.0,” in which
發便當袋、結合野餐與桌遊的野餐遊戲墊⋯⋯， automated recycling machines are set up outside drinks
同樣以百分之百寶特瓶回收紗製作，希望為寶特 shops. Besides PET bottles, they have added PET drinks
瓶回收運用找到更多的出路。 cups to the list of recyclable items, and will also pay

在回收者友善收購計劃後，FNG與人生百味、 five times the market price to purchase these recyclables

from individual recyclers. They hope to use automated
連鎖飲料品牌迷客夏、自動回收系統凡立橙有限
machines to expand their service area and help even
公司合作，推出「友善回收計畫3.0」，計畫在
more recyclers. People who use the automated recycling
飲品店外設置自動回收機。除了寶特瓶也增加飲 stations can also collect points which they can redeem
料杯的回收項目，並持續以5倍價格向回收者收 for consumer discount cards, providing incentives for
購。改善原本以定點向回收者舉辦收購活動的 everyone to join in the effort to recycle resources and re-
方式，希望藉由自動化機台的拓點，擴大服務範 duce garbage.
圍，幫助更多的回收者。民眾若使用自動回收機 FNG’s motto is, “Every choice we make is a vote for
the future.” They are working to use recycled fibers to
亦能集點兌換消費折抵券或是愛心捐款，鼓勵大
develop practical, durable everyday products with a de-
家一起加入資源回收、減少垃圾的行列。
signer look, in the hope that consumers will like them
誠如FNG的理念：「我們的每一個選擇，都是在
and will use them for a long time. This can reduce ex-
替未來投票。」致力以環保回收紗開發具設計感 cessive consumption and overexploitation of the earth’s
的生活用品，並提高產品的耐用度，當消費者買 resources. If everyone pitches in, little by little we can
了喜歡、實用的產品，讓產品用久一點，就能減 create a more positive cycle for the environment. l
少過多的購買，減少對地球資源的消耗。每個人的 (Chen Chun-fang/photos by Lin Min-hsuan/
一點點善意，將能為環境帶來更良善的循環。 l tr. by Phil Newell)

115
多元族群　COMMUNITIES

摺出原味．守護祖靈
用紙藝傳承台灣原住民文化
Mental Image Studio’s
Aboriginal Origami

文•李珊瑋　圖•心象工作室提供　版面設計•胡如瑜

一份善念，讓兩個平地人起心動念，一頭栽入原住民文化傳承。每一個圖面，
細膩描繪台灣原住民16族的服飾圖騰。經由巧手實踐巧思，用生動有趣的媒材，
讓世界認識台灣原住民優美內涵。
心象工作室以「洄游計畫」與部落合作生產紙藝商品，推動種籽師資培訓，打
造循環經濟，復興原住民文化。初試啼聲，就於2016年獲得文化部藝術與文化應
用類第一名，2017年更獲得部落大學課程績優獎。2017與2018年，兩度入圍定位
為「全球華人市場最頂尖設計獎項」的金點設計獎，屢獲肯定，聲譽鵲起。

A desire to do good has pushed two Han Chinese lowlanders into action, plunging
them head first into highlighting the heritage of Taiwan’s Aborigines through their
detailed renderings of the clothing and adornments of Taiwan’s 16 tribes. Employing
skilled hands to realize their marvelous concepts, they have been introducing the world’s
people to the beauty and rich meaning of Taiwan’s Aboriginal culture.
With its “Back to Home Project,” Mental Image Studio has worked with indigenous
communities to produce paper handicrafts, to train “seed teachers,” to foster a circular
economy, and to spur a revival of Aboriginal culture. In 2016, it was ranked first in the
“artistic and cultural applications” section of the Ministry of Culture’s iMatch competi-
tion. In 2017, its origami training course won recognition from New Taipei City’s tribal
community college for its outstanding curriculum. In 2017 and 2018, it was nominated for
Golden Pin design awards. Earning kudos time and again, its reputation is on the rise.

116 台灣光華 Taiwan Panorama

 原住民把歷史藏在圖騰裡，用天生的藝術美感，毫無保留地展現在傳統服飾上，
傳遞天人合一的意念。
The rich history of the Taiwanese Aboriginal tribes is demonstrated by their traditional artistic
motifs. Their natural aesthetic sensibilities are on display in their traditional clothing and
adornments, which convey the ethos of man being at one with nature.

走對的路，上天自有安排 Heaven helps those on the right path

With a good idea, it is possible to create a beautiful
由善念出發，用一張紙，摺出美好願景。心象
vista using just a sheet of paper. Although founded only
工作室成立短短不到3年，已經在台灣原住民族中
three years ago, Mental Image Studio has already borne
遍地開花。曾擔任「影響行銷公司」創意總監的 prodigious fruits in Taiwan’s Aboriginal communities.
李永瑞，兩岸奔走16年，指導無數國際品牌的圖 “In my life, what creation can I leave behind that belongs
像設計運用，卻始終忙於為人作嫁。「我能在生 to Taiwan?” That was the question that Ray Lee, the stu­
命裡，留下什麼屬於台灣的創作？」一道靈光如 dio’s creative director, asked himself. Lee, who is almost
朝陽灑落，已近花甲之年的李永瑞，決心不讓人 60, was determined to live his life without regrets and he
thus created a line of recognizably Taiwanese products.
生留下遺憾，立志創作極具辨識度的台灣商品。
“When you are on the right path, Heaven smooths
「當你走對了路，上天自有安排。」李永瑞才
the way for you.” Lee was busy looking for an artisan to
在苦苦尋覓美工人才，驀然回首，那人卻在燈火 execute his designs and suddenly realized that he had
闌珊處。同在創世社會福利基金會擔任志工多 long known the most suitable person: Coca Wu, a fel­
年的吳權慧，成為最佳拍檔。一個用腦，一個 low volunteer at the Genesis Social Welfare Foundation.

117
動手，相差30歲，情同父女的工作夥伴，有志 排斥我們，認為只是來消費原住民，或是要和他
一同，相輔相成地在2016年催生了「心象工作 們競爭。」但是精誠所至，金石為開，當部落看
室」。 到心象嚴謹的態度，慈悲的志願，反而伸出援
手，給予協助。「這些美好的資產，不應該在我
開創原住民新工藝
們手中出現斷層而消逝。」
為了用紙藝來傳達原住民文化，基本功可不能 李永瑞要用現代媒材，傳承古老文化。「因為
少。做事認真的李永瑞，在圖書館裡不眠不休的 紙輕巧，容易造型。」但是沒有想到最單純的
蒐羅資料，更到原住民委員會請教專家。「我當 媒介，卻歷經挫折，艱辛異常。「因為圖騰很細
時在想，台灣最具象徵性的圖騰是什麼？」直到 膩，色澤很豐富，必須要考慮到印刷和摺疊效
走進部落，華麗的圖像，鮮明的色彩，夢想裡的 果。」光是紙質的挑選，就讓李永瑞大傷腦筋，
景像，霎時間真實地鋪陳在眼前。 印刷時，更是吃足苦頭。「因為圖案細如髮絲，
「每個族群的服飾都截然不同，千萬不能弄 顏色少則2色，多達7色，紙的韌性又強，印刷時
錯。」愈是深入，愈是敬畏。「剛開始，長老很 會有大量紙絲沾黏在滾筒上，差點讓機器報廢。」

固守傳統的老靈魂

在心象藝術總監吳權慧的青春容顏下，卻有
國家戲劇院「戲臺咖」是心象文創系列商品展售地點之一。 一顆固守傳統的老靈魂。「我希望用一張紙，注
（林格立攝）
The Theater Café at the National Theater is one of the locations 入台灣原住民靈魂與文化記憶縮影。」秉持使命
where Mental Image Studio’s product lines are displayed for sale.
(photo by Jimmy Lin) 感，每一道摺痕，都蘊藏先民哲理和生活軌跡。透

118 台灣光華 Taiwan Panorama

These working companions, whose relationship is much
like a father and daughter’s, have similar ambitions and
complementary skills. Together they founded Mental
Image Studio in 2016.
New indigenous handicrafts
“Back then I was thinking: What is visually most
representative of Taiwan?” It wasn’t until he went to the
tribal villages, and the gorgeous graphics, bright colors
and dreamlike images were suddenly laid out before
his eyes, that he knew the answer to that question.
“Every group’s clothing is completely different,
and it’s important not to mix them up.” The more one
delves into this cultural inheritance, the more one real­
izes how impressive it truly is. “We can’t let this beauti­
ful legacy disappear!” Lee wants to use modern media
to pass down traditional culture.
“Because paper is so light and flexible, it is easy to
shape.” Yet Lee hadn’t expected that the folding of this
purest of media into origami would be so problematic.
“It’s because the lines in the designs are as thin as hair,
and the number of colors can range from two to seven.
李永瑞和吳權慧有共同的理想，希望用一
張紙，注入台灣原住民的靈魂與文化記憶
縮影。（林格立攝）
Ray Lee and Coca Wu share an ideal: they hope
to use paper to encapsulate the spirit and cultural
inheritance of Taiwan’s Aborigines.
(photo by Jimmy Lin)
What’s more, the paper is tough, with many fibers, and
these often clog the rollers during printing. It has nearly
broken the machinery.”
The traditional spirit
The youthful appearance of art director Coca Wu
belies an old soul focused on preserving traditions. “I
hope to use sheets of paper to display the spirit of Tai­
wan’s Aboriginal peoples and to capture their cultural
memor ies.” Holding on to this sense of mission, she
demonstrates the living philosophies of Taiwan’s na­
tive peoples and their life trajectories with each crease.
Through handicrafts, culture moves from the realm of
empty theory into the art of living.
“Tribal motifs represent ancient legends.” Aborigines
119
心象不斷推動種子教師計畫，用紙藝傳承台灣原住民文化。 「一個小小的頭飾，就要花費一整個工作
Mental Image Studio is continuing to push its plan to cultivate
“seed teachers,” who leverage traditional paper arts to convey 天。」從構思到繪圖，堅持極致完美，每一個環
the legacy of Taiwanese Aboriginal culture.
節，都很耗損眼力。為了讓每一位顧客，都能
輕鬆地摺出立體動感，吳權慧對紙模設計煞費苦
心。「最困難的是刻意彎曲的羽毛，精細剪開的
過手作，文化不再是空泛學理，而是生活藝術。 流蘇，撥弄出活潑的律動感。」沿著裁切線，反
魔鬼總是藏在細節裡，為了考證16族群的服 覆轉折，瞬間由平面變為立體。不僅自娛娛人，
飾，李永瑞和吳權慧上山下海。「圖騰代表著古 更有成就感。「摺紙的過程，是很療癒的。」
老的傳說。」原住民把歷史藏在圖騰裡，用天生
洄游計畫，回饋部落
的藝術美感，毫無保留地展現在傳統服飾上，傳
遞天人合一的意念。 《台灣原住民創意紙藝》是國內首套用台灣
走進鄒族，才知道細膩的頭飾代表著「媽媽的 原住民做主題的摺紙書，以中英日3種語言，簡
手藝」。藍鵲是鄒族的神鳥，族人用服飾色彩， 介台灣原住民16族群。不僅讓族人重新省思珍
象徵祖靈守護永在。阿美族的腰帶，一條在肚兜 貴資產，更是全世界認識台灣原住民族群的優
外，一條在肚兜內。裙子開邊左右有異，「情人 良媒介。
袋」配戴位置，別具意義。魯凱族頭飾中的「百 態度決定高度，李永瑞、吳權慧沒有迷失在得
合花」，象徵「純淨」，必須是「完璧之身」才 獎的光環中，反而是謙卑內斂。「由那裡取得，
能使用。雄鷹的羽毛是頭目、貴族以及英雄象 回到那裡去。」建立舞台，卻不上台，李永瑞甘
徵，不能任意裝飾。這些細節如果沒有認真考 於做幕後的推手。2017年「洄游計畫」啟動，搭
證，不但貽笑大方，還會以訛傳訛。 配紙模與摺紙步驟教學的《台灣原住民創意紙

120 台灣光華 Taiwan Panorama

put history into their designs, unreservedly displaying
their natural aesthetic sensibility on traditional apparel
that conveys the ethos of humanity being at one with
nature.
It wasn’t until Lee and Wu went to Tsou tribal
communities that they learned that delicate headdresses
represent “Mama’s handiwork.” Taiwan blue magpies,
meanwhile, are the Tsou tribe’s holy birds, and the peo­
ple of the tribe use color in their clothing to symbolize
that their ancestors are always present and providing
protection. Amis women use two belts with their under­
garments, one tied outside and one inside. Meaning is
conveyed by whether a skirt opens on the right or left
or by where an alufu (“lovers pouch”) is positioned.
Lilies in the headdresses of the Rukai represent purity,
and only virgins can wear them. Eagle feathers are the
exclusive province of chiefs, nobility, and tribal heroes.
By not paying heed to these details, one could reveal
one’s ignorance or perpetuate misconceptions.
Giving back to the tribe
Origami of Taiwanese Indigenous People is the first book
published about Taiwanese Aborigines’ origami. Featur­
ing text in Chinese, English and Japanese, it introduces
Taiwan’s 16 officially recognized tribes. It not only gets
Aborigines to reflect upon their cherished cultural herit­
age, but also serves as an excellent way for foreigners to
learn about Taiwan’s indigenous peoples.
Providing materials and step­by­step instructions,
Origami of Taiwanese Indigenous People was published
in conjunction with the launching of the Back to Home
Project in 2017. A culturally creative product, the book
is also a means of carrying the torch for a cultural leg­
acy. It serves both as a versatile educational resource
and as a means of giving back to the tribes.
Mental Image Studio has gained the trust of tribe
members by paying them excellent wages to make
value­ added products. Meanwhile, the indigenous
community colleges of New Taipei City, Taichung City
and Tai tung County have all put on courses to train

心象精心設計的立體紙藝，先個別製作頭飾和
身體，最後再予以結合。（林格立攝）
To create Mental Image Studio’s three-dimensional
paper figures, one separately makes the
headdress and bodies. The last step is to attach
them together. (photos by Jimmy Lin)

121

藝》，不僅是文創商品，更是文化傳承的載體，
是靈活運用的教材，也是回饋部落的道具。
心象工作室以優渥的報酬，輔佐部落居民進
行加工，用感恩的心，贏得信賴。在新北市與台
中市、台東縣的「部落大學」中，陸續開班，培
訓紙藝種籽師資，至今已有八十多位，7成是原
住民，遍及阿美族（居多）、布農族、卑南族、
太魯格族、魯凱族、排灣族、撒奇萊雅族、泰雅
族、賽德克族。
這些種籽教師在各地博物館、圖書館、學校、
才藝班、基金會等地，已舉辦近五百場次的摺紙
活動，宣揚原住民文化。更在「林務局」協助
下，陸續在森林遊憩區開課，寓教於樂。
「洄游」激起迴響，不僅在台灣，更擴展到海
外。在電腦展中，DIY的紙藝體驗，讓國際貴賓
在驚艷聲中，認識台灣最具代表性的文化內涵。
《國語日報》國際華語的文化課程，也是好評不
斷，欲罷不能。透過服飾的特色，在澳洲娓娓述
說著家鄉的故事，由指尖留駐心頭，引發族群的
感情共鳴。
用做公益的心境經營事業，路愈走愈寬廣。心
象用心傳承，滿滿的正能量，摺出台灣原住民族
的快樂人生。 l tr. by Jonathan Barnard)
122 台灣光華 Taiwan Panorama
《國語日報》國際華語
的文化課程中，來自世
界各國的孩子，十分喜
歡原住民紙藝課程。
The courses on the
origami of Taiwanese
Aborigines that the
Mandarin Daily News
offers as part of its
international cultural
curriculum have delighted
the children of various
nations.
teachers in these paper arts. So far more than 80 people,
70% of whom are Aborigines, have taken these classes.
These seed teachers have already led more than 500
origami­related activities at museums, libraries, schools
and foundations, shining a spotlight on Aboriginal cul­
ture. With the assistance of the Forestry Bureau, they
have even taught a series of classes in forest recreation
areas, which were quite entertaining.
The Back to Home Project has garnered rave reviews,
both in Taiwan and overseas. At computer expos, this
DIY paper arts experience prompts exclamations of
delight and surprise from foreign guests as they learn
about a meaningful and representative part of Taiwan’s
culture. The project was featured in the cultural curric­
ulum promoted by the Mandarin Daily News, as well as
at an exhibit in Australia, where the special character­
istics of Taiwanese Aboriginal clothing were used to tell
stories about lives in Taiwan. The stories particularly
resonated with Amis immigrants there.
Taking a public­interest approach to its business,
Mental Image Studio is finding door after door opening
to new opportunities. Full of positive energy and sin­
cerely working to pass down a cultural legacy, it is help­
ing Taiwan’s Aborigines to lead happy, fulfilling lives. l
(Lee Shan Wei/photos courtesy of Mental Image Studio/
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畫說成語 平裝 Paperback US$11 本

Chinese Sayings Told in Pictures

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Hold that Note!—Stories from Taiwan’s Stage

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