A Study of Tainan Inlaid Furniture for Temple Worship,Shi-Liu in Jia-Dong

• Main Authors: KUO,I-LIN, 郭義林
• Other Authors: CHU,RON-GUEY
• Format: Others
• Language: zh-TW
• Published: 2018
• Online Access: http://ndltd.ncl.edu.tw/handle/sy5r4m

碩士 === 國立臺南大學 === 文化與自然資源學系臺灣文化碩士班 === 106 === The origin of inlay began in Yin-Shang period, from observing its historical remains, we found antique treasure, clams inlaid lacquerware made of rosewood and dark wood; and then, through evolution of dynasties, this craft technique can be utilized in every kind of furniture manufacturing that makes its pattern design display exquisite, quaint, lustrous, and plano-concave contrasting visual effects and create high cultural value. Tainan City has still preserved this traditional technique, Shi-Liu in Jia-Dong, originated from many provinces in China, such as Fujian, Zhejiang, and Guangdong, mostly they use local tree species, Autumn Map Tree, as base, then embeded with light yellow colored pomegranate wood, false coffee wood, and teak. This type of furniture is mostly made for practical purposes, and use of materials are not as diversified as works from Beijing and Zhejiang in Mainland China. Most of them are used to make above/lower tables and altars for temples worship and ancestral worship in lobby for wealthy family; few of them are Taishi chairs(old-fashioned armchairs) inlaid with mother-in-pearl and clams, shrine, ancestor memorial tablet, and worship tables in narrower range of selections and not very many types of furniture. This article uses approaches, such as questionnaires, experts’ valuable opinions, historic documents, and field visits, to further understand current conditions and sculpture forms of “Shi-Liu in Jia-Dong” techniques and preservation of pure wood above/lower tables adopted in temples in six districts in Tainan City, such as Central-West District, East District, North District, South District, Anping District, and Annan District, and analyze its revolution and transformation causes. We also had interviews with “Shi-Liu in Jia-Dong” craft masters to further understand conditions of labor shortage and technique learning; and possible solutions to overcome shortage in supply of pomegranate wood and false coffee wood. In addition, we also discussed inheritance of “Shi-Liu in Jia-Dong” traditional inlaid craft, talent training, and request support of this industry from authority in public sector. Furthermore, issues such as adopt wood base, inlay for more diversified uses, search for more pattern design references from professional drawing books (“XIAO REN SHU” comic book, a type of traditional Chinese art form similar to comic strips , “MA YI HUA BAO” a book that introduces various types of traditional Chinese drawing techniques), new creative drawings, historic works restoration, new creative art works, market segmentation expansion, develop cultural economics industry, and “half hand-made, half mechanic” sculpture manufacturing methods are all included in our research and discussions.