Taiwan Panorama 2020 Feb

全球．在地．人文
台灣光華雜誌
中華民國109年2月第45卷第2期
中英文北美版
Vol. 45 No. 2 February 2020
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
2
Taiwan Panorama
體驗經濟進行式
Embracing
the Experience Economy
東山彰良不逃了
鐵路便當的心意與新意
台灣棒球重回世界五強
出入虛實的大夢想家
中華民國一〇九年二月
第四五卷第二期
建議售價
NT$150
US$5
HK$40
¥600
點亮十三層
13 Levels of Light
圖／文•林旻萱　版面設計•王敬勛
於新北市瑞芳區的水湳洞
位選煉廠遺址，在荒廢30多
年後，由台電公司與照明設計師
T hanks to a project by Taiwan Power Company
and lighting designer Chou Lien, beams of amber
light now illuminate the abandoned Shuinandong
周鍊的規畫主導下，將琥珀色的 Smelter, nicknamed “the 13 Levels,” a historic site
光束打上這座層層疊疊的建築 located in New Taipei City’s Ruifang District. At night
物，照亮了廢棄已久的十三層遺 this golden structure testifies to the past prosperity of
址，在夜空中的金黃山城也見證 the mining industry in the area.
了此地過往礦業的繁盛。 (photo and text by Lin Min-hsuan/tr. by Phil Newell)
編者的
人絮話
語
找回童心！體驗經濟正夯
文．陳亮君
中華民國109年2月1日出版（月刊）／
中華民國65年1月1日創刊
不論你是生態旅遊、節慶旅遊、文學的商機；還有23歲時就創立製片公司SELF
出版者光華畫報雜誌社
發行人／吳釗燮
旅遊，還是來趟世界遺產之旅，很重要 PICK，拍攝過網路短劇《Mr. Bartender》、
Publisher: Jaushieh Joseph WU
社長／陳銘政的是，你到底是為了什麼而旅遊。「旅」《私室》，累積超過百萬點擊率的徐嘉凱的
Director: Henry M.J. CHEN
總編輯／陳亮君
Editor-in-Chief: Ivan CHEN 字有客居外地之意，「遊」字除玩耍、閒專訪，看他如何善用網際網路、加密貨幣等
文稿主編／曾蘭淑
Editor: Esther TSENG
文稿副主編／郭玉平逛之外，亦有求學之意，也賦予了旅遊更區塊鏈的方式來操作，一步步打造從影視到
Deputy Editor: Camille KUO
文字編輯／鄧慧純陳群芳蘇俐穎謝宜婷
Writers: Cathy TENG, CHEN Chun-fang,
深入的意涵。而歸納旅遊的目的，不外乎五感空間體驗的築夢過程。
Lynn SU, Tina XIE
版面主編／胡如瑜增長見聞、交際聯誼、放鬆自我、瘋狂購此外，編輯團隊還實地參與聚樂邦的
Director of Layout: HU Ju-yu
美術編輯／蕭郢岑王敬勛
Art Editors: HSIAO Ying-tsen, Henry WANG 物、體驗異國、回味歷史……等，不同的「穿越照相館」與芒草心協會的「艋舺走
攝影組召集人／莊坤儒
Photographic Coordinator: Kent CHUANG
攝影組長／林格立心理需求，對應的旅遊活動與方式就會有撞街頭」體驗活動，第一手觀察並記錄遊
Photographic Director: Jimmy LIN
攝影編輯／林旻萱
Photojournalist: LIN Min-hsuan
所不同。戲設計如何勾起玩家的好奇心，以及如何
英文編輯／陳瑩潔唐樂榕倪凱駿
English Editors: Audrey CHEN, Robert TAYLOR, 台灣近年來掀起了一股見學風潮，打著讓參與民眾在過程中，認識整座城市的歷
Phil NEWELL
日文編輯／山口雪菜施家騏
Japanese Editors: Yukina YAMAGUCHI, 各種「體驗」名義的觀光工廠、手作坊，史脈絡與深層的社會議題。
Shila SHIH
印尼文編輯／陳德銘
Indonesian Editor: Temmy WIRYAWAN 甚至觀光團如雨後春筍般出現，這種類似每一趟旅程，都是對自身經驗的反思，
越南文編輯／武秋香
Vietnamese Editor: VU Thu Huong
泰文編輯／王玉雯
校外教學的「社會科見學」，成為大人們透過不同的體驗活動，也逐漸勾勒出屬於
Thai Editor: WANG Yu-wen
資深行政編輯／段蜀華重拾童心的最愛。而這些體驗活動，也不自己的記憶點，這種感覺，不是在行前找
Senior Administrative Editor: DUAN Shu-hwa
總監／鍾宜蓉僅限於觀光工廠，在先進科技、精湛工了多少資料、看了多少圖片可比擬的，如

Marketing Director: Carianne CHUNG
「世界12強棒球賽」時擊敗韓國隊的集
業務協理／陳俊偉
Deputy Manager: CHEN Jyun-wei 藝，以及職人精神的加持下，活動內容更
綜合服務組長／陳淑英
Chief of General Affairs: CHEN Shu-ing
綜合服務組／李淑慧
是五花八門，不但豐富多元且饒富趣味。體記憶、「台鐵便當節」的熱鬧景象、走
General Affairs: S.H. LEE
發行組／何世隆本期《光華》從如何創造品牌價值及如進「鳳嬌催化室」的美感悸動、「騎行台
Circulation: HO Shih-lung
何與消費者互動等角度，帶讀者走訪宜蘭七甲線」的心領神會，相信不同需求的旅
的「勝洋水草休閒農場」及台南的「台灣人，都能在本期中找到屬於自己的體驗方
金屬創意館」，看他們如何在面對產業困式。大家準備好了嗎？還不趕快跟著《光
境時，透過體驗式經濟，開闢另一條嶄新華》來一趟體驗台灣之旅。 l
The Rise of the EDITOR’S NOTE
Experience Economy
W hen we travel, be it for ecotourism, and The Bar, which have amassed over a mil GPN: 2008000038 ISSN1991-525X
原刊名光華 Sinorama Magazine
festivals, literary tourism, or to visit lion views online. We learn how he is deftly 中華民國95年1月改為台灣光華雜誌
Taiwan Panorama
a World Heritage Site, what matters most is using the Internet as well as cryptocurrencies
SUBSCRIPTION RATES:
why we travel. Travel can help us expand and other blockc hain technologies in his 　Republic of China: NT$150 per copy,
　　NT$1500/year, NT$2600/2 years
our knowledge, make friends, relax, shop, operations, moving step by step from video 　Asia & Paciﬁc Regions: US$40/year,
　　US$72/2 years by airmail
experience foreign cultures, look back at his to his dream of “immersive experiences.” 　North America: US$32/year,
　　US$55/2 years by regular mail
tory…. Travel activities and methods vary In addition, we observe at first hand the 　Elsewhere: US$45/year,
　　US$80/2 years by airmail
according to what people seek in their own playing of the games “Through the Photo Taiwan Panorama (USPS 000624) is published
hearts and minds. Studio,” by Clubon, and “Hitting the Streets monthly, US$32.00 per year, by Kwang Hwa
Publishing (USA), Inc., 3731 Wilshire Blvd 104,
In recent years “educational tourism” has of Bangka,” by Homeless Taiwan, to see how Los Angeles, CA 90010, USA. All rights reserved.
Reproduction in whole or in part without written
grown increasingly popular in Taiwan, and games can be designed to pique players’ curi permission is prohibited. Periodicals postage
paid at Los Angeles, California.
tourist factories, craft workshops, and tours osity, and how game playing can help people POSTMASTER: Send address changes to
Kwang Hwa Publishing (USA), Inc., 3731
offering “experiences” of all kinds of have learn about urban history and gain insights Wilshire Blvd 104, Los Angeles, CA 90010, USA.
sprung up in large numbers. This kind of into profound social issues. 美國光華出版公司
Kwang Hwa Publishing (USA), Inc.
“social studies field trip” approach has be Every journey provides an opportunity to 3731 Wilshire Blvd 104,
Los Angeles, CA 90010, USA
come a favorite way for adults to recapture reflect on past experience, and through expe Tel: 1-888-829-3866 Fax: 1-213-389-0021
their childhood mindsets. And these experi riential activities we can create memories that 董事長：莊璧璘
助理：吳佳穎、葛崇高
ential activities are by no means limited to are ours alone. The feeling that this brings
President: P.L. CHUANG
Assistants: WU Chia-ying, Thomas KOH
tourist factories. With the aid of advanced is quite different from that of collecting in 著作權所有，本雜誌圖文非經同意不得轉載。
technology, meticulous craftsmanship, and formation and looking at images before we

如欲轉載，請與本社資深行政聯絡。
如發現書頁有裝訂錯誤或污損事情，
professionalism, they have become extra travel. Among this month’s reports on such
請寄至本社調換。
All rights reserved. Photos and articles may not
ordinarily diverse in content, but also re things as the shared memory of Taiwan’s
be reprinted without our permission.
If you wish to reprint any of our articles or
warding and interesting. defeat of South Korea in the 2019 Premier12

photographs, please contact our senior
administrative editor.
Damaged or misbound copies returned to us will
As part of this month’s cover story, we visit baseball tournament, the bustling scenes at be gladly replaced.
Yilan’s Sheng Yuan Leisure Farm and Tain the Formosa Railroad Bento Festival, the aes
an’s Taiwan Metal Creation Museum to see thetic stimulation to be found in the Fenko
how businesses that were facing difficulties Catalysis Chamber, and the challenge of
worked to develop new commercial opportu cycling Provincial Highway 7A, I’m sure that
nities in the “experience economy,” building travelers with different needs can find expe
brand value through interaction with consum riences to suit their tastes in this month’s Tai-
ers. We also talk with Jack Hsu, who founded wan Panorama. Are you ready? Come with us
the production company Self Pick at age 23, on an experiential journey through Taiwan! l 本刊物印刷油墨使用環保認證大豆油墨
and shot the Internet miniseries Mr. Bartender (Ivan Chen/tr. by Phil Newell)
目次
CONTENTS 中華民國109年2月第45卷第2期 Vol. 45 No. 2 February 2020
8 封面故事 Cover Story
6 體驗經濟進行式
8 水草與板金
Embracing the Experience Economy
體驗是為了走更長遠的路！
Aquatic Plants and Sheet Metal Working:
Experiences Create a
Brighter Business Outlook
文•曾蘭淑　圖•林格立
20
20 會說書的旅遊指南
從遊戲了解台灣地方議題
Travel Guides that Tell Tales
—Learning About Local
Issues Through Games
文•謝宜婷　圖•莊坤儒
30 回到兒時的美好
手作體驗的驚喜與滿足
A Crafty Way to Revisit Childhood
—The Joy of Making Things by Hand
文•謝宜婷　圖•林旻萱
40 出入虛實的大夢想家
30 編者的話
Editor’s Note
來自地方的明信片
Postcards from Home
徐嘉凱的「沉浸式娛樂」世界
Straddling Fiction and Reality:
Jack Hsu’s Immersive Entertainment
文•蘇俐穎　圖•SELF PICK提供
2 找回童心！體驗經濟正夯 1 點亮十三層 52 月月好讀

The Rise of the Experience Economy 13 Levels of Light Variety Pages
文•陳亮君圖／文•林旻萱吳錦發
全球．在地．人文
中華民國109年2月第45卷第2期
中英文北美版
Vol. 45 No. 2 February 2020
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
Embracing
the Experience Economy
台灣棒球重回世界五強
出入虛實的大夢想家
影像對話 Photo Essay
建議售價
NT$150
US$5
HK$40
56 共時的精神振動：
¥600
000-10901-cover.indd 2 2019/12/26 上午5:17
封面說明：葉偉立《水湳洞》

以手作體驗的小店，吸引不同國家的旅客來嘗試，反映 A Synchronic Resonance
台灣工藝正從製造業轉型為知識服務業。（林旻萱攝） of Kindred Spirits:
Cover: A little store that sells “experiences” typifies the Yeh Wei-li’s Shuinandong
transformation of Taiwanese craft enterprises into providers 圖•葉偉立提供　文•沈柏逸
of knowledge-based services. (photo by Lin Min-hsuan)
全球視野 Global Outlook
66 台灣棒球重回世界五強
相信中華隊！12強棒球賽
The Premier 12 Baseball Tournament:
Taiwan Back in the World’s Top Five
文•蘇晨瑜　圖•林格立

島嶼行旅 Around Taiwan
74 一紙情深
66
「鳳嬌」催化紙的可能
Expanding Paper’s Possibilities
—The Suho Museum and
Its Fenko Catalysis Chamber
文•蘇俐穎　圖•林旻萱
82 移動的美好
Railway Bento:
New Flavors for a Nostalgic Travel Icon
文•陳群芳　圖•林格立
94 楓紅看不盡．騎過萬重山
82
騎行台七甲線
Mountain Ridges, Autumn Leaves
—Cycling Provincial Highway 7A
文•曾蘭淑　圖•莊坤儒
藝文脈絡 Cultural Trends
106 五十知天命
Knowing the Biddings of Heaven
—Akira Higashiyama Is Done Fleeing
文•鄧慧純　圖•莊坤儒
106
114 印模師．玩創意
守護木雕傳承──蔡榮興
Upholding a Tradition:
Master Mold Maker Cai Rongxing
文•李珊瑋　圖•林格立
封面故事 C O V E R S T O R Y
6 台灣光華 Taiwan Panorama

Embracing
the Experience
Economy
圖•林旻萱　版面設計•蕭郢岑
7
水草與板金
體驗是為了走更長遠的路！
Aquatic Plants and Sheet Metal Working:

Experiences Create a Brighter Business
Outlook
文•曾蘭淑　圖•林格立　版面設計•蕭郢岑
如何延續品牌的價值？如何創造與消
費者的聯結？《體驗經濟時代》這本書提 H ow do you extend the value of a brand?
How do you forge ties with consumers?
B. Joseph Pine II and James H. Gilmore’s book
到，體驗可以做為一種新的經濟產出，超
The Experience Economy suggests that experi
越商品與服務，為企業創造新的價值。
ences are in fact a kind of economic product,
正如宜蘭「勝洋水草」與台南「志鋼金 one that goes beyond traditional goods and
屬」，各自面臨同業低價競爭與找不到人 services and creates new value for companies.
才的窘境，卻共同藉由水草的五感體驗與 When Yilan’s Sheng Yang Leisure Farm faced
板金的教育體驗，為企業拓展商機，打開 price competition, and when Tainan’s Chih Kang
一條更寬更遠的路。 Material Company struggled to hire employees,
each of them responded by incorporating “experi
ences” into their product lineups. The former now
「咦！我的蝦子怎麼不見了？」「老
offers visitors a full sensory experience of aquatic
師，蝦子是吃水草? 還是自己的大便？」來
plants, while the latter provides an education
到勝洋水草休閒農場的宜蘭黎明國小四年 in the basics of sheet metal working, as a means
級的學生們，正D I Y「生態瓶」，邊問邊 of expanding their business opportunities and
學著完成手中的作品。 brightening their businesses’ outlooks.

9
「這個生態瓶是模擬地球的環境，由水、沙會的「一鄉一休閒農漁園區計畫」，轉型為觀光
子與水草構成一個具體而微的海洋，裡面的消費休閒農場。
者就是蝦子；生產者是藻類，可以作為蝦子的食徐志雄的危機感來自父母親在宜蘭從事養殖
物；還有分解者：消化菌分解蝦子的排泄物，既業屢戰屢敗的經驗。「我父母親從1967年開
可以作為水草的養分，又有淨化水質的作用。」始養鰻魚，維持黃金十年後走下坡，接著養泰
解說老師回答學生的問題，傳達生態瓶「共生自國蝦、鱘龍魚，他們大概除了烏龜沒養過，其
足」的原理。他都嘗試過。」他說，歷經這麼多的失敗與起
小學四年級自然課正好講到水生植物，解說伏，最後領悟到，宜蘭陽光不足，溫度又比中
老師一一帶著學生們觀察與辨識四大類型的南部低，實在不適合水產養殖。因此他1993年
水生植物，例如浮萍、野薑花、睡蓮與金魚時與剛退伍的弟弟徐輝雄投入水草種植，當時
藻，又從復育獨角仙講到紅冠水雞，環境教育市場只有兩家。
之餘，最好玩的還有釣魚與撐船體驗。剛上膠徐家兄弟兩人瘋狂地蒐集台灣近400種的水
筏的小朋友十分緊張，但在掌握訣竅後，即可草，並且開發出高單價水草，還跨足經營水族
以領悟同舟共濟的成就感，也有擱淺在池中央館，舉辦比賽、規劃展覽，推廣水族市場。勝洋
的，被工作人員「拖」救回來，池邊的加油聲在1997年衝上年營業額1,000多萬元的高峰，但也
淹沒在撐竿樂的嘻鬧聲中，大自然真是最好的吸引更多同業加入，以低價殺價競爭，讓水草進
教室。入紅海市場，雪上加霜的是水族產業也走下坡，
2019年勝洋水草的收入只剩500多萬元。
從水草栽培轉型觀光農場
還好轉型成觀光農場，每年至少帶入七、八萬
曾經是國內最大的水草供應商，勝洋水草總經人次的參觀人潮。「很多人說我很厲害，提早跨
理徐志雄預見到水草行業的低價競爭與水族館的出去，走在前端。」徐志雄直白地說：「來勝洋
衰退，2001年一面維持水草生產，一面響應農委釣魚一次收150元，150元可以在市場買一條三斤
水草展示館旁的紙莎
草，古埃及人聰明地
拿來做成莎草紙。
The ancient Egyptians
used reeds like these
to make papyrus.

“Hey! Where’d my shrimp go?” “Teacher, do shrimp eat aquatic food to the shrimp. They also contain de-
plants, or their own poop?” The curious fourth graders visiting composers, which clean the water and break
Sheng Yang Leisure Farm from Yilan’s Liming Elementary School down the shrimps’ excretions into nutrients
are making “bottle ecosystems” and asking questions as they learn. the aquatic plants can use.”
“Bottle ecosystems simulate the Earth’s natural environment. From cultivator to leisure farm
The water, sand and aquatic plants they contain form a miniature Sheng Yang was once Taiwan’s largest
ocean,” says a docent, who goes on to explain the principles that supplier of aquatic plants. Anticipating the
enable the ecosystems to be self-sustaining. “The shrimp inside rise of price competition and a downturn in
them are the consumers. The algae are the producers, providing the aquarium market, company president
Hsu Chih Hsiung heeded the Council of Agri
culture’s call to establish agricultural and
fisheries parks in every rural township by
beginning Sheng Yang’s transformation into a
facility open to tourists while also maintaining
the company’s production.
Hsu’s sense of crisis arose from his parents’
repeated failures in the aquaculture business.
“My parents began raising eels in 1967, and
enjoyed ten good years before their busi-
ness began to decline. They went on to raise
giant freshwater prawns, and then Chinese
sturgeon. They probably tried their hands at
everything but turtles.” He says that after their
many ups and downs, they finally realized that
Yilan’s relatively cool temperatures and lim-
ited sunshine made it unsuited to aquaculture.
Their experience caused Hsu and his younger
brother to try a different approach—they be-
gan cultivating aquatic plants in 1993, when
there were just two companies in that market.
Sheng Yang’s annual revenues hit a peak of
more than NT$10 million in 1997, but its suc-
cess attracted new entrants to the market who
competed on price, which hurt the company’s
margins. Making matters worse, demand from
the aquarium market began falling at around
the same time. These two factors impacted
Sheng Yang’s revenues, which were down to
just NT$5 million or so in 2019.
Fortunately, the company’s leisure farm
venture now brings in at least 70,000 visitors a
撐船體驗，可以領悟同舟共濟的重要。
Poling a raft teaches the importance of working
together to achieve shared goals.
11
大的吳郭魚，但在這裡，魚釣起來，拍個照，還瓶與生態球的DIY課程，生態瓶還曾獲農委會舉
要放回去，不能帶走。」關鍵就在於做「體驗經辦的農特產品創意大賽第一名。
濟」，因為農產品拿去市場批發，只能以低價競「有知識性的延伸商品才有壽命，」徐志雄
爭；做精緻農業、產地直銷，或是做休閒農場，強調，絞盡腦汁開發的生活文創品，例如水草小
才是「擺脫單純價格競爭的方法，」正如《體驗夜燈、自動灑水的盆栽，均要符合增加生活樂趣
經濟時代》書中所說。與品味，以及用得到的特性，還要消費者負擔得
起，才能增加提袋率。基於宜蘭厝理念所興建的
體驗經濟也是知識經濟
清水模水草文化館，不只吸引偶像電視劇前來拍
體驗的深度，就靠主題。目前也是宜蘭休閒農攝，還是熱門打卡拍照的景點。
業發展協會理事長的徐志雄說，「我們的主題就客人出門玩，有不同生活體驗，心情好，小
是水草，因為沒有人比我們還懂水草，可以把水朋友快樂學習，有了美好的一天，體驗所創造的
草這個主題發揮得淋漓盡致。」教育、娛樂等附加價值，也增加了收入，從一開
勝洋休閒農場花很多時間做資源調查，探索水始是一台遊覽車收800元，到可以每人收門票100
草的各種可能、用途，設計水草的相關活動，出元，到200元、350元。
版書籍，訴說水草的故事。發揮創意，將水草應至於勝洋的本業水草種植，目前鎖定在栽培高
用在食衣住行育樂上，例如將香料水草水紫蘇、單價的水草上，國內與外銷市場各佔一半。原本
刺芹或是大葉田香入菜，推出水草餐；規劃生態外銷最有競爭力、每年可以帶來300萬元營業額
勝洋水草休閒農場藉由水草的五感體驗，拓展企業經營的廣度。
Sheng Yang Leisure Farm has expanded the scope of its operations by
providing visitors with a sensory experience of aquatic plants.

曾經是國內最大的水草供應商，勝洋水草總經理徐志雄將水草栽培轉型觀光農場，
做到「水草不只是水草」的創新體驗。
Under the direction of general manager Hsu Chih Hsiung, Sheng Yang Water Plants, once Taiwan’s
largest supplier of aquatic plants, has remade itself into a leisure farm.
year. “A lot of people have told me that I was smart to get “The spinoff products that have lasted have been
into this business early,” says Hsu. He explains that the knowledge oriented.” The products that his visitors
key is giving people an experience: “The NT$150 visitors buy, which include aquatic-plant night lights and self-
spend to fish here could buy them a 1.8 kilogram tilapia watering potted plants, have to be fun, make use of some
at the market. They don’t get to take our fish home, but particular attribute of the plants, and be affordable.
instead get the experience of catching it. They then take a Visitors are looking to try something new. Children
picture and toss it back.” Just as Pine and Gilmore write, learn while having fun, and everyone enjoys new
the experience economy offers producers a way around experiences that brighten their day. A visit to Sheng
price-based competition. Yang makes for a great day out, filled with experiences
Knowledge = a good experience that create added value in the form of learning and
The depth of an experience depends in part on the pro- pleasure.
viders’ knowledge of the topic. Hsu, who is also the head Three years ago, Hsu and his brother also began
of the Yilan Leisure Farming Development Association, making use of the aquaculture ponds their parents left
says, “Our topic is aquatic plants. No one knows aquatic them to raise western rock lobsters (Panulirus cygnus).
plants better than we do, so we can provide a lot of infor- Once the lobsters acclimate to Yilan’s winters, Sheng
mation.” Yang plans to feature them on its menu and add yet an-
Sheng Yang spent a great deal of time surveying its other experience to its palette.
resources and exploring the possibilities of aquatic plants. When Sheng Yang treated aquatic plants as a simple
One result was its use of herbs such as rice paddy herb product, it could only sell them to the aquarium mar-
(Limnophila aromatica), culantro, and Limnophila rugosa to ket. By turning the plants into a full-fledged sensory
flavor an “aquatic plant” meal. Another was its develop- experience for visitors, it has created new and limitless
ment of DIY bottle ecosystem and globe ecosystem classes. possibilities.
13
的水草小榕，三年前因遭到找不到病因的細菌感與水草相關的生活文創品，可以增加生活樂趣與品味。
Creative versions of everyday items incorporating aquatic plants
染，營業額一夕之間降為零。 make life a little more fun.
負責水草種植的弟弟徐輝雄，聊起水草就停不
下來，他透露已找到防治方法，並且通過檢疫，
預計今（2020）年可以出口。
徐家兩兄弟三年前利用父母留下來閒置的養殖「剛開始什麼單都接，舊衣回收箱、垃圾桶，
池，開始養殖澳洲龍蝦，等它們適應了宜蘭的冬與金屬板金有關的訂單，只要是客人付了訂金，
天，成為水草餐廳的大餐，還可以帶來加值的體驗。不論小單、大單都接。」郭治華說，還經常會遇
當水草只是水草時，只能賣給水族館；勝洋水到廠商跳票，最大的衝擊是1997年金融危機，台
草的五感體驗，讓「水草不只是水草」，產業便灣國內的工廠都暫停了訂單，反觀做外銷與高科
有無限的可能。技的工廠生意很穩定，因此轉做外銷與高附加價
值的訂單。
危機變轉機，轉型成功
「我還記得第一次做外國人的生意，一貨櫃
製造電梯外殼起家的志鋼金屬，會成立「台灣的板金外殼運到國外，卻因為品質不合格，全
金屬創意館」觀光工廠，走向體驗經濟，不是為部被退貨，所有的產品頓時變成廢鐵。」但志
了轉型所需，也不是為了促銷產品；反而是因為鋼金屬卻遇到很好的客人，郭治華說，這位外
工廠轉型成功，訂單接不完之際，卻面臨找不到國客人親自說明退貨的緣由，原來出在品質測
技工的困境。總經理郭治華乾坤一擲，以工廠為試與管理。
舞台，展示板金的產品與技術，讓「體驗」帶來他舉例說：在台灣用酒精擦拭不會掉漆，但廠
柳暗花明的轉機。商一擦就掉，原來外國客人用的是濃度99度的酒
志鋼金屬1995年創立時，是因為六位股東各自精，而且以一定的力道擦拭，我們只用低濃度的
工作的公司都外移大陸，他們不想去大陸，於是工業酒精擦。在台灣用一般封箱的膠帶進行附著
六人合夥做電梯、升降梯的車廂與電梯門板金。度的測試沒有問題，外國客人貼上的膠帶一撕就

Turning crisis into opportunity mented the customer ’s quality assurance standards
Chih Kang Material Company got its start manufactur and methods. The application of these QA standards
ing elevator cab shells. In more recent years, it estab has enabled Chih Kang to win orders from around
lished the Taiwan Metal Creation Museum (TMCM) and the world.
moved into the experience economy, doing so not because Kuo speaks at length about Chih Kang’s successful
it needed to transform its business or spur sales of its transformation, which he says led to high-quality prod-
products, but rather because it was having trouble hiring ucts, a large and steady stream of orders, and a very
enough skilled workers to meet the strong demand for bright outlook—but then a labor shortage.
its products. General manager Kuo Chih-hua gambled Working through a problem
that the “experience” provided by a platform highlighting Kuo found himself unable to recruit younger gradu-
sheet metal products and production techniques would ates of his alma mater, National Tainan Industrial High
pay off with a solution to its crisis. School, and heard that the school was on the verge of
Chih Kang’s six original shareholders founded the com- eliminating its sheet metal program. He explains that
pany in 1995 after each of their employ-
ers relocated to mainland China. Not
wanting to follow their employers there,
they partnered up to make doors and
shells for elevators and platform lifts.
Kuo says that during the financial
crisis of 1997 orders to factories serving
Taiwan’s domestic market dried up,
while those of firms selling to the export
market remained steady, prompting
Chih Kang to transition to exports.
“I remember our first overseas sale.
We sent a container of metal cases to
the customer, but the quality wasn’t up
to standard and all of them were re-
turned—an entire container full of goods
instantly transformed into scrap metal.”
But Chih Kang’s customer continued
to work with them, even personally ex-
plaining the reason for the return, which
turned out to be a problem with quality
assurance procedures.
Kuo mulled the situation when he got
back to Taiwan, and then fully imple-
志鋼金屬總經理郭治華成立「台灣金屬創
意館」觀光工廠，是因為在缺工困境下，
困而搏之的想法。
Kuo Chih-hua, the general manager of Chih
Kang Material Company, established the
Taiwan Metal Creation Museum, a factory
open to tourists, as a means of resolving the
company’s labor shortage.
15
掉漆，原來他們用的是3M特定編號的膠帶；另外
在台灣目視沒有色差，外國廠商拿出色差機，一
掃描偏紅、偏綠全顯示。
回到台灣，好好反省，完全依照外國客人教
導的標準與方法來進行品管，生產出品質好的產
品，不僅打開外銷市場，而且依此品管標準，接
美國、以色列等世界各國的訂單也無往不利。
郭治華娓娓道來志鋼金屬轉型的成功關
鍵，造就了品質優良的產品，訂單接不完，
前途一片大好之際，公司卻面臨招不到工的
窘境。
招不到工，困而搏之
不只自己的學弟不願來上
班，母校台南高工的板金科要被裁撤
的消息，傳到郭治華耳裡。他解釋，
以雙手當成折床機，可以將一塊板狀金屬折成劍獅機器人。由於板金科沒落，不如機械科夯，當時各個職校
A visitor assembles a sword-wielding lion robot that she has
created by bending pieces of sheet metal into shape. 板金科都遭到裁撤或合併的命運，例如台北大安
高工與高雄高工的板金科均變成製圖科或機械
科，台南高工也受到影響。他在震驚之餘，不希
望板金科就此沒落。
就連去參加就業博覽會，志鋼金屬的攤位不比
台積電、群創小，「但他們大排長龍，我的攤位一
個人都沒有，心中真是傷心。」郭治華心裡不服
氣，志鋼金屬在板金業小有名氣，在大眾之間卻沒
沒無聞，回來後更加強了成立觀光工廠的決心。
教育體系沒落，工廠也招不到工人，位於生產
前線的郭治華，想力挽狂瀾，正巧當時的經濟部
推出設立觀光工廠的政策，志鋼金屬2010年申請
設立全國第一家板金觀光工廠，但為了區隔本業
志鋼代工製造業，2014年集資創櫃，在政府輔導
下於永康工業區成立了「台灣金屬創意館（簡稱
「台創金」）」，想用觀光工廠來吸引板金科的
學生來參觀。
體驗就是行銷
對於一般的民眾來說，可以參觀平時不易接近
的板金工廠，很有新鮮感。透過實地解說，又能
進一步了解板金的流程、不鏽鋼等金屬的特性，
與各種金屬在生活的應用。

至於是「板」金？還是「鈑」金？台灣金屬創意館 the declining popularity of sheet metal programs
館長吳致亘指出，很多人以為板金是金屬，所以寫成 compared to machinist programs, was causing
many vocational high schools to merge their
「鈑」，但業界與學校板金科都用「板」，因為所謂
sheet metal courses with other courses or even
的板金是將「板狀金屬」加工成形，所以應是「板」
drop them entirely.
金。
Chih Kang participated in job fairs, operating
為了更拉近民眾與板金的距離，將「板金」產品轉 a booth as big as those of companies like Taiwan
化為體驗，台創金推出銲接工體驗營、金屬文創商品 Semiconductor or Innolux. “But they had long
D I Y，用仙女棒代替銲棒、以雙手當成折床機，可以 lines of prospective hires, and we had no one. It
將金屬作彎曲與成形，做成機器人、手機座或是音樂 hurt.” For all that the company had made a bit
盒，進一步體驗何為「板金」。 of a name for itself in the business community, it
was largely unknown to the general public. Kuo
therefore resolved to open Chih Kang’s factory to
tourists.
Fortunately, he did so at a time when the Min-
istry of Economic Affairs was introducing its fac-
tory tourism policy. Chih Kang applied to become
Taiwan’s first tourism-oriented sheet metal factory
in 2010. Seeking to create space between this en-
deavor and its core OEM manufacturing business,
in 2014 the company raised capital on the GISA
board of the Taipei Exchange to establish the
TMCM in Tainan’s Yong Kang Industrial Park.
A form of marketing
TMCM has created experiences aimed at in-
creasing the general public’s understanding of
sheet metal, introducing DIY metalworking and
welding camps that enable participants to use
their hands as “bending machines” and to op-
erate “welding rods” (actually, sparklers). They
bend and shape metal to make robots, cellphone
stands, and music boxes to gain a better grasp of
what sheet metal working involves.
Opening the TMCM factory floor to the public
helps visitors realize that modern metalworking
facilities aren’t the dirty, smelly places they
imagine. It also enables the TMCM to serve as a
sort of “offsite classroom” for sheet metal pro-
grams in schools.
「銲接工體驗營」讓小朋友穿上工作服，煞有其事地
體驗「板金」技術。（台灣金屬創意館提供）
The “welding experience camp” enables children to don
protective gear and experience “welding” for themselves.
(courtesy of TMCM)
17
參觀板金工廠可以發現有女性員工操作折床機。
The TCMC proves that women can operate metal forming
presses as easily as men.
尤其是機器人與劍獅的文創商品，經台南警
局永康分局訂了小金剛當成模範警察的贈品
後，引發迴響；市議員又訂了小金剛送給模範
爸爸，意外開發出客製化金屬獎牌與獎盃、金
屬裝置藝術的生意，也讓發展創新的體驗，進
一步成為引導轉型、設計新產品的基礎。
郭治華透露，特別是有一位教授來參觀台灣金
屬創意館後，認為台灣板金業愈做愈好，還上電
視大加讚揚，又介紹給從大陸回流、正在尋找板
金工廠的台商，為台創金帶來鮭魚返鄉的訂單，
觀光工廠成了對外行銷的最佳介質。
以往鐵工廠俗稱「3K」（危險、辛苦、骯髒）
產業，台創金開放工廠現場的參觀，讓民眾一改
以往對鐵工廠髒髒的、醜醜的刻板印象，也成為
板金相關科系「校外教學」的現場。
「過去資深的板金師父很少有十根手指健在
的。」解說老師強調，現在的電腦折床機有紅 Working with sheet metal used to be dangerous. “In
外線感應，一旦感應異樣，機器一定會嘎然停 the old days, experienced sheet metal workers rarely
止，並且還有省力油壓裝置，女性也可以操作； had all ten fingers.” The docent explains that mod-
新一代的機器還可以「坐著」操作。 ern computer-controlled metal benders have infrared
sensors that stop the machine the moment they detect
郭治華指著工廠的生產線說，現在工廠有許多
something unusual, and that modern hydraulic presses
年輕的技工與建教生，就是實際在現場，看到操
take little strength to operate. You can even run modern
作精密機械的師父，以精巧熟稔、膽大心細的技 tools from your chair.
術，製作醫療儀器箱的外殼，這樣需要高級技術 Kuo says the factory now has many young skilled
能量的工作，自然薪水也不低，因而吸引年輕人 workers and interns, and visitors see machinists using
加入板金的行列，台創金不但沒有業界普遍缺工 tools to make medical instrument casings with familiar-
的現象，工廠也從過去只有100人的規模，增加 ity, confidence and care. The highly skilled work is well
paid, which is attracting young people into the sheet
至300人。
metal trade.
特別的是，台南高工後來不僅沒有將板金科
No longer considering eliminating its sheet metal pro-
裁撤，現今又增加了一班，而且取名為「金屬
gram, National Tainan Industrial High School has now ex-
創意班」！這樣的成果正是呼應了體驗經濟的 panded it with the addition of a “metal creation” class! l
意義，透過體驗的設計，傳承企業價值、行銷 (Esther Tseng/photos by Jimmy Lin/
企業品牌。 l tr. by Scott Williams)

19
會說書的
旅遊指南
從遊戲了解台灣地方議題
Travel Guides that Tell Tales

—Learning About Local Issues
Through Games
文•謝宜婷　圖•莊坤儒　版面設計•蕭郢岑
以「遊戲」為教育概念大約在2015年台灣翻轉教育初
期，開始受到重視，成為傳遞知識的新方式。這股風潮
蔓延到社會後，各種議題性的桌遊與線上遊戲，不斷推
陳出新。而戶外實境遊戲，相較於其他種類，還多了感
官上的豐富體驗，常帶給玩家更深刻的遊戲經驗。
S ince around 2015, when the notion of the “flipped class-

room” was gaining traction in Taiwanese education,
games have begun to gain increased focus in Taiwan as a new
means of communicating knowledge. This trend has now come
to extend into society more broadly, with both online and
tabletop games that address all manner of topics and issues
hitting the market. But compared with these other kinds of
game, outdoor augmented reality games bring an added level
of sensory input, giving players a deeper gaming experience.

21
採訪團隊實地體驗聚樂邦的「穿越照相館」與
芒草心協會的「艋舺走撞街頭」，觀察遊戲設計
如何勾起玩家的好奇心，讓他們在過程中認識城
市的歷史脈絡；從一日街頭生活體驗，理解無家
者的故事與議題。
從了解城市歷史開始
「穿越照相館」背景發生在桃園景福宮一帶，
主角是一名高中男孩與一位總在老街遊蕩的奇怪
老人，兩人失蹤後，只留下男孩的日記，裡頭提
到老人擁有一台能讓人穿越到過去的照相機，而
五位長期生活在老街的朋友也知道這件事。玩家
的任務，就是從這五個角色找到線索，拼湊出真
相，發現男孩與老人失蹤的原因。
五個角色，發展出五段故事，每個故事都是歷
史洪流下對過去的懷念。想要得到穿越歷史的線
索，必須先認識城市裡的重要建築與據點，才能
了解歷史如何形塑現在城市的樣貌。
一群年紀不到30的玩家，走向平常鮮少進入的
永和零售市場。下午的市場沒有營業，燈光已熄
玩家們在東門溪徒步區「划」行，體驗居民過去在這裡划船
滅，背景昏黑，但有一位身穿洋裝，濃妝艷抹的女渡河的時光。
子倚靠在電梯旁，兜售各式零嘴。「你們來這裡做 Players “paddle” around the Dongmen Creek pedestrian area to
get a taste of a time when the locals would cross the creek here
什麼啊？」這位名為藥姐的女子詢問時，邊打量著 by boat.
這群「外地人」。玩家毫無頭緒，不斷拋出與故事
有關的問題，最後得到進入地下一樓市場的任務。故事人物廟公在桃園鎮撫宮前，詢問玩家認識哪些印在尪仔標
上的神明。
In front of Zhenfu Temple in Taoyuan, the temple attendant—a
character in the story—asks if the players recognize the deities
on the pogs they are looking at.
走在停止運轉的手扶梯上，市場中混雜的氣
味，不斷侵襲而來。為了尋找牆壁上的廣告單，
玩家們繞了市場一圈，小心翼翼地走在濕滑的地
板上，仔細盯著每個角落。團隊分工合作，很快
就蒐集完線索，最後在藥姐的提示下，得到通往
下一站的關鍵訊息──川流不息。
聆聽故事，觀察環境
藥姐看著玩家手上的線索，緩緩說出她的故
事，不遠處的天天百貨，在1980年代落成，樓高

學生從手作體驗課，學習素材性質並培養探索精神。
In a crafts class, students study the special character of their materials
and cultivate a sense of exploration.
永和市場零售大樓前，故事人物藥姐正在回憶桃園天天百貨的歷史。
Inside Yonghe Market, a character from the story recounts the history
of Taoyuan’s Tiantian Department Store.
Taiwan Panorama visited the organizations C

lubon and visited Yonghe Retail Market. In the afternoons the mar
Homeless Taiwan to experience their games “Through ket is closed, and with all the lights off, it provides a dark
the Photo Studio” and “Hitting the Streets of Bangka,” backdrop for the game. Amid this, a woman in a dress and
observing how their game designs pique players’ curi thick makeup leans against the escalator, hawking a vari
osity and help them better understand urban history. ety of snacks. “What are you doing here?” she asks, sizing
Through a one-day experience of life on the streets, play up these outsiders. With nothing to go on, the players lob
ers can understand the stories of the homeless and the questions at her about the story, eventually accomplishing
issues involved. their task of getting into the market basement.
Starting with urban history As they walk down the stopped escalator, their nostrils
“Through the Photo Studio” is set against the back are bombarded with the various smells of the market.
drop of the area around Taoyuan’s Jingfu Temple. The Looking for an ad on the wall, the players walk around
main characters are a boy in senior high school and a the market, gingerly making their way across the wet
strange old man who is always wandering the streets. The floor as they inspect every nook and cranny. They split up
two go missing, with only the boy’s diary left behind. In and quickly collect their clues, and with some hints from
it, the boy mentions how the old man had a camera that the woman, they get a lead on their next destination: “The
could let people travel into the past, and that five of his stream flows without end.”
friends who have lived in the old part of town for years Listening and looking
also know about it. The players’ mission is to find these Looking at the clues they’ve gathered, the woman
five and get some leads that will help them piece together slowly tells her story. In the 1980s, the nine-story Tiantian
the truth and find out what happened to the pair. Department Store opened up not far from there. Inside
A group of players in their twenties head for the rarely was a movie theater where she would go on dates. Today,
23
九層，裡頭的劇院是她昔日約會的地點，如今考「當城市不斷更新，我們想要什麼風景？」
繁華褪去，一樓化為漆黑的停車場，其餘成了廢「你們最喜歡哪個人物？」聚樂邦創辦人
墟。玩家開始追問，你一言我一語，打斷了藥姐吳亞軒笑著問，好奇玩家如何被人物吸引。她
接下來對永和市場的介紹。「反正永和市場之後也分享，那卡西阿嬤真有其人，不過人物原型
就要拆了，跟你們也無關了。」藥姐看玩家只顧是一位老爺爺黃邦坌。從小就加入樂隊的他，
得到線索，對當地歷史沒興趣，便冷冷地丟下一曾到全台巡迴演出，現在也會在桃園繁華的景
句。事實上，藥姐所言不只是出於遊戲需要，也點演奏。即使黃邦坌已經80多歲，兒時記憶中
反映了桃園的地貌正在改變。隨著捷運開發案動的桃園仍歷歷在目，因此他的回憶成為了這次
工，永和市場大樓即將拆除，附近也開始出現新遊戲的重要素材。
的建案，未來的地貌可能會徹底改變。另外一位創辦人林志育也表示，每次遊戲
帶著藥姐給的老照片，玩家前往東門溪旁的的規劃都會與在地的文史組織合作，透過他們
朝陽公園，尋找那卡西阿嬤。許多老年人正在散記錄地方的第一手資料，然後彼此不斷討論，
步、遛狗，坐在長椅上的那卡西阿嬤，融入了當最後完成遊戲設計。他認為豐富的田野調查資
地的步調，自在地彈著手風琴。「奶奶您好！」
玩家們謹記藥姐的提醒，對在地人要尊重，仔細
聆聽他們的故事，於是這次玩家不再逼問，而是
專心聆聽風琴手的故事。
玩家們後來陸續遇見了鎮撫宮的廟公、東門溪
徒步區的海公主與新民老街上的詩人。每個角色都
擁有生動且豐富的回憶，與他們的對話中，可以瞥
見桃園早期樸實的生活，感覺到溫暖的人情。
不只人物，遊戲的每個細節都是故事，就連廟
公頭上的斗笠也有歷史。過去桃園坑子村以生產
斗笠為生，大量供應給附近的茶農，因此老一輩
都精熟編織技巧。海公主所在的商業徒步區，是
後來才在溪上興建的，遊戲任務要玩家坐在木板
上「划過」街道，是為了模擬當初居民渡河的體
驗。而詩人所在的「只是光影」咖啡廳，是當地
重要的藝術據點，經常辦理展覽與講座，探討議
題與文化。
用體驗創造回憶與理解
遊戲結束後，玩家們集合，由主辦方揭開謎
底。不過，大家似乎已經不在意答案，反而更熱衷
於討論與故事人物的互動。過程中，與遊戲角色的
對話、隊員的討論，以及從未聽聞的桃園歷史與
鮮少注意的建築，才是真正的收穫。透過這款遊
戲，桃園景福宮一帶對玩家而言，不再是陌生的
地方，而是發育自東門溪、與水共生的城市。而
這座城市內的開發與演變，也提醒了玩家要去思

though, it has lost its luster, and now the ground floor is greet her and, remembering the previous admonition to
a parking lot, with the rest in ruins. The players start ask respect the locals, listen attentively to Granny Nakashi’s
ing her more questions, constantly butting in and inter story instead of peppering her with questions.
rupting as she talks about Yonghe Market. “Anyway this Later on, as the game continues, they meet the attend
place will get demolished soon and you all still won’t ant of the Zhenfu Temple, a “sea princess” in the Dong
care,” she spits coldly, noticing the players’ interest lies men Creek pedestrian area, and a poet on Xinmin Old
only in the clues and not at all in the local history. In fact, Street. Each character has vivid and rich memories, and in
her words aren’t just for the sake of the game, but are their dialogues with them, the players get a glimpse into
also a reflection of the changes Taoyuan is undergoing. the simpler life of early Taoyuan and a taste of the local
Taking with them an old photo she gives them, the hospitality.
players head off for Chaoyang Forest Park, on the bank Creating understanding through experience
of Dongmen Creek, to look for “Granny Nakashi.” Sur When the game is over, the players assemble and the
rounded by older people walking their dogs and taking organizers reveal the answers. But it seems like the players
strolls, Granny Nakashi blends in with the locals as no longer care about that, and instead are more interested
she sits on her chair playing an accordion. The players in talking about their interactions with the characters from
桃園東門溪孕育了鎮撫宮一帶的人文歷史，使當地成為與水
共生的城市。
Dongmen Creek was the cradle of history and culture for the
area around Zhenfu Temple, giving rise to a community that lived
alongside the water.
25
料，除了以文字的形式留存，藉由體驗可以讓更多
遊戲反映現實生活
人理解其中的議題與歷史，是「不同於閱讀的感
覺」。在遊戲中，玩家會被要求作出特定行為，藉遊戲「艋舺走撞街頭」的發想，也是為了解
此發現平常忽略的視角，例如在另一款遊戲「聖決大眾對於街友議題的距離感。遊戲發起者曾文
地」中，玩家必須走上桃園中壢的天橋，俯視四周勤，原本只推出「街遊」計畫，培訓無家者成為
的建築，而這個視角正是來自歷史「中壢事件」遺導覽員，從他們街頭流浪的經驗，帶大眾看台北
留下的唯一照片。當玩家走上天橋，會看見警察局的另一面。但是後來曾文勤發現，有些參加「街
與國小，也是當時事件發生的重要地點。遊」的民眾，雖然對無家者的議題感興趣，但在
「我們想要用另一種方式談議題，」吳亞軒說起聆聽導覽的過程中，仍不禁流露無聊的樣態。這
當初兩人創業的理念，是為了讓生硬的議題變得親讓她反思，長時間的導覽缺乏互動，不僅會讓有
民，也讓大家發現熟悉的環境中藏有陌生故事。創些人產生議題疲乏感，也無法讓他們同理無家者
業三年來，聚樂邦逐漸掌握遊戲設計的精髓與說議的生活，於是，她找上擅長遊戲設計的臺北地方
題的方式，而社會上也有越來越多的單位接受「從異聞工作室，合作推出「艋舺走撞街頭」，讓大
體驗中學習」的方式，因此邀請聚樂邦合作推出遊眾體驗在街上的生活。
戲，目前台灣北中南都有聚樂邦遊戲的蹤跡。兩人遊戲裡有11個改編自真人的角色，由九位無家
談到下一款想做的遊戲主題時，不約而同大笑說：者及二位社工組成。擔任無家者的玩家，會拿到
「很多！」就像他們寫在工作室牆上的“Our city, 標有體力值及負面狀態的身分卡，每次工作結束
our duty”（我們的城市，我們的使命），對於台後，體力值就會下降，而體力的高低與負面狀態
灣城市裡發生的議題，他們有著源源不絕的熱情。會影響玩家是否能找到新的工作。遊戲的任務，
「艋舺走撞街頭」的遊戲中，如實地列出無家者賺取生活費的
方式。（謝宜婷攝）
In the game “Hitting the Streets of Bangka,” players get a real-world
insight into the ways homeless people eke out a living. (photo by Tina Xie)

玩家在龍山寺前舞獅，體驗無家者出陣頭賺錢的生活。（謝宜婷攝）
Players perform a lion dance in front of Longshan Temple and experience how homeless people
sometimes work for processional performance troupes to earn some money. (photo by Tina Xie)
the story. Over the course of the game, they have had Duty,” and that dedication is nourishing a wellspring of
conversations with the characters and their teammates, passion for the issues that occur in places around Taiwan.
heard parts of Taoyuan’s history they never heard before, Reflecting reality
and visited rarely noticed buildings; this is their real The idea behind “Hitting the Streets of Bangka” is
takeaway. Thanks to the game, the Jingfu Temple area is similarly one of trying to address a public issue, this
no longer such an unfamiliar place to them, but a part of time the sense of distance between the public and the
the city that has grown from and with Dongmen Creek. homeless. Game creator Cyndi Tseng originally pro
Having seen how the city has evolved and developed, the posed a plan to train local homeless people as tour
players are also reminded of the need to think about what guides, using their experiences living on the streets to
we want the city to look like as it continues to change. show the public another side of Taipei. However, in the
Founder Lin Chih-yu explains that a wealth of field end she found that while there were people who wanted
data and personal experience rather than simply the to take part in these tours and had an interest in the is
written word helps people really understand the issues sue of homelessness, when listening to their guides they
and history involved in the game, giving players a feel couldn’t disguise the boredom they were feeling. Tseng
ing distinctly different from just reading. The players began to reflect on the lack of interaction over the course
need to take specific actions, leading them to discover of the long tours and how this not only led to some peo
corners of the area that are normally overlooked. ple feeling tired of the issue, but also didn’t really help
“We want to take a different approach to discussing anyone empathize with homeless people and their lives.
the issues,” says co-founder Ansley Wu. When the two She turned to game designers Taipei Legend Studio,
started the operation, they wanted to make tough issues working with them to develop “Hitting the Streets of
more relatable while also getting everyone involved Bangka” and give the public a taste of life on the streets.
to discover the stories hidden inside familiar environs. The game features 11 characters adapted from real
Asked if they have any ideas about what they want to people—nine homeless people and two social workers.
do next, they both laugh, “So many!” On the wall of The mission is to earn a certain sum of money through
their studio they have written the words “Our City, Our the goals of each character.
27
桃園新民老街對「穿越照相館」的玩家來說，
多了一分歷史的味道與玩耍的記憶。
Xinmin Old Street in Taoyuan becomes a bit more
historical and fun for players of “Through the
Photo Studio.”

就是根據每個角色的目標，賺取一定的金額。 Tasks are many and varied, including holding pro
工作的項目繁多：舉牌、清潔、撿回收、做粗 motional signs, cleaning, collecting recycling, and doing
heavy manual labor. Each of them has its own physical
工等等，每項工作需要的體力與狀態都不同，報
demands and conditions, as well as its own pay. During
酬也不同。遊戲過程中，玩家會收到情報卡，得
the game, players get information cards with life-
到改變生活的資訊，例如免費晚餐、慈善機構紅
changing information on things like free dinners, charit
包或非法工作機會，一個不同的選擇會影響生活 able giveaways, and under-the-table work opportunities,
的走向。除了個人選擇，無法拒絕的命運卡，也 prompting them to make decisions that will influence
會讓玩家的生活大轉灣，也許會幸運地收到好心 the direction of their lives. In addition to these personal
人給的便當與衣物，但也有可能因為寒流、工作 choices, there are also “fate cards” which the players can
意外或無端被圍毆而受傷。 not refuse and which can dramatically change their lives.
Maybe they’ll strike it lucky and a good samaritan will
遊戲的體悟，生活的態度 give them some clothes or food, or maybe things will
take a turn for the worse as cold weather, a work acci
採訪當天的玩家，是一群國小學生，平常喜歡
dent, or just a random assault will lead to injury.
追逐嬉鬧，但是在二個小時的遊戲體驗中，卻耗 Changing attitudes through games
盡體力，不斷喊著「可以休息了嗎？」遊戲結束 The game’s tasks may be straightforward and sym
後，玩家可以休息，但是現實生活中，無家者沒 bolic, not requiring the players to actually do them, but
有喘息的時間，因為有時候，一天的工作可能無 along the way they will still experience the anxiety of
法換得三餐的伙食費。而為了活下去，各種賺錢 being out of work, the exhaustion of always being on the
move, and the feeling of being susceptible to the whims
機會都可以嘗試。在龍山寺前舞獅，這項讓玩家
of fate. Such things can leave them feeling helpless,
拋頭露面因此猶豫許久的工作，其實報酬頗高。
but they are also part of the everyday lives of homeless
遊戲任務雖然簡單，只是象徵性的工作，並沒
people, lives they didn’t choose for themselves. Before
有要求玩家實際執行，但是，過程中必須忍受不斷 the game begins, the players must first understand the
找工作的焦急、在街上奔波的勞累、命運的突發轉 stories of the homeless, their lives having fallen apart
變，以及賭一把六合彩的人性糾結，所有令人無奈 around them because of an accident, losing their job in
的情節，都是無家者的日常，然而，他們並非自願 middle age, or family misfortune, leaving them strug
落入這樣的困境。遊戲開始前，玩家們首先要了解 gling to recover. Understanding is the first step in the

game, as well as being the game’s core value.
無家者的故事，也許是意外受傷、中年失業或家庭
At the end of the game, the players need to tally
變故，使他們的生活突然瓦解，難以復原。理解，
up the money they’ve made. Some people will have
是遊戲的第一步，也是遊戲的核心價值。 achieved their goal, while others will need to keep liv
遊戲最後，玩家需要結算工資，有些人成功 ing on the streets. Not everyone gets a happy ending.
達成目標，有些則要繼續流落街頭，並不是每個 Such is the reality of homeless life.
人都會有好的結局，真實的街頭人生就是如此。 “These are cracks in our social safety net, cracks that
「這些其實是我們社會安全網破了洞，讓跌倒的 leave those who have fallen sliding all the way down
to the gutter.” So says one of the social workers in the
人一路滑落到街頭。」這是遊戲裡社工的台詞，
game, and this is a reflection of the thoughts of many
也是現實生活中第一線接觸無家者的人員反思。
of those who work on the front lines of homelessness.
透過這類戶外實境遊戲，玩家得以暫時轉變身
Only by understanding the roots of these problems can
分，體驗各式議題發生的背景及事件主角面臨的 we begin to find ways to ensure more people don’t end
困境，進而對議題產生理解；這類活動也讓遊戲 up in the same predicament. l
與人生這兩個看似相對的概念，找到了交集點， (Tina Xie/photos by Kent Chuang/
人們因此看見遊戲的真實與生活的未知。 l tr. by Geof Aberhart)
29
回到兒時
的美好
手作體驗的驚喜與滿足
A Crafty Way to Revisit Childhood

—The Joy of Making Things
by Hand
文•謝宜婷　圖•林旻萱　版面設計•蕭郢岑
坊間的手作工作坊越來越多，無論是在百貨公司或市
集裡，都可見到職人們教學的身影。手作體驗逐漸成為
趨勢，反映了台灣人對傳統工藝的思維正在改變。
在佈置典雅的台中中友百貨公司，許多人正隨意瀏覽
著架上精緻的商品，但一處卻傳來陣陣木塊的聲響，打破
了靜謐。幾個小時後，一群女子們，衣服上沾黏了幾片木
屑，手上拿著木板凳，心滿意足地走出百貨公司門口。
W orkshops that teach how to make things by hand

are all the rage. Artisans and craftspeople can often
be found offering lessons in department stores and outdoor
markets. This growing trend of gaining hands-on experience
with craft techniques reflects changing attitudes about tradi
tional crafts in Taiwan.

31
以促進手作創業者交流的亞洲手創展，串連超
手作工作坊將成趨勢
過20個亞洲城市。從2016年開辦以來，參加的手
去（2019）年7月中旬，中友百貨與台灣工藝創品牌與組織從100家成長到500家以上，可見手
美術學校合作，策劃了為期十天的「手感體驗作市場正在不斷擴大。
展售會」，期間推出了200多場職人手作體驗課「工藝師開工作坊，在未來會成為常態。」台灣
程。不同於平日消費的單調與快速，課程提供了工藝美術學校創辦人陳明輝認為，現在大眾對工藝
手感的溫度與學習的樂趣，成為市場中新奇的選師的印象停留在生產作品，但是在未來，體驗課程
擇，吸引了許多消費者報名參加。將會成為工藝師重要的工作項目。而這也宣告，台
灣的工藝產業將從傳統製造業轉型為知識服務業。
陳明輝引用《體驗經濟》一書中的原理說明，
體驗主要可分為四大類：娛樂的、審美的、教育
的、沉浸的面向，消費者在前兩項活動中是消極
接受的，在後兩項中是積極參與的。過去工藝產
業屬於「審美的」，大眾透過參觀展覽及市集，
欣賞工藝之美，但現在工藝產業走向體驗型態，
也朝向教育及沉浸式發展。工藝不再只是一件商
品，而是一種體驗與學習。
五感體驗融入教育
為了協助台灣的工藝產業轉型，並帶領現在
這一輩年輕人體會工藝之美，陳明輝在2017年
成立了「台灣工藝美術學校」。過去兩年多的
時間，他提著皮箱，走過一間間的學校，拿出
各式各樣的教案，向校方說明這些工藝課程如
何連結「素養導向」的108課綱；同時，也教導
工藝師如何成為老師，將一個精緻的手作品，
拆解成一個個教學步驟。透過媒合學校與工藝
師，陳明輝希望下一代從小就能在課堂中體會
到工藝的樂趣與價值。
「你有看過流著樹汁的木材嗎？」陳明輝微
笑著問。重視體驗的課堂上，學生聽到的不是
單調的操作指令，拿到的也不是乾燥的木材，
而是斧頭劈開木材的聲音，以及新鮮還帶著樹
皮的木料。透過聲音，可以判斷木材的特質；
台灣工藝美術學校創辦人陳明輝，認為台灣的工藝產業將從
傳統製造業轉型為知識服務業。
Chen Minghui, the founder of the Taiwan School of Arts & Crafts,
believes that Taiwan’s craft industry will transform from a traditional
manufacturing industry into a knowledge-based service industry.

學生從手作體驗課，學習素材性質並培養探索精神。
In a crafts class, students study the special characteristics of their
materials and cultivate a sense of exploration.
At Taichung’s elegant Chung Yo Department Store, Bringing the five senses to education
shoppers are quietly and leisurely perusing the exquis To help lead this transformation and give the younger
ite products arrayed on the racks and shelves—up until generation a better understanding of the beauty of arts
the sound of wooden blocks knocking against each and crafts, Chen founded the Taiwan School of Arts &
other pierces the tranquility. A few hours later, a group Crafts in 2017. He seeks to match schools with master
of women, their clothes speckled with wood shavings practitioners, so that next generation can gain an under
and their hands clutching wooden stools, leave the store standing of the joy and value found in crafts as part of
with an air of satisfaction. their regular education.
Craft workshops gain in popularity “Have you ever seen sap dripping out of wood?” asks
In mid-July of 2019, Chung Yo partnered with the a smiling Chen. In hands-on experiential classes, students
Taiwan School of Arts & Crafts to stage a ten-day “Crafts don’t merely listen to monotonous instructions about how
Experience Expo,” which offered 200 classes in various to put things together, and they don’t only experience dry
fields. In contrast to the rushed monotony experienced wood. Instead, they also hear the sound of wood being
in everyday consumerism, these courses promised the split apart, and they handle lumber so freshly cut that
joy of learning and the warmth of handmade products. it still has its bark. Through sound, they learn to judge
Offering something new, the expo was well attended. the special qualities of wood. Through smell, they take
“Workshops led by craftspeople will be more and in its strong scent. Through touch, they feel the texture
more common,” says Chen Minghui, the founder of the of wood—whether its grain and fibers are fine or coarse.
Taiwan School of Arts & Crafts. Although the public to For woodworking classes that engage the five senses, the
day still largely thinks of artisans in terms of the prod goal, rather than to acquire professional training, is to ex
ucts they make, the experiential classes that they offer perience a feast for the senses and the mind.
will become an increasingly important part of their pro Traditional crafts to experiential services
fessional futures. The change heralds the transforma This transformation of crafts in Taiwan has also had
tion of the craft industry in Taiwan from traditional an impact on traditional factories, which are increasingly
manufacturing toward knowledge-based services. offering experiential and educational activities. Located
33
2019年7月中旬，台中中友百貨公司推出「手感體驗展售會」，
透過嗅覺，可以聞到強烈的木材香；透過觸
讓消費者體驗動手的樂趣。（台灣工藝美術學校提供）
覺，可以感覺木材的纖維粗細。充滿五感體驗 In mid-June 2019, Taichung’s Chung Yo Department Store held
a “Crafts Experience Expo,” which gave shoppers a chance
的木作教育，目標並非是職業訓練，而是感官 to experience the joys of making things by hand. (courtesy of
Taiwan School of Arts & Crafts)
與知性的盡情體驗。
木工課上的體驗，震撼了學校老師，加上手作
工作坊的風潮興起，使校方逐漸看見工藝更高的
價值，不再將工藝視為正式課程外的附屬品。原提供學校木工課使用，也可以透過舉辦工作坊，結
本無多餘預算的學校，也願意申請專案經費，以合當地故事與特色，給消費者獨特的體驗。
聘請工藝師到校教學，透過明確的課程目標與詳木工坊的轉型，是台灣工藝美術學校協助的案
細規畫，帶領學生從工藝體驗中認識素材，進而例之一，其他還包含師資培訓基地的建立。受過
了解自己與環境的關係。教育訓練的工藝師，在基地對外開課，將製作工
序轉化為教學與體驗設計，讓消費者在手作過程
傳統工藝轉型為體驗服務
中對於素材及技藝有更深層的理解，進而提升工
這波工藝轉型的趨勢，也影響了一些傳統工藝品的附加價值。
廠，朝向體驗與教學的方向發展。位於台東多良車「最近我們受到很多商場與市集邀約，但因為
站附近的向陽薪傳木工坊，在八八風災後成立，以最近忙著工藝師進校的事情，與中友百貨合作這
解決災後帶來的漂流木問題。十年間，以生產為類大型活動，一年幾乎只能辦一檔。」從陳明輝
定位的經營方向，逐漸出現了問題。木工坊距離的話中，可以發現市場已經意識到「手作體驗」
傢具木材的原料產地及市場遙遠，扣掉運輸成本是門好生意，工藝不再只是商品，而是一段讓人
後，利潤所剩無幾。也因為體驗經濟的啟發，所的感官與求知欲都被滿足的難忘過程。
以逐漸轉型成為工作坊及生產教材的基地。
重拾童心的溫馨小店
「向陽薪傳木工坊後面的一大片樹林，是木工課
最好的教材來源。」陳明輝表示，雖然多良缺乏生位於台北內湖的F u n-M a k e r，就擁有這般魅
產傢具的木材，但是擁有豐富的教材用木料，可以力，讓國內外的消費者不遠千里，走進巷內的

near the Duoliang train station in Taitung County’s means to products, crafts provide unforgettable experi
Taimali Township, Sunrise Driftwood Workshop was ences that engage the senses and satisfy people’s desire
established in the wake of 2009’s Typhoon Morakot to for knowledge.
deal with the problem of driftwood brought down from Childhood pleasures revisited
mountain forests by the storm. In the decade since, the Fun-Maker, located in a back street in Taipei’s Neihu
workshop’s orientation toward commercial production District, has this kind of charm. It draws people from
has proven to be problematic. It is located at a distance afar, both Taiwanese and foreigners, who come s pecially
both from wood supplies and from furniture markets, to visit this small shop to reacquaint themselves with
and once transport costs are deducted, profits from its the sense of peace, joy and achievement that comes
goods are meager. Inspired by the experience economy, from making things by hand.
the facility has gradually turned into a base for craft Fun-Maker is a workshop that makes use of laser
workshops and the creation of teaching materials. cutting technology. Most of its products are wooden
“There is a wooded area out back, and it’s an excellent utensils, including wooden guns that are used as props
source of teaching materials for woodworking classes.” in films, as well as lamps, clocks, picnic baskets and
Chen explains that although little timber suitable for boomboxes that are used in daily life.
making furniture grows around Duoliang, the area has “Hi!” Joan Yang, one of Fun-Maker ’s two owners,
an abundance of wood that can be used as educational smiles as she walks out unhurriedly to greet us with
material for shop classes in schools. And workshops can a pot of freshly brewed tea. Much wood is used in the
draw on local stories and special characteristics, thereby shop’s interior design, and it, along with the hot, fra
giving consumers unique experiences. grant tea, creates a warm atmosphere in the softly lit
“Recently we’ve received invitations from many space. Still smiling, Yang points to the photographs
shopping malls and markets, but we’ve been busy bring that cover the walls and says, “They represent our cus
ing craftspeople to schools and working with Chung Yo tomers’ memories, and our own.” They feature people
Department Store on major craft education events, so we young and old. There are Taiwanese, as well as travelers
can only go to those venues about once a year.” Clearly, hailing from Hong Kong, Macao, Malaysia and other
the market has already discovered that “hands-on countries. All of them reveal bright smiles as they pose
experience” is a good line of business. More than just with their creations.
重視「體驗」的手作課上，
學生可以接觸到新鮮的素材
並親手處理。
In crafts classes that put the
emphasis on the experience,
students encounter fresh
materials that they work
themselves.
35
小店中，重溫手作帶給人的平靜、快樂與成就感。後，燈泡就會發亮。琳瑯滿目的創作，讓每
Fun-Maker是一家運用雷射切割技術的手作坊，營業個上門的客人都瞬間變回孩子，重拾幼時的
項目以手作教學及工作坊為主，並透過臉書與體驗平好奇心。
台Niceday、Pinkoi宣傳課程消息。作品主要為木作的器「嗨！」老闆娘喬安微笑著招呼，緩緩從
物，包含各式出現在電影內的槍，以及生活中實用的裡面走出，並端出一壺剛泡好的熱茶。室內木
燈、時鐘、野餐箱與手提音響等等。製的擺設，在鵝黃燈光的薰染下，伴隨著茶的
走進店內，目光馬上被入口處的木作玩具吸引，有熱氣與清香，營造出溫暖的氛圍。喬安指著
滾珠遊樂園、齒輪時鐘，還有刻著「轉動台灣」的檯牆上滿滿的照片，依舊微笑著說，「那是客
燈，台灣造型的燈座上有著一個齒輪，握著手把旋轉人的回憶，也是我們的。」照片中的人物有
老有少，有台灣人，也有來自香港、澳門、
馬來西亞等不同國家的旅客，但相同的是，
檯燈「轉動台灣，點亮未來」設計精緻，他們與自己作品合照時都露出了燦爛笑容。
總統蔡英文辦公室內也有一座。老闆Mac靦腆地從另一面牆上拿下一把木
In her office President Tsai Ing-wen has one of these exquisitely designed
lamps, which features the slogan, “Turning Taiwan, lighting the future.” 槍，簡單介紹操作步驟之後，就瞄準桌上的
木製人形靶射擊。「韃」的一聲，木靶立即
倒下，這強度令人難以相信，牆上所有木槍
的子彈都只是橡皮筋。Mac的話不多，只是
簡單地介紹一把又一把的得意之作，但眼神
裡充滿期待與興奮。而最新的一把，是安裝
馬達的衝鋒槍，可以一邊轉換方向，一邊連
續發射橡皮筋。
精心設計體驗時光
店內所有精緻的作品，都來自M a c設
計，然而，五年前的他，其實是一位擁有
15年資歷的電子業上班族，完全沒有機
械背景，只是單純喜歡動手做。為了自己
的興趣及對教育的理想，M a c與秉持相同
信念的太太喬安，開了這家店。他們認為
動手創作是展現自己的一種方式，不用被
社會期待束縛，而能夠成為「更好的自
己」。
「我們的商品是體驗。」喬安認為F u n-
M a k e r的定位在於提供體驗，讓消費者在
一段獨處的時光，享受創作，而非以完成
作品為目標。為了創造體驗，客人看到的
布置、品嚐的茶、穿的圍裙，處處都是貼
心設計，以營造家的氛圍。喬安也會觀察
客人的需求，有些人想要享受獨處時光，
有些人想要聊天，她會視情況轉換互動模

Fun-Maker老闆Mac認為
體驗手作時，發揮創意比
完成作品更重要。
Mac Yu, co-owner of Fun-
Maker, believes that when
making something by
hand it’s more important to
unleash your creativity than
to finish what you’ve started.
Co-owner Mac Yu, Yang’s husband, shyly takes a item. In order to create experiences, everything about
wooden gun off the opposite wall. After giving a simple the shop—from the décor that customers see, to the tea
explanation of how it operates, he aims at a wooden that they taste and the aprons that they wear—has been
figurine on the table, and with a whack the figurine designed with great consideration to foster a homey
topples over. It is quite startling. The guns on the wall atmosphere. Yang stays attentive to customers’ needs.
all use rubber bands for “bullets.” Yu doesn’t say much, Some want to enjoy time alone, whereas others want to
but as he gives a quick introduction to each of his proud chat. She takes whatever approach is appropriate, and
creations, his eyes fill with eager excitement. His newest her attention to detail has won the hearts of customers.
contrivance is a submachine gun equipped with a mo One Hong Kong tourist, visiting for the second time,
tor, which emits a steady stream of rubber bands even says excitedly, “I missed you and your tea so much!”
as you move your aim. Despite having a capacity for eight students at once,
Cleverly designed experiences Fun-Maker can also meet the needs of those who want
“Our product is experiences,” says Yang, who be to work on their own and enjoy time alone. Conse
lieves that Fun-Maker is best positioned to give its cus quently, there are customers who regularly book the
tomers a chance to take time for themselves to enjoy the space for themselves on their birthdays, gifting them
act of creation, rather than just to focus on finishing an selves some alone time on an important day.
37
Fun-Maker入口處展示各種木製童玩與小物，吸引客人目光。
At the entrance to Fun-Maker there is an eye-catching area filled with all manner
of wooden toys and knickknacks.
式。這些細節成功抓住客人的心，曾經有香港溫作出手提音響的感動，並期待創作更多自己
旅客二度拜訪時，興奮地說：「我好懷念你們的作品。
的茶和你們喔！」
工藝的價值超乎作品本身
為了讓客人可以享受難得的獨處時光，F u n-
Maker雖然一個時段可以收八位學生，卻也接受客人的正面回應，逐漸為Fun-Maker建立口碑，
客人提出單獨製作的需求。因此，有客人每年生吸引知名車廠邀約，為VIP客人舉辦工作坊，結合
日都會單獨預約，來作一個禮物送給自己，在生品牌元素創作作品；Fun-Maker也會透過紙飛機比
命重要的時刻，享受寧靜時光。賽這類活動，讓客人完成作品後，在競賽中與其
在這個空間裡，每個人可以在主題內選擇自己他人產生互動，也從中與作品建立更深的連結。
想要做的木作，創作屬於自己的獨特作品。曾經很多人看見Fun-Maker獲得好評後，紛紛給予
有位女軍官赴美受訓前，到店內製作了一把溫徹製作材料包販售的建議，但是Mac與喬安認為，
斯特步槍與P90衝鋒槍，然後帶到國外與當地朋這種方式容易忽略設計師背後付出的心血，低估
友交流。也有一位家中開雜貨店的蘭嶼女孩，為技術與創意的價值，因此他們堅持以教學與體驗
了因應島上第一間便利商店即將營業的衝擊，決為主，帶大家認識簡單的機械原理，然後鼓勵大
定來學習雷射切割技巧，製作具有在地特色的紀家發揮創意，作出自己想要的東西。
念品，以面對競爭。五年了，這間隱身在巷子內，吸引著國內外顧
每個客人上門的理由都不同，但是「每個大客的小店，是一對夫婦實現夢想的地方，他們希
人來這邊的時候，都會變成小孩子。」喬安笑望每位客人進來時，都能感覺到家一般的溫暖，
著說，Mac的設計有種魔力，會讓每個進來的客不斷地想要回來。也希望有更多人能知道，台灣
人找回童心，即使是大學教授，也不畏旁人眼的Maker（創客）除了機器人之外，手作技藝的
光，想參加為兒童舉辦的電路冬令營，只為重實力也不容小覷。 l

Here everyone can choose for themselves what wooden Value beyond the product crafted
object to make, creating special pieces that are uniquely After seeing the kudos that Fun-Maker has earned,
theirs. One military officer who was being sent to the many people have suggested that it sell materials in craft
United States for training came here to make a Winchester kits, but Yu and Yang believe that so doing would disre
rifle and a P90 submachine gun. She then took them with spect the efforts of designers and undervalue the impor
her to give to her American friends. One girl’s family ran tance of skills and creativity. Consequently, they insist
a general store on Orchid Island. With the opening of the upon focusing on education and experience, and teaching
island’s first convenience store, she decided to study laser basic mechanical principles before encouraging people to
cutting in order to create special local souvenirs that will unleash their own creativity.
help her family’s store withstand the competition. Hidden in the busy city and attracting both local and for
Every customer has a different reason for coming eign customers for five years now, this small shop is a place
through the door, but “each adult turns into a child while where a married couple has realized its dreams. They hope
they’re here.” Laughing, Joan Yang says that Mac Yu’s de that all their customers will feel a homey warmth here and
signs have a certain charm that makes every customer who will want to come back time and again. They also hope that
comes into the store regain the heart of a child. Unafraid of people will come to know that Taiwan’s maker movement
what people might think, a university professor even par includes not only those skilled in building robots, but also
ticipated in a winter electric circuit camp put on for chil many who have mastered more traditional craft skills. l
dren. Reexperiencing the joys of a boombox, he is eagerly (Tina Xie/photos by Lin Min-hsuan/
anticipating making many more of his own objects. tr. by Jonathan Barnard)
孩子專心地在Fun-Maker的展覽攤位上摸索，
觀察木作玩具的結構。
At one of Fun-Maker’s display tables, children focus their at-
tention on exploring how wooden toys have been put together.
39
出入虛實的
大夢想家
徐嘉凱的「沉浸式娛樂」世界
Straddling Fiction and Reality:

Jack Hsu’s Immersive Entertainment
文•蘇俐穎　圖•SELF PICK提供　版面設計•蕭郢岑
28歲的徐嘉凱始終很忙。
一頭往後梳的紳士髮型，鼻樑上一副徐志 J ack Hsu is always busy.
Still just 28 years old, with hair combed
back on top and cut short on the sides, a pair of
摩風格的圓框眼睛，不像同輩的人還在人生
round, Hsu-Chih-mo-style glasses on his nose,
道路上迷惘，超齡的他，腦子總是轉得飛快，
he doesn’t carry himself in the tentative way of
不論電影、哲學、社會，都自有一番見地。 so many people of his age. He has a quick mind,
15歲立志成為電影導演，為了圓夢，他 a well-developed perspective on film, philo
的每一階段都步步為營。18歲進入台藝大 sophy, and society, and a manner that suggests a
廣電系就讀，23歲創業成立製片公司SELF maturity beyond his years.
PICK，拍攝網路短劇《Mr. Bartender》、 Hsu resolved to become a film director at age
《私室》，累積超過百萬點擊率。 15, and immediately began working methodically

towards that end. He enrolled in the Department
2019年，更是意義非凡的一年。他的首部
of Radio and Television at National Taiwan Uni-
院線片，同時也是台灣第一部以區塊鏈作為
versity of Arts at 18, and founded his own produc-
主題的商戰電影《聖人大盜》，在十月正式 tion company at 23. That company, SELF PICK,
上映，他也因此入圍第56屆金馬獎最佳新導 has since generated more than a million views for
演，耕耘多年，終於受到專業肯定。 its online dramas Mr. Bartender and The Bar.

（林旻萱攝　photo by Lin Min-hsuan）
41
主角尹子翔以區塊鏈技術，發起群眾募資，
真實世界裡的徐嘉凱亦如是。
In The Last Thieves, protagonist Yin Tzu-hsiang
uses blockchain technology for crowdfunding,
just as filmmaker Jack Hsu did in the real world.
小有名氣的他，回顧追夢過程，走來磕磕碰碰。刷」（觀賞百次）的挑戰，應援導演的夢想。
他心目中的終極藍圖，是打造出猶如迪士尼、雖是不完美的商業片，卻點燃了每個人心中的
環球樂園那樣，具有產業規模，能夠虛實整合，一點什麼。
訴諸五感體驗的「沉浸式娛樂」世界。
科技園區長大的孩子
剛創業時，曾向文化部申請補助，評審委員認
為「夢想太大」，被打回票。徐嘉凱不像傳統的電影人。
不屈不撓的他，先嘗試拍攝網劇《M r. B a r - 他是文人魂、科技骨。雖然年輕，卻不像典型
tender》，過程中曾向群眾募資，仍以失敗告終。的「厭世代」，既擁有入世的關懷，又嫻熟於科
他不氣餒，先接了其他案子賺錢，再投入資技的技術，他借電影敘事的殼，從角色的口，吐
金，不僅完成了作品，片場還被留下，當成酒吧露自己的心聲。
持續經營至今。他也兼具感性的心與理性的腦袋，想說一個勇
「夢想這條路，我跪著走了好久，好不容易，敢逐夢的故事，得先經過邏輯檢驗，沙盤推演，
卻才走到這裡。」這是為《聖人大盜》電影發起確認可行，才筆直推進。
群眾募資時，徐嘉凱的自述。會成為現在的樣子，實在不令人意外，在新竹
雖然電影評價兩極，燒了5,000萬的拍片資金，科學園區長大的他，爸爸在工研院上班，媽媽在竹
台北的戲院卻只上映10天，票房慘澹。科管理局擔任管理職。尋常百姓人家，茶餘飯後聊
但他敢夢、敢想、言而有信的態度，卻打動了的不外乎日常、時事，「在我們家，聊的都是晶圓
許多人。一群熱情的年輕網友，自主發起「百廠、技術轉移、科技趨勢。」徐嘉凱回憶。

Last year was especially significant for Hsu in that
it marked the release of his first feature film, The Last
Thieves. The movie also happened to be Taiwan’s first
to take corporate warfare involving blockchain tech-
nology as its subject. Released in October 2019, the
film earned Hsu the professional recognition that he
had been working towards, including a Best New Di-
rector nomination from the 56th Golden Horse Awards.
Having achieved some degree of renown, Hsu talks

to us about his dream and the bumpy road he has been
treading to bring it to fruition.
He says his ultimate goal is to create an “immersive
entertainment” world on the scale of Disney or Uni
versal Studios, one that combines the real and the fic
tional into a complete sensory experience.
But when he first started his company and applied
for a Ministry of Culture grant, his application was re
jected for pursuing “too big a dream.”
Still committed to his goal, he attempted to film the “I’ve been following the path of my dream for a
web drama Mr. Bartender using what turned out to be a long time,” wrote Hsu in the introduction to his crowd
failed effort at crowdfunding. funding campaign for The Last Thieves. Getting here
Undeterred, he completed Mr. Bartender using money hasn’t been easy.”
he made from other projects. Following the end of film The NT$50 million film divided critics, and sold few
ing, he also chose to retain the set, which he continues tickets during its short ten-day run in Taipei theaters.
to operate as a real-world bar. But Hsu’s dream, daring and passion moved many
（上圖）《聖人大盜》也許
不算成功，但別出新意的選
材與募資方式，為台灣電影
史立下重要里程碑。
(above) The Last Thieves
might not have been
conventionally successful,
but its innovative fundraising
and theme marked an
important milestone for
Taiwanese cinema.
《聖人大盜》的募資現
場，推出虛擬貨幣的募資
方式，吸引到不少科技迷
爭相投資。
The makers of The Last
Thieves introduced a virtual
currency to raise the funds
to produce the film, drawing
techies in as investors.
43
也因此，讓他自然而然地注意到，從美國矽谷興他又說，按照最原始的劇本，台詞還要更劍拔
起的「零元創業」，還有中國的新媒體浪潮。「那弩張，是經過兩位監製的修潤，才收斂了起來，
時，我就覺得也許可以在台灣做一樣的事，未來有「如果按照那樣去拍攝，說不定我就會冠上『憤
機會，可以因此拍一輩子的電影。」徐嘉凱說。青』的頭銜。」他開玩笑地說。
雖沒像自己的哥哥那樣，一路追求頂尖成績，
區塊鏈獻策，台灣首部商戰電影
拿獎學金出國，進入一流的科技廠工作，但科技
始終與他相依相存。徐嘉凱與他創造出來的電影主角尹子翔的歷
程，若合符節。
我心有所愛，不忍世界傾敗
年紀輕輕的創業家，面對不近完美的世界，想
看過《聖人大盜》的人，應該都會對電影裡，用次世代的虛擬貨幣，翻轉僵固的體制，創造出
針對資本主義、經濟體系、權力遊戲等議題，尖去中心化的新世界。
銳的提問與辯詰，留下鮮明的印象。才落幕不久的金馬獎，獲頒最佳劇情影片的
像極了羅智成的詩句：「我心有所愛╱不忍世《陽光普照》，導演鍾孟宏的得獎致詞，說進了
界傾敗」，這是少年老成、憂國憂民的徐嘉凱，徐嘉凱的心，「每個人在拍電影的過程中，都遇
借影中人的自問自答。到了非常非常多的苦難，我相信我吃的苦絕對沒
他說，他太愛台灣，過去有過幾次可以赴海外發有在下吃得多。但台灣就是這個樣子，沒有人拿
展的大好機會，但不知怎地，他始終離不開。因為刀子、拿著槍抵著你的頭、壓著你的脖子說要拍
愛，他留了下來，也因為愛，才對台灣有所期待。電影，這是我們喜歡做的工作。」
「但這份愛與離不開，到最後難免有失望。所為了拍電影，絕大多數的台灣電影人，只有
以才大聲疾呼。」他說。一條路可走。先向政府爭取為數不多的輔導金，
徐嘉凱認為，未來世
界的虛擬與現實將會
翻轉，他也將這樣的
想法融貫在電影中。
Jack Hsu believes that
the fictional and real
worlds will someday
invert, a thought he
incorporated into his film.

資深電影人曾志偉（右）看好徐嘉
凱的雄心壯志，不僅願意演出，也
投資擔任監製。
Eric Tseng (right), a film-industry
veteran who was impressed by Hsu’s
ambition, not only agreed to act in
Hsu’s film, but also produced it and
invested in it.
people. A group of enthusiastic young netizens even Taiwan’s first “business war” movie
started a “hundred watch-throughs” challenge to show Hsu and his film’s protagonist, Yin Tzu-hsiang, are
their support for the director’s vision. birds of a feather.
Though not a commercial success, the film has sparked Yin is a young entrepreneur facing an imperfect
a fire in many viewers’ hearts. world. He wants to use a second-generation virtual cur
An indestructible love rency to overturn an inflexible system and create a de
People who have seen The Last Thieves know that the centralized world.
film interrogates issues surrounding capitalism, eco Most of Taiwan’s filmmakers follow a well-worn path
nomic systems and power games. to getting their films made: they apply to the government
Hsu, who cares deeply about his country and its peo for one of its few grants, and then, with this money in
ple, speaks through his characters in a way that recalls a hand, seek out other investors. Their relative lack of fund
line from a Luo Chi-cheng poem: “I couldn’t bear to let ing limits their movie-making to art-house fare, a choice
the world defeat / The love in my heart.” that is reinforced by the fact that art-house movies win
Hsu says he loves Taiwan and can’t bring himself to awards, which makes the government look good.
leave in spite of great opportunities to pursue his career “But how can the industry survive without business
abroad. His love keeps him here, while also creating and capital flows?” Though Hsu isn’t quite as ambitious as
expectations of Taiwan. his protagonist, he does want to transform the Taiwanese
“Ultimately, this love and this inability to leave have film industry in which he has vowed to spend his career.
given rise to disappointment. That’s why I’m trying to With that in mind, he tried something new while
get people’s attention.” working on the preproduction for The Last Thieves: issuing
He adds that the dialogue in the original script a cryptocurrency called SELF and using it to raise funds
was even more biting, but says that the two executive for the film.
produc ers dialed it back during their edits. “If we’d The approach enabled the filmmakers to attract a
shot it as it was originally written, I may well have been different kind of investor, while also deepening the con
labeled an ‘angry youth,’” jokes Hsu. nection between the film and its audience, opening up
45
有了這筆資金作為後盾，再以此吸引到其他投資 new marketing opportunities, and providing the film
人。因為錢不會太多，只好拍藝術片，加上藝術 industry with a chance to change.
片能拿獎，才好作政府的績效。 The initiative meant that The Last Thieves was not only
the first Taiwanese movie to take blockchain technology
「但沒有商業，也沒有活水，這要怎麼活下
as its subject, but also the first to actually use the tech for
去？」雖然不像劇中的尹子翔，是野心勃勃的新創
fundraising. It was as if the film’s script shaped reality.
家，但他也想改變矢志一輩子投入的電影產業。 A world of shared experiences
為此，籌拍《聖人大盜》的期間，他首開先 Our interview with Hsu takes place at SELF Oasis, a
例，結合區塊鏈技術，發行加密貨幣SELF（自元 bar on Taipei’s Rui’an Street.
幣），並且用這套貨幣對外募資。 It is just one of Hsu’s ventures, which include three
這樣一來，既可以吸引到不同類型的投資人， companies and two bars.
But his goal with the bar isn’t simply the achieve
同時加深了觀眾與電影的互動，創造出更多行銷
ment of his ambitions. It’s also about fulfilling a prom
空間，產業也才有了改變的機會。
ise to film lovers.
因此，《聖人大盜》不僅成了台灣電影史上第 Sharp-eyed fans of The Last Thieves will immediately
一部區塊鏈主題的電影，也是第一部實際運用區 spot the S-shaped artwork in a corner of the bar: it was
塊鏈作募資的電影，就猶如劇情的現實衍生。 an important prop in the movie.
至於，為什麼是區塊鏈？「區塊鏈是一種具有人 SELF, Hsu’s other bar, will also be familiar to fans of
文精神的科技統整技術，結合了密碼學、網路、邏 the film: protagonists Yin Tzu-hsiang (Yen Tsao) and Hsu
Ching (Megan Lai) performed many of their scenes to
輯，不算是一種新科技的發明。」徐嘉凱說明。
gether inside its walls.
因為他預見了未來世界的金融體系，現實與虛
Hsu never intended to start up companies aimed at
擬將顛倒翻轉。「在過去，只有現實世界的蒙娜
making a single movie. His every work, company and bar
麗莎有價值，網路上的蒙娜麗莎沒有價值；在未 fits into a larger blueprint.
來，會變成網路上的東西才值錢，現實的東西不 Under the industry’s usual business model, once a com
值錢。」他這樣想。 pany finishes making a film, it is dissolved. At most, the
尤其當2020年以後，5G時代來臨，行動支付 company continues to manage the film’s rights. “If the pro
系統不再需要中介的支付商，在這個不可逆的過 ducers of Cape No. 7 had planned for it, they could have
used the film’s sets for music festivals after the m
ovie’s
程中，「錢會變不見，區塊鏈扮演一個重要的角
theatrical run. If you properly establish the [production]
色，它是結算的機制，也是網路驗證的方式。」
company’s direction, strategy and target audience, you can
經過層層推敲，區塊鏈是最可行的解答，也成 keep many things running after the film is complete.”
為通往遠大夢想，最可行的方式。 It’s not like this is a new idea. Studios such as Disney
and Universal do much the same thing. They first make
歡迎來到，共感體驗的世界！
an original film, then create all kinds of spinoff products
採訪的這一日，我們相約在台北瑞安街上的 and sensory experiences connected to the film. Each of
SELF OASIS（綠洲）。 these elements reinforces the others and creates revenue
streams for the company. Meanwhile, real-estate and
這間酒吧，也是徐嘉凱的物業之一。如今的
other investments turn it into a complete business eco
他，名下已擁有三間公司、兩家酒吧。
system. But no one in Taiwan has pursued this model.
但這不只是為了成就他的野心，更是為了兌現
The companies in Taiwan’s film industry don’t have
與影迷的諾言。 the financial resources to do this all at once, but they may
踏入酒吧，明眼人一下子就可以發現，在角落 be able to unlock the future by making effective use of
一隅，造型肖似「S」的大型裝置藝術，正是在 the Internet and cryptocurrencies.
《聖人大盜》片中，屢次登場的重要道具。 Using the blockchain for crowdfunding isn’t difficult.

築夢踏實的徐嘉凱，
領導三間公司，團隊
夥伴都相當年輕，展
現出新世代的企圖
心。（林旻萱攝）
Jack Hsu and his young
team are hoping to
change the world via his
three companies. (photo
by Lin Min-hsuan)
47
不僅這裡，在他的另一間酒吧SELF Bar（私室），『我想跟大家一起共創一個市值一億美金的沉浸
一整面眼熟的酒牆，是電影中尹子翔（曹晏豪）與徐式娛樂生態系。』」徐嘉凱說。
菁（賴雅妍）多次上演對手戲的重要場景。由他名下公司發行SELF，藉由募資，吸引認同
打從一開始，就不打算開「一片公司」的徐嘉理念的人購買。他負責兌現合約內容，一步步把
凱，把每一部作品、每一間公司、每一家店，都產業做起來，想辦法從票房、場景、版權，創造
當成放入宏大藍圖裡的一片片拼圖。出未來市值超過一億美金的產業生態系。
在傳統的產業模式，片子拍完就拍完，公司隨這是一環扣著一環的。依徐嘉凱的想像，源頭
之解散，事後頂多賣賣授權，沒有後續，「如果的故事內容，將依拍片進度，一點一點做深、做
當時《海角七號》有規劃好，片場留下來，可以大，《聖人大盜》只是三部曲的首部，它既可以
把場景變成音樂祭的舞台。」徐嘉凱舉例，「只獨立觀賞，又可以與其他作品互相呼應；至於分
要搭配好產業方向、策略與群眾脈絡，那很多東散在各地的片場，轉換成商業用途，觀眾前往消
西，都可以有延續性。」費，就像在遊歷拆解版的都市影城。
說穿了這件事一點兒也不新鮮，迪士尼、環球影已有太多人對徐嘉凱說過，他的夢想太大、太
城都在做類似的事。先產出原創性的影視作品，再難，他坦言有壓力，卻不曾想過後退。
來有涵蓋食衣住行育樂、五感體驗的空間場域，還「如果覺得是對的、可行的，那就去做！不然，
有周邊商品，從線上到線下，彼此互為所用，帶入活著要幹嘛？」「如果人活著，註定會死，你要等
現金流，加上房地產與相關物業的投資，形成完整死，還是要用力的活著？」他鏗鏘有力地反問。
的產業生態系──只是在台灣，從來沒有人做過。就像在《聖人大盜》中引用的文字，雖是舉步
雖然無法像財力雄厚的大集團，一次到位，但維艱，卻義無反顧：
善用網際網路、加密貨幣，就擁有打開未來之門
「人生來是為行動的，就像火總向上
的鑰匙。騰，石頭總是下落。對人來說，一無行
用區塊鏈做群眾募資，這件事並不複雜，「簡動，也就等於他並不存在。」──伏爾泰
單來說，就是我寫了一份合約，放在鏈上，叫作 l
徐嘉凱宣告打造沉浸式娛
樂，希望以商業模式活絡台
灣電影產業。
Jack Hsu has declared his
ambition to create immersive
entertainment in hopes of
injecting some commercial
vigor into Taiwan’s film
industry.

曾經是片場，如今化作商業空間的SELF Bar（私室），
氛圍別具一格。
A former film set, SELF Bar has its own unique vibe.
Hsu says: “Basically, I wrote up an agreement and put of filming locations into businesses creates a sort of de
it on the chain. It said, ‘I want to work with you all to constructed urban multiplex that moviegoers can “tour”
create an immersive entertainment ecosystem with a and interact with, transforming them from viewers into
market value of US$100 million.’” consumers.
Hsu issued SELF through one of his companies, en Many people have told Hsu that he’s too ambitious,
ticing like-minded people to buy the cryptocurrency to that what he hopes to achieve is too difficult. But for all
fund the film, and then began working towards fulfill that he admits that he’s under pressure, he’s never con
ing his commitment. He has been building the venture sidered giving up.
step by step ever since, finding ways to use box-office “If you think something is right and feasible, then
receipts, filming locations and rights to create a corpor do it! Otherwise, what are you living for?” asks Hsu.
ate ecosystem that will be worth more than US$100 mil “Everything that lives is going to die. Do you want to sit
lion in the future. around waiting to die, or throw yourself into living?”
Each link in this business chain connects to the next. Progress may be difficult, but we’re duty-bound not
As Hsu explains it, the process begins with the original to give up. To that point, the film quotes Voltaire:
story, which is broadened and expanded by its trans “Man is made for action, just as fire rises and stones
lation to film. He sees The Last Thieves as the first film of fall. For a man, not acting is the same as not existing.” l
a trilogy, each film of which can be enjoyed individually (Lynn Su/photos courtesy of SELF PICK/
or in relation to the others. Meanwhile, his conversion tr. by Scott Williams)
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 , fo 光
り美は台 land fo r the l 片羽。
しく湾 r 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 ew
因為土地 Tai
pei
I’ve 永恆它記翻 Cit
been 。錄剎 y）
from read 那成
m i n gT
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
の頃 it be ures
華』をから autif the
読み異国 ully
eter
つを訪れ nal.
華』は一づけるま
つのてきで『光
にと素まし
どめ晴らた。『光
てくしい
れま瞬間
（挪す。を永
威E
ll isa
Yao
遠
/ Ell
isaY
ao, 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
ome
》的《光
one 富》內涵華》
fond who h 雜誌的、《，因
ness as liv 編時代為它
Geog for Taiw ed a 排》雜
raphic an P broa 形式。誌的
, wri anora d for 寫
海外 ting li ma b
ecau 40 years
に暮 ke T se it ,Ih
んでらし ime,
a o ave a
きまて4 nd a ffers part
した 0年 layo cont icula
フィ。
『光、いつ ut lik
e For
ent li
ke N r
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
みに
好的一片ン』誌章は『ショ読
年代《光に匹タイナルジ
更有裡華》敵しム』誌オグ
著「除了，因ますラ
Taiw 光華美好為。、レイ
an P 」的輝的記アウ
mem anora
ma h 煌。憶，（美
國
トは
ori
es be a
s its 王福
權/
not cau own Ken
only
my o se then spac tW
e in ang
but wn m I get my , USA
Taiw to h ）
an P emo old o
私の anora
ma’s
ries
of g n to
記憶 brill o od t
ありの中 ianc imes
ますには『 e as
well
,
出。
しい美光華 .
とと時』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
Taiwanes am
a because
e
trends, cu it lets me
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
父親 ◎ 吳錦發
好讀
月
——酒醉知心定　愛過識情濃——
個人都明白人生的真相就是自己笑過淚過被傷過也
每傷過人的情之印記，我比較不懂的是，寫一部類法
國文學家也是哲學家盧梭《懺悔錄》的類自傳體小說，
作者要克服多少內在外在的障礙，那是赤裸裸在讀者面
前袒裎生命中陰暗甚至隱晦的角落，或許也要有深厚的
哲學修為才能如武士刀出鞘自剖吧！
節錄林剪雲推薦序
更是一回賞讀美篇的心靈停駐……
也是一段遍閱佳構的遨遊，
是一趟巡覽好文的旅程，
某君的父親，一生之中面臨過他父親常自豪自己是「天公哪
幾次可能喪失性命的重病。子」，死不了。
唸農校時代，得過瘧疾，當時瘧胃出血還未痊癒就搭上飛機，
疾是重病，死亡率接近半數的可到沙烏地阿拉伯當電廠工人，在酷
怕疾病，幸運地，他父親碰上了奎熱的沙漠地區，工作了一年半。
寧新藥，痊癒了。肺疾猶未康復，又去了巴西親戚
結婚沒多久，又得到肺結核，病家的農場，帶領巴西工人，耕種台
情加重時，盤尼西林出現，他也熬灣的蔬菜。為了種植台灣的蔬菜，
過來了。方便帶領巴西工人，他還特地自修
後來，胃穿孔、破傷風、傷寒、葡萄牙文。
痢疾都沒奪去某君父親的性命。某君納悶的是：一個一生之中，
這樣說：似乎讓人覺得某君父始終是在死亡陰影邊緣徘徊的人，
親是羸弱的身軀，但似乎也不是這為何會獨獨蔑視神的信仰？父親
麼回事；別人嚴重得應該要躺下難道從未想過，他能活存到耄耋
療養的病，他父親卻全然不當回的年紀，冥冥之中一定有著什麼力
事，沒多久就又康復了。量護衛著他嗎？
「也許，自己並未領會父親的信某君從小就很怕死，他什麼神但某君厭惡用這種討債式的角
仰也說不定。」某君常如此自忖。都信，身上有病恙，馬上就吵著要度去看父親的人生。
但某君從未由父親的言行之看醫生，某君想不起來他有什麼地這世界沒有父親會壞一些嗎？
中，感受到一絲什麼宗教信仰的方像父親。有父親會好一些嗎？某君又覺得這
氣質也是事實。從弔詭的角度看，什麼都信的種思索太空泛。
有一次，某君得了莫名的病，中人和什麼都不信的人，其實可能是父親是好人嗎？是壞人嗎？這太
醫、西醫都看了好幾個，始終沒有最相像的人，他們都沒有真正的信簡略。
起色，後來她母親去請示廟裏的仰，他們對自己的生命都太輕忽。一生沒做過傷天害理的事就是
神明，童乩扶乩說：某君是受到髒是這樣嗎？好人嗎？做過令人難以容忍的事就
東西糾纏，母親請了乩童到家裏作「到底要如何定義父親的一是壞人嗎？
法驅鬼。生呢？如果單從人的觀念來看的認真說起來，從童年到成年，
儀式結束後，父親把某君叫進話。」這是父親過世之后，某君一父親留給某君的記憶並不多，反
房裏，用很嚴厲的語氣斥責他：直思索的問題。倒是祖父給他數不清的溫暖的回
「你是受過現代教育，也唸一流高沒有父親，這個世界上便不會有憶。
中，你是大人了，你怎麼也和你母某君，這是無庸置疑的。可以這樣說：四十歲以前，他幾
親一般迷信，愚蠢！」乎沒和自己父親談過什麼心理深
然後，他父親加重語氣告訴他：層的思考。
「待會洗澡的時候，你認真看看自有很多傷心的事，倒是一直銘
己的身體。」刻在他心裏。
看清「自己身體」是什麼意思？他父親年輕時好賭，有時一賭
當時某君並不理解這話真正的含好幾天都看不到人。
意；開始明白這句話的教訓是上了也因為如此，他父親曾經辛苦
大學之后，某次在洗澡時，發現自奮鬥起來的事業也賭掉了。
己毛髮又多又密時，才頓然明白父有一段時間，他父親也常跑酒
親那句話的含意：「小鳥都長毛了，家，使得他母親經常三更半夜夜
你是大人了，不要輕忽自己的判斷泣，和母親還睡一張大床的某君
力！」父親是這個意思嗎？到父親和兄弟姊妹，也難以安寐，大家默
過世之前，某君一直沒問過父親。默蓋在一條棉被裏暗泣的時候也
有時他和母親吵架，母親吵不是有的。
過某君，母親含怒之下，經常會拋書名：人間三步和父親關係改善，那是某君五十

作者：吳錦發
下如此一句話：「你和你父親像得歲以後的事，年紀增長，一些父子
定價： 320元頁數：300頁
沒剝皮沒剝殼！」出版：玉山社之間的不愉快，甚至說，恨意，慢
真的嗎？自己真的如此像父親慢變淡，最重要的是：似乎理解了
嗎？某君卻始終不覺得。父親內心的寂寞而寬諒了。
53
某君的父親和母親雖說是同一祖父的感情特別深刻；自小大部荔枝園走出來，看到某君在溪邊
年齡，兩個人唸日本書到小學五年分時候，也和祖父睡在一起，隨著垂釣，便走到河邊，和某君並坐
級，但之后，母親家因貧困，兄弟年齡增長，他和祖父無話不談，倒在一起，沉默了一會，若無其事般
姊妹又多，因此，戰後便停學了。更像父子，而父親則反在遙遠的說：「明天，回去台北前，有空到
父親則在某君祖父堅持下，繼另一端。你祖父的墓地上看看吧，你祖父
續升學，進入國民政府時代的農某君的祖父並沒有受過正規的也許對你今日的表現會有一些安
校。他父親唸的農業學校，雖說已教育，但對子女的教育卻一點也慰吧。」
是戰後，但學校裏並沒有一個教不馬虎，他伯父唸了工業學校，姑父親向某君說了令他顫動的
師有能力以「國語」─ 北京話教姑唸了師範學校，叔叔唸了商業學話。
學，教師皆以日語教學，那些教師校；在那個時代，一個沒唸過書而然後，兩個人默默看著流逝的
教導的農業知識，也是日本時代生活又困苦的農夫，要這樣教育子河水，一直到天黑下來，再沒多說
農業的專業知識。女是很困難的。一句話。
也許這也是某君父親和祖父經某君的祖父不只如此，對孫子輩一股電流夾在他們心坎中互相
常意見相左，甚至疏離了父子關係的教育也異常堅持，他們兄弟功流動著。
可悲的一生的原因。課好，祖父就再三鼓勵要他們受某君只看到父親，一次又一次
他祖父沒唸過書，是典型的如更高層的教育。站起來，把釣桿甩出去，釣線飛
牛一般，在田裏死做一生的農民，相對於祖父對家庭的責任，某出，無聲飄下，形成線性水紋，也
而父親則恰恰是具有現代農業知君便覺得父親浪蕩許多。因此，許父親想重甩他的人生……。
識，又喜好探索新農業技術的人。情感上便更加貼近祖父而疏遠父親其實是個有深刻情感的
某君的父親從不贊成他祖父死父親。人呢，到五十歲的那天傍晚，某
做的態度，他喜歡創新的農法，經事情的改變是在某君祖父過君才第一次走入他父親寂寞的
常要在農田裏做新的實驗。改變世，眼見父親親手把祖父的遺體，心園裏。
農業的收成。自醫院病床抱上救護車送回家。 ***
但祖父辛苦當佃農大半輩子，把祖父遺體在祖堂內安置妥當之某君為父親整理他的遺物，發
最後才得到一甲多自己的耕地，他后。無意間，某君看到父親躲在屋現他留下了大量的字畫。
祖父不願意改變，甚至斥責他父角啜泣，這是某君生平唯一一次，他父親並不是風雅之士，他的
親是不務實際；因此他們父子倆看到自己父親的哭泣。人生，大部份都在泥地裏打滾，
變得水火不相容。五十歲那一年，某君出乎意料他是道地的農夫，要說他和一般
夾在中間的是某君的母親，另之外地，因為一通電話去當了政農夫的差別，只在於他父親對所
外，還有某君的兩個叔叔。務官。有新鮮事物都有高度興趣和研究
雄心壯志的父親始終是極端苦有一個星期假日，某君返鄉渡精神。
悶的吧？某君事後想想。假，下午三點過後，他一時興起，就拿語言說吧，他父親在五十二
夾在中間的，除了母親，某君也拿起釣桿到老家附近的溪裏垂歲那年，隨工程公司到沙烏地阿拉
是其中之一，奇怪地，某君自小和釣；大約接近黃昏時刻，他父親從伯蓋發電廠，那是他和父親通信

最多的時候，某君的父親經常在他父親七十五歲那年，又開始到他父親過世後，某君清理他父
信中吐露心聲，說在沙烏地阿拉伯社區大學學習，這回他學書法、水親的遺物，竟然從古舊的衣櫥中
很寂寞，因為在沙烏地偏鄉沒任何墨畫、唱山歌……。發現，他父親擺滿了整個衣櫥空
娛樂，偶爾唱唱歌和他通信是唯他把家裏的一間斗室，佈置成他間，有條不紊的疊著的書畫，數
一樂趣，他希望某君多寫信給他，的畫室，書桌是由農事荔枝班的工量之龐大，使他楞立當場。一個
多聊些故鄉事，讓他解除寂寞。作檯舖上絨布而成的。年老又重病的老人，如何有這種
信當然是用中文寫的，信封用某君知道父親一直持續有在繪能量創造出這麼龐大的作品？某
英文書寫地址；一年後，信封的書畫、寫書法，但並不知道自己父親君只能模擬想像父親瘋了一般，
寫變成阿拉伯文，某君看得出來，在畫些什麼，寫些什麼。更不知道在斗室之內燃燒他生命最後的燭
他父親一定用了很大的心血學阿繪得如何，寫得如何，他只是認為光，直到全化為灰燼。
拉伯文，在某君看來，阿拉伯文簡那只是父親閒著的老人娛樂。某君猛然驚覺，他父親在再也
直比道教符籙還複雜，雖然他看有一天，他母親告訴他：「你父拿不起鋤頭的時刻裏，把毛筆當
不懂，但父親卻用毛筆寫得優美親上了報紙」，他去買了份報紙看成向他逐漸逼近的死神的戰鬥武
而有模有樣。看，那是一家國內大報藝文版面，器。
某君的父親六十五歲那年，他用大半版的版面，介紹了他父親的但父親明明不是梵谷，而只是
家有個親戚在巴西，這個親戚在書法和繪畫。「七十七歲，天才老一個道道地地的農夫啊。
巴西擁有十間汽車旅館兼飯店，農夫，字畫功夫皆一流」報紙的標某君一張一張翻閱著父親的書
希望在自己一百甲的農場裏種台題是如此下的。法和圖畫，眼淚止不住地流。他
灣的蔬菜供應廚師作台灣料理。某君對父親學習書畫也只有如看到了一個如此絕望、深沉而寂
於是邀請他父親去當農業顧問，此一個印象，他父親從未和子女寞的父親。竭盡力量，要在無聊
某君的父親為要赴巴西帶領巴談論過什麼有關他的書畫的事。的人生之中，尋找一角規避折磨
西的農場工人，特別要某君幫他倒是他的母親，在他父親罹癌的空間。這是一個某君從未認識
買了一堆葡萄牙語的字典和錄音之后，接受手術及化療期中，一直過的父親……。
帶，苦學葡萄牙語。擔心他父親的狀況。他看到一幅長條幅的字，那幅
他親戚後來說：你父親真不得「你父親每回化療回來；就把自字令某君感覺是父親用毛筆沾著
了，來巴西半年，葡萄牙語說得一己關在房間裏畫畫，一整天，連飯生命的餘燼寫下的，字跡蒼勁中，
口溜。也不吃，水也不喝，我拍他門，他又帶著懊惱：
某君對這樣的事，一點也不覺都從裏面鎖著。」「曾醒驚眠聞雨過，不覺迷路
得訝異，自有記憶，他父親每隔幾有回母親向某君說。為花深。」
年，就會玩出某種令人出乎意料的「賭氣吧，對自己的不幸賭一滴眼淚，無聲滴落在宣紙
技能和新事物，這似乎是常事。氣。」某君總是如此想，也從未因上。
從他父親年輕時候起，吉他、此關注他父親畫畫的事，他認定 ***
日本演歌、跳標準舞……，好像他那不過是他父親人生階段中另一親情之關隘，情之難，難如登
想學什麼就會玩出個樣子來。個嬉戲的事物。天。
55
影像對話　PHOTO ESSAY
《椅子，葉世強水湳洞舊居》
The Chair, YSC Shuinandong
Residence
2019
Giclée print on Canson Baryta
Prestige 340 gsm paper,
ironwood and mineral pigment
stained frame
94 x 124 x 5 cm

葉偉立，2005年於寶藏巖
Yeh Wei-li, Treasure Hill,
共時的精神振動
Taipei City, 2005
葉偉立《水湳洞》
A Synchronic Resonance of Kindred Spirits:
Yeh Wei-li’s Shuinandong H ow does a contemporary artist initi
ate an encounter with a deceased
predecessor? And how do we define the re
圖•葉偉立提供　文•沈柏逸　版面設計•胡如瑜 lationship and the dialogue that arise from
such an encounter? The artist Yeh Wei-li,
who works mainly in photography, was
invited by the curator Johnson Chang in
2015 to breathe new life into the derelict
houses of the late artist Yeh Shih-chiang
當代藝術家如何跟已逝藝術家相遇？這個交會又產生 (1926–2012). Despite differences in their ages
了怎樣的關係與對話？以攝影為主要創作媒材的藝術家 and backgrounds, the two artists’ emotional
葉偉立，受策展人張頌仁的邀請，於2015年活化已逝藝 responses to space have much in common.
In addition, as a creator of art, Yeh shares
術家葉世強（1926-2012）的廢棄故居。這兩代的藝術家
with his predecessor a reclusive world view:
雖然生活於不同時代脈絡，卻不約而同的對空間有共同
he maintains a distance from the criteria
的感受。此外，他們雖然都身為藝術創作者，但卻都一 that govern contemporary mainstream art,
樣「出世」，他們都跟藝術主流的評價機制保持距離， deliberately keeping a low profile and seek
有意識過著低調生活，同時把生活本身轉化為作品。 ing to transform his everyday life into art.
57
《院子裡的火，
葉世強水湳洞舊居》
Fire in the Front Yard, YSC
Shuinandong Residence
2016
stained frame
94 x 124 x 5 cm

純粹的藝術生活
兩位藝術家並非是刻
意為了藝術體制、名利， A pure life of art
發表大量作品，而是選 Like his predecessor, Yeh Wei-li does not
擇一種獨特的姿態過著 attempt to produce large quantities of work to
寧靜、儀式般的閒逸生 satisfy the requirements of the art establishment;
活。也就是說，他以一 neither does he go after fame and riches. Rather,
in an idiosyncratic manner, he has opted for
種非功利導向，高度純
a tranquil—and we might say ritualistic—life
粹的方式直接面對自己
of leisurely pursuits. In other words, he turns
的生活與藝術。
his back on utilitarianism, bravely confronting
葉世強也把自己的古 his own life and art without extraneous
琴、燭台、繪畫、水墨、 considerations.
音樂等作品融入生活，而 Yeh Shih-chiang also brought his artistic
不是為了發表而創作藝 interests in the guqin (a seven-stringed Chinese
術作品。此外，他也置 musical instrument), candelabras, traditional

Chinese painting, and music to bear upon his
身事外地選擇居住於幽
daily life, rather than producing art for the sake
蔽的新店灣潭與瑞芳水
of exhibiting and publishing it. Additionally,
湳洞。要言之，葉世強 he chose to lead a life in seclusion, settling in
並不參與主流藝術世界 remote areas of the then Taipei County (today’s
的遊戲，而是以一種隱 New Taipei City): Wantan in Xindian and then
士的緩慢姿態築構自己 Shuinandong in Ruifang. To put it simply,
的宇宙與精神世界。 Yeh never wanted to abide by the rules that
defined the world of mainstream art; rather,
like a recluse, he was preoccupied with slowly
constructing his own spiritual cosmos.
《鐵鎚，
葉世強水湳洞舊居》
The Hammer, YSC
Shuinandong Residence
2016
stained frame
94 x 124 x 5 cm
影像中潛在的行動
另一方面，葉偉立一直以來的創作都跟空間的變化與物件價值的轉化有關。他過去的攝
影作品，都有大量自己介入參與勞動的過程，這個過程不只是短時間的投入，而是長時間
重複並且高度儀式性的融入某個空間。如果我們只是單純看他的影像，很容易會被他簡練
雅緻的美學氣質與氛圍等吸引。然而，除了這些形式面之外，更多「不可見」的部分則是
他作品的迷人之處。
這些影像背後的不可見行動可以概括為三點。首先是葉偉立花費大量時間與心力，親力
親為，整理葉世強荒廢故居的過程；再來則是葉偉立在拍攝時，揣摩葉世強身處其中的氛
圍，在廢墟中慢慢建造如同電影場面的過程；最後則是他以大型相機創作的繁瑣程序，他
每次拍攝一張照片單純曝光時間就長達六分鐘。葉偉立的創作方式提供了我們另一條「行
動路徑」去思考創作。
《禮運大同篇》
The World of Da-Tong in
Cologne #2
2012
Color photograph, acrylic face
mount
130 x 107 cm
《古董級垃圾研發公司
在苗栗》
Antiquity-like Rubbish
Research & Development
Syndicate at Miaoli
2011
Kodak Duraclear transparency,
wood and metal lightbox
85 x 105 x 14 cm
Physical action latent in imagery

On the other hand, Yeh Wei-li’s work has always explored changes in space and in the values of
things. In all his photographic projects to date, he has set great store by physical participation; his
integration into any particular space, far from being merely a brief immersion, is typically long,
repetitive and profoundly ritualistic. If we only look at the images he has produced, we are likely
to be attracted by the succinct elegance of his characteristic style and of the atmosphere he creates.
However, apart from these formal features, the qualities that make his art truly charming tend to
be invisible.
The invisible activities latent in Yeh Wei-li’s images can be summarized in three ways. Firstly,
Yeh has spent substantial time and energy putting Yeh Shih-chiang’s dilapidated residences into
good order. Secondly, whilst taking his photographs, Yeh Wei-li has sought to empathize with
his predecessor in the same environment, slowly shaping his images in the midst of the ruins, in
a way that resembles filming. Finally, he has plunged himself into the technical complications of
using a large-format camera; each photograph requires an exposure time of as long as six minutes.
Yeh’s creative method offers us an alternative approach to thinking about artistic creation itself.
61
《仙跡：埔心》
Divinity Trace: Puxin
2009
Inkjet on canvas, wood,
156 x 196 x 6 cm

《日新街, 臥室》
New Day Street, The Bed Room
2010
stained frame
94 x 124 x 5 cm
The interweaving of life and space

Not only has Yeh Wei-li recorded places with
生命與空間的持續交織 his camera, but he has also had to integrate himself
葉偉立不只是拿著相機記錄空間，而 into his surroundings, devoting much time to the
repeated adjustment, arrangement and development
是得將自己融入空間，花費大量時間重複
of particular spaces. This is also what differentiates
調度、整理與培養空間。這也是他跟紀錄
him from documentary photographers. Namely, aside
式攝影家的不同之處。也就是說，相較畫 from the perfection of the images themselves, physical
面的完整度來說，那些不可見的勞動過程 participation is a vital element of his work, and these
也是作品的重要部分，而這些勞動過程同 physical processes are featured in his documentary film
時收錄在他的紀錄片《入勝》裡。重要的 Illuminated Presence. Importantly, far from simply aiming
是，他不是去再現外在世界，而是持續性 to represent the external world, he repeatedly explores
the same spaces from various new perspectives over long
地以新角度重複探索同一個空間，在這個
periods of time, opening up an internal timeframe within
跟自己長期互動交織的空間中敞開內在時
a space that has long been intermeshed with himself.
間。
Yeh Wei-li’s creative method also resonates with
葉偉立的創作方法也與葉世強的精神產 the spirit of Yeh Shih-chiang’s work. He moved to
生共鳴，並同時將自己的生活移居於水湳 Shuinandong for a long stay in order to investigate and
洞，長期研究與感受葉世強生前棲居的場 absorb his predecessor’s former residence. Imagining
所。他會揣摩葉世強在這個空間內曾經做 how the older artist lived in that space, Yeh re-enacts
過的日常行為，再次重複他的日常，比如 his quotidian routines, such as weeding, making fires,
repairing the pond, and listening to the wind rustling
在荒蕪庭院中除草、生火、修復池塘及聽
the bamboos in the run-down garden. At the same time,
風吹竹林的自然聲響等，同時他也好奇自
he wonders what will happen if he, like his predecessor,
己跟葉世強一樣在這邊生活六年到底會發 is to live there for six years. The lives of two artists from
生什麼事，而兩位不同時代創作者的生命 different eras have thus become intertwined through the
就這樣透過環境與「日常儀式」相遇。 “daily rituals” embedded in that particular environment.
63
《寶藏巖泡茶照相館阿凱夫：
第二間房》
THTP Archive: Room B
2006
緩慢中塑造的強力生命
葉偉立與葉世強共同重視的日常儀式，同時抵抗了資本主義助長的效率、
快速、碎裂與流動的時間觀。他帶領我們以一種緩慢、閒暇、凝思的方式與
高速運轉的時代保持距離。
有趣的是，葉偉立選擇的主要媒材攝影或大型相機，恰恰是相對於動態影
像與快照的消費潮流，更加沉靜內斂的面對我們所處的時代，同時也重新復
甦這個碎裂時代中忽視的精神性。而透過他們的緩慢與重複之力，也進一步
恢復我們在消費社會中漸漸流失的生命力與穩定性。 l

《林家》
Lin Family Residence
2006
A life force shaped slowly

The daily rituals cherished by both artists go against the insistence upon efficiency and the
fast-moving, fragmented and ever-flowing sense of time fostered by capitalism. By cultivating
a slow, leisurely and contemplative way of life, they enable us to maintain a distance from the
age of speed we live in. Interestingly, in contrast to the current consumer trend toward dynamic
video images and snapshots, Yeh Wei-li decided to work with the medium of photography and
to use a large-format camera precisely because he wants to engage with the age we live in in a
more tranquil and introspective way, thus reviving a sense of spirituality that has been neglected
in this era of fragmentation. Like Yeh Shih-chiang before him, through the slowness and
repetitiveness of both his medium and his tool Yeh Wei-li further aims to revive our life force
and to ensure our mental stability, both of which are being forfeited in our consumer society. l
(Shen Bo-yi/photos courtesy of Yeh Wei-li/tr. by Brandon Yen)
65
全球視野　GLOBAL OUTLOOK
Taiwan Back in the World’s Top Five

文•蘇晨瑜　圖•林格立　版面設計•胡如瑜
從
不被看好到全民沸騰，攸關東京奧運門票的世界12強棒球賽，中華健
兒展現高度的紀律、智慧與百折不挫的意志力。重新站上世界五強，
再向2020東京奧運挺進！
每逢國際棒球一級賽事，台灣球迷都會變身成「總教練」，對賽事下指
導棋。
11月12日晚上，世界12強棒球賽，中華隊在日本千葉對上難纏的宿敵韓
國。「總教練們」下達指令：一定贏韓國！旅居日本的台灣球迷更劃下比賽
底線：輸誰都可以，就是不可以輸韓國！
T he 2019 Premier 12 baseball tournament, organized by the World Baseball

Softball Confederation, served as a qualifying event for the Tokyo Olympics
in 2020. Though initially not favored to do well, Taiwan’s national team, Chinese
Taipei, played with discipline, intelligence, and indomitable willpower, turning
in a performance that brought the entire nation to a fever pitch. The squad now
once again ranks among the world’s top five, and is on the march toward com-
peting at the Tokyo Games.
台灣長年以賽事引導
棒球人才培育，孕育
出不少棒球好手，為
世界棒壇做出貢獻。
圖為2009年世界少棒
錦標賽亞太區比賽。
（林旻萱攝）
For many years now,
Taiwan has cultivated
baseball talent through
tournaments, producing
numerous good
players and making a
contribution to the world
baseball community.
This photo was taken
at the Asia–Pacific
Regional Tournament
for the 2009 Little
League Baseball World
Series. (photo by Lin
Min-hsuan)
只能贏、不能輸的高標期待，全押在總教練洪全身是傷，兩人都有承擔戰敗罵名的傷心回憶。
一中領軍的中華隊身上。從第一局開始，好運就因此這次籌組國家隊，馮勝賢把「安全」「安
一直站在中華隊這邊，全隊越打氣勢越旺。七局心」放在第一要務。「我們組隊很簡單，強調
上，陳俊秀一記三分砲全壘打，讓現場嗨翻天，只有國家隊，沒有分旅日、旅美或中華職棒球
最後中華隊以7：0，完封強勁對手，現場球迷歡員。」只有一個中華隊，全體共同去面對挑戰、
聲雷動，旗海飄揚。12強史上首次台灣在一級賽去面對輸贏。劃下這條安全線以後，球員不會因
事打敗韓國，讓12強佳績再添一筆。為失誤或戰敗而影響日後職業生涯，甚至有可能
這次12強棒球賽因事涉明年直達東京奧運門因這場比賽而加分。
票，中華隊有非贏不可的壓力。循環賽結束後，雖
黃金教練陣容
然東奧門票還未到手，但外界認為中華隊這次的表
現可圈可點，可說是無可挑剔，甚至超乎預期。說服洪一中出任總教練後，馮勝賢請出恰恰彭
政閔、王建民等大咖級教練坐鎮，讓年輕球員吃
賽前不被看好
下一顆定心丸。馮勝賢與王建民去美國小聯盟找
「從預賽開打前，大家一開始就不被看好。」江少慶，江少慶二話不說，立刻答應為中華隊效
負責這次組訓的中華職業棒球大聯盟秘書長馮勝力。「建民學長當教練，我一定要來！」在美國
賢，一開始找教練就不斷碰壁，連組訓的過程中，期間，馮勝賢與王建民14天內造訪12座城市，其
也遇到非常多的困難。尤其是從去年開始籌組國家中一天開了1,400公里，就是希望能邀請旅美好手
隊時，馮勝賢就不斷邀請洪一中出任總教練。歷時加入國家隊。「國際賽最重要就是投手這一環，
半年，洪總遲不願答應，直到今年七月，才決定不如果你找到王建民這種等級的台灣之光，除了在
計個人毀譽，為了國家，接下重任。球場上傳承提攜後輩，還能帶來安定感。」
「我本身是球員出身，也在國家隊待過四年，恰恰擔任打擊教練，王建民擔任牛棚教練，
我知道穿上那總教練的衣服，壓力非常大。」馮賽事開打期間，年輕投手爭相到牛棚裡「給建
勝賢1999年在攸關奧運參賽權的亞錦賽中漏接，仔調一下」，向台灣之光請益、討教。很多球
成為眾矢之的；洪一中也在2008年北京奧運打得員也簇擁著恰恰學習，讓恰恰用心傳授個人豐

Every time a high-level international baseball competi
tion comes around, baseball fans in Taiwan all become
expert “managers” directing the national team.
On the evening of November 12, as part of the Super
Round of the Premier 12, Chinese Taipei took on their
fierce rival South Korea in Chiba, Japan. The “managers”
delivered their message to the team: You have to beat
Korea! Taiwanese baseball fans living in Japan set out the
bottom line for the tournament: You can lose to anyone
else, but you mustn’t lose to Korea!
These high expectations all fell on the shoulders of the
Taiwanese team, led by manager Hong I-chung. From the
first inning on, the team had luck on its side, and it picked
up momentum as the contest wore on. When Chen Chun-
hsiu hit a three-run home run in the top of the seventh in-
ning, the crowd went wild, and in the end Chinese Taipei
shut out their opponents 7:0. Fans at the park shouted for
joy amidst a sea of waving flags. This was the first time
中華隊總教練洪一中展現高度的臨場智慧，
in history that Taiwan had defeated Korea in a high-level
讓中華隊發揮最大戰力。（中華棒協提供）
competition, adding a bonus layer of satisfaction to the Chinese Taipei manager Hong I-chung guided his team well from the
bench, enabling them to perform at their best. (courtesy of CTBA)
team’s fine overall performance in the Premier 12.
Because the 2019 Premier 12 offered the opportunity for 中華職業棒球大聯盟秘書長馮勝賢組訓期間吃盡苦頭，
力勸洪一中出任中華隊總教練。（林旻萱攝）
direct entry into the Tokyo Olympics in 2020, the Taiwanese
Feng Sheng-hsien, secretary-general of the Chinese Professional
team was under tremendous pressure to succeed. Although Baseball League, moved heaven and earth to persuade
Hong I-chung to manage the national team for the Premier 12.
following the Super Round, Taiwan had still not punched (photo by Lin Min-hsuan)
its ticket to the Tokyo Games, observers considered the
team’s performance to be outstanding; it was hard to find
fault with their effort and they even exceeded expectations.
Low expectations
“Before the Premier 12 Opening Round, nobody gave our
team much of a chance,” says Feng Sheng-hsien, secretary-
general of the Chinese Professional Baseball League (CPBL),
who was tasked with organizing and training the team for
the event. They hit road blocks right from the start, when
they sought a manager for the team, and encountered many
difficulties in the organizing and training process. In par-
ticular, from the time he began to put together the national
team last year, Feng repeatedly invited Hong I-chung to be
manager. But it took half a year, until July 2019, before Hong
accepted, putting aside his fears for his reputation and tak-
ing on this heavy responsibility for the country.
“I came up as a player, and was on the national team
for four years, so I know there’s tremendous pressure in
putting on the manager’s uniform.” During the 1999 Asian
Baseball Championship, which was a qualifying event
for the 2000 Olympics, Feng missed a catch and became
69
富的打擊經驗。經過調整，選手戰力都有「大家都一直在關注我們，一直想打壓我
長足的進步。們。」這給洪總帶來莫大的壓力。
這次教練與球員遴選，坊間也有一些雜
轟吧！逆轉韓國
音。球員名單一拉出來，旅外投手一個比
對韓國一役，據傳賽前韓國根本不把中一個年輕，沒有超過25歲的，「張奕？這
華隊放在眼裡。賽前記者問韓國隊總教練金麼年輕，他行嗎？」與韓對戰先發名單掛
卿文有什麼策略，沒想到他放話，目標只看出來，更是跌破球迷眼鏡。高宇杰從預賽
美、日，擺明沒有把中華隊當成對手，讓洪以來，從來沒有上壘過，打擊率是零；胡
一中聽了為之氣結。金龍打擊率也只有0.3，沒有幾個選手打擊
「大家都說中華隊很好打，跟中華隊率超過2。
打，一定穩贏的。」帶隊到東京的教育部縱使有這些指手劃腳的批評，事後證明，
體育署署長高俊雄，有次聽洪一中說，中中華隊確實有實力完封韓國，也打贏了澳
華隊就像是國外球隊在草原上的獵物，洲，甚至重回「世界五強」。這說明總教
中華隊先發投手張奕
對委內瑞拉七局無失
分，冷靜沈著表現，
一戰成名。
Taiwan’s starting pitcher
Chang Yi hurled seven
scoreless innings
against Venezuela; his
cool and composed
performance made him
an overnight sensation.
（左圖）中華隊對日
本之戰，隊長胡金龍
奮力擊出安打。
(facing page) Hu Chin-
lung, captain of Taiwan’s
national baseball team,
gets a hit in a Premier
12 game against Japan.
the target of widespread criticism. As for Hong, he was his rich hitting experience. After input from the coaches,
heavily castigated when he managed the team at the 2008 there was a marked improvement in the players’ skills.
Olympics in Beijing. Both men have painful memories of Home run! Coming back against Korea
being pilloried over defeats. As for the game against South Korea, it was said
That is why for this most recent Premier 12 competition that before the match the Koreans didn’t take Taiwan
Feng put top priority on putting players’ minds at ease. seriously. When a reporter asked Korean manager Kim
Many players worried that if they made a mistake when Kyung-moon what his strategy was, Kim replied that the
competing for the national team, people across the country team was only focused on the US and Japan. Clearly he
would berate them. “Our guiding principle for organizing didn’t consider Taiwan a worthy foe, which got Hong
the team was simple: There is only the national team, with I-chung well and truly riled up.
no distinction between players who are based in Japan, the The Premier 12 event proved that Taiwan was capable
US, or Taiwan.” The whole team would face its challenges of shutting out Korea, defeating Australia, and even mak-
together and share in the outcome of winning or losing. ing it back into the “world’s top five” national baseball
First-rate coaches teams. The tournament highlighted the manager’s ability
After hiring Hong, Feng Sheng-hsien brought in big- to improvise and make adjustments. In particular, Hong’s
name former players including Peng Cheng-min (nick- judgments were decisive, he trusted his players, and he
named Cha Cha) and Wang Chien-ming as coaches, held up under outside pressure. It’s no wonder that net
giving further peace of mind to younger players. “Finding izens have been praising him as a brilliant strategist.
a player in the class of Wang Chien-ming to pass along Players in the Premier 12 tournament had just com-
his knowledge to the next generation also helped the pleted full baseball seasons in their professional leagues
younger players overcome their anxiety.” and were somewhat tired. Pitcher Chiang Shao-ching had
Cha Cha took on the job of batting coach while Wang to undergo emergency treatment for a groin strain before
served as bullpen coach. During the competition young starting Game 1 of the competition. Feng Sheng-hsien
pitchers headed for the bullpen, vying for the chance to “let recalls, “During the game Chiang had to continually apply
Chien-ming adjust my throwing motion” and to get advice hot compresses, and it was really moving to see him stick
from the man known as “the pride of Taiwan.” Cha Cha ressure
it out.” In Chiba, the competition was intense, the p
was also surrounded by players seeking to benefit from enormous, and the weather very cold. Add in the fact that
71
練的臨場調度能力、強大的後勤團隊，以及情蒐
系統發揮功效。尤其洪總臨場判斷果決，信任球
員，頂得住外界壓力。「所以網路上一直說『諸
葛洪中』，不是沒有道理。」署長高俊雄事後調
侃洪總，要他別再否認這個稱號。中華隊打敗賽
前信心滿滿的韓國隊，「千葉慘事」透過媒體放
送，震驚韓國，也大振中華隊士氣。
這次12強比賽，球員其實剛打完季賽，身體
狀況都比較疲累。台中熱身賽時，江少慶鼠蹊部
不舒服，大家都很擔心，考慮可能讓他改投第二
場。這時負責選手防護，有大聯盟防護證照的李
恆儒老師，馬上調動醫生與防護團隊，進行緊急
處置。馮勝賢回憶：「少慶那時在場上一直在熱
敷，精神令人感動。」而在千葉時，賽事強度
強、壓力大、天氣又實在太冷，再加上不適應人
工草皮，九個先發球員裡有六、七位都腳抽筋，
還有球員急著找馮紹賢要「辣椒醬」貼布，希望
壓住抽筋疼痛。「為了贏韓國，每一局下來，休
息室裡面大家都在熱敷、電療，全身包起來，連
洪總都頭痛在吞止痛藥。」為了國家，到後面球
員們都是靠意志力在拚的。
中華晉身第一強
龐大後勤成堅強後盾
中華隊在教練、後勤、球員的合作無間之下，
為了保護球員，中華隊這次出動了龐大的醫繳出了一張不算差的成績單，團隊投手平均防禦
生、物理治療師及防護員團隊，更首度派出心理率僅2.07，以及9成96守備率，均名列12強第一。
諮商師隨行。此外，由於棒球是講究「動力鍊」「經過這次賽事，國際棒壇已把我們列為第一級
傳導的運動，因此也找來曾到大聯盟響尾蛇隊進強隊，可以跟日本、韓國、美國並駕齊驅。」中
修，專精運動科學的林衛宣，擔任肌力體能教華民國棒球協會秘書長林宗成分享他的觀察。
練。林衛宣平時會攜帶科學儀器，在場邊偵測球台灣是彈丸之地，卻能出這麼多棒球好手，
員的運動表現，判斷是否有疲勞或受傷，以便針打到世界前五名，高俊雄認為，台灣從31年前
對每個選手去調整訓練的強度。就由教育部推廣棒球學生聯賽，透過比賽引導
另一群幕後功臣則是16人情蒐小組。今年初，選手訓練，31年來比賽毫不間斷，透過良性競
棒協、中職與體育署簽訂三方合作協議後，立刻爭，形塑成很好的棒球訓練風氣，加上有無數
啟動情蒐戰。除派出專員飛去觀看搜集較不熟悉用心的教練投入棒球人才培訓，才能讓棒球成
的中南美洲球隊比賽，中職還端出斥資600萬、為國球。
請宏碁設計的情蒐記錄系統。這套系統能精準記接下來，台灣要在6搶1賽事中，與列強爭奪奧
錄即時落點九宮格，事後情蒐小組會跟選手、捕運門票。贏的方法很簡單，也很困難，就是必須
手一起觀看、分析，然後科學配球。每次捕手與教擊敗每一個對手。面對下一次挑戰，馮勝賢說中
練分析、討論、整理就要花將近六小時，再做成華隊並不畏戰，裡面的選手，沒有誰是怕輸的，
捕手手臂護腕的戰術小抄。密密麻麻如外星文的「我們都能贏韓國了，奧運一定也可以。」2020
小抄，常就是左右戰情發展變化的關鍵。東京奧運，中華隊一定要贏！ l

12強中華隊對上勁敵美國，熱球迷到場為中華隊加油。（中華棒協提供）
When Taiwan met the USA in the Premier 12 Super Round, passionate Taiwanese fans
showed up at the stadium to cheer on their national team. (courtesy of CTBA)
對韓國一戰，捕手高宇杰與情蒐小組下足苦功，與投手陳鴻文投捕搭檔合作無間。
（中華棒協提供）
For the game with South Korea, catcher Kao Yu-chieh, pitcher Chen Hung-wen and the support
staff put in a lot of work to ensure seamless coordination between the two. (courtesy of CTBA)
the games were played on artificial turf, and the team (especially catchers) can watch and analyze the results,
ended up with six or seven of its nine starters suffering making pitch selection into a science. It takes nearly six
leg cramps. Some players even begged Feng to give them hours for a catcher and coach to complete each analysis,
capsicum plasters (warm pain-relief patches) in hopes of and then make a sort of “cheat sheet” on the catcher’s
escaping these agonizing cramps. In the end, for the sake wristband. These densely packed notes, looking like a
of their country, the players competed by sheer willpower. language from outer space, often make the difference
A large support staff between victory and defeat.
In order to protect the players’ welfare, for the Premier Taiwanese powerhouse
12 the team management mobilized a large group of doc- “Since Premier 12, the international baseball commun
tors, physical therapists, and athletic trainers, and for the ity has ranked Chinese Taipei as a premier-level team, on
first time even assigned a licensed counselor to the squad. a par with Japan, South Korea, and the United States,”
Moreover, because baseball is a sport with “kinetic chain” observes Richard Lin, secretary-general of the Chinese
motions, they hired sports science expert Lin Wei-hsuan, Taipei Baseball Association.
who did advanced study with the Arizona Diamond Next, Taiwan will compete in the Olympic Final
backs of US Major League Baseball, to serve as the team’s Qualifying Tournament, with six teams fighting for one
strength and conditioning coach. remaining spot in the 2020 Games. The way to win the
Another set of behind-the-scenes heroes contributing tournament is easily stated, but hard to do: the Taiwan-
to Chinese Taipei’s success was the 16-person scouting ese team must defeat every opponent. Facing this next
and information team. In addition, the CPBL spent NT$6 challenge, Feng Sheng-hsien says, “If we can defeat Ko-
million to commission a player information system. This rea, we can definitely make it into the Olympics.” The
system can accurately record pitch location for each players of Taiwan’s national team will undoubtedly do
player in real time, in a nine-square grid of the strike their best to win that place in the 2020 Tokyo Games! l
zone, and afterwards the scouting team and players (Sharleen Su/photos by Jimmy Lin/tr. by Phil Newell)
73
島嶼行旅　AROUND TAIWAN
一紙情深
「鳳嬌」催化紙的可能
（FENKO 鳳嬌催化室提供　courtesy of Fenko Catalysis Chamber)
Expanding Paper’s Possibilities

—The Suho Museum and
Its Fenko Catalysis Chamber
文•蘇俐穎圖•林旻萱　版面設計•胡如瑜

孩提時拿筆學寫字，運筆之際，掌緣與紙輕
觸摩娑，筆尖在紙張上留下深淺字跡，較之今日 S ince the invention of paper, traditionally credited
to the Han-Dynasty eunuch Cai Lun, humanity
has been tightly bound to the medium. Together they
電腦打字的普及，寫字不僅古雅，還有著難以言
have written the story of human civilization. But
喻的情感，在字裡行間流洩。
recently these bonds have been weakening amid a
打從蔡倫造紙伊始，紙與人類的生活相互牽 decline of paper culture.
絆，一同譜寫著文明演變，但這份羈絆，卻在今 Unwilling to surrender to this trend, the Suho
日邁向式微。 Memorial Paper Museum’s companion exhibition
不忍紙文化的殞落，「樹火」的伴侶「鳳 space the Fenko Catalysis Chamber displays papers
嬌」，以累積超過一甲子的基礎，邀請各方勇於 dating back more than 60 years and fosters trans
跨界，探索現代生活中，紙的萬千可能。 disciplinary approaches to exploring the myriad

possibilities of paper in modern life.
揉合薑黃與月桂葉的「薑黃紙」，耀眼的紙材上，印著燙金的詩句，是寫給新
移民的祝福。（FENKO鳳嬌催化室提供）
Incorporating turmeric and bay leaves, Fenko’s eye-catching “Turmeric Paper”
features passages of poetry in gilded type. Southeast-Asian immigrants use these
as greeting cards to wish each other well. (courtesy of Fenko Catalysis Chamber)
為了回饋社會，老字號的長春造從天垂降、型如雲朵的裝置藝術，
紙廠，在25年前成立了樹火紀念紙正是耐久的塑料纖維，以造紙技術相
博物館，在這個大隱於市的空間，遇的完美結合，這一開門迎賓的象徵
向大眾開誠布公地分享累積數十年作品，明確傳遞出了這一新品牌、新
的造紙工藝。空間的企圖。
不過，這不過是個起點，就在2018 老宅的前身，是同屬紙廠關係企業
年，距離樹火咫尺之遙的地方，本來的老紙鋪，經過建築師洪浩鈞的巧心
是一間紙鋪的街屋經過重新改裝，搖構思，原本的木作裝潢卸除以後，大
身一變，成為「鳳嬌催化室」的基膽裸露出斑駁的磚紅牆面，左手側是
地。同屬前朝遺蹟的紙櫃，右手側的那一
樹火的誕生，是樹火紀念紙文化面，則特地包覆上僅有0.6公分寬的金
基金會執行長陳瑞惠對父親的一個紀屬網架，搭配可自由拆卸、移動的鐵
念，成全了長春棉紙廠創辦人陳樹火板，方便用於展覽、陳列。而由長春
想打造一座紙博物館的未了遺願，新棉紙廠獨立開發或代理的紙樣，共計
長出的「鳳嬌」，則取名自陳樹火的 36種，都已陳列在上頭。
髮妻陳賴鳳嬌，象徵了夫妻的形影不然而，鳳嬌的收藏遠不只如此。
離，陳瑞惠將新品牌託付給女兒李依耗費人力的手工紙、不再生產的絕版
耘，希望藉著家族力量，守護紙文化紙、超過30年的老紙……李依耘拉開
的綿延不斷。紙櫃，小心翼翼地向我們展示這些外
頭罕見、傳家的非賣品。
紙鋪翻新，重賦新使命
年紀輕輕的她談起紙張，語氣卻顯
在人潮熙攘、店家爭相競艷的長安得無比懷舊。她教我們辨別機器紙與
東路，鳳嬌低調得讓人稍不留心就可手工紙的不同，有別於機器紙的整齊
能錯過。然而一旦推門而入，首先迎劃一，手工紙獨有的毛邊，以及在抄
來的便是出乎意料的驚喜。製過程中，所留下來猶如浮水印的淡
堅固、耐水洗的紙紗大衣，為永續時尚立下典範。
This durable, washable coat made from paper fibers
is a model of how to combine high fashion with
sustainability.
海歸回台的李依耘，從家族記憶裡承接下發揚紙
文化的使命。
Having returned from living overseas, Lino Lee has
taken on a mission to promote paper culture, thus
carrying on the legacy of older generations in her
family.
Some 25 years ago, industry mainstay CNJ Paper de

cided to give back to society by opening the Suho Memorial
Paper Museum. In its large space hidden in bustling down
town Taipei, the museum shares with the public paper
making techniques that it has amassed over many decades.
Nevertheless, that was only the beginning. In 2018, at a
location just a stone’s throw away, the museum renovated
a paper shop and gave it new life as the Fenko Catalysis
Chamber, a satellite exhibition space of the museum.
Chen Ruey-huey, CEO of the Suho Memorial Pa
per Culture Foundation, launched the Suho Museum to
memorialize his father Chen Suho, the founder of CNJ
Paper, who had had an unfulfilled wish to open a paper
museum. The newly developed Fenko is named for Suho’s
wife—thus symbolizing that the couple was inseparable.
Chen Ruey-huey entrusted the project to his daughter
Lino Lee, hoping to leverage the family’s energies to pro
tect the culture of paper far into the future.
A new mission for an old paper shop
Amid the crowds and beautiful shops of Chang’an
East Road, the entrance to Fenko is so low key that one
could easily pass it by without a second thought. But
upon opening the door, one is pleasantly surprised by
what one encounters.
Hanging from the ceiling is an art installation that
resembles clouds, made up of resilient synthetic fibers. A
perfect combination of paper-making technique and art,
this representative work clearly conveys the aspirations
of the new space.
The architect Hung Hao-chun oversaw the building’s
transformation from its former incarnation as a paper
shop. Wooden decorative panels were pulled out to
77
淡竹簾紋路，加上仰賴人工前後左右去擺盪，因
而造就出每張紙的纖維紋理大不相同。
無法規格化量產的紙張，像極了私密的日記，
記載下那天造紙師傅的心情與狀態，對於李依
耘來說，紙張絕對不只有功能，「也是很感性
的。」她這樣形容。
「樹火」扎根產業，「鳳嬌」孕育新生
背後有堂堂紙廠撐腰，在過去，樹火便已承接
下許多極具挑戰性的案子。
最知名的便是2005年，專為林懷民的作品《狂
草》打造的「雲門舞紙」。歷經近九個月的開
發，200次以上的反覆測試，紙張終於通過測
試，足夠輕盈，且便於收納、運送，能陪著舞團
到世界各地巡迴，還能耐得住舞台燈的高溫，又
能讓墨汁從七公尺的高處緩緩渲染而下，符合林
懷民的想像，讓墨跡與舞者的舞姿相互對話。
2015年在北美館的展覽「X-site計畫：未知的質
域」也是一例。建築師邱裕文利用以塑料纖維製
作的「薄纖紙」，原來主要用在3C產品作為絕緣
體的紙材，因著輕透、強韌的特性雀屏中選，與
其他媒材搭配，構築出立體的空間地景，成功挺古老、獨特的紙張，不只實用，也是富有韻味的藝術。
Old and unique, this paper both serves a practical purpose
過三個月戶外展覽的風吹日曬雨淋。 and is a charming work of art.
就在鳳嬌籌劃成立的階段，2017年的文博會，
受策展人王耀邦邀請，這款紙材也再度登場，成
為展場中空間分隔的利器，大大有別於傳統展場
多採用的木料展板。 reveal the building’s mottled brick walls. On the left side
這些過去被動式的合作邀請，一次次的鍛鍊， is a paper cabinet inherited from the old shop, and along
the exposed brick walls there is a grid made from metal
因而成就鳳嬌水到渠成的誕生。
bars only six millimeters square, which is matched with
有別於前往參觀樹火的，多是對造紙工藝感興
metal shelves and panels used to display objects. Easily
趣的學生、親子遊客；踏入鳳嬌的，則常是身懷 rearranged, the shelving is convenient for displays and
絕技的修復師、平面設計師、空間設計師、建築 exhibitions. And the 36 types of paper that CNJ Paper pro
師、藝術家，這裡不僅滿足了他們對紙材種類的 duces for its own paper brands and imports from overseas
好奇，也常提出挑戰，邀請鳳嬌共同攜手解題。 companies are all on display here.
「樹火是傳達我們所知道的事，鳳嬌是邀請 Yet Fenko’s collection goes far beyond these. Labor-
intensive handmade paper, out-of-production papers,
別人一起完成不知道的事。」李依耘形容兩者
papers over 30 years old… Lino Lee opens up the paper cab
的不同。
inet and carefully shows us these rarely seen items, which
從紙出發，跨域實驗 have been passed down in her family and aren’t for sale.
Though she is quite young, her voice conveys a strong
紙本來就取材於大自然，這讓鳳嬌的團隊對於 sense of nostalgia when she talks about these papers. She
天然材質懷抱著無比熱情。 teaches us how to distinguish between machine-made and

北美館「X-site計畫：未知的質域」，紙材突破平面的使用
慣性，成為立體的空間佈局。（FENKO鳳嬌催化室提供）
At the “Texture of Uncertainty” exhibition at the Taipei Fine
Arts Museum, paper transcended conventions of flatness and
practicality to shape the museum’s spaces with newfound three-
dimensionality. (courtesy of Fenko Catalysis Chamber)
handmade paper: Unlike the uniformity of machine-

made paper, handmade paper has rough feathered edges,
and the bamboo screen used in the manufacturing pro
cess leaves a faint pattern like a watermark. What’s more,
the process relies on workers shaking the pulp right and
left and back and forth on the frames, resulting in each
sheet having distinctly different textures.
Paper that can’t be mass produced resembles a secret
diary, recording the mood and situation of the paper
maker on the day of creation. In Lee’s view, paper isn’t
merely functional; it’s “also quite sensual.”
The deeply rooted vs. the cutting edge
With the resources of a paper manufacturer behind it,
Suho has been able to tackle many challenging projects.
Its most famous achievement is the “Cloud Gate Dance
Paper” that Suho made for Lin Hwai-min’s work Wild
經鳳嬌媒合，從法國遠道而來的工藝大師Maurice Salmon，
Cursive. Requiring nearly nine months to develop, it was
前來分享50年來投入裝幀修復的經驗。（FENKO鳳嬌催化
室提供） tested more than 200 times before it was deemed light and
At Fenko’s invitation, the French craftsman Maurice Salmon convenient enough to store and move so that it could be
came to offer wisdom gleaned from 50 years as a master
bookbinder. (courtesy of Fenko Catalysis Chamber) brought with the dance troupe on international tours. It also
79
除了從不同元素汲取靈感，為單純「催化進行中，未來尚未來，鳳嬌現
的紙張「加料」，舉凡甘蔗、小麥、稻在還不急著定義自己。」恰如鳳嬌為自
殼、鳳梨、咖啡渣，不同的素材，成為己下的註解，從紙出發，在這個致力催
紙張的一部分，也造就了每款紙材不同化未知的場域，一切都可能發生。
的質地、特性。其中加入稻殼、質感溫樹火與鳳嬌，背後存在著一段令人唏
潤的「稻禾紙」，也成為設計師方序中噓的往事。原來，陳樹火在世時便已身
「集禾計畫」中的特刊包裝紙。體欠佳，因嚴重的心臟病被醫生宣告來
去年首次在「勤美學森大」課程上日無多，彼時的他便對興建博物館一事
亮相的紙紗大衣，更顛覆了紙張脆弱、念茲在茲。
怕水的一貫特質，鳳嬌的團隊與台灣紡孰料人算不如天算，剛開放國人出國
織廠合作，先以馬尼拉麻的纖維製成紙旅遊的1990年，陳樹火與陳賴鳳嬌夫婦
紗，再紡成堅韌、耐水洗的衣料，最後相偕赴中國大陸觀光，卻在廣州白雲機
剪裁成時尚感俱足的大衣，100％可自然場因劫機事件蒙難，驟然離世。
分解的天然材質，讓時尚不再背負環境幸而陳樹火對紙文化的深情，經過家
殺手的惡名。族情感轉化成後人的使命，空難後的五
因著親近自然，團隊甚至關注到了鮮年，陳瑞惠催生出了博物館。
少人在意的苔蘚，高達1,500種的苔蘚種而現今的鳳嬌催化室，更在博物館的
類，賦予了靈感，他們開發出不須人力照基礎上，以點亮紙張新可能的新使命持
顧、可以自動澆灌的苔蘚植生牆，這片具續生長，也讓鳳嬌與樹火，猶如昔日
美感的幽綠風景，已進駐在若干商業空夫妻倆的鶼鰈情深，相伴相依，重聚於
間，撫慰都市人盼望親近自然的心。世。 l

had to be able to withstand the heat from the bright stage From paper to experimentation
lights and the application of ink on stage from a height of Paper originally found its raw materials in nature—a
seven meters, thereby allowing Lin’s imaginative vision of historical fact that is echoed in Fenko’s passion for natural
a conversation between ink and dance to come to fruition. materials.
The 2015 exhibition “The Texture of Uncertainty” at the Apart from finding inspiration in different elements,
Taipei Fine Arts Museum is another example. The archi paper creators at Fenko have added a variety of differ
tect Chiu Yu-wen used a paper stock made from PET fiber ent materials to basic paper, including rice husks, coffee
that Fenko calls “Snow.” Originally used as an insulator in grounds, and fibers from sugarcane, wheat, and pineapple.
the tech industry, it was chosen because it is light, trans These become part of the paper and give different stocks
lucent and tough. Chiu matched it with other materials to their own feel and special qualities.
build a three-dimensional spatial landscape, which with Last year, at a course called the Forest BIG launched by
stood three months of exposure to wind, sun and rain. CMP Village, Fenko debuted a coat made of paper fabric,
Those past collaborations set the stage for F enko’s which upends the notion that paper is a fragile material
successful birth when conditions were just right. prone to water damage. A team from Fenko worked with a
Unlike the students interested in paper arts and the Taiwan textile factory to first spin yarn from manila hemp
families with children that have made up most of the and then weave it into a durable, washable fabric that they
visitors to Suho, those who visit Fenko are skilled re tailored into a fashionable coat that is made of 100% bio
storers, graphic designers, spatial designers, architects, degradable natural fiber. It offers one means for the fashion
and artists. Fenko not only satisfies their curiosity about industry to clean up its act environmentally.
different kinds of paper; it also poses challenges as it in “The space is still being shaped. Its future is still in the fu
vites them to work together to find solutions. ture, and Fenko isn’t in a hurry to define itself.” Like a sheet
“Suho conveys our collective knowledge, whereas of still forming paper, the space’s story awaits its writing. l
Fenko invites people to work with others to complete (Lynn Su/photos by Lin Min-hsuan/
gaps in what we know,” explains Lee. tr. by Jonathan Barnard)
81
移動的美好
心意與新意
鐵路便當的
Railway Bento:
New Flavors for a Nostalgic Travel Icon
在時代的巨輪下，台鐵便當依然保有傳統的造鐵道文物館；而里山動物列車則以生態彩繪拉
排骨口味，同時也以台灣各地食材，推出特色美近了人與自然的距離。火車乘載了回憶、鄉愁、
味；福井食堂的鐵道迷老闆，在故鄉賣便當、打理想，訴說關於美好的故事。

• 文
陳群芳圖
• 　
林格立版面設計
• 　
王敬勛
T aiwan Railways Administration (TRA) offer

a traditional pork chop boxed meal, but they
also feature a new series of mouthwatering combos
Upon lifting the lunch box lid, your nostrils are
greeted by the combined salty fragrance of a stewed
pork chop, a round, plump soy egg (a hard-boiled egg
with ingredients sourced from all over Taiwan; the cooked in a savory stock), and the downhome scent of
railroad-fan owner of Fu Jing Restaurant sells lunch- steamed rice. These nostalgic flavors have long been en-
boxes in his hometown; and the Satoyama Animal graved in the minds of the Taiwanese, as if their journey
Train brings humans closer to Nature with charming would be incomplete without partaking of a bento—the
ecological scenes. Trains transport memories, ideals, Japanese name for a boxed meal, pronounced biandang
and nostalgia for home, and recount tales of goodness. in Mandarin.
83
「便當便當，排骨便當有需要嗎？」車勤人員再多點菜色，還有80元的八角排骨便當及100元
推著餐車，在列車上販售便當，是許多台灣人的懷舊排骨菜飯的選擇，裏頭有更多豐富的配菜，
共同記憶。打開飯盒，滷的鹹香入味的排骨、渾滿足喜歡變化的味蕾。
圓飽滿的整顆滷蛋，還有樸實的飯香一起撲鼻而嚴選新鮮、高品質的食材是台鐵便當好吃的關
來。這種懷舊的滋味，早已刻印在民眾心中，許鍵。像是米飯選用台灣產的一等米，每日進貨，
多年長的旅客每逢搭車必定帶上台鐵便當，好似就連過年也不例外，以確保食材新鮮。且驗收標
在火車上一定要吃便當，才能讓旅途完整。準高，台北鐵路餐廳主廚余巡安還特別去受訓，
學習驗米的技巧。他表示，驗米必須以放大鏡檢
台鐵便當好吃的祕密
視、秤量，計算碎米粒及白粉質的比例，符合國
已有至少70年歷史的台鐵便當，排骨始終是經家CNS一等米的標準，才能通過驗收。煮飯時還
典口味。從最早的一個20元，因應物價及民生發須因應稻米的期作不同，調整製程，才能確保米
展，在1990年調漲至60元，然後在1995年推出另飯軟硬適中。如此要求細節，難怪台鐵便當就算
一款80元的排骨便當，60元和80元的價格就這樣涼了，米飯吃起來依然Q彈，絲毫不減損便當的
維持至今。美味。
價格平實，菜色卻絲毫不馬虎。以台北鐵路
餐廳的60元排骨便當為例，方形的紙飯盒裡裝著
一塊排骨、一整顆的滷蛋，還有一塊豆皮和高麗
菜，以及份量十足的白飯，在物價高昂的現代，服務人員推著餐車販賣便當，是大家的共同記憶。
Evoking collective memories, a stewardess hawks bento
60元能吃到這樣的菜色，真的「足感心」。若想 along the carriage aisle.

Taiwan Railways’ secret recipes 響應第五屆鐵路便當節，台鐵各地區鐵路餐廳
推出特色便當，令人食指大動。
Taiwan Railway has been serving bento for at least 70 In tandem with the Formosa Railroad Bento
years. The price has always been reasonable, and they Festival, the TRA’s restaurants launched a series
of special boxed meals to whet appetites.
never skimp on the content. For example, take the pork
cutlet set: The rectangular paper lunch box contains a
pork chop, a soy egg, a block of bean curd skin, some
cabbage, and a generous portion of plain rice. Given to-
day’s high food prices, to be able to eat like this for just
NT$60—about US$2—is truly “a moving experience.”
For something more flavorful, there is the star anise pork
chop for NT$80, or the NT$100 “nostalgic” pork chop
with veggie rice, as well as a choice of other accompany-
ing vegetables for taste buds that thrive on variety.
宜蘭櫻桃鴨風
味便當
Careful selection of fresh, high-quality ingredients Roasted Cherry
Duck
is key to the deliciousness of Taiwan Railway’s boxed
meals. For example, Grade 1 Taiwan rice is standard, and
even during the Lunar New Year it’s purchased daily
to guarantee freshness. The cooking process is adjusted
according to when the rice was harvested, ensuring it is
neither too soft nor too hard. No wonder that even if the
bento has cooled, the rice doesn’t turn dry and hard.
The process for making the best-selling pork chops
is never given short shrift either. Each pork chop is
花東特蔬便當
pounded five to six times with a meat mallet from the Hualien–Taitun
g Salte
Pork Belly Slice d
center outwards to break down the cartilage, says Taipei s
Railway Restaurant head chef Yu Hsun-an, then marin
ated and kneaded, and finally braised after frying. To
produce the restaurant’s daily quota of 12,000 cutlets,
two staff are employed solely to hammer the pork. No
wonder Yu jokes that he has no idea how many chop-
ping boards have been smashed in the process.
Traditional bento, new flavors
Various TRA restaurants also produce special ver-
sions with local ingredients, such as the Roasted Cherry
原菇素食便當
Duck Bento produced by the Qidu Catering Service Vegetarian Mu
shroom Bento
Center in Keelung, which includes slices of Cherry
Valley duck from Yilan, kumquats, also from Yilan, and
dried radish omelet made with Sanxing scallions. These
specialties made with locally sourced ingredients boast
low food miles and express local character. They are
not sold onboard trains, but must be purchased at bento
shops inside TRA stations. Daily supply is limited, so
netizens have nicknamed them “hidden bento.”
In response to various exhibitions and festivals,
Taiwan Railway also launches limited-edition boxed 日式鱻烤鮭魚
便當
meals. For the fifth Formosa Railroad Bento Festival, Japanese-Style
Baked Salmon
85
台鐵局在便當節重現早期的鐵路餐廳，供人回味；（左圖）台北車
站B1層機場捷運連通口的便當本舖，設計成列車造型，相當吸睛。
To awaken memories of days gone by, TRA recreated the interior of
an erstwhile railway restaurant especially for the Formosa Railroad
Bento Festival. Shown at left is a bento kiosk—outfitted to mimic a train
carriage—located in the B1 level of the Taipei Railway Station.
穩坐台鐵便當暢銷寶座的排骨，製成工序更是才能購買，而且每日限量，常常一開賣沒多久
繁複且馬虎不得。余巡安表示，每片排骨都必須就完售，手腳慢一點的想買還買不到，被網友
由內往外敲打五至六下，讓排骨斷筋，絕不添加暱稱為隱藏版便當。
嫩筋粉，接著再醃製、按摩，然後先炸後滷。以因應展覽和節慶，台鐵還會推出限定款菜
台北鐵路餐廳一日製作1萬2千片的份量，每天都色，像是甫於去年11月落幕的第五屆台鐵便當
有兩位工作人員從早到晚專門負責敲打排骨，如節，各餐室便使出渾身解數，台中鐵路餐廳推
此龐大的數量，難怪師傅笑說，至今已不知敲破出的普羅旺斯羅勒烤雞腿便當、花蓮餐務室的
幾塊砧板。洄瀾馬告雞排便當等，展現師傅們的廚藝與創
意，即使現場有20多家日本鐵道便當業者，台
台鐵便當新滋味
鐵便當也毫不遜色。
除了傳統的排骨便當，各鐵路餐廳也以當地想吃台鐵便當除了搭火車，台鐵各大車站也
食材推出特色便當，像是七堵車勤服務部的宜都設有便當本舖，有些站點還推出列車造型的銷
蘭櫻桃鴨便當，裡頭有宜蘭產的櫻桃鴨、金售據點。廣受民眾青睞的台鐵便當，每年能達到
棗，還有三星蔥製作的菜圃蛋等食材，減少運七億以上的營業額，去年台鐵局正式成立附業營
輸的碳足跡，充分展現地方特色。這些特色便運中心，加強發揮各地方特色，要讓台鐵便當的
當不在列車上販售，必須前往各地的便當本舖招牌傳得更響亮。

held last November, Taichung Railway Restaurant of- green leather train seats enter your line of vision. Placed
fered the “Provence Basil Roasted Chicken Leg Bento,” in a corner is a steel frame for luggage, and on the wall
while the Hualien Catering Service Center featured its are painted train windows shaded by greenery. The
“Maqaw Mountain Pepper Chicken Filet.” These dishes faux windows, plus the seat number and cup holder at
showcase the chefs’ cooking techniques and creativity. each seat, feed the illusion that you are onboard a train
Although more than 20 Japanese railway bento suppliers as you dine.
participated in the festival, the TRA’s cuisine was by no This carefully crafted ambience is all down to the
means inferior. owner, railway aficionado Chen Zhaoqiang (who also
For consumers who may not be taking a train that day, goes by the moniker Two Water, after his hometown of
each major station operates a bento shop, and some even Ershui in Changhua County).
operate train-shaped sales kiosks where the boxed meals Chen’s affinity with railroads was established in
can also be purchased. Last year, the TRA formally set childhood. His grandfather, two grand-uncles and his
up a subsidiary operations center to better exploit local father were all train conductors. Chen himself was born
specialties and heighten recognition for its signature bento. in a TRA dormitory at Ershui, and grew up hearing the
Railway time tunnel sounds of all kinds of trains. Falling in love with this
Take the train to Shetou in Changhua County, exit the mode of transport was as natural to him as breathing.
station and walk straight ahead. After about 500 meters,
you will come to a railroad crossing signal. Beside it is a
signboard like the ones posted at railroad stations, bearing
the name “Fu Jin” at top, and below it the names of neigh-
食材新鮮、品質好，加上師傅的用心烹調，
boring stops “Happiness” (Xingfu) and “Safety” (Ping’an). 是台鐵便當好吃的關鍵。
This is Fu Jing Restaurant, a railroad-themed eatery. Fresh, good-quality ingredients, combined with
careful stewardship by the chefs, are the secrets
As you walk through the automated blue train door, dark behind Taiwan Railway’s tasty boxed meals.
87
走一趟福井鐵道文化館，來場時光之旅，感受陳朝強火車的時光隧道
保存鐵道文化的熱情。
Railway time tunnel: Why not take a trip to Fu Jing
Restaurant’s railway museum, and experience Chen 若說在火車上吃台鐵便當是懷舊的味道，
Zhaoqiang’s passion for preserving railroad culture?
那位於彰化社頭的福井食堂則凝聚了各個年
代的鐵道記憶，讓人在吃便當時細細咀嚼時
光的美味。
搭著火車來到社頭車站，出站直走500公尺左
右，平交道號誌出現在眼前，旁邊一座長的像
台鐵車站的指示招牌，寫著站名福井，相鄰車
站則是幸福與平安，這裡是以鐵道為主題的福
井食堂。從有著藍皮火車外觀的自動門走進餐
廳，印入眼簾的是火車上的墨綠色皮座椅，一
側牆上有置放行李用的鐵架，牆壁彩繪成有著
綠色樹蔭的列車車窗，再加上每個座位都有對
號座的號碼及杯架，坐在店內用餐，讓人彷彿
有搭上火車的錯覺。
店內各式各樣的火車模型、公仔，還有台
鐵每年推出的限定款金屬便當盒，在牆上排列
整齊，透露出收藏者幾十年來不間斷地蒐集嗜
好。牆上的畫作、店內播放的音樂，每個細節
都與火車相關，如此用心營造氛圍，全因福井
食堂有位熱愛鐵道的老闆陳朝強。
陳朝強與鐵道的緣分，自小就結下，家族
裡兩個叔公、阿公以及父親都是台鐵的火車司
機，自己也出生在二水的鐵路宿舍裡，在各式
火車聲響裡陪伴長大。愛上火車，對他而言就
像是呼吸般自然。
小時候，只要是火車玩具他都愛不釋手，長
大後，他開始蒐集火車模型。起初是想討父親
歡心，只要看到火車模型就買回家，漸漸地擴
散到火車周邊，紀念酒、列車長的公事包、懷
錶、車長帽、列車小姐的制服、退役火車的零
件、寫有剪票室字樣的燈箱等，只要跟鐵道有
關的文物，全成了陳朝強的收藏。
在屏東讀大學時，有好長一段時間陳朝強都
在自助餐店打工，累積了他規劃菜色的能力；
他也曾經協助老闆開設分店，將一間店從起步
到營運上軌道。懷抱著照顧父母的孝心，退伍
後的陳朝強便決定回到故鄉創業，學生時代累
積的餐飲工作經驗，加上他對火車的熱愛，開
設鐵道主題餐廳的想法也就呼之欲出。

At first, whenever Chen saw a model train for sale 陳朝強笑稱自己是憨人買火車，把賣便當的微薄
利潤全投入火車文物的蒐集。
he would take it home, and gradually items such as Chen Zhaoqiang explains with a smile that he’s just
bottles of commemorative liquor, conductors’ briefcases, a naïve fellow who has taken the modest profits
from selling bento and invested them all in collecting
pocket watches, parts of out-of-service carriages, and railway mementos.
other railway-related relics also found their way into his
collection.
Intending to look after his parents in their old age,
upon finishing his military service Chen decided to re- They include train schedule leaflets from the 1960s,
turn to his hometown and start a business. Thanks to engineers’ sign-in registers, large wooden signboards
catering work experience accumulated during his stu- from railroad stations, a wooden gate once installed
dent years, coupled with his passion for train travel, the where tickets were punched, and even railway engineer-
idea of setting
up a railway-themed restaurant gradually ing blueprints from the era of Japanese rule. Thanks to
formed in his mind. Chen, these historical relics that bear witness to railroad
Dreams of bento and a museum development are generously open to the public for free.
Fu Jing Restaurant serves mainly local residents. Offer Not satisfied with collecting railway relics, Chen even
ing reasonably priced bento, owner and head chef Chen purchased a genuine rail car—a former Taiwan Sugar
utilizes local ingredients to make different side dishes Corporation track inspection car—that he spent 762 days
daily, and serves up a selection of more than ten main and NT$500,000 (about US$16,500) to restore. Origin
courses including pork cutlets, braised pork belly, chicken ally destined for the scrapyard, the body was severely
legs and milkfish. rusted, and the engine badly damaged. Chen brought
After dining in the eatery, don’t miss the railway in Zhan Yongfu, boss of a workshop specializing in the
museum on the second and third floors, which displays repair of tour bus bodies. Proceeding step by step, they
Chen’s railway paraphernalia collected over three d
ecades. began by restoring the chassis, then installed a new steel
89
里山動物躍上火車，歡迎旅人搭乘。
All aboard the Satoyama Animal Train!
體除鏽、加骨架、外部鈑金……一點一滴做起。
賣便當築鐵道夢
陳朝強形容詹永富以修復文物的態度，遍尋合適
福井食堂以服務當地居民為主，陳朝強販售零件，堅持維持引擎的原貌。在兩人的搶救下，
價格實在的便當，老闆兼主廚的他，選用在地食這輛巡道車重獲新生，還能以63歲的車齡重回溪
材，每天製作不同的配菜，提供排骨、爌肉、雞湖糖廠奔馳。
腿、虱目魚等十多種的主菜選擇。「有位阿伯每陳朝強對於鐵道的熱情及憨厚的個性，讓他結
天中午和晚上都會來買同一種口味的便當，為了交許多國內外的鐵道同好。在日本經營模型店的
回應他的支持，讓他能吃的健康，我每天都想盡杉本誠司製作了福井食堂與135巡道車的模型作
辦法變化菜色。」陳朝強笑說。為禮物；漫畫家康學鳳無償為135巡道車設計了
到福井食堂用餐，絕不可錯過二、三樓的福井專屬漫畫人物「小巡」；還有來自大阪的鐵道迷
鐵道文物館，裡頭展示了陳朝強30年來的鐵道收櫻井清美，每年必來造訪。在口耳相傳下，福井
藏，有1960年代的列車時刻表小冊子、火車司機食堂早已成為台日鐵道迷必訪的景點。
的簽到表、寫有車站標語的大木牌、剪票口的木
與自然共好
柵門，甚至還有日治時期的鐵道工程圖等。這些
見證鐵路發展的歷史文物，陳朝強全部大方地開火車牽起人與人之間的緣分，也串起了人與大
放給民眾免費參觀。自然之間的連結。
不只文物蒐集，陳朝強甚至還買了「火車」。林務局與台鐵局攜手推出里山動物列車，在一
店外展示的台糖135巡道車，就是陳朝強在2015 台通勤列車的外表，彩繪了次生林、溪流河川、
年從資源回收廠買下，是耗時762天、花費50萬水田濕地、田野聚落共四個里山生態系，生活在
元修復的傑作。當時原本要被作為廢鐵處理的巡其中的動物們被畫成可愛的圖案，如樹鵲、食蟹
道車，車體嚴重鏽蝕、內部引擎損壞，陳朝強找獴、白鼻心等一個個躍上火車表面，彷彿在歡迎
來專長維修遊覽車車體的車廠老闆詹永富，從車旅客上車，一起來一趟生態之旅。

frame, and fitted the bodywork panels to the frame. But the Satoyama Animal Train, full of creatures that
Thanks to their rescue efforts, the inspection car was delight the young, is not a sightseeing train on a fixed
rejuvenated, and at the age of 63 was able to return to route: it is a commuter train that is reassigned to a differ-
the Xihu sugar refinery in Changhua County, where it ent service daily. For passengers who take it by chance,
now transports visitors. such a random encounter is always a pleasant surprise.
Word of mouth has long ensured that the combined “Satoyama” is a word that has often been heard in
eatery and railway museum is a “must-see” for Taiwan- recent years, but it is not a place name. This Japanese
ese and Japanese railroad fans. term refers to piedmonts, hills, and plains at low eleva-
Co-existing harmoniously with Nature tions, and the secondary forests, streams, and fields em-
Trains pave the way for bonds between people, and bedded in them, while the creatures that inhabit these
tighten the connections between humankind and Nature. environments are dubbed Satoyama wildlife. Human
Taiwan’s Forestry Bureau and the TRA have joined development has caused animals’ original habitats to
forces to launch the “Satoyama Animal Train.” On the become divided and fragmented, hindering migration;
body of a commuter train, four Satoyama ecosystems animals may be killed when crossing roads, or they may
have been painted in color: secondary forests; streams inadvertently eat pesticides or poison baits laid on agri
and rivers; irrigated paddies and wetlands; and rural cultural land. To address this situation, Taiwan’s “Na-
fields and villages. The creatures that inhabit these tional Green Network” was born.
environments have been rendered in adorable images
that spring to life on the train’s exterior, as if beckoning
travelers to take an ecological tour.
If you observe carefully, on a seat inside the carriage
you will find a sculpted leopard cat, made from Taiwan- 以國產材做的石虎木雕，靜靜坐在
ese materials. When you look up, you may discover a 位子上，等待民眾跟牠玩耍。
The carved wooden leopard cat sits
wooden carving of a Taiwan barbet in flight. quietly in its seat, awaiting playmates.
91
移動的美好，有美食、美景，還有與自然共好的心意。
The threefold beauty of travel: good food, scenery, and our
yearning to live in harmony with with Nature.
車廂內的天花板、地板、海報架、火車吊把也
都彩繪了里山動物及牠們生活的環境；仔細找找
還會發現以里山動物繪製成的身高尺；而以國產
材製作的石虎立體雕刻就藏身在座位旁，路過的
民眾都會忍不住摸摸牠的頭，抬頭看五色鳥的木
雕可能就在頭頂上。充滿童趣的里山動物列車，
不是特定路線的觀光列車，而是作為每日機動調
整班次的通勤之用，不經意的偶遇總讓搭乘的民
眾充滿驚喜，還有帶著孩子的媽媽開心地跟孩子
說：「我們今天坐在森林裡喔！」
這幾年常常聽到「里山」一詞，但里山不是
一個地名，指的是低海拔的淺山、丘陵與平原，
裡頭有次生林、溪流、田野鑲嵌其中，棲息在這
些環境的野生動物就稱為里山動物。里山也是人
們活動頻繁的區域，人類在此發展聚落、開發道
路，使得動物們原有的棲地被分割而破碎，阻礙
了動物的遷徙；可能因為穿越馬路而遭遇路殺，
也可能在農地上誤食農藥或毒餌，於是國土生態
綠網計畫因而誕生。
林務局透過與農委會其他部門、交通部、經濟
部、內政部，及地方政府等跨部會單位的合作，
在東西向的河川以生態造林的方式建置動物可以
通過的廊道，或是在高速公路旁加裝圍網，避免
動物穿越馬路，並讓牠們沿著圍網的導引到高架
通道或地下涵洞，讓動物得以遷徙。又或是鼓勵
農民施行友善耕作，為動物們提供自然的生存棲
地，讓生態系得以生生不息。
里山動物列車作為連結民眾與生態的平台，透
過車上的生態影片或是QR code掃描，認識這些與
我們生活在同一片土地的生物們。林務局所屬的 Through cooperation with its sister agencies at the
各林區管理處也規劃了與里山動物列車相關的生 Council of Agriculture, as well as with the Ministries
of the Interior, Transportation and Communications,
態導覽活動。誠如作家劉克襄在第五屆台鐵便當
and Economic Affairs, and with local governments,
節宣傳影片裡提到，他搭火車一定要帶著火車便
the Forestry Bureau has established wildlife migration
當，一邊吃一邊欣賞風景，在少人的小站下車，
corridors by planting ecologically managed woodlands
慢慢散步、爬山、越嶺，看看有甚麼樣的生活風 along east–west running rivers; by installing fences next
景。或者搭上里山動物列車，走進自然，來一趟 to highways that guide animals to cross via elevated
生態旅行，讓移動的美好就此展開。 l passages or underground culverts; and by encouraging

farmers to practice eco-friendly farming that provides tival, when he travels by train he likes to munch on a
animals with livable habitats. railway bento while enjoying the scenery outside, get off
Passengers can get to know these creatures who at a small station with few travelers, and take a stroll or
share this land with us by watching onboard videos go hiking in the hills to check out the local culture and
or scanning the QR codes. Local offices of the Forestry scenery. Or we can ride the Satoyama Animal Train,
Bureau also organize guided eco-tours related to the then venture into nature for an ecological journey and
Satoyama Animal Train. experience the beauty of travel. l
As nature writer Liu Ka-shiang mentioned in the (Chen Chun-fang/photos by Jimmy Lin/
promotional video for the Formosa Railroad Bento Fes- tr. by Bruce Humes)
93
楓紅看不盡
騎過萬重山
騎行台七甲線
Mountain Ridges, Autumn Leaves
—Cycling Provincial Highway 7A
文•曾蘭淑　圖•莊坤儒　版面設計•王敬勛

騎行宜蘭至梨山的台七甲線，翻過思源埡口
後，便是從宜蘭進入了台中，從46K還淋著大
雨，又溼又冷。往前踩踏到49K，卻是晴空萬
里，從冷風刺骨到風和日暖，短短不到十分鐘，
人生的經歷也不過如此劇烈！
C ycling along Provincial Highway 7A from Da-

tong to Lishan, after topping Siyuan Pass we
cross from Yilan County into Taichung City. At the
46 kilometer mark it is raining heavily, and cold. But
by the time we pedal to the 49 km mark, the skies are
sunny and clear as far as the eye can see. In less than
ten minutes, we transition from bone-chilling cold to
warm sunshine, showing that a bike ride can be as
volatile as life itself!
Cilan Forest
Recreation Area
Cilan Resort
Pyanan
Wuling Farm
Soulu Trail
Lishan Guesthouse
95
此次「騎行台灣」由宜蘭縣大同鄉的台七甲南山部落盛產高麗菜，原住民工人上午六點即上工採摘。
A great many cabbages are grown in Pyanan. Aboriginal workers
線開始，微微冬陽，綠水青山與寬闊的蘭陽溪相 start harvesting work at 6 a.m.
伴，騎行約兩公里，感覺才熱好身，就到了全亞
洲最大神木群的集合點「棲蘭山莊」。
神木前攀爬著一株細長挺立的藤本植物「大枝掛
迎風載霧，棲蘭神木
繡球」，正好作為「夫子的手杖」。園中還有一
位於100線林道12公里深山處的棲蘭神木群，必株胸圍達20公尺，卻因生了樹瘤，好似兩腳張開
須事先向退輔會100線管制站提出申請，《光華》的紅檜，發芽時期正值漢景帝在位，因而取名為
採訪團隊直接參加棲蘭山莊的神木導覽行程，約因替李陵辯護而受宮刑的史學家司馬遷，正如此
一小時的車程，來到嚮往以久的神木園區。有著歷史的巧合。
位於雪山山脈北段的棲蘭山林木區，擁有寬這裡是全台最溼潤的雲霧帶，神木上滿布各式
達1萬5,000餘公頃的台灣原始檜木林，文化部也的蘚苔與地衣，細微之美，美不勝收；步道上不
列為台灣世界遺產潛力點的自然遺產，是台七甲同大小、形狀的排遺，可以判定是山羌、野山羊
線必訪的景點。為了讓民眾親近山林，退輔會將的獸徑；珍稀的檫樹，是台灣特有種寬尾鳳蝶最
昔日運送林木的木馬道開闢為登山步道，並且發愛的食草，置身於千古幽幽的林區，闊葉林與針
揮無窮想像力，為園區近百棵千年以上的紅檜與葉林並存，多樣性的環境棲地與完整植被，短暫
扁柏，比對樹齡，取上先聖先賢與歷史人物的名二小時的行程，令人意猶未盡。
字，加深遊客印象。退輔會過去在棲蘭山開築林道、育苗造林，
走上一小段扶梯，就來到神木園中最老、名為現委託力麗明池公司營運，顧問黃騰毅透露，今
「孔子」的神木，2,500多歲的紅檜神木，發芽時（2020）年力麗馬告生態園區將推出四至六小時
正值至聖先師孔子出生時。無巧不成書的是，老「森林療癒」的行程，藉由在神木園觸摸樹木、

棲蘭神木園的神木，千古幽幽，
凝聚了天地之間的靈氣。
The ancient trees of Qilan provide a focal point
to reconnect spiritually with heaven and earth.
For this part of our occasional series on

cycling in Taiwan, we ride Provincial High-
way 7A—also known as the Yilan Branch
of the Central Cross-Island Highway—
from its starting point, where it branches
off from the main Provincial Highway 7
at Baitao Bridge in Yilan County’s Datong
Township, to its end point at Lishan in Tai-
chung City’s Heping District.
Setting off in the weak winter sunshine,
after riding a couple of kilometers along-
side the broad Lanyang River amid the
verdant mountains we are just beginning
to feel warmed up. Then we arrive at the
Cilan (Qilan) Forest Recreation Area, home
to the largest concentration of giant ancient
trees in all of Asia.
The mighty trees of Qilan
The Mt. Qilan Forest Area, located at
the northern end of the Xueshan Mountain
Range, includes more than 15,000 hect-
ares of primeval forest of Taiwan cypress
(Chamaecyparis obtusa var. formosana), and is
listed by the Ministry of Culture as one of
Taiwan’s potential World Heritage Sites. It
is a must-see sight along Highway 7A. To
give the public better access to the moun-
tain forests, the Veterans Affairs Council
has turned former skidways for transport-
ing lumber into hiking trails, and it has
imaginatively named the nearly 100 giant
Taiwan cypress trees and Taiwan red cy-
press (Chamaecyparis formosensis) here that
are more than 1000 years old after ancient
sages and historical figures, according to the time when known as “entire-leaf hydrangea” (Hydrangea integri
they began growing. folia), which is climbing up the front of this ancient
After ascending some steps, we arrive at the oldest tree, serves as “the Master’s cane.” There is also a red
tree in the so-called “Divine Tree Garden,” a giant red cypress 20 meters in circumference, which, as a result
cypress over 2500 years old. It is named “Confucius,” of a burl growing on the tree, appears to have two legs
because it began growing around the time of Confucius’ spread apart. It began its life during the reign of Em-
birth (551 BCE). The long, thin, upright stem of a vine peror Jing (ruled 157–141 BCE) of the Han Dynasty, and
97
冷冽的七家彎溪是櫻花鉤吻鮭最好的家。
The cold waters of the Qijiawan River provide a home for
the Formosan landlocked salmon.
呼吸吐納，可以浸淫在神木林的壯闊與靈氣之連單車旅遊專家都在台七甲線上，激勵著我們
中，帶來紓壓放鬆的效果。上坡踩踏的力量，到了29K處的南山部落，上午
夜宿棲蘭山莊，品嚐了蔥炒雞蛋、炒高麗菜的九點已霧氣彌漫，沿路整片的高麗菜園，是台灣
蔣公家常菜，泡了有「美人湯」之稱的碳酸氫鈉最大的高冷蔬菜產區。許多原住民工人早在上午
溫泉，起個大早，神清氣爽之餘，必須捨棄北台六點天微亮即上工，裝滿一籃約17、8顆的高麗
灣最大的藤本森林帶的小泰山森林步道，專心回菜，工錢才40元，辛勤地裝載好一車約九噸重的
到台七甲線的騎行之路。高麗菜車，隨即就得趕往台北果菜批發市場。這
些被稱為「馬路殺手」的高麗菜車，車速飛快，
柳暗花明又一村
對騎行是一大威脅，但看到山上辛苦勞動的工
一路踩踏到了23K，下起了微微細雨，開始了人與菜農，各行各業皆有甘苦，只能小心靠邊騎
連續的髮夾彎，又要閃避至平地的高麗菜車，挑行，不再抱怨。
戰體力且險象環生。一路直上，彎路加上坡度消磨了體力與意志
在四季部落短暫休息，遇到了《台灣，用騎的力，不禁愈騎愈慢，氣喘吁吁之餘，終於到了台
最美》作者陳忠利，擔任領隊的他，帶領專程來七甲46K、蘭陽溪及大甲溪兩水系分水嶺的思源埡
台灣騎車與爬山的以色列人Ethan、Ganot與日本口。彌漫的霧氣，遺憾地看不到溪谷蒼茫的美景，
人春田篤志三人。他們從台北一路騎至台中海拔這裡因為有來自東北季風自外海挾帶的水氣，在
3,275公尺的武嶺，三天路程中，穿插攀爬太平山思源埡口形成風口，寒風瑟瑟，遇短暫下坡，細
翠峰湖步道與合歡東峰，十足玩家行程。陳忠利雨加上車速，不禁打了多個寒噤！
指出，這些專程來台灣騎自行車的老外，騎行海翻過埡口後，便是進入大甲溪流域所在的台
線可以一覽山海美景；但高山騎乘為的是征服與中，在48.5K還淋著雨，騎踏到49K，霧散了，路
挑戰自己，可以體會最美的台灣。是乾的，再往前滑行，太陽出來了，翠峰圍繞，

has therefore been named “Sima Qian” after the great village of Qalang Skikun (Chinese name Siji), we meet
Han-Dynasty historian, who was born around 145 BCE. Eddie Chen, author of the book Taiwan: At Its Most
This place also lies in Taiwan’s most humid fog belt, Beautiful from a Bicycle. Chen, who serves as a cycling
and the ancient trees are covered with all kinds of moss tour leader, is currently guiding three people—Ciprut
and lichen. Their minute beauty offers a feast for the Ethan and Edo Ganot from Israel, and Atsushi Haruta
eyes. Animal droppings of different shapes and sizes from Japan—on a cycling and hiking trip. They have
on the trail show that these are paths used by Formosan set out from Taipei and are headed for Wuling in Tai-
Reeves’s muntjac and Formosan serow. The rare Taiwan chung. Their three-day trip includes mountain hiking
sassafras (Sassafras randaiense) provides the favorite side trips to Cuifeng Lake on Mt. Taiping and to the
food source for the broad-tailed swallowtail butterfly east peak of Mt. Hehuan, a true insider’s itinerary. Ed-
(Papilio maraho), a species found only in Taiwan. Passing die Chen points out that foreigners who make special
through this ancient woodland with its mix of broad- trips to Taiwan for cycling can take in beautiful moun-
leaved and coniferous trees, within a comprehensive tain and ocean scenery by riding the coastal routes,
plant community that offers a diverse range of habitats, but riding high mountain routes is a greater personal
the short two-hour itinerary leaves one wanting more. challenge and enables one to experience Taiwan at its
Every cloud has a silver lining most beautiful.
Rising early the next day, we pedal to the 23 kilo
meter mark, where a light rain begins to fall. We start
to ride up through a series of hairpin turns, and must
also avoid the cabbage trucks heading down to the low- 金黃銀杏、紫色的墨西哥鼠尾草，加上楓紅片片，武陵農場
lands, testing our endurance and our courage. 充滿大自然恩賜的顏色。
With golden gingko, purple Mexican bush sage, and red sweetgum
Stopping for a short rest in the Atayal indigenous leaves, Wuling Farm is saturated with the colors of nature.
99
雪山登山口的蓄水池，倒影如畫，是絕佳的打卡點。已是台灣著名賞花景點的武陵農場，十二月至
The water cistern at the trailhead for Mt. Xue produces a
reflection as beautiful as a painting, and is a great place for 一月有濃郁幽香的臘梅，一月底至二月有盛開的櫻
checking in on Facebook.
花，三月桃花舞春風，接著又有多嫩多彩的蘋果
花、李花，隨著四季變化的「花花世界」，武陵農
場副場長胡發韜稱之為「大自然恩賜的顏色」，他
楓紅與山櫻夾道。從淒風苦雨到雨過天青，有如指出，目前還在規劃推出繡球花迷宮，以及三至五
經歷了一場三溫暖，這種豁然開朗的感受，正是年之後會出現的彩虹紫藤走廊，令人期待。
呼應單車旅遊作家陳忠利的話：「台灣，用騎的原本種植高麗菜起家的武陵農場，原是在開
最美！」闢東西向橫貫公路時，為了供應榮民工程人員副
食，由前總統蔣經國指示而成立。胡發韜說，
藍天、遠山、紅葉
因應1992年雪霸國家公園的成立，武陵農場開始
在52.5K轉進中124線來到武陵農場，映入眼簾「棄耕返林」的保育政策，不再種植高冷蔬菜，
的是黃澄澄的芳香萬壽菊、紫色的墨西哥鼠尾但仍保留種植的高山茶、蘋果、水蜜桃，維持歷
草，以及盛開的油菜花田。相機的觀景窗內，背史傳承的底蘊。
景是氣勢磅礴的山稜線，一排金黃的落羽松，加
猴之探戈，兼顧生態與經濟
上露營場內三角磚紅小屋的點綴，美景如畫，可
以領略晉朝文人陶淵明所描述的武陵人，讓人不只是近些年來，野生的台灣獼猴在武陵農場大
由得地停下踏板，享受這「芳草鮮美，落英繽量繁殖，牠們尤其掠奪農場辛苦種植的水蜜桃、
紛」的桃花源。蘋果樹，還把剛種下的9,600棵鬱金香的球莖當成

Seeing these expert bicycle travelers riding Highway After crossing Siyuan Pass, we enter Taichung and
7A gives us the inspiration to keep pedaling uphill. the Dajia River Basin. At the 48.5 km mark it is still pour-
When we reach the 29 km mark and the Atayal com ing rain, but when we reach 49 km the fog disperses,
munity of Pyanan (Nanshan) at 9 a.m., the place is the pavement is dry, and the sun emerges as we free-
shrouded in mist. The large expanse of cabbage fields wheel along a road that runs between verdant moun-
along the roadside identifies this as Taiwan’s biggest tain peaks and is lined with Formosan sweetgum and
temperate-zone vegetable producing area. Taiwan cherry trees. The rush of joy that we feel at this
As we proceed along the road, the combination of transformation echoes Eddie Chen’s idea that Taiwan
turns and upslopes inevitably slows us down. It is in really is at its most beautiful when seen from a bicycle.
a breathless condition that we finally reach the 46 km Blue skies, green mountains, red leaves
mark of Highway 7A, at Siyuan Pass, which marks the At the 52.5 km mark we turn onto District Road
watershed that separates the Lanyang and Dajia river 124 and arrive at Wuling Veterans Farm. Here we see
systems. The northeasterly monsoon winds that carry glistening yellow Lemmon’s marigolds (Tagetes lem
moisture from the sea up the Lanyang River valley turn monii), purple Mexican bush sage (Salvia leucantha) and
Siyuan Pass into a wind tunnel with chilling breezes; flourishing fields of flowering rapeseed. In the camera
when our bikes gather speed on brief downhill stretches, viewfinder, the background is a mighty ridgeline with
we can’t help but shudder repeatedly in the misty rain. a golden row of bald cypress trees (Taxodium distichum),
101
地瓜連根拔起，讓工作人員欲哭無淚，2016年時怕冷的「阿鮭們」游出七家灣溪，放流至羅葉尾
甚至造成600多萬元的農作損失。溪、合歡溪，復育的工作還在進行中。
為了兼顧保育與作物生產，場長袁圖強採取在蔚藍朝陽照拂下，先騎上雪山登山口，雪山
「與猴跳探戈」的策略：「你進我退」。廢耕猴主峰以北至大霸尖山這段聖稜線，與南湖大山均
子愛吃的，種植猴子不吃的作物。2014年試種杭清晰可見，若要加上溪谷裡的櫻花鉤吻鮭，武陵
菊，發現其特殊的香味猴子不吃，因此逐步轉種農場產銷輔導組組長王仁助提醒，這段風景都在
杭菊，2019年產量達500公斤。新台幣二千元的鈔票裡。王組長也不忘打廣告，
產銷輔導組組長王仁助指出，由於高山日夜溫今年觀光局以「脊梁山脈旅遊年」為主題，行銷
差大，白天陽光紫外線強烈照射，加上來自雪山推廣台灣「奇、險、峻、秀」的山脈旅遊，在武
的灌溉水，讓杭菊花瓣大、顏色明黃，武陵農場陵農場可以一網打盡。
順勢推出杭菊紅茶、果凍與杭菊牛軋糖，試做菊
獵人古道，泰雅之美
花啤酒，顯示農場的獨家特色。武陵的杭菊還曾
在農業展中遭同業造謠，噴了生長素與染色，才前往梨山之際，騎經環山、佳陽部落，沿路景
會如此鮮黃欲滴。工作人員私下打趣著說：「如致被梨樹、柿子樹所替換。《光華》採訪團隊特
果有噴藥，七家彎溪裡保育的國寶魚櫻花鉤吻鮭地拜訪由參山國家風景區管理處推薦的泰雅族部
就會『浮』上來了。」落耆老張有文，請他帶路，一探位於松茂部落的
說到雪霸國家公園裡流動如金的珍寶──櫻花玄武岩秘境與蒐鹿步道。
鉤吻鮭，經過廿年的復育，七家灣溪早在七年前環山部落出身、住在松茂部落的張有文，是參
不再進行野放，現今「阿鮭們」野外數量十分穩山風景區退休的解說員，他認為，中橫公路往中
定，2019年「總點名」有5,800多條。櫻花鉤吻部橫貫公路的主線台8線從九二一地震已封路廿
鮭生態中心擔心氣候暖化的危機，正協助怕熱不年，是危機也是轉機，因為交通不便，讓來到梨
騎在蒐鹿步道鬆軟
厚實的「松針地
毯」上，心曠神
怡。
You get a refreshed
and carefree feeling
when riding over
the soft, thick carpet
of pine needles on
the Soulu Trail.

and with the added embellishment of the brick-red 俯瞰松茂部落，遠方的中央山脈勾勒出美麗的曲線。
Looking down over the Atayal Aboriginal community of Tabuk
A-frame chalets in the campground, the scene is like a (Chinese name Songmao), the ridgeline of the Central Mountain
painting. Here one gets a sense of the enchantment felt Range in the distance provides a beautiful backdrop.
by the “fisherman of Wuling,” portrayed by Jin-Dynasty

poet Tao Yuanming (c. 365–427), when he stumbled on the
idyllic “peach-blossom spring.” We can’t help but stop has worked so hard to cultivate, and they even ripped
here and enjoy this paradise of (in Tao’s words) “fragrant up and ate 9600 planted tulip bulbs, bringing the farm
and brilliant flowers blossoming in a riot of color.” workers near to tears. In 2016 the macaques caused over
Wuling Farm, which started out as a cabbage farm, was NT$6 million in crop damage here.
originally founded by order of the late President Chiang To strike a balance between conservation and crop
Ching-kuo to supply food to the military veterans who production, Wuling Farm’s director, Yuan Tu-chiang,
were building the Central Cross-Island Highway. The a dopted a “tango with monkeys” strategy: “You ad-
farm’s deputy director, Hu Fa-tao, explains that following vance, I retreat.” They stopped cultivating crops that
the establishment of Shei-Pa National Park in 1992, Wuling macaques love to eat and began planting things they
adopted a conservation policy of returning farmland to don’t consume. In 2014 they first tried growing chrys
forest. Under this policy they stopped planting temperate- anthemums, and discovered that the macaques were
zone vegetables, though they still cultivate high-mountain put off by their scent. From there they began gradually
tea, apples, and peaches, to carry on the legacy of the past. transitioning to chrysa nthemums and reached a pro-
Tango with monkeys duction volume of 500 kilograms in 2019.
In the past few years, wild Formosan macaques have Wang Ran-juh, chief of the farm’s Agricultural Divi-
begun to reproduce in large numbers at Wuling Farm. sion, says that their chrysanthemums have large petals
They steal from the peach and apple trees that the farm and a bright yellow color because of the wide d
ifferences
103
松茂部落的玄武岩秘境，位於大甲溪谷旁。
The basalt rock formations of Tabuk are hidden in a gorge of the
Dajia River.
山的旅客可以在梨山留宿一晚，體驗梨山豐富生
態之美。
他所經營的民宿「谷慕的家」，會讓旅客先坐
著採果的嘟嘟車，爬上位於半山腰的家，品嚐他
親自捕釣的苦花魚與醃豬肉炒蒜苗，他笑著說，
體驗過就會發現原住民的生活不會很「落後」。
70歲的張有文騎著摩托車，帶領我們一探昔日
原住民的獵徑──蒐鹿步道，由台七甲線66.5K
大劍山登山口轉進，沿路的碎石路，是最佳騎行
的越野山徑，還有一段輪下可以感受鬆軟厚實的
「松針地毯」，一路直指1920年前後曾發生日軍
屠殺原住民的遺址。
沿途俯瞰大甲溪溪谷風光，「玄武岩」的秘境
就在眼前，循著陡峭的小徑可以直探溪谷，張有
文拿出他擅長的口簧琴，從泰雅族起源的四種版
本說起，但真正令人感動的故事，是他被上帝的
手搭救的經歷。
between daytime and nighttime temperatures in the
張有文去年（2019）三月來此釣魚，不慎滑落
mountains, the powerful ultraviolet rays of the sun-
至70公尺深的溪谷。他心有餘悸地說：「當時週
shine, and the irrigation water from Mt. Xue. A rumor
遭都是石筍，我不偏不倚地掉在當中唯一的石盤 even started at an agricultural show that Wuling’s chrys
上，不久，從昏迷中甦醒過來，在生死之際，呼 anthemums must have been sprayed with growth hor-
求所篤信的上帝，才發現全身疼痛不已，沒有帶 mones and dye to be so brilliantly yellow and luxuriant.
手機，山中無人的情況下，花了兩小時，獨自爬 Workers wryly remark, “If we were spraying them with
行150公尺求救。」送醫後發現身上有五根肋骨 chemicals, the protected Formosan landlocked salmon
living in the Qijiawan River would all be dead by now.”
斷裂！
Speaking of the Formosan landlocked salmon (Onco
聆聽了張有文死裡逃生的故事，讓人感受到生
rhynchus masou), a national treasure that lives in Shei-Pa
命的寶貴與強韌，也讓我們一路邁向台七甲線的 National Park, after 20 years of conservation work their
終點梨山賓館時，更是由衷地奮力向前。 numbers have recovered far enough that scientists
搭車回家途中，不經意地讀到南唐詞人李後主 stopped releasing them into the Qijiawan River seven
的〈長相思〉：「一重山，兩重山。山遠天高煙 years ago. The population has remained stable, with
水寒，相思楓葉丹。菊花開，菊花殘。塞雁高飛 5800 salmon counted in 2019. There are, however, still
concerns about the threat of climate change, so the Tai-
人未還，一簾風月閒。」詞中的關鍵字：萬重
wan Salmon Eco Center is currently continuing its con-
山、楓紅、菊花，與此次騎行台七甲線踩踏的路
servation work by releasing the salmon into the Luoye-
程不謀而合。然而，路程中不但沒有悲秋情懷，
wei and Hehuan Rivers, to extend their habitat beyond
反倒是因為感染了千古神木的靈氣、擁抱了山嵐 the Qijiawan River alone.
秀色，滿載的正能量，躍躍欲試地想要規劃下一 Under the azure skies just after sunrise, we ride to
趟的騎行之旅。 l the trailhead for hiking up Mt. Xue, from where we

have a clear view of the ridgeline from the main peak of 以色列人Ganot、Ethan與日本人春田篤志（由右至左）
Mt. Xue to Mt. Dabajian and Mt. Nanhu. This vista is, 專程來台灣騎單車，由《台灣，用騎的最美》作者陳忠利
（左一）擔任領隊導遊。
as Wang Ran-juh reminds us, reproduced on Taiwan’s Edo Ganot and Ciprut Ethan from Israel and Atsushi Haruta
NT$2000 bill, along with the river valley and its For- from Japan (right to left) came to Taiwan to take a cycling tour.
Their guide is Eddie Chen (first left), author of Taiwan: At Its
mosan landlocked salmon. Wang doesn’t forget to add Most Beautiful from a Bicycle.
that the Tourism B
ureau is promoting travel to Taiwan’s
mountain ranges under the theme “2020, Year of Moun-
tain Tourism,” and that Wuling Farm offers an all-round
mountain experience. 7A, where the gravel road makes for excellent mountain
Old Atayal hunting trails biking, and there is even a stretch of road where we feel a
As we head to Lishan, we pass through the Atayal com- soft yet firm carpet of fallen pine needles under our tires.
munities of Sqoyaw and Slamaw (Huanshan and Jiayang Our guide recounts that this trail was the site of mas
in Chinese), where the roadside scenery is now dominated sacres of Aboriginal people by the Japanese around 1920.
by Oriental pear and persimmon trees. We make a special And looking down into the Dajia River valley along the
visit to Buyang Mekax, an Atayal elder who has been way, we see a hidden world of basalt formations.
recommended to us by the Tri-Mountain National Scenic As we press on to the end of Provincial Highway 7A,
Area Administration, to ask him to act as our guide for at the Lishan Guesthouse, we feel that our journey is
a visit to the Soulu Trail and the basalt rock formations not over. For we have imbibed the spirit of the ancient
around another Atayal community, Tabuk (Songmao). trees and embraced the beauty of the mountain mists, so
The 70-year-old Buyang Mekax rides a motorcycle as that, filled with positive energy, we are already thinking
he leads us to explore the Soulu Trail, a hunting path for about our next cycling adventure. l
indigenous peoples in days gone by. We turn in at the (Esther Tseng/photos by Kent Chuang/
trailhead for Mt. Dajian at the 66.5 km mark of Highway tr. by Phil Newell)
105
藝文脈絡　CULTURAL TRENDS
不逃了。
東山彰良
五十知天命
Knowing
the Biddings of Heaven
—Akira Higashiyama
Is Done Fleeing

文•鄧慧純　圖•莊坤儒　版面設計•王敬勛
《逃亡作法TURD ON THE RUN》是東山彰

良在日本文壇的出道作，2002年一出版即獲得日 A kira Higashiyama made a big splash with his
very first novel, Turd on the Run, winning the
grand silver and reader’s choice awards as part of
本寶島社第一屆「這本推理小說最厲害！」大獎
the Kono Mystery ga Sugoi! (“This Mystery Novel Is
銀獎、讀者獎；2015年，以家族故事為背景的創
Excellent!”) awards that were handed out by Japan’s
作《流》獲第153屆直木賞，此乃日本大眾文學
Takarajimasha publishing house in 2002. Then in 2015
獎最高榮譽。2017年，同樣以台灣為舞台的小說 he won the Naoki Prize for the novel Ryu, in which
《我殺的人與殺我的人》，更一舉獲得織田作 much of the plot draws on the author’s own family
之助獎、讀賣文學獎、渡邊淳一文學獎三大文學 history. The Naoki Prize is recognized as the highest
獎。 honor in the world of popular Japanese literature.
作品的主題多與逃亡相關，東山彰良也曾回 And in 2017 his Boku ga Koroshita Hito to Boku o
Koroshita Hito (“The Ones I Killed and the Ones Who
顧自己一生都在「逃」，在成名之前，必須兼差
Killed Me”) took three major awards—the Oda Saku-
許多工作才得以養家活口。「逃」是逃避，是不
nosuke Prize, the Yomiuri Prize for Literature, and the
得已，是不願面對，但換句話說，也是離開不想
Watanabe Junichi Literary Prize. Just like Turd on the
要的，追尋想要的。 Run, the 2017 novel featured a story set in Taiwan.
Higashiyama’s stories generally revolve around
東山彰良，本名王震緒，台灣出生，五歲隨 the theme of “escape” or “flight.” Indeed, he feels that
父親移居日本。他的日文筆名藏著家族的地景： his own life story is one of “flight.” Before achieving
「東山」是祖父的出生地「山東」，「彰」則是 fame, he took all sorts of side jobs to keep food on the
table for his family. “Flight”—fleeing—is what one
母親昔日工作的地方「彰化」。
does to escape. It may be forced upon you, or it may
沒有不寫的選擇 be that you’ve got a problem you’re not willing to
face. In any case, it’s about leaving behind what you
去（2019）年年中採訪東山彰良時，他正處於 don’t want, and pursuing what you do want.
「50知天命」的年紀。回憶當初提筆的契機，他
坦言：「自己沒有不寫的選擇。」喜歡音樂和旅 Akira Higashiyama is the Japanese pen name of Wang
行的東山彰良，大學畢業後曾經當過一年的上班 Zhenxu, who was born in Taiwan before moving with his
族，但朝九晚五並非他想像的未來，他逃入學術 family to Fukuoka Prefecture in Japan’s Kyushu Region
at age five. His pen name reflects his family background:
界，研讀經濟。但成了家、有了孩子，再加上博
When you take the characters for higashi (東) and yama (山)
士論文的期限將屆，落在肩頭的壓力頗大，感覺
and reverse them, you get 山東, i.e. Shandong, the prov
自己人生失敗、一事無成。他記得2000年12月的
ince in China where his grandfather was born. The 彰 in
某個夜晚，餵飽尚在襁褓中的小兒子，待家人睡 “Akira” (彰良), meanwhile, alludes to Taiwan’s Chang
著後，東山彰良對著電腦開始寫作，「就像腦子 hua (彰化), where his mother once worked.
裡有一部電影，然後把它轉換成文字吐出來那種 Not writing not an option
感覺。」即使到了早上，電腦當機讓他寫的東西 I interviewed Higashiyama in 2019, the year after he
107
東山彰良獲第153
屆直木賞，此乃日
本大眾文學獎最高
榮譽。
（東山彰良提供）
Akira Higashiyama
is a winner of the
Naoki Prize, the
highest honor in
popular Japanese
literature.
(courtesy of Akira
Higashiyama)
一秒清空，但那一夜被療癒的感覺，讓他開始持 turned 50, the age that Confucius famously described as

續創作，三個月後第一部作品《逃亡作法TURD the time at which he “knew what were the biddings of
ON THE RUN》誕生。 heaven.” Recalling what it was like when he first started
《逃亡作法TURD ON THE RUN》在日本文壇初 writing, Higashiyama says: “Not writing was not an op
tion.” He held an office job for the first year after univer
試啼聲即獲獎。文學評論家大森望評語：「結合昆
sity graduation, but the nine-to-five routine was not the
汀•塔倫提諾、蓋•瑞奇、柯恩兄弟、三池崇史等
future he had in mind, so he fled back into academia to
人的黑色幽默敘事風格。」但之後的故事卻不如童 continue his study of economics. However, the pressures
話般的一帆風順。生活中的柴米油鹽醬醋茶種種現 of marriage, two children, and a doctoral dissertation
實，構成了經濟壓力，東山彰良如實道出：「我 deadline got him to feeling like a complete failure. One
剛出道的時候，因為小說不暢銷，沒辦法光靠寫 December evening in 2000, after feeding his infant son and
小說生活，所以我一直在大學當兼任的講師，教 waiting for the family to fall off to sleep, Higashiyama sat
down at the computer and started writing. Come morn
中文。」曾經有讀者詢問想寫小說（謀生）但擔
ing, the computer crashed and everything he’d written
心家人反對，他直白地說：「年輕人問我這種問
was lost, but the sense of healing in the night’s activity
題，就表示說他們還有其他的選擇。」東山彰良
had hooked him, and he began writing regularly. Three
的寫作是被逼出來的，也因為這樣的境遇，他能 months later his first novel, Turd on the Run, was born.
讀出是不是被逼出來的作品，「我比較喜歡那種 But the story from that point on was not as simple
『不成為一名作家只有死路一條』的作品。」 as “happy ever after.” Higashiyama is frank about the
身兼雙職的日子，持續到50歲這一年，孩子長 difficulties: “When I first started writing, sales were
大離巢了，讓他重新思索自己的生涯，「把自己 slow and I couldn’t make a living on my novels alone,

so I taught Chinese part-time at university.” His writ
再安排好，想做什麼，跟能做什麼。」他辭了在
ings had been forced out of him, and this enables him
大學20多年的講師，成為專職的作家。
to recognize in the works of other writers the signs that
故事就是家族的延伸 they too have no choice. “I prefer it when a piece of

writing shows that the author has a ‘become a writer or
東山彰良是繼邱永漢、陳舜臣之後，直木賞史 die trying’ sort of attitude.”
上第三位獲獎的台裔作家。從小旅居日本，但他 Higashiyama moonlighted to make ends meet all the

《流》、《我殺的人與
殺我的人》二書獲獎無
數，讓東山彰良備受
台、日文壇矚目。
Both Ryu and The Ones
I Killed and the Ones
Who Killed Me have won
numerous literary prizes,
and have made a big
splash in the Japanese
literary world.
way to age 50, by which time both of his kids had left yama described his writing routine: “I’ve installed a
home for school. The time had come for him to rethink his little raised shelf on my desk, on top of which I’ve put
life, so he quit the university teaching that he’d been doing photographs of my maternal grandfather, my maternal
for over 20 years to concentrate full-time on his writing. grandmother, and some other deceased relatives. Every
Stories as an extension of the family morning I change the water in the offering cup and say
Higashiyama is the third Taiwanese author to win the a few words to them. I feel like they’re always with me.”
Naoki Prize, after Eikan Kyū (Qiu Yonghan, 1924–2012) As a full-time writer Higashiyama matured gradu
and Chin Shunshin (Chen Shunchen, 1924–2015). Al ally in his craft, and after more than a decade strung
though he moved to Japan at a very young age, during his together some of his stories into a novel titled Ryu. Set
school years Higashiyama spent each summer in Taiwan. in and around the old Chunghwa Market area, the work
He liked listening to the stories of the family’s elders. His features tales of people growing up in Taipei during his
grandfather had lived through times of war and found parents’ and grandparents’ generations. By chronicling
a way to get by in a Taiwan riven by tensions between the Taipei of the 1970s through the 1990s, Higashiyama
mainland Chinese newcomers and native Taiwanese. triggers strong feelings of recognition and nostalgia
Because Higashiyama spent so much time shuttling among readers in Taiwan even as he offers his own take
back and forth between Taiwan and Japan, “flight” natur on those years. Higashiyama’s father Wang Xiaolian is a
ally became something of a keyword in almost all of his noted anthropologist who published novels as a young
novels. “Maybe all the flight in my life stems from my man under the pen name of Wang Xuan. Higashiyama
own identity problem.” As a kid in Japan, everyone re once showed the completed manuscript for Ryu to his
garded him as Taiwanese, but then in Taiwan everyone parents, who commented: “There are no good guys or
regarded him as Japanese. “I could never feel like I truly bad guys in this story. And that exactly reflects history
belonged in any single place. I’ve thought about why I and war as we have known them.” He describes how,
should like traveling so much, and I think it’s because in those years of civil war between the Nationalists
when you’re traveling you don’t need to make yourself and the Communists, people could fall in with one side
belong to any particular place.” or the other through pure happenstance, and again
Yes, his family may have been scattered to the four through willy-nilly circumstance end up going at each
winds, but everyone has remained connected by an other with guns blazing. What he describes is how very
invisible umbilical cord. During our interview, Higashi little value attaches to a person’s existence in an age of
109
求學時期每年暑假都會回台灣，喜歡聽家中的長的評論：「裡頭沒有壞人也沒有好人，我們所認
輩說以前的故事，祖父曾經歷過的戰爭年代，以知的歷史和戰爭就是這麼一回事。」讀到結局，
及戰後那個外省、本省混雜的台灣，那些人、那在那國共內戰的時代，一個人莫名其妙的成為國
些事都吸收成自己的養分，躺在記憶的盒子裡，民黨或共產黨員，莫名其妙的持槍相向，這是一
等著被寫出來。個說著大時代中的個人命運如草芥，只能隨時局
游移在台灣與日本之間，東山彰良的小說主題的洪「流」漂沉的故事。
幾乎都有一個關鍵字「逃亡」。「可能是我自己
作家的簡與真
的認同問題吧！」小時候在日本，大家覺得他是
台灣人，在台灣時，又被認為是日本人，「沒有日本讀者或許是透過他比較冷硬派的推理作品
真正能屬於這個地方的感覺。我分析自己之所以《路傍》、《強尼兔之教父本色》等書認識東山彰
喜歡旅行，因為在旅良；台灣的讀者則被《流》、《我殺的人與殺我的
行的時候很自由，在人》等作品裡的「愛」而觸動。而寫出這樣不同風
旅行中，你不需要讓格作品的東山彰良，給筆者的感覺是一個「真」。
「我沒有自己屬於在某一個地初見他時，輕便的衣著，腳踩著休閒鞋，與

方。」一般日本男性的正裝穿著迥然不同。不是迫切要
　不寫的家族四散了，但他
的家族臍帶仍然緊密
展現善意，而是從從容容地一派日常。我們請他
在街頭拍照，還要一邊躲著來往的汽車，他笑著
　選擇。」地維繫著。訪談間，
東山彰良說到自己的
說：「沒關係。」沒有智慧型手機，僅靠著市內
電話和e-mail聯繫，他的生活簡單，一如他形容
“Not writing 寫作習慣，「我的桌

上有自己架的一個小
自己的個性，「我很難喜歡一件事情，可以對很
多事情都無所謂，可是一旦喜歡上了，就會一直
is not 檯子，上面放了外祖喜歡下去。」
小酌是另一種興趣，他還透露自己是Te q u i l a
an option.” 父、外祖母，還有過
世家族長輩的照片。的品酒師。東山彰良帶我們到平日小憩的酒吧，
我每天早上會換水，下午三點開門，寫稿累了，他會走進去點一杯啤
會跟他們講幾句話；酒，和酒保聊聊天，不會待晚，只因為他喜歡人
他們的牌位安置在哪少點的地方。
裡都無所謂，我感覺他們一直跟我在一起。」寫作可以把過往很多無用的經驗拿來運用，他
看不見的並不等於不存在，在同一個空間中，譬喻說，就像你走路撿到十塊錢，但是不好意思
那些親人彷彿依舊在一旁細語、談笑著，無怪乎直接彎下腰撿，就先用腳踩住，再若無其事的蹲
東山彰良喜歡南美文學，那種魔幻現實的風格，下來，這些沒有用的記憶，會成為小說中畫龍點
就像已經過世的人一直守護著，不曾離去。睛的細節，聽著他舉例，恍然地明白他小說劇情
出道之後，東山彰良一直想把小時候聽聞的家中許多的黑色幽默和對白是從哪來的。
族故事寫下來，但筆力練了十多年，覺得成熟了成長的過程一直都是乖乖牌的學生，但東山
才敢動筆，把腦中的故事鋪寫成《流》。以中華彰良卻在小說中寫下青少年逞兇鬥狠、虛張聲
商場為背景，融入祖父輩的大時代和父親的成長勢，為死黨哥兒們奮不顧身的情誼。《流》書
故事。書中除記錄了1970∼1990年代的台北，讓中寫著主角葉秋生和小混混雷威的對峙。他目
台灣的讀者讀來倍感熟悉與懷念；字句中還藏著露的凶光似乎在對我說：「退後，拜託你趕快
他對那個時代的解讀。東山彰良的父親王孝廉，退後，不要害我變成殺人兇手！」看到他的雙
是知名的人類學家，年輕時曾以筆名「王璇」發眼，我知道我們都正為了自己的未來，努力設
表小說。他曾把故事完稿先給父母看，父母給出法度過眼前這一關。

great tumult. The tale he spins is one of people bobbing 中華商場是東山彰良小說中常出現的場景，
也是他記憶中熟悉的地方。（外交部資料照）
along in the raging “current” (ryu) of history. Chunghwa Market often appears in the novels
An author’s authenticity of Akira Higashiyama. He has clear childhood
memories of the place. (MOFA file photo)
Japanese readers may be most familiar with the
hard-boiled detective style that Higashiyama employs
in works like On the Roadside and Johnny the Rabbit, but
readers in Taiwan have been touched more by the love yet in his novels he has often written about fighting and
stories in works like Ryu and The Ones I Killed and the blustering youths who put their bodies on the line in de
Ones Who Killed Me. Speaking for myself, an author ca fense of their buddies. An episode in Ryu describes a con
pable of writing in such sharply contrasting styles, as flict between the protagonist Ye Qiusheng and a young
Higashiyama does, impresses me as genuine. tough named Lei Wei. Higashiyama writes in the novel:
When I first saw him, with his casual way of dressing, “The fierce look in Lei’s eyes seemed to say to me: ‘Back
the impression I got was not of a person anxious to give off. I’m asking you to back off. Don’t make me become
off a “nice guy” image, but of someone who simply went a killer!’ When I looked into his eyes, I realized we were
about his daily affairs in a very relaxed mood. When both just trying to somehow get through the situation at
we asked him to pose for a few street photos, he had to hand, for the sake of our futures.”
dodge traffic, but simply laughed it off: “No problem!” In The Ones I Killed and the Ones Who Killed Me, Higashi
He doesn’t own a smartphone, but relies on a landline yama tells of how four boys become friends and grow
and email to communicate with people. His life is as up together. Due to an accident, one of them becomes
simple as his personality. He says of himself: “I can be a serial killer. As the time for his execution draws near,
indifferent to all sorts of things, but once I take a fancy to his friends wonder how they might be able to save their
something, it’s always going to be real special to me.” childhood friend. One of them thinks to himself: “Even if
Higashiyama was always a nice, well-behaved kid, only in memory, let me accompany you till the very last
111
《我殺的人與殺我的人》，寫四個男孩結伴的 second.” What Higashiyama describes in the words of
成長故事，因為一樁意外，導致其中一人變成連 his protagonists is not issues of soaring adult loyalty
and righteousness, but the fierce blood-brother ties of
續殺人犯，即將面臨死刑，要怎麼救回當年的同
14- and 15-year-old boys in the flower of their youth.
伴，「至少讓我能夠在回憶中，陪你到最後一
I was dumbfounded and somewhat horrified when
刻。」東山彰良藉由主人公口中說出的，不是大 the mild-mannered Higashiyama said: “I guess I’m just
忠大義，而是14、15歲青少年、在人生最精華時 making up for the fact I never went bad as a kid.” See
期結交換帖的情感。 ing my reaction, he was quick to add: “I think any boy
「算是彌補年輕時候沒有學壞的遺憾，」聽到 ought to feel that same way!”
這兒讓人愣住、且捏把冷汗，我們想像面前這斯 Freedom at 50
文的人變成小混混的樣子，「這是每個男孩子應 The course of Higashiyama’s career has been any
thing but plain sailing in a society like Japan’s, where
該都有這種感覺吧！」他趕緊補充說明。
people are under immense pressure to succeed. He con
50歲男人的自由 fides: “I’ve never been much satisfied with myself. I’ve
never felt that being a writer was any big accomplish
東山彰良的發跡，並非人生勝利組的歷程， ment. I can’t be anyone other than who I am. That’s the
在日本這個汲汲於功成名就的社會，他解釋說： only reason I write.”
「我對自己的評價一直沒有太高。我覺得作為一 Now in his fifties, Higashiyama has worked out a
名作家不是那麼了不起的事情，我只會這樣子， bucket list for himself. He remains as interested in music
所以我才在寫。」「也因為對自己很失望，所以 and traveling as ever, but his frame of mind is very dif
ferent now. “When I was young, it was as if there was an
能成為一名作家，才有寫東西的動力跟動機。」
invisible opponent that was always competing with me.
已是知天命的年紀，他排除掉雜務，在人生清
I felt the need to travel farther than him, or to see more
單上列出真正想做的事情。音樂和旅行還是生活的
than him.” But things have changed as he’s grown older.
興趣，但與年輕時的心境已大大不同，「年輕的 Early last year, at the invitation of the Asahi Shimbun
時候，旅行好像有一個隱形的對手，一直在跟他競 newspaper, he began writing a column—“AkiraHigashi
爭，要比他走得遠，或者比他看得多，感覺一直在 yama’s Turn! Turn! Turn!”—as a sort of travelogue in
跟別人比賽。」可是年紀大了就不這樣了，不必 which he guides readers on an imaginary trip through
遠行，在近處也能有旅行的感覺。受《朝日新聞》 the places of his life, including Taiwan (where he grew

up), Tokyo (where he once worked), the Iidabashi area
之邀，去年初他開設了《東山彰良のTurn！Turn！
in Tokyo (where he lived for a time), the Muromi area in
Turn！》專欄，以遊記的形式，用文字帶著讀者走
Fukuoka (where he spent much of his childhood), and
訪他的出生地台灣，曾經工作過的東京，住宿在飯 Hiroshima (where he once stayed for a short time).
田橋附近，成長的室見地區，曾經短暫停留的廣 Higashiyama recently bought a small guitar and
島，像是過往人生的一個巡禮，隨興所至。 practices on it every day, but it’s just for fun. He’s not
數年前開始在福岡RKB電台主持節目，在節目 putting any pressure on himself.
中介紹文學，朗讀讀者的投稿，他再如DJ挑選音 “Maybe it’s because I’ve grown old. And anyway, I
realize that music is just a source of enjoyment for me.
樂播放。最近東山彰良買了一把小吉他，每天練
I know I’m a writer. I like writing novels. That’s what I
習，但高興就可以，不要那麼辛苦了。
care about doing. Everything else is no big deal.” Now
「可能是人老了吧！而且我知道，音樂對我來
that he’s in his fifties, perhaps it is in his novels where
說，是讓我享受，讓我好玩，我知道我自己現在 Higashiyama continues to engage in flight. But in his
是作家，我喜歡寫小說，這個方向是我很在意去 real life, he’s not fleeing from anything. Writing is what
追求的，其他的事情好像就無所謂了。」年逾50 heaven bids him to do. l
的東山彰良，或許在小說中仍繼續他的逃亡，但 (Cathy Teng/photos by Chuang Kung-ju/
現實生活中，他不逃了，寫作就是他的天命。 l tr. by David Mayer)

除了寫作，東山彰良喜歡旅行，
因為在旅行中，不需要讓自己屬
於某一個地方。
In addition to writing, Akira
Higashiyama also enjoys travel,
because when traveling he has no
need to make himself belong to
any particular place.
113
藝文脈絡　CULTURAL TRENDS
印模師．玩創意
守護木雕傳承——蔡榮興
Upholding a Tradition:
Master Mold Maker Cai Rongxing
文•李珊瑋　圖•林格立　版面設計•王敬勛
出生宜蘭木雕世家的蔡榮興，父親蔡火土是薪傳獎得
主，自小嫡傳一身精湛工藝。除了跟隨父兄製作寺廟家
具等雕飾，蔡榮興最擅長的是糕印和粿印的模具雕刻。
從精選木料到裁切風乾，每一道工序都實實在在的用
心。即使在機械便捷的時代，蔡榮興仍堅持手工，用雙
手的溫度，讓糕印和粿印永世傳承。
半世紀間，日日與木雕為伍，蔡榮興不僅固守傳統工
藝手法，展現與時俱進的俏皮創意，2010年更獲頒文建
會優質文化商品優等獎。縮小版的百家姓粿印鑰匙圈，
成為觀光客的最愛，也是宜蘭市公所致贈外賓的最佳伴
C ai Rongxing was born into a famous Yilan woodcarving

family. His father, Cai Huotu, was the winner of a Folk
Art Heritage Award, and Cai learned his superb craftsmanship
directly from his father and elder brothers. Besides sculpting
temple furniture like his father and brothers, Cai is especially
skilled at making cake molds and rice-cake molds. He insists
on carving them by hand, and hopes to pass down cake-mold
making far into the future.
Through half a century of woodcarving, Cai has not only
held fast to traditional craft techniques, he has displayed a
playful creativity that has stayed in step with the times. In
2010 he won an Outstanding Cultural Product Award from

115
手禮。細膩的八角眠床，保留古樸遺風，深獲收
藏家的青睞。木雕手機殼，巧妙融合古典與現
代。巧思不斷的蔡榮興，樂在木雕的無限延展。
百年傳承的粿印工藝
「我做的粿印，只要好好使用，可以百年不
壞。」宜蘭子弟蔡榮興用刻滿歲月的雙手，從櫥
窗裡拿起一支用烏心石木製作的沉重粿印。憨厚
的笑容裡，掩不住對作品的自信與滿足，「做粿
依雕刻器物的性質，需要運用各式大
印和糕印最困難的地方，就是要依客戶的需求，
小不同的工具。
Cai uses a wide variety of different tools, 精準的計算出斤兩。」粿印和糕印都是由一塊原
depending on the object to be carved.
木雕琢出來的，需要在沒有拼接的情況下，從選
料開始，靠著經驗值，測量出正確的長寬高，精
準計算凹槽內的深度，所有步驟的藍圖都在他的
腦海中規劃，沒有紮實的功力，很難做到。
「我做過140台斤的粿印，」蔡榮興難掩得意
的笑著說。2009年宜蘭美術館開館時，高度近
200公分，讓人驚豔的巨大粿印身影，震懾住參
訪人潮的目光。「現在要找到這麼巨大的木頭，
已經不容易了。」陳列在宜蘭市西關廟中，長伴
鄂王社區發展協會的粿印，刻工精美，大富大貴
的長壽圖騰，歷經十年，依然光鮮耀目。
「我最佩服的木雕師父，是我的父親。」薪傳
獎得主蔡火土年輕時，曾經帶著妻小赴基隆和平
島，與台北的藝師對決工藝，宮廟一分為二，各
自負責一邊的雕工，展現不同的風貌，成為地方
流傳至今的佳話。
蔡榮興排行老三，下面還有二個弟弟、三個
妹妹。由於家中食指浩繁，大哥、二哥都在國小
畢業後，就先投入木雕生產行列。「那時候沒有
什麼機具，絕大部份都是靠人力。」蔡榮興國小
畢業後，看著兄長在父親嚴格督促下，日日埋首
打磨、刨平、雕刻花紋等工序中，艱苦的幹活。
父親希望他能學點其他技能，送他到羅東學做買
賣。蔡榮興老實的個性，實在不習慣置身繁華，
而且覺得唯有一技在身，心中才能踏實無畏。看
遍花花世界後的沉澱省悟，讓重返家園的蔡榮興
更加努力，認份地向父兄們刻苦學習。
蔡火土深具遠見，不讓兄弟日後彼此競爭，所
以嚴格區分木雕的領域，每個人擅長的技藝都不

the Council for Cultural Affairs. His key fobs in the
form of miniature rice-cake molds carved with Chi-
nese surnames have become favorite souvenirs for
tourists and also fine gifts given out by the Yilan
City Office to distinguished foreign visitors.
Century-old craftsmanship
“With proper care, my rice-cake molds will last 100
years without breaking,” says Yilan-born Cai Rongxing,
his smile betraying his confidence and satisfaction in his
own work. “The hardest thing about rice-cake molds is
that you have to correctly calculate the volume of the
mold to give the cake weight required by the client.”
Rice-cake molds are carved from a single piece of wood.
It takes great skill and experience to select the material,
accurately gauging the length, width, and thickness, and
to precisely calculate the depth of the mold cavity.
“I’ve made a rice-cake mold with a capacity of 84 kilo
grams,” says Cai, smiling proudly. When the Yilan Mu-
seum of Art opened in 2009, the sight of the enormous
mold, nearly two meters tall, awed the visiting crowds.
“The wood carver I most admire is my father.” When
Cai Huotu, the winner of a Folk Art Heritage Award,
was young, he took his wife and children off to dis-
tant Heping Island in Keelung for a showdown with
a craftsman from Taipei: Each was responsible for the
woodcarving on one of the two sides of the same tem-
ple, and each displayed a different style. The story of
this event remains a favorite local tale to this day. After
Cai Rongxing graduated from primary school, seeing
how hard his two elder brothers had to work carrying
out processes like buffing, planing, and carving patterns
under their father’s strict supervision, he thought about
蔡榮興專注地把腦海中的造型，栩栩如生地
abandoning the arduous life of the family business and 由手中誕生。
leaving home to find his own fortune. But after seeing Cai Rongxing works with great concentration, his
hands giving birth to the vivid forms in his mind.
too much of the colorful attractions of the outside world,
he came to the realization that he should accept his fate,
and returned home to buckle down and assiduously
learn from his father and elder brothers.
Cai Huotu, looking to the future, did not want his sons
to be competing with each other, so he had each of them
specialize in a different field of wood carving. The eldest
son focused on decorative window grilles, the second
son carved objects related to temples and religion, such
as deity sculptures and palanquins, and Cai Rongxing
concentrated on household items like rice-cake molds.
117
盡相同。大哥專精窗花雕刻，二哥雕刻神像、神蔡榮興做的粿印，大至逾百台斤，小至五公分。
Cai Rongxing’s rice-cake molds range in size from
轎等與宗教寺廟相關的物件；蔡榮興則專攻粿印 the largest, for cakes weighing over 60 kilos, to the
smallest at only five centimeters.
和糕印等生活用品。沒想到歷經半世紀的洗鍊，
看似最不起眼的小物件，卻因為堅守傳統，成為
光耀門楣的傳家之寶。
走過風華，看盡冷暖
燥，很好保養。」古早時的婚喪喜慶，人生中每
「以前全台灣有一半以上的糕餅業者，都用一階段的大日子，都離不開用粿印和糕印製作的
我做的粿印和糕印。」談起半世紀前的風光歲象徵性食品。
月，蔡榮興難掩興奮地咧開了嘴，笑的好燦爛。蔡榮興回想起自己連新婚期間都有接不完的訂
「為了趕做七月半和中秋節的訂單，我半年前就單，日夜加班趕工，「那時候，我一天的收入，是
要開始忙碌。」因為蔡榮興做的粿印和糕印，木一般行業小零工一個月的薪資。」意氣風發的歲
料紮實不易變型，斤兩準確，雕花立體生動，花月，哪裡想得到有風雲變色的一天。那時為了確
樣又多元，並且完全客製化，每一支花色都不盡保掌握優質的原木料，蔡榮興曾經大手筆地一次
相同。口耳相傳的好名聲，讓蔡榮興的客戶遍及進了二十支大人雙手都環抱不住的高級原木，依
全台灣。「店內很多粿印、糕印都用了二十多年需求厚度裁切，立在店面四週牆面，徹底乾燥備
了。」位在基隆的京餤糕點店是蔡榮興的老客戶用。「買木材都要用現金。」好不容易賺來的錢，
之一。店內陳列著各式素食的糕仔三牲、龍鳳麒又全都投資下去。「必須等這些木料都做出成品，
麟、蓮花座台、糕仔龜、元寶等。「他的刻工很才有可能回收。」資金積壓的焦慮，時間長到難以
深，木料又好，每次使用後只要刷乾淨，保持乾估計。箇中甘苦，只有身歷其境才能體會。

Halcyon days the wood into planks of the thickness he needed for his
“In the past more than half the pastry makers in Tai- work, and stacked it against the four walls of his shop
wan used my rice-cake molds and other cake molds.” to season thoroughly for later use. “You had to pay cash
Talking about those halcyon days a half century ago, to buy wood.” He had invested all of his hard-earned
Cai Rongxing cannot hide his excitement. “To fill or- money, and wouldn’t see any return until such time as
ders for ‘Ghost Month’ and Mid-Autumn Festival, I the wood was turned into finished products. The worry
had to get busy six months in advance.” As his reputa- that came from tying up his capital for such a long time
tion spread, Cai picked up clients from all over Taiwan. cost him many sleepless nights.
“We’ve been using many of the molds we have here “The good times never last.” Machines began to re-
for more than 20 years,” says the owner of the Jingdan place human labor, lowering costs and making it diffi-
Bakery in Keelung, an old client of Cai’s. In former cult for industries that depended on pure handcrafting
times, symbolic foods made using cake molds were an to compete. Sometimes Cai’s income for an entire month
essential part of important days and events at every would be only a few hundred or a few thousand NT
stage of life. dollars. Over his lifetime he has gone through all kinds
Cai recalls that when he had just gotten married, of ups and downs.
every day he received countless orders, and he worked To stabilize his family’s income, Cai thought up a
night and day to keep up with demand. “At that time,
my income for a single day was equal to what an ordi-
nary worker in most trades could make in a month.”
Cai once laid out a large sum of money to buy 20 logs of
high-quality wood at one time; they were so thick that a 運用糕印翻製的手工肥皂，讓蘭城百工傳統工藝更具特色。
Shaping handmade soap with cake molds lends greater local
grown man couldn’t encircle one with his arms. Cai cut character to Yilan’s traditional crafts.
119
「好光景的時間不長」，由於機器取代手工，麻雀雖小，卻陳列著各式各樣的經典作品，吸引
成本壓低，純手工的產業難以競爭。「做這行真路人好奇的目光。
的很不穩定。」淡季時經常門可羅雀，有時單月現今糕餅業者對粿印、糕印的需求不大，閒不
收入僅有千百元，蔡榮興嚐盡世間冷暖。「接不住的蔡榮興，不甘坐困愁城，用一雙巧手，另闢
到訂單時，我就去哥哥的店裡幫忙。」忠厚老實蹊徑，復興舊技藝。「我不懂什麼文創啦！只是
的個性，完全聽命於父親的指揮。覺得木雕可以做很多東西。」雕工精緻的縮小版
為了穩固家庭經濟來源，蔡榮興想方設法，對八腳眠床，鏤刻著蔡榮興對父親的思念，「大約
工作來者不拒，而且運用巧思，把原本實用性的要二個多月才能完成。」具體而微的五斗櫃、化
粿印，縮小成裝飾性的可愛版鑰匙圈。巧手雕刻妝台、爐灶，記載半世紀前，百姓尋常的生活用
具有吉祥喜氣龍鳳圖騰的粿印糕印，獲得收藏家品。栩栩如生的三輪車，米粉羹的攤車，輪子還
的青睞。寓意「馬上有錢」的趣味木雕，也成為會轉動，把幾乎要消逝的古早木雕絕技，活靈活
饋贈和自用的最佳伴手禮。「我很感謝太太，吃現的復活。很多觀光客特別慕名遠道而來，造訪
苦耐勞地跟著我。」為了幫助家計，太太一直到採購。
處打工，終於把兩個孩子拉拔成人。「人生不要「這是糖龜的印模，現在已經很少見了。」用
計較，福報自然會到。」糖水灌入模型，冷卻後製成糖龜，是宜蘭地區祭拜
不甘坐困愁城，另闢蹊徑
「今年四月才剛搬遷到這裡。」離開祖傳的店
面，回到由住家前廊改建的狹小空間，親手製作縮小版的粿印鑰匙圈，精緻可愛，是具特色的紀念品。
Miniature rice-cake-mold key fobs are carved in exquisite
的「蔡榮興雕刻社」木製招牌，高掛在巷弄裡。 detail, making them unique souvenir and gift items.

number of new approaches, and accepted what- wide variety of classic carved products, attracting
ever orders came in. He came up with the idea of curious gazes from passers-by.
making small decorative keychain fobs that were “I don’t know anything about ‘cultural and
miniature versions of practical rice-cake molds. creative industries.’ I simply feel that I can make
Collectors began to eye his exquisitely carved a lot of things by carving wood.” A meticulously
molds featuring auspicious Chinese words and sculpted miniature “eight-footed bed” (a traditional
symbols. Amusing woodcarvings with the implied Chinese bed) was made by Cai to express how
meaning of “you’ll soon have money” became pre- much he misses his father: “It took me more than
mium souvenirs or gifts. “I’m very grateful to my two months to finish.” Perfect small-scale replicas of
wife for sticking with me through thick and thin.” a pedicab and a rice-noodle vendor’s cart, both with
To bolster the family finances, Cai’s wife did part- wheels that can turn, are reminders of a time long
time jobs wherever she could, until they had fi- past. The ancient art of wood carving, which has
nally raised their two children to adulthood. “Don’t virtually disappeared, is being kept alive by Cai.
complain about life, rewards will naturally come.” “This is a ‘sugar turtle’ mold, which is very rare
Unwilling to wallow in despondency these days.” Sugar syrup was poured into the mold
“I only relocated here in April of this year.” He and chilled to make the sugar turtles, which were
left behind the shop passed down by his family, an offering used in Yilan when worshipping the
and moved into a small, narrow space made by gods, and Cai Rongxing has preserved this tradi-
converting the front porch of his home. A wooden tional mold. “And this handmade soap was cast in
sign he made himself, reading “Cai Rongxing a cake mold.” Ingenious new applications enable
Wood Carving Studio,” hangs above the door of Yilan’s many traditional crafts to be passed down
his workshop, located in a back street. Although from generation to generation, offering a ray of
space is limited, on display in the studio are a hope for their future.
(右圖）米粉羹的攤車，輪子可以轉動，十分精緻。
(right) This rice-noodle soup vendor’s cart, with wheels
that can turn, is a masterpiece of craftsmanship.
具體而微的五斗櫃，抽屜都可以拉開。
This chest of drawers is small but complete; all the
drawers can be opened.
121
神明的特有供品，蔡榮興珍藏保留著這項傳統模即使手工木雕市場蕭條，訂單取得不易，蔡榮興仍
堅持天天規律的伏案工作。
具。「這是用糕印翻製的手工肥皂。」巧思運用， Although the market for hand-carved wooden utensils
has declined and orders are few, Cai Rongxing still sits
讓蘭城百工傳統工藝代代延續，露出一線曙光。 down to work every day like clockwork.
市場蕭條，粿印師也逐漸凋零。即使訂單望眼
欲穿，蔡榮興仍堅持天天規律的伏案工作。「這
是我生活的態度，也是我人生最大的樂趣。」陪
伴他走過半世紀的木製工作台，排列著大大小小 As the market has declined, so has the number of
的各式雕刻工具，千瘡百孔的桌面上，刻劃出歲 master craftsmen making rice-cake molds. Although or-
月的滄桑。 ders are few and far between, Cai still insists on work-
坐在工作台前，蔡榮興戴著老花眼鏡，在一 ing every day. “This is my attitude towards life, and my
greatest pleasure in life.”
盞小台燈的照射下，專注俐落地一刀一筆，把腦
Sitting at his workbench, wearing presbyopic glasses,
海中的造型，栩栩如生地由手中刻出，每一道刻
Cai toils under the light of a small table lamp, making
痕，都注入了感情。「前不久，因為用眼過度出 one gouge at a time as his hands give birth to the vivid
血，孩子們都勸我收起來，不要再做了。」長期 forms in his mind. Each cut is invested with emotion.
近距離的接觸木屑和粉塵，職業傷害在所難免。 “It’s hard to make a living in this line of work! These
「工作中，一不小心經常是右手砍到左手。」 days no young people want to learn it!” Disconsolate
蔡榮興舉起傷痕累累的雙手，「吃這一行飯，不 at having no-one to pass on his skills to, Cai can only
shake his head and sigh. He lifts up his heavy wooden
容易啊！現在沒有年輕人要學啦！」感慨空有技
mallet with a practiced hand, its four faces, once smooth
藝，卻無人接手延續，蔡榮興不禁搖頭嘆息。
and even, now deeply hollowed by continual hammer-
「以前工作多，差不多一個月就要更換一支。」
ing—just as Cai himself has been shaped by a lifetime
蔡榮興順手拿起沉重的木槌，原本光滑平整的四 of wood carving, which has left behind an ineradicable
個切面，在不間斷地捶打下，如今每一面都深凹 imprint on him. l
下去，猶如蔡榮興一生的木雕功力，在歲月的刨 (Lee Shan Wei/photos by Jimmy Lin/
削形塑下，留下不可磨滅的印記。 l tr. by Phil Newell)

台灣光華·世界光華北美地區訂閱單
Taiwan Panorama— The Order Form for
N.A. Area Only
Bringing Taiwan to the World
(一)我訂閱台灣光華雜誌：
I want to subscribe to Taiwan Panorama:
□我是新訂戶　New subscriber　　
□我是續訂戶╱電腦編號　Renewal/subscriber No.□□□□□□□□
□一年1 year╱US$32
□二年2 years╱US$55
我從_______年_______月起訂閱台灣光華
Subscription to begin with__________(month)__________(year)
姓名╱Name
地址╱Address
電話╱Tel.
□我為親友訂　As a gift for a friend
□附寄禮物卡　Gift card to read
（卡片致贈人請寫）
親友姓名╱Name
地址╱Address
電話╱Tel.
□我使用信用卡Charge my credit card

（不接受美國運通卡之所有卡種）
CARD TYPE:
信用卡號 Card No.：

_________-_________-_________-_________- □□□
（請加填信用卡背面簽名處的末三碼）
(Please include the final three numbers found on the back of your card, near the signature bar)
電話號碼 Tel No.：____________________________

有效期限 Expiry date：_____月(month) ______年(year)止
訂購日期 Subscription date：________________________
訂購總金額Total (including postage)：
________________________________________________
持卡人簽名：Cardholder’s signature
_______________________________________________
（與信用卡簽名同一字樣）
□我購買光華叢書，已勾選如背面
I wish to purchase the book publications as checked overleaf.
（二）光華叢書售價（含郵資）Book Series (including postage)
訂購數量
書名版本售價
Quantity
Title Edition Price
Ordered
畫說成語
平裝 Paperback US$11 本
Chinese Sayings Told in Pictures
當西方遇見東方──國際漢學與漢學家
When West Meets East: International Sinology and Sinologists
中國草藥故事
Stories of Chinese Herbal Medicine
擁抱台灣──百張圖片看現代台灣
Embrace Taiwan 100 Images of Contemporary Taiwan
顯影台灣──百張圖片看現代台灣2
Taiwan Revealed 100 Images of Contemporary Taiwan (2)
弦歌不輟──台灣戲曲故事
Hold that Note!—Stories from Taiwan's Stage
築夢荒野──台灣自然映像
Call of the Wild—Taiwan's Natural World
台灣民俗筆記
Shindigs and Solemnity in Taiwan
台灣青春紀事
Days of Being Wild: Youth Culture in Taiwan
台灣好滋味
A Taste of Taiwan
心南向．一家人
Bonds of Friendship, Bonds of Love 平裝 Paperback US$15 本
—Taiwan and Southeast Asia
台灣意象
Taiwan in the Mind's Eye: 平裝 Paperback US$20 本
Stories and Images of Taiwan
合計
本
Total
以上定價皆含郵寄處理費。
Prices include postage and handling
□附寄款項（支票抬頭請開 Kwang Hwa Publishing (USA), Inc.)
Payment enclosed (make checks payable to “Kwang Hwa Publishing (USA), Inc.”)
★請將訂款連同訂單裝入信封內直接匯寄“美國光華出版公司”
Please enclose this form with your remittance in an envelope and mail to “Kwang Hwa
Publishing (USA), Inc.”
3731 Wilshire Blvd 104, Los Angeles, CA 90010 USA. TEL: 1-888-829-3866 FAX: 1-213-389-0021
★第一期訂閱雜誌將於二週內寄達
Please allow 2 weeks for your book or first issue to arrive.

Taiwan Panorama 2020 Feb

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Taiwan Panorama 2020 Feb

Uploaded by

Copyright:

Available Formats

全 球 ． 在 地 ． 人 文

中華民國109年2月 第45卷 第2期

總 監 ／ 鍾宜蓉 僅限於觀光工廠，在先進科技、精湛工 了多少資料、看了多少圖片可比擬的，如

tech­nology, meticulous craftsmanship, and formation and looking at images before we

warding and interesting. defeat of South Korea in the 2019 Premier12

8 封面故事 Cover Story

2 找回童心！體驗經濟正夯 1 點亮十三層 52 月月好讀

中華民國109年2月 第45卷 第2期

000-10901-cover.indd 2 2019/12/26 上午5:17

封面說明： 葉偉立 《水湳洞》

全球視野 Global Outlook

藝文脈絡 Cultural Trends

6 台灣光華 Taiwan Panorama

Aquatic Plants and Sheet Metal Working:

8 台灣光華 Taiwan Panorama

10 台灣光華 Taiwan Panorama

12 台灣光華 Taiwan Panorama

14 台灣光華 Taiwan Panorama

16 台灣光華 Taiwan Panorama

18 台灣光華 Taiwan Panorama

Travel Guides that Tell Tales

S ince around 2015, when the notion of the “flipped class-

20 台灣光華 Taiwan Panorama

22 台灣光華 Taiwan Panorama

Taiwan Panorama visited the organizations C

24 台灣光華 Taiwan Panorama

26 台灣光華 Taiwan Panorama

28 台灣光華 Taiwan Panorama

落入這樣的困境。遊戲開始前，玩家們首先要了解 gling to recover. Understanding is the first step in the

A Crafty Way to Revisit Childhood

W orkshops that teach how to make things by hand

30 台灣光華 Taiwan Panorama

32 台灣光華 Taiwan Panorama

34 台灣光華 Taiwan Panorama

36 台灣光華 Taiwan Panorama

38 台灣光華 Taiwan Panorama

Straddling Fiction and Reality:

《私室》，累積超過百萬點擊率。 15, and immediately began working method­ically

40 台灣光華 Taiwan Panorama

42 台灣光華 Taiwan Panorama

Having achieved some degree of renown, Hsu talks

44 台灣光華 Taiwan Panorama

46 台灣光華 Taiwan Panorama

48 台灣光華 Taiwan Panorama

Thank you for accompanying us on

怕疾 病，幸運地，他父 親碰 上了奎 熱的沙漠地區，工作了一年半。

結 婚 沒多久，又得 到 肺 結 核，病 家的農 場，帶 領巴西工 人，耕 種台

情加重時，盤 尼西林出現，他也 熬 灣的蔬 菜。為了種植台灣的蔬 菜，

後 來，胃 穿 孔、破 傷 風、傷 寒、 葡萄牙文。

仰也說不定。」某君常如此自忖。 都信，身上有 病恙，馬上 就 吵 著 要 度去看父親的人生。

中，感 受 到 一 絲 什 麼 宗 教 信 仰 的 方像父親。 有父親會好一些嗎？某君又覺得這

氣質也是事實。 從 弔 詭 的 角 度 看，什 麼 都 信 的 種思索太空泛。

有一次，某君 得了莫名的病，中 人和什麼都不信的人，其實可能是 父 親 是 好人嗎？是壞 人嗎？這 太

醫、西醫 都看了好幾 個，始終沒有 最相像的人，他們都沒有真正的信 簡略。

神明，童乩 扶乩 說：某君是受到 髒 是這樣嗎？ 好人嗎？做過令人 難以容忍的事就

東西糾纏，母親請了乩童到家裏作 「到底要如何定義父親的一 是壞人嗎？

法驅鬼。 生 呢？如 果 單 從 人 的 觀 念 來 看 的 認 真 說 起 來，從 童 年 到 成 年，

儀 式 結 束 後，父 親 把 某 君 叫 進 話。」這 是 父 親 過 世 之 后，某君一 父 親 留 給 某 君 的 記 憶 並 不 多，反

房 裏，用 很 嚴 厲 的 語 氣 斥 責 他： 直思索的問題。 倒是祖父給他數不清的溫暖的回

中，你是 大 人了，你 怎 麼 也 和 你母 某君，這是無庸置疑的。 可以 這樣 說：四十歲 以前，他幾

看 清「自己身 體」是什麼意 思？ 他 父 親 年 輕 時 好 賭，有 時 一 賭

大學之 后，某 次在 洗 澡時，發現自 奮鬥起來的事業也賭掉了。

你是大人了，不要輕 忽自己的判斷 泣，和 母 親 還 睡 一 張 大 床 的 某 君

力！」父 親 是 這個 意 思 嗎？到 父 親 和兄弟姊妹，也 難 以 安寐，大家 默

全球．在地．人文

中華民國109年2月第45卷第2期

總監／鍾宜蓉僅限於觀光工廠，在先進科技、精湛工了多少資料、看了多少圖片可比擬的，如

technology, meticulous craftsmanship, and formation and looking at images before we

中華民國109年2月第45卷第2期

封面說明：葉偉立《水湳洞》

《私室》，累積超過百萬點擊率。 15, and immediately began working methodically

怕疾病，幸運地，他父親碰上了奎熱的沙漠地區，工作了一年半。

結婚沒多久，又得到肺結核，病家的農場，帶領巴西工人，耕種台

情加重時，盤尼西林出現，他也熬灣的蔬菜。為了種植台灣的蔬菜，

後來，胃穿孔、破傷風、傷寒、葡萄牙文。

仰也說不定。」某君常如此自忖。都信，身上有病恙，馬上就吵著要度去看父親的人生。

中，感受到一絲什麼宗教信仰的方像父親。有父親會好一些嗎？某君又覺得這

氣質也是事實。從弔詭的角度看，什麼都信的種思索太空泛。

有一次，某君得了莫名的病，中人和什麼都不信的人，其實可能是父親是好人嗎？是壞人嗎？這太

醫、西醫都看了好幾個，始終沒有最相像的人，他們都沒有真正的信簡略。

神明，童乩扶乩說：某君是受到髒是這樣嗎？好人嗎？做過令人難以容忍的事就

東西糾纏，母親請了乩童到家裏作「到底要如何定義父親的一是壞人嗎？

法驅鬼。生呢？如果單從人的觀念來看的認真說起來，從童年到成年，

儀式結束後，父親把某君叫進話。」這是父親過世之后，某君一父親留給某君的記憶並不多，反

房裏，用很嚴厲的語氣斥責他：直思索的問題。倒是祖父給他數不清的溫暖的回

中，你是大人了，你怎麼也和你母某君，這是無庸置疑的。可以這樣說：四十歲以前，他幾

看清「自己身體」是什麼意思？他父親年輕時好賭，有時一賭

大學之后，某次在洗澡時，發現自奮鬥起來的事業也賭掉了。

你是大人了，不要輕忽自己的判斷泣，和母親還睡一張大床的某君

力！」父親是這個意思嗎？到父親和兄弟姊妹，也難以安寐，大家默

過某君，母親含怒之下，經常會拋書名：人間三步和父親關係改善，那是某君五十

信中吐露心聲，說在沙烏地阿拉伯社區大學學習，這回他學書法、水親的遺物，竟然從古舊的衣櫥中

很寂寞，因為在沙烏地偏鄉沒任何墨畫、唱山歌……。發現，他父親擺滿了整個衣櫥空

娛樂，偶爾唱唱歌和他通信是唯他把家裏的一間斗室，佈置成他間，有條不紊的疊著的書畫，數

一樂趣，他希望某君多寫信給他，的畫室，書桌是由農事荔枝班的工量之龐大，使他楞立當場。一個

多聊些故鄉事，讓他解除寂寞。作檯舖上絨布而成的。年老又重病的老人，如何有這種

信當然是用中文寫的，信封用某君知道父親一直持續有在繪能量創造出這麼龐大的作品？某

英文書寫地址；一年後，信封的書畫、寫書法，但並不知道自己父親君只能模擬想像父親瘋了一般，

寫變成阿拉伯文，某君看得出來，在畫些什麼，寫些什麼。更不知道在斗室之內燃燒他生命最後的燭

他父親一定用了很大的心血學阿繪得如何，寫得如何，他只是認為光，直到全化為灰燼。

拉伯文，在某君看來，阿拉伯文簡那只是父親閒著的老人娛樂。某君猛然驚覺，他父親在再也

直比道教符籙還複雜，雖然他看有一天，他母親告訴他：「你父拿不起鋤頭的時刻裏，把毛筆當

不懂，但父親卻用毛筆寫得優美親上了報紙」，他去買了份報紙看成向他逐漸逼近的死神的戰鬥武

而有模有樣。看，那是一家國內大報藝文版面，器。

某君的父親六十五歲那年，他用大半版的版面，介紹了他父親的但父親明明不是梵谷，而只是

家有個親戚在巴西，這個親戚在書法和繪畫。「七十七歲，天才老一個道道地地的農夫啊。

希望在自己一百甲的農場裏種台題是如此下的。法和圖畫，眼淚止不住地流。他

於是邀請他父親去當農業顧問，此一個印象，他父親從未和子女寞的父親。竭盡力量，要在無聊

某君的父親為要赴巴西帶領巴談論過什麼有關他的書畫的事。的人生之中，尋找一角規避折磨

西的農場工人，特別要某君幫他倒是他的母親，在他父親罹癌的空間。這是一個某君從未認識

買了一堆葡萄牙語的字典和錄音之后，接受手術及化療期中，一直過的父親……。

帶，苦學葡萄牙語。擔心他父親的狀況。他看到一幅長條幅的字，那幅

了，來巴西半年，葡萄牙語說得一己關在房間裏畫畫，一整天，連飯生命的餘燼寫下的，字跡蒼勁中，

口溜。也不吃，水也不喝，我拍他門，他又帶著懊惱：

某君對這樣的事，一點也不覺都從裏面鎖著。」「曾醒驚眠聞雨過，不覺迷路

得訝異，自有記憶，他父親每隔幾有回母親向某君說。為花深。」

年，就會玩出某種令人出乎意料的「賭氣吧，對自己的不幸賭一滴眼淚，無聲滴落在宣紙

技能和新事物，這似乎是常事。氣。」某君總是如此想，也從未因上。

從他父親年輕時候起，吉他、此關注他父親畫畫的事，他認定 ***

日本演歌、跳標準舞……，好像他那不過是他父親人生階段中另一親情之關隘，情之難，難如登

術作品。此外，他也置 musical instrument), candelabras, traditional

（FENKO 鳳嬌催化室提供　courtesy of Fenko Catalysis Chamber)

Some 25 years ago, industry mainstay CNJ Paper de

handmade paper: Unlike the uniformity of machine-