DEC.

2022 中英文北美版
島
嶼

Encounters with
Taiwanese Architecture
建
築

景觀設計之眼
眾志成城的公民科學
老官路・傳遞大湖馨香故事
台展三少年領頭寫生潮

建議售價
NT$150
US$5 Vol. 47 No. 12 December 2022
HK$40 CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
¥600
 官田採菱

Guantian Water Caltrops

圖／文•林格立　版面設計•馬英凱

菱
角是一年生的浮葉性水生植
物，台南官田是台灣最大的菱 W ater caltrops are the starchy fruit of floating
aquatic plants, and Tainan’s Guantian Dis-
trict is Taiwan’s top producer. After the early-season
角產區，在一期稻作收割後，農家
會輪種菱角幼苗，約三到四個月即 rice harvest in May and June, farmers in Guantian
可採收。 plant out water caltrop seedlings, for harvest three
九月到十二月是菱角的產季，農友 to four months later. From September to December,
們穿著青蛙裝，在綠油油的菱田 wearing waders, they collect the water caltrops amid
裡，辛勤的採收菱角，構成了一幅 the verdant foliage, creating a beautiful scene.
美麗的菱鄉風情畫。 (photo and text by Jimmy Lin/tr. by Phil Newell)
 編人 的
編者 絮話語
來自台灣的故事
文．陳亮君

中華民國111年12月1日出版（月刊）／
中華民國65年1月1日創刊
近年來台灣的公共工程中有許多精采的 本期其他單元中，有回溯日治時期大放異
出版者 光華畫報雜誌社 建築作品，如台中后里動物之家、屏東縣立 彩的郭雪湖、林玉山、陳進等三位藝術大家
發 行 人／ 吳釗燮
Publisher: Jaushieh Joseph WU
社 長 ／ 徐詠梅 圖書館總館及南寮漁港魚鱗天梯……等，本 的創作作品及其後人的回顧；還有將古典音
Director: Catherine Y.M. HSU
總 編 輯／ 陳亮君
Editor-in-Chief: Ivan CHEN 期《光華》封面故事將帶您一探這些融入地 樂在地化的鋼琴家陳瑞斌、聯合民族管弦樂
主 編／ 曾蘭淑
Editor: Esther TSENG
文 稿 副 主 編／ 鄧慧純 郭美瑜
景、別具巧思的公共設施背後，富含人文關 團團長黎俊平的專訪；以及如何用台灣在地
Deputy Editor: Cathy TENG, Mei KUO
文 字 編 輯／ 陳群芳 蘇俐穎 謝宜婷 懷的建築故事。 物產，製成各類香品的產業新創故事；加
Writers: CHEN Chun-fang, Lynn SU, Tina XIE
美 術 編 輯／ 蕭郢岑 馬英凱 劉俊良
Art Editors: HSIAO Ying-tsen, MA Ying-kai, 此外，以「公民科學，全民參與時代」為 上默默於社會底層織起安全網，撐起每個
Lance LIU
攝影組召集人／ 莊坤儒
Photographic Coordinator: Kent CHUANG
題，報導「eBird Taiwan」、「路殺社」…… 被社會遺漏的人的「浪人食堂」、「友洗社
攝 影 組 長／ 林格立
Photographic Director: Jimmy LIN 等，由大眾與科學家們共同完成的保育行 創」、「居家美」等公益團體的扶弱行動，
攝 影 編 輯／ 林旻萱
Photojournalist: LIN Min-hsuan
英 文 編 輯／ 陳瑩潔 唐樂榕 倪凱駿 動，看台灣的公民科學風潮是如何發起的？ 和本期全民徵件主題「季風中的山林──台
English Editors: Audrey CHEN, Robert TAYLOR,
Phil NEWELL
日 文 編 輯／ 山口雪菜 施家騏 以及目前進展到什麼程度？誠如特有生物研 灣森林之美」，由全民投稿的山林美景，
Japanese Editors: Yukina YAMAGUCHI,
Shila SHIH
印 尼 文 編 輯／ 陳德銘
究保育中心研究員林瑞興於受訪時所提及， 從歷史的傳承、建築、古道、公民科學及
Indonesian Editor: Temmy WIRYAWAN
越 南 文 編 輯／ 武秋香 公民科學的發展成功與否，與該國經濟發 人文關懷，到在地研發與再創新，形塑與
Vietnamese Editor: VU Thu Huong
泰 文 編 輯／ 王玉雯
Thai Editor: WANG Yu-wen 展、民主開放、人民保育意識等息息相關， 交織出一幕幕、一幀幀深刻且寓意深遠的

l
資深行政編輯／ 段蜀華
Senior Administrative Editor: DUAN Shu-hwa
社 群 編 輯／ 蕭淑憶
也是社會進步的成熟象徵。 台灣故事。
Social Media Editor: Dawa HSIAO
而由客委會與台灣千里步道協會等民間
總 監 ／ 鍾宜蓉
Marketing Director: Carianne CHUNG
業 務 協 理／ 陳俊偉 單位協力，串連昔日茶、樟腦運輸山徑、農
Deputy Manager: CHEN Jyun-wei
資 訊 部 主 任 ／ 卓宏基
Director of Information Systems: CHO Hung-chi 路及產業道路，完成桃、竹、苗、台中縱橫
綜 合 服 務 組／ 李淑慧
General Affairs: S.H. LEE
380公里的「樟之細路」，看《光華》編採

團隊，細數這一路上的自然、美食與人文景

緻，述說老官路的古往今來。
Stories from Taiwan
I n recent years, public infrastructure proj-
ects in Taiwan have resulted in many re-
markable architectural works. These include
the Taichung Animal Shelter’s Houli Park
facility, the Pingtung County Library, and
the “fish scale” stairway at Nanliao Fishing
Harbor. The Cover Story in this month’s Tai-
wan Panorama will introduce you to the sto-
ries behind these public projects, and their
cultural import.
In a report on “citizen science,” we look at
how the trend for citizen science in Taiwan
got started, and how it is supporting the work
of professional scientists in the field of nature
conservation, in particular with regard to
birds and other wildlife. As Lin Ruey-shing,
a research fellow at the Endemic Species Re-
search Institute, notes, the success of citizen
science in any given country depends on
such factors as its levels of economic devel-
opment, democracy and openness, and the
degree of conservation consciousness among
its citizens. It is a symbol of social progress.
Collaboration between the Hakka Affairs
Council and the Taiwan Thousand Miles
Trail Association led to the creation of the
380-kilometer Raknus Selu Trail. Stretching
from Taoyuan through Hsinchu and Miaoli
to Taichung, it incorporates mountain paths
used for transporting tea and camphor in
days gone by, farm roads, and industrial
EDITOR’S NOTE
roads. Read our portrait of the past and pres- GPN: 2008000038 ISSN1991-525X
原刊名光華 Sinorama Magazine
ent of the Laoguanlu Historic Trail, which 中華民國95年1月改為台灣光華雜誌
Taiwan Panorama
forms one segment of the Raknus Selu Trail, SUBSCRIPTION RATES:
and the natural scenery, cuisine, and cultural 　Republic of China: NT$150 per copy,
　　NT$1500/year, NT$2600/2 years
sites along the way.
　Asia & Pacific Regions: US$40/year,
　　US$72/2 years by airmail
In another report in this issue, we go
　Elsewhere: US$45/year,
　　US$80/2 years by airmail
back to the works of three great Taiwanese 社址／中華民國台灣台北市100209中正區愛國西路
artists from the Japanese colonial era—Kuo
2號3樓
Address: 3F, No. 2, Aiguo W. Rd., Zhongzheng
Hsueh-hu, Lin Yu-shan, and Chen Chin—
District, Taipei City 100209, Taiwan, ROC
郵政信箱／100908台北復興橋郵政第8-398號信箱
and see how they are viewed in retrospect.
PO Box 8-398, Taipei Fuxing Bridge,
Taipei City 100908, Taiwan, ROC
We also bring you an article featuring pianist
讀者服務專線／+886-2-3343-2704
編輯部／+886-2-3343-2750
傳真機／Fax: +886-2-2397-0655　
Rueibin Chen and Lee Chun-ping, director of 網址／http://www.taiwan-panorama.com/
the Union of Chinese Music Ensemble, who
讀者服務專線／+886-2-2397-0633
E-mail: service@taiwan-panorama.com
have been working to link classical music 著作權所有，本雜誌圖文非經同意不得轉載。
如欲轉載，請與本社資深行政聯絡。
with Taiwanese culture; as well as a story 如發現書頁有裝訂錯誤或污損事情，
請寄至本社調換。
about a startup perfume company that is All rights reserved. Photos and articles may not
be reprinted without our permission.
creating fragrances based on local Taiwan- If you wish to reprint any of our articles or
photographs, please contact our senior
ese products. We report on the work being administrative editor.
Damaged or misbound copies returned to us will
under taken by charities and social enter- be gladly replaced.
prises such as Wanderers’ Table, Yo Wash,
and the Jujiamei community cleaning service,
who are quietly constructing a social safety
net for disadvantaged groups in society.
Meanwhile this month’s Photo Essay features
readers’ photos on the theme of “The Beauty
of Taiwan’s Mountain Forests.” Thus we once 本刊物印刷油墨使用環保認證大豆油墨
again present you with profound stories from
Taiwan, woven from history, architecture,
historic trails, citizen science, humanitarian
concern, local R&D, and innovation. l
(Ivan Chen/tr. by Phil Newell)
目次
CONTENTS 中華民國111年12月 第47卷 第12期 Vol. 47 No. 12 December 2022

封面故事 Cover Story

6 創造相遇的空間

16
為公眾造屋
Creating Spaces for Encounters:
Architecture for the Common Man
文•鄧慧純　圖•林格立

16 回應時代的命題
屏東縣立圖書館+台南市立圖書館
Public Buildings for Today’s Needs:
Pingtung County Library and Tainan
Public Library
文•曾蘭淑　圖•林格立

28 景觀設計之眼
驀然回首，發現台灣之美

28
Seeing with a Landscape Designer’s Eye
—Rediscovering the Beauty
of Ilha Formosa
文•蘇俐穎　圖•林旻萱

38 以光為引
聖俗交融的空間
Where the Secular Meets the Sacred:
Taiwan’s Church Buildings
文•鄧慧純　圖•莊坤儒

影像對話 Photo Essay

58 《光華》攝影徵件

38
季風中的山林──
台灣森林之美
Readers’ Photos:
The Beauty of Taiwan’s Mountain Forests

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

2 來自台灣的故事 1 官田採菱 52 月月好讀

Stories from Taiwan Guantian Water Caltrops Variety Pages
文•陳亮君 圖／文•林格立 文•莊仲平
 封面說明：
北投公園中，自然景觀與公共建築和諧相融，訴說著海島與
水相親的美學文化。（林旻萱攝、蕭郢岑設計）
Cover: At Beitou Park, public buildings are harmoniously 全球視野 Global Outlook
integrated into the natural landscape. (photo by Lin Min-
hsuan, design by Hsiao Ying-tsen) 68 「牠」的守護者
眾志成城的公民科學
Citizen Science in Taiwan:
People Working to Protect Animals
文•蘇俐穎　圖•林旻萱

島嶼行旅 Around Taiwan

78 「樟」顯價值之路
老官路．傳遞大湖馨香故事
Trailing the Past

68
—Stories of the Laoguanlu Historic Trail
文•郭美瑜　圖•林格立

藝文脈絡 Cultural Trends

88 「畫」時代的永恆
台展三少年領頭寫生潮
The Three Youths of the Taiten:
Epoch-Making Art in Colonial Taiwan
文•郭美瑜　圖•長流基金會提供

96 用樂譜記錄台灣歷史
台灣作曲家筆下風景
Recording History in Music:

88
Taiwan’s Classical Composers and
Performers
文•謝宜婷　圖•國立傳統藝術中心臺灣音樂館
提供

長流基金會提供 Royal Foundation of Art and Philosophy

產業新創 Entrepreneurship

104 「嗅」出土地的芬芳
台灣香氣跨國飄香
Let the World Smell Taiwan:
Marketing Local Scents
文•陳群芳　圖•林格立

多元族群 Communities

104
114 為浪人織造社會安全網
孵化無家者的多元職場
Helping the Homeless
Through Work Opportunities
文•陳群芳　圖•莊坤儒
 封封
面面
故故
事事
STORY
COVER

創造相遇的空間
為公眾造屋
文•鄧慧純　圖•林格立　版面設計•馬英凱

高樓是為何而起？建築是為何而立？建築收納了人們生活的
各類需求，各種機能在空間中得到滿足，對長年深耕公共工程
領域的建築師姜樂靜來說，不管是住宅使用或是公共空間，她
更在意的是如何在空間裡創造更多與人「相遇」的機會。

6

北屯眷戀山光好宅。
The Beitun Social Housing project.
問姜樂靜怎麼與公共工程結緣，她說要從30多年前剛畢
業的故事講起。
東海建築系畢業後，姜樂靜加入學長的團隊，參與了具
革命性的建案「理想國」，復甦舊有的街區空間，在今日
看來仍屬前衛的藝術造街實驗行動；還有柯比意廣場的設
計，開發者接受設計創意退讓空間作為公共廣場，成為容
納各階層的共享空間。這些案例中，都有著「公共」的影
子，也在姜樂靜的心中埋下種子。
當時建築師郭中端從日本回來，在宜蘭冬山河創造的
「地景革命」，還有同學黃聲遠在宜蘭的耕耘，他們的
「用心改變」，也讓姜樂靜想著能為故鄉台中做些什麼。
Architecture for the Common Man
W
Creating Spaces for Encounters:
hy are buildings erected? Structures are built to pro-
vide spaces that meet various needs of people in daily
life. But buildings are never just functional spaces. For archi-
tect Chiang Le-ching, who has many years of experience in the
field of public infrastructure, no matter whether she is design-
ing residences or public spaces, what she focuses on is how to
create more opportunities for human contact within the space.
When I ask Chiang Le-ching how she got involved in public
infrastructure, she goes back to events that took place shortly after
she graduated from university more than 30 years ago.
After graduating from the Department of Architecture at
Tunghai University, Chiang joined the team of an older Tunghai
alumnus and took part in the revolutionary “Lixiang Guo” (“Ideal
Land”) community regeneration project, as well as the design of
Corbusier Plaza, the centerpiece of Tunghai Arts Street. Both these
projects had a “public” aspect in that they provided some land for
public use, thereby planting a seed in Chiang’s mind.
The opportunity to get her work noticed came with the renova-
tion of some idle warehouses behind Taichung Station, now known
as Art Stock 20, which was the first public infrastructure project
that she worked on. With inadequate resources, the project team
7
 讓她備受矚目的機會出現了，台中後火車站閒 己的閱讀世界，婆婆媽媽話家常，居民串門子，
置的20號倉庫，是她參與的第一個公共工程案，在 「這裡面有十幾處不同的有趣角落，就不會無
資源不充足的情況，連結了眾多民間力量，由眾人 聊。」在頂樓提供了共居房型，打破獨門獨戶的
共同討論，薈萃出大家想要的文創藝術空間。 格局，讓五間套房有獨立的衛浴，但拿出局部空
921大地震亦是姜樂靜人生的轉機，當時隨幸 間做為共享客廳、餐廳和廚房，適合喜歡分享交
朝明神父進入災區勘災，進而與東海建築工作隊 流的民眾，或是青銀共居，這是設計師的社會實
投入山區校園重建，南投信義鄉的潭南國小是她 驗，也是對未來生活的一種想像。
融入布農家屋概念設計的校園，也成了在地重建 在講究坪效的住宅區，姜樂靜並沒有將容積獎
希望的所在，掀起台灣「新校園運動」的前奏。 勵的額度蓋好蓋滿，而是為220戶的社宅居民創
說著她一步一步投入公共工程的歷程，姜樂靜 造了更多公共可互動的空間，還有更多的大自然
確認了建築最好的樣態，從來不是一人專斷的決 及綠意。
定，「想為普羅大眾做設計」的信念，一直迴盪 「長安新村」是1963年開發的宿舍，當時種下
在她心中。 的樹已有三、四層樓高了，充滿眷村味的芒果、
龍眼、荔枝、楊桃，建築師不忍砍去，盡可能把
北屯眷戀山光好宅 老樹都移到周邊，讓建築往後退，甚至犧牲三樓
宜居的方程式 的一個單元，只為讓老樹可伸展枝葉。好的通風

從台中太原車站步行約五分鐘，即可見到樓
高十層，以白色為主體、草綠色腰帶相間的「北
屯眷戀山光好宅」。昔日是省政府時期新聞處眷
舍「長安新村」的一部分，而今成為實踐居住正
義、只租不售、弱勢優先的社會住宅。
姜樂靜說：「其實我一直懷念眷村那種串門子
的人際關係，那樣的美好。」她把那樣的想望畫
進設計圖裡，順著原來的都市紋理，保留原基地
的巷道，社宅分成兩棟，各自獨立又有大平台相
接，「一樓層大概10戶左右，是最適合的。」姜
樂靜解釋，這是最洽當的尺度，鄰居會彼此互動
認識，超過十多戶，大家就容易陌生了。
連接兩棟樓的寬闊平台設在二樓跟五樓，形
成二樓挑高近十米的半戶外公共空間。地板鋪設
橡膠地皮，是讓老人與小孩能安全遊樂的地方，
並大膽地用上黃橘藍綠的拼布色塊，成為視覺焦
點，也讓空間有著共榮與活潑氣息。以隔柵取代
實牆，是取自眷村的竹籬笆意象，但不想色調單
一，姜樂靜在藝術家朋友建議下用混色處理，挑
了木色、橘金、銀三種顏色，以1:1:3的比例挑染
成律動的旋律。
姜樂靜形容這方公共空間就是一個劇場，大
家可以各自找到舒適的角落，孩子騎腳踏車，長
輩可在一旁照看，年輕人聚集討論，或沉浸在自

8
 enlisted the power of the people, and through collective
discussion involving a broad range of stakeholders, Art
Stock 20 was turned into the kind of cultural and creative
arts space that everyone desired.
The 1999 Jiji Earthquake was another turning point in
Chiang’s life. She joined a team of students and faculty
from the Department of Architecture at Tunghai Univer-
sity devoted to school reconstruction in mountain areas,
designing the new Tannan Primary School in Nantou
County’s Xinyi Township, into which she incorporated
cultural concepts from the traditional homes of the
Bunun indigenous people. This became the focal point of
hope in the post-earthquake reconstruction period and
launched the “New Schools Movement” in Taiwan.
While describing the process of her gradual immersion
in public infrastructure work, Chiang opines that the best
architecture has never been the product of one person’s
arbitrary decisions. The ideal of “designing with ordinary
社宅二樓的大平台創造出近十米挑高的半戶外公共空間，鋪
設亮眼的橡膠地皮，是居民互動遊憩的場地。
Walkways connect the second and fifth floors of the Beitun
Social Housing project, creating a semi-open public space ten
meters high. The floor is lined with rubber in a patchwork of
colors. This is a place for residents to relax and interact.
姜樂靜做設計，她更在意
如何在空間裡創造更多與
人「相遇」的機會。
Chiang Le-ching pays
special attention to
creating opportunities for
“encounters” within the
spaces she designs.
people in mind” has always
resonated with her.
Beitun Social Housing
The livability formula
About five minutes’ walk from Taiyuan Station in
Taichung’s Beitun District, you will see two ten-story
buildings that are white with intermittent bands of grass
green: This is the Beitun Social Housing project. Back
in the days before the Taiwan Provincial Government
was downsized, the site was part of a residential area for
employees of the information bureau. Today it has been
transformed into public housing that puts into practice
the right to adequate and affordable homes, with units
that are only available for rent, not for purchase, and
with priority given to disadvantaged people.
Chiang says: “In fact I have always been nostalgic for
the neighborly interpersonal relations and pleasant at-
mosphere that characterized communities built for gov-
ernment employees and military dependents back in the
day.” She incorporated this nostalgia into her blueprints,
preserving the community’s original street pattern. The
public housing is divided into two buildings, indepen-
dent from each other but connected by walkways. “There
are about ten households on each floor, which is the ideal
number.” Chiang explains that studies have shown that
this is the most appropriate scale for neighbors to get to
know each other. When there are more than ten house-
holds, people are much more likely to remain strangers.
The wide walkways connecting the buildings have
been placed on the second and fifth floors, forming a
semi-open atrium between them nearly ten meters in
height. The floor is lined with rubber so that elderly
9
與採光對住宅再重要不過了，兩棟樓的棟距是原初的街道寬，建物較四周
高，形成的穿堂風，提供24小時的涼爽；這樣開放式的設計，串聯了社區既
有的街廓紋理，型塑出舒適的散步廊道，並且敞開接納四周鄰里的居民。
設計師更費心地讓每間屋子都有對外窗，收集四季的陽光，這樣設計不像
一般商業住宅管線集中統一，因此設計上較為繁複，但能讓每一個單位都享
有日照權，是居住的基本權利。

people and children can safely walk and play there, while a bold patchwork of colors—yel-
low, orange, blue, and green—has been employed to create visual focal points and give the
space a lively atmosphere. The walkways are bordered by arrays of metal slats rather than by
walls, an idea that draws on the bamboo fencing in old government employees’ and military
dependents’ communities. But Chiang didn’t want the colors to be too monotonous, so at the
suggestion of an artist friend she adopted a mixed color scheme with brown, orange-gold,
and silver, creating a rhythmic pattern.
Chiang describes this public space as a theater, where everyone can find the most suitable
niche for themselves. “The space can meet multiple needs, so nobody will get bored.” On the
top floor of each building there is a collective residence that breaks down the pattern of sep-
arate homes. There are five studio apartments with their own bathrooms but shared living

10
位在綠川上的一座木構橋，串起了城市生活多元的可能性。
This wooden footbridge over the Lyu-Chuan Canal links together
multiple possibilities of urban life.

11
 因為「八田與一紀念園區」
的案子，郭中端訪談八田與
一的後代，修復後一家人在
老房子中重聚。（中冶環境
造形顧問公司提供）
Architect Chen Yu-lin believes
that through understanding the
land, buildings that arise from
the land can become symbolic
of Taiwan.

台中市動物之家后里園區經蛻變，成為「浪浪的生命中繼站」。 有一六角形結構的木構步橋，即是台中土生土長的
The Taichung Animal Shelter branch at Houli has been
transformed so as to better fulfill its mission as a waystation for 姜樂靜為在地新搭起的一座地景「綠川書橋」。
homeless creatures.
「橋」在建築人的心中，不僅只是結構的呈
現，橋是一個中介、是過度，既是通道，又是連
結，是創造各種相遇的空間。自稱「街童建築師」
的姜樂靜，說自己是街頭長大的孩子，她喜歡街道
社宅就像一個立體的聚落，彙集各式各樣的人
與騎樓那種半戶外的空間，可以遇見店舖裡不同的
入駐，「我適合為普羅大眾做設計」，建築師施
職人，這才是精采與有趣的地方。
展了設計的魔法，為「宜居」的多元想像提供各
「設計提供了一種想像，建築也是劇場，你
種的可能性。
要能想像什麼樣的聚會即將發生在你設計的空間
綠川上的木構橋 裡。」一座橋有幾種功能？通行、休憩、拍照打卡
只是基本款，六角形的木構設計，像是隧道，在陽
不只是一座橋
光下，可以閱讀木構的光影。建築師在橋上裝上書
被稱為「小京都」的台中老城區，其實是個水 櫃，安上椅子，有人帶了書來橋上閱讀。之前橋旁
岸城市，有綠川與柳川兩條重要河川流貫，台中市 有家書店，店主人不定期在橋上舉辦說書會，分享
政府近年來已完成整治工程，姜樂靜也參與綠川第 故事。姜樂靜也曾在橋上自辦過一場音樂會，自費
二期部分景觀改建工程。 邀請了吉他手吳建南來為讀詩的眾人合鳴，成了樹
從車水馬龍的復興路轉進巷弄裡，流水聲、鳥 蔭下河流之上的文藝小屋。它還可以是個市集，也
鳴聲、風的吹拂和滿眼的綠意旋即包圍感官，遠方 可以是一個休憩的空間，「『生活』這件事情才是

12
room, dining room, and kitchen, making this a place suit- basic functions. Her hexagonal bridge design creates a
able for people who like to interact and share with others or three-dimensional space where one can follow the interplay
for intergenerational co-housing. It is an expression of the of sunlight and shadow in the wooden structure. The archi-
designer’s social ideas and a scenario for future lifestyles. tect provided for bookcases to be installed on the bridge
The government employees’ community that previously as well as seating where people can read. There used to be
stood on the site was built in 1963, and the mango, longan, a bookshop next to the bridge, and the owner would occa-
lychee, and starfruit trees planted back then had grown to sionally hold storytelling sessions on it. Chiang Le-ching
be three or four stories in height. The architect couldn’t bear has also held a concert on the bridge. It can be a market-
to cut them down, so as far as possible she had them moved place, or a space to rest and relax. Chiang says: “‘Life’ is
to the edges of the site and pulled the buildings back to give what is real, not a structure, not a sculpture, not an object.”
the old trees room to stretch out their branches. Good venti- Taichung Animal Shelter, Houli
lation and good natural lighting are essential in residential Encounters with animals and destiny
buildings, and the airflows facilitated by the wide space Taichung Animal Shelter Houli Park (the Houli branch
between the two structures provide cool air 24 hours a day. of the Taichung City animal shelter) was completed in 2021
The architect made sure to provide each apartment with and has received very positive reviews. This now well-
exterior windows to enable access to natural light all year known facility is another of Chiang Le-ching’s works. “That
round. Everyone has the right to daylight. a space like this to care for stray dogs and cats can exist in
Apartment buildings are like towns or villages, playing
host to people from all walks of life. “I’m best suited to de-
signing for the common people,” says Chiang. For the Bei-
tun Social Housing project, she wielded her design magic 重建後的台中動物之家后里園區，充滿設計感，被封為全台最美
to imagine multiple diverse possibilities for “livability.” 的動物之家。
The rebuilt Taichung Animal Shelter Houli Park evinces a strong
Lyu-Chuan Book Bridge sense of design. It has been called the most beautiful animal
shelter in all Taiwan.
Not just a bridge
When you turn into the back streets of busy Jianguo
Road in Taichung’s South District, your senses are bathed
in the sounds of flowing water and birdsong, the caress of
breezes, and the sight of greenery. In the distance, span-
ning the Lyu-Chuan Canal, there is a wooden pedestrian
bridge with a hexagonal structure. This is a new element
added to the local scenery by Taichung- born-and- bred
Chiang Le-ching: the Lyu-Chuan Book Bridge.
To architects, a bridge is not just a structure, it is a lim-
inal or transitional space, a communications channel, a link,
a place to create opportunities for all kinds of encounters.
Chiang, who describes herself as a street architect, says that
she was a child who grew up on the streets and that she
likes roads and the semi-open spaces of covered sidewalks
where you can meet all kinds of people, explaining that for
her it is places like these that are the most fun and exciting.
“Design provides scope for imagination, and structures
are like theaters. You have to be able to imagine what kinds
of encounters and gatherings will take place in the spaces
you design,” she says. How many functions does a bridge
have? Crossing over, resting and relaxing, taking photo-
graphs, and checking in on social media are only the most

13
考量動物的習性設計毛小孩的起居空間，同時也方便志工照 儘管狗兒熱愛社交，但也需要獨處的空間，
護服務。
Having a separate room for each cat allows felines, who are by 因此一樓的犬舍是兩犬一舍，配置為兩房一
nature solitary animals, to freely express themselves.
廳，當狗狗想要靜一靜的時候，就可進到專屬
的角落；共用的一廳是社交空間，可與狗室友
互動，也是民眾參觀互動的櫥窗。二樓配置為
小小狗的犬舍，一室六犬能相互作伴，學習社
真正重要的，不是建築物，不是一個雕塑，也不是
會化。姜樂靜還從專業又資歷豐富的獸醫院院
一個物件。」姜樂靜說。
長王麗貞得知，階梯高度不利於狗狗的關節，
台中動物之家后里園區 小小狗也不擅長下階梯，特別設計了斜坡走
道，讓狗狗舒適地上下樓。
與有緣動物相遇的機會
貓咪喜歡獨處，因此一貓一室，幾乎每間房都
去（2021）年重建完成，就獲得極高的評價 有對外的玻璃窗，每當喵皇在窗邊沉思，最適合
與知名度的台中動物之家后里園區，還被媒體封 觀察牠們優美姿態。貓咪需要數個藏身處，每間
為全台最美的動物之家，也是出自姜樂靜之手。 貓舍都設有跳台，供貓咪玩耍。姜樂靜也仔細詢
「台灣有這樣照顧流浪貓犬的空間出現，也代表 問工作流程，設計將志工清掃的動線與大眾參觀
台灣社會已成熟到一定程度了。」姜樂靜解釋。 動線區隔，維持參觀者的好印象。姜樂靜滔滔不
動物之家基地屬狹長型，姜樂靜配合將建築 絕地說著，為何如此這般，是設計者對毛小孩的
主體拉長，並且座向轉45度，讓每隻毛小孩都能 將心比心。
享受到陽光。圓弧的身型空間，以白色為基底， 動物之家並非以收容為主，而是鼓勵以領養代
檸檬黃為輔色妝點在窗框、座椅等細處，增加大 替購買，因此依據需求設計了大貓室，是人與貓
家的記憶點。人與動物的需求截然不同，姜樂靜 咪互動的空間，進入之前請先細讀園方的宣導，
就教於獸醫師，了解毛小孩的習性。貓咪生性緊 須尊重貓咪意願，輕聲細語，並放輕動作。想要
張，因此狗與貓一定要分區安置，而且毛孩們對 收養的貓咪，經過園方同意後，可以帶到大貓室
氣味敏感更勝於聲音，通風更顯重要。她將成犬 來熟悉互動，也可讓園方評估收養人是否適合。
舍設在北方，拉高的樓板，利於空氣流通。貓咪 「收容之後的轉介才是最重要的，」動物之家是
怕冷，因此貓舍安在南方，並利用自動排煙的高 「提供了大家遇到與你有緣動物的機會。」姜樂
窗通風節能。 靜的設計正如此實踐著。 l

14
Taiwan is a sign that Taiwanese society has reached a cer-
tain level of maturity,” Chiang explains.
The site on which the shelter stands is long and narrow,
so Chiang stretched the building out and turned it through
45 degrees to let all of the animals inside enjoy sunshine.
Animals have different needs to humans, so Chiang con-
sulted with veterinarians to better understand the habits
of shelter animals. Cats are skittish by nature, so dogs and
cats must be kept in separate areas. Moreover, the animals’
sense of smell is even keener than their sharp hearing, so
ventilation is very important. She put the kennels for adult
dogs on the north side of the building and raised the height
of the ceiling to facilitate air circulation. Cats are more sen-
sitive to cold, so the cat kennels are on the south side of the
shelter, and have highly placed windows for ventilation,
which also automatically allow for smoke to escape in the
event of fire.
Although dogs are very social, they need their own
space too. Therefore the dog kennels are designed for two
dogs per unit, with “two bedrooms and one living room.”
When a dog wants to be alone, it can enter its own exclusive
space. The shared space is for socializing, where canines
can interact with their “roommates.” It is also the showcase
where people can observe the dogs and interact with them.
動物之家為大家創造與有緣動物相遇的空間，一對對成功領養的家庭也在動物之家留下幸福的身影。
Animal shelters are spaces where people can meet the animals with whom they have a shared destiny.
Many families who have adopted pets from the shelter have left behind images showing their happiness.
Cats prefer to be alone, so there is one cat per “room.” Vir-
tually every cat kennel has a glass exterior window, and the
best time to see the cats at their most beautiful is when they
are by the windows, seemingly deep in thought. Chiang
also carefully inquired about work procedures at the shelter,
and provided separate paths for volunteers to do the clean-
ing and for members of the public to visit the animals, in
order to maintain a good image in the eyes of these visitors.
Chiang says with passion that she arranged things as they
are because of the sense of empathy she feels for the animals.
There is also a spacious cat room where visitors can
interact with cats. With the agreement of shelter staff, a cat
that someone is interested in adopting can be brought to
the cat room to get to know the prospective owner, while
also enabling the staff to assess the suitability of the people
involved. The main function of the animal shelter is not
to house animals permanently, but to encourage people to
adopt stray animals rather than buying from dealers. “It is
the introductions to people that animals get after they are
sheltered that are most important.” The shelter “provides
an opportunity for people to meet the animals which are
destined to become their companions,” and this goal is pre-
cisely realized in Chiang’s design. l
(Cathy Teng/photos by Jimmy Lin/tr. by Phil Newell)
15
 封封
面面
故故
事事

文•曾蘭淑　圖•林格立　版面設計•馬英凱
STORY
COVER

回應時代的命題
屏東縣立圖書館+台南市立圖書館
文•曾蘭淑　圖•林格立　版面設計•馬英凱

被喻為設計出「神殿」級圖書館的美籍建築師路易斯．康
（Louis I. Kahn）曾說：「書本提供的價值極為寶貴。若論
誰有能提供此價值的殊榮？就非圖書館莫屬了！」
路易斯．康在1970年代設計的圖書館，成就一代經典，但
在時代的變遷中，圖書館提供閱讀與藏書的功能不變，「公
共性」卻有了極大的轉變，台灣這兩年新開館的屏東縣立圖
書館與台南市立圖書館便回應了這個命題。

16

改建後的屏東圖書館，展現原本
建築與週遭環境的友善關係。
The renovated Pingtung County
Library brings out the positive
relationship between the original
building and its surroundings.
2021年重新開館的屏東縣立圖書館總館（以下稱「屏
東圖書館」），玻璃帷幕映照著館外綠意蔥蔥的樟樹
林，由圖書館往外看，可見窗外的藍天綠意，因而贏得
Pingtung County Library and Tainan Public Library
「森林圖書館」的美譽。
其實，這是一棟30多年歷史的老建築，前身為屏東縣
立文化中心。改建前，屏東人得從大連路進去後，繞一
大圈，頂著大太陽，穿過威武聳立的椰林大道，再經過
水泥廣場，才來到很像巨大司令台的中正圖書館。
呼應世界之趨勢
這個曾是全國重要文化建設的建築，因空間不足、設
備老舊，2018年啟動整建工程。
由於屏東縣不像六都享有豐沛的預算與文化資源，委
託設計的建築師張瑪龍因此向縣長潘孟安建議，與其重
Public Buildings for Today’s Needs:
新興建一座圖書館，不如以改建、增建的方式，既可節
省經費，又可保留原來建築的特色與歷史意義，藉由時
間的跨越進行文化的累積。
T he American architect Louis I. Kahn, who was widely
praised for the beautif ul libraries he designed, once
said: “How precious a book is in light of the offering, in the
light of the one who has the privilege of this offering. The li-
brary tells you of this offering.”
The libraries that Kahn designed in the 1970s became clas-
sics of his generation. But as times have changed, while the
functions of libraries as providers and preservers of reading
material have not altered, there has been an enormous trans-
formation in “the nature of public space.” Two new public
libraries that have opened in Taiwan over the last two years,
one in Pingtung and one in Tainan, echo this trend.
The main Pingtung County Library building, reopened in
2021, has a glass curtain wall that overlooks a wood of lush green
camphor trees. Looking out from inside one can see the blue sky
and verdant surroundings, earning the building the nickname
“forest library.”
In fact, this is a building that dates back more than 30 years
and was formerly the Pingtung County Cultural Center. Before
its renovation, to access the Zhongzheng Library people had to
17
 屏東縣立圖書館一隅的閱讀風景。
The view from a secluded reading spot in the Pingtung County
Library.

當民眾隨著旋轉梯上樓，整棟空間的梗概盡入眼底。
Walking up the spiral staircase, the whole of the library space
unfolds before one’s eyes.

結論是，不僅圖書要與數位媒體競爭，現代的圖
書館，還必須與美術館、博物館等其他的文化設
施競爭。」
如何在此競爭中脫穎而出？張瑪龍陳玉霖建
築師事務所設計團隊運用「使用者介面更新」的
概念，好像作業系統更新一樣，以適應當代的需
求。
從舊建物長出來的新大廳，就是陳玉霖所說的
新的「使用者介面」，這裡有咖啡館，有誠品書
保留舊有的結構，再賦予新的生命，如此避免 店，不時清空舉辦展覽與講座，讓不愛進圖書館
拆屋產生龐大的建築廢棄物，符合永續的概念， 的人也願意來。
亦呼應近五年來普立茲克建築獎得獎的作品，不 這也是改造屏東圖書館最令人驚豔的神來之
再以設計出創新炫目的地標為亮點，而是以回應 筆，將舊有藏在樟樹林中的機車停車場改建成大
氣候變遷、環境變化與人的需求為出發點。 廳，並將圖書館的大門轉了向，從南側改至西
實踐了永續建築（sustainable architecture）理 側，過去需要繞一大圈方能進去，如今是走一小
念的屏東圖書館，創造出原建築與週遭環境的友 段綠意互掩的林蔭路，感覺更親近、更友善。
善關係，亦在今（2022）年全球建築權威獎項 其實，樟樹林一直在那裡。
Architizer A+Awards，得到改造建築類的人氣獎 陳玉霖說，樹都沒有動哦！透過增建的大廳，
與圖書館類佳作的雙重肯定，讓台灣一個在地的 將立面的牆變透明，屋簷與樟樹相接。白天，玻
圖書館被世界看見。 璃帷幕牆映襯著樹林，產生綠意相疊的效果；晚
上，屋內的燈光與書香穿透了透明玻璃，至屋外
使用者介面之更新
的夜色中，呈現建物內部與外部的對話，圖書館
為了回答「圖書館在21世紀數位時代的功能是 的可及性與親切感便建立起來。
什麼？」負責設計的陳玉霖建築師說：「我們的 「圖書館的公共性也由此而來，」陳玉霖強

18
enter from Dalian Road and walk along a boulevard of
tall palm trees, then cross a paved courtyard in the hot
sun to enter the building, which looked like an enor-
mous military command post.
Responding to world trends
Because this structure, which was once one of Tai-
wan’s major cultural buildings, lacked adequate space
and its facilities were falling into disrepair, renovation
work was begun in 2018.
Pingtung does not enjoy financial and cultural re-
sources comparable to Taiwan’s six special municipal-
ities, so architect Chang Ma Lone of Mayu Architects,
which was commissioned for the project, recommended
to county magistrate Pan Men-an that rather than
building an entirely new library, it would be cheaper to
renovate and enlarge the existing building. This would
also preserve the character and historical significance
of the original structure and extend its cultural legacy.
By preserving and rejuvenating the old structure,
the project has avoided generating the vast amounts of
demolition waste that would have been produced by
tearing the building down, and thus conforms to the
concept of sustainability. It also fits in with the criteria
nowadays used for selecting the winners of the Pritzker
Architecture Prize, which for the last five years has not
prioritized innovative, eye-catching landmark designs,
but has focused on buildings’ response to climate
change, environmental change, and human needs.
The Pingtung County Library expresses the ideals
of sustainable architecture, creating a friendly relation-
ship between the original building and its surround-
ings. At the 2022 Architizer A+Awards, the building
won recognition in two categories: It was the Popular
Choice Winner in the Adaptive Reuse category, and
earned a Special Mention in the Libraries category. The
awards drew global attention to this Taiwanese library.
Renovating the user interface
The team at Mayu Architects asked themselves,
“What are the functions of a library in the digital era
of the 21st century?” Architect Chen Yu-lin, who was a
member of the design team for the project, says: “Our
conclusion was that not only do books nowadays have
to compete with digital media, but modern libraries
have to compete with other cultural facilities such as
museums and art galleries.”
How could their library stand out in this competi-
tive environment? The Mayu team applied the concept
of “renovating the user interface”—much like updating
a computer’s operating system—to meet contemporary
needs.

新大廳有咖啡館、誠品書店，擴張圖書館的公共性。
The newly added lobby includes a coffee shop and a branch of
the Eslite bookstore chain, greatly enhancing the functionality of
the library’s public space.

19
屏東縣立圖書館三樓的閱讀區。
A reading area on the third floor of
the Pingtung County Library.
調，圖書館是民眾最熟悉的文化設施，也是最公
共的公共建築。透過建築設計，讓民眾願意進
來，而且符合各年齡層的喜好與需求。
圖書館公共性之演變
陳玉霖心目中的經典圖書館，是美籍建築師路
易斯．康在1970年代為一所高中設計的Phillips
Exeter Academy Library，這個由三個空心正方柱
體組成的圖書館，呈現極致的對稱與幾何張力，
營造出宛如「神殿」般的氛圍，讓讀者在館內不
由自主產生敬畏與謙卑之心。
陳玉霖認為，隨著時代的變化，圖書館不能只
是藏書、閱讀的地方，現今的圖書館要伸出雙手
擁抱群眾，舉辦講座、展覽，提供各式學習的機
會與空間。
那個時代象徵社會進步的文化中心，所代表
的公共性是一群人做同一件事，例如一起聽音樂
會、一起參加升旗典禮。「而我定義現代的公
共性，是每一個人在同一個空間，做不一樣的
事。」陳玉霖說。
從「大眾的集合」到「小眾的集合」，屏東圖
20
書館的目標，是讓小眾可以在圖書館找到自己的
角落。
例如為了吸引青少年，三樓以漫畫、影音藏書
為主，還有一處大階梯。此處的前身是整棟建築
的核心，一處密不透風的夾層書庫。但設計團隊
將夾層打掉，改成挑高二層樓的白色大階梯區，
把書搬出去，把活動引進來。原先設計是因應辦
活動時，大階梯區可以放映電影，舉辦講座。而
今，青少年常在此反著坐，把階梯當桌子，寫作
業、討論功課，自成一溫書的天地。
放大來看，圖書館也像一座都市，擁有豐富
的區域，但設計團隊希望屏東圖書館不像是一座
有效率的格子狀都市，而是像鹿港或台南市安平
區的傳統街區，隨意在大街小巷走著，縱使迷了
路，也可以找到主要的廟宇與地標。
因此設計團隊為屏東圖書館創造了兩個挑高的
空間，讓空間的流動性充足。
「有點迷路是有趣的。」陳玉霖認為，縱使迷
路，走一走，馬上可以知道自己的位置；縱使憑
感覺逛，很容易了解出口、廁所與主要的區域，
這也是公共建築設計的目標。

張瑪龍建築師改造的屏東
圖書館，實踐了永續建
築的理念。（張瑪龍建
築師事務所提供）
As renovated by architect
Chang Ma Lone, the
Pingtung County Library
is a manifestation of the
concepts of sustainable
architecture. (courtesy of
Mayu Architects)
The new lobby extending out from the old structure
is the new “user interface” that Chen is talking about.
There is a coffee shop here as well as a branch of the
Eslite bookstore, and sometimes the space is cleared
for exhibitions or lectures, drawing in people who
don’t often go into libraries.
The addition of this lobby is a stroke of genius,
transforming the former motorcycle parking lot hidden
amidst a wood of camphor trees into a large indoor
space. It also relocates the library’s main entrance from
the south side to the west side. In the past you had
to walk a long way around to enter the building, but
now there is just a short stroll along a shaded, verdant
walkway, creating a welcoming and friendly feeling.
“The library’s nature as a public space also derives
from this sense of welcome,” emphasizes Chen. Librar-
ies are the most familiar cultural facilities to most resi-
全台唯一有石板的屏東縣立圖書館，設有原住民圖書區。
The Pingtung County Library is the only library in all of Taiwan
to have a slate slab structure within it; it houses an indigenous
literature area.
dents, and are the most public of public buildings. The
new Pingtung County Library draws citizens in and
meets the preferences and needs of people of all ages.
The evolution of public space
The nature of the former cultural center, which
represented progress back in the day, was to provide
a public space where people could share in a single
activity, such as listening to a concert or attending a
flag-raising ceremony. “But to me,” says Chen, “the
nature of public space as I define it today is to have
everyone in a single space each doing different things.”
For example, on the third floor, as well as the col-
lections of comic books and multimedia materials that
appeal to young people, there is a large staircase area,
陳玉霖建築師認為，透過對
土地的了解，從土地長出建
築，就會變成台灣意象的
一部分。
Architect Chen Yu-lin believes
that through understanding
the land, buildings that arise
from the land can become
symbolic of Taiwan.
which was formerly a poorly ventilated mezzanine in
the heart of the building, where books were shelved.
The design team removed the bookshelves, knocked
out the mezzanine and transformed the space into a
two-story white staircase and activity area leading
up to the fourth floor. Today, young people often sit
backwards on the staircase, using the stairs as a desk
where they can write and discuss their homework. The
stairs can also serve as seating for activities such as
film showings or lectures.
The library is designed to be like a net work of
streets where people can wander around, and, says
Chen, “It’s fun to get a little lost.” But if you do get lost,
just walk on and you will immediately know where
you are. Even if you just stroll randomly, following
your instincts, it’s easy to find the exits, bathrooms,
and main areas. This is one of the objectives of public
building design.
21
玻璃帷幕牆映襯著樟樹林，產生綠意相疊的效果。
The glass curtain wall reflecting a camphor grove produces
a sense of overlapping greenery.

22
23
 建築外牆鋁製的欄柵，既有遮蔭的效果，隨著時間推移，讓灑進館內的光影富有變化。
The aluminum slats around the building’s crown produce alternating light and shade. As time
passes, the light that filters into the library continually changes.

感受閱讀空間之氛圍 文化地標：台南市立圖書館

屏東圖書館的大廳，主色調是黑色，柱子與 如果想要就著圖書館內的一扇窗，看看書，發
牆面不是呆板的垂直線條，而是V型的柱子與天 發呆，有著各式各樣的靠背椅、沙發與靠窗閱讀
花板交錯而成的三角形與平行四邊行。天窗、窗 桌的台南市立圖書館總館，也是一個好所在。
孔、夾層與懸吊的大燈籠，隨處可見三角形的元 有著103年歷史的台南市立圖書館，由於過於
素，這是建築師從排灣族玄黑色石板屋的紋飾借 老舊，在前市長賴清德任內，以18億元預算編列
景，轉化為現代隱喻的圖騰。 興建新館，2017年開工，2021年1月開館。由荷
說到石板屋，屏東圖書館真的有一座如假包 蘭Mecanoo 建築師事務所負責主要設計，張瑪龍
換的排灣族石板屋，由於年久失修，過去放在四 陳玉霖建築師事務所負責細部設計。
樓，是一座陰暗沒有人敢走近的暗室。 原本擔心荷蘭人習慣設計寒帶喜歡吸收陽光
屏東縣政府文化處圖書資訊科科員林怡如 的建築，與南台灣防曬的觀念相反，但陳玉霖透
說，石板屋是串連三樓至四樓必經的動線，館 露，競標前，雙方各自畫的草圖，竟不約而同地
方佈置了月桃葉、小米以及燈飾，成為原住民 採取層層退縮的立面設計，用最簡單的方式回應
書籍區，還常常有學生坐在石板屋的椅子或地 在地的氣候。縱使每一層樓使用大片玻璃，達到
上複習功課。 最高的透明度，卻有遮蔭避雨的效果。
什麼樣的空間適合讀紙本的書，也是設計現代 整棟建築的意象取材自台南老屋花窗紋飾，建
讀書館的重點之一。「我們的答案是，可以讓你 築外觀鋁製的欄柵，既有遮蔭的效果，隨著時間
分心的地方。」這個聽來似是而非的答案，陳玉 推移，讓灑進館內的光影富有變化；連顏色的運
霖解釋，若要專心讀書去K書中心就好了。「我 用都有將台南市的落塵量考慮進去。
們認真的想過，最適合讀小說的地方，就是可以 亦操刀設計荷蘭Delft 理工大學圖書館與英國最
胡思亂想的地方。」喝著咖啡，從書中小說的場 大的公共圖書館伯明罕圖書館的Mecanoo 建築師
景，想想自己，看看窗外的綠意。 事務所，擅於分區使用設計，用理性的考量去分

24
 The ambience of a reading space was budgeted to construct a new library. Work began
The main color used in the lobby of the Pingtung in 2017 and the replacement building opened in Jan-
County Library is black, with brown wood. The pil- uary of 2021. The Dutch architectural firm Mecanoo
lars and walls do not follow an unimaginative vertical was commissioned to do the main design, while Mayu
pattern, but are composed of parallel lines of triangles Architects handled the detailed design.
formed by the intersection of the V-shaped pillars Chen Yu-lin reveals that the draft designs prepared
with the ceiling. Everywhere there are triangular by the two firms prior to the bidding coincidentally
elements, from the skylights to the windows to the both adopted a facade design with each floor project-
mezzanine and the hanging lights. This idea was bor- ing out over the one below, using a strikingly simple
rowed from the ornamentation on the jet-black slate approach to take account of the local climate. Thus
houses of the Paiwan indigenous people, and trans- despite the use of large glass facades on each floor to
formed into a modern representative pattern.
Speaking of slate houses, the Pingtung County Li-
brary actually includes a genuine Paiwan slate house.
However, because it fell into disrepair over the years
and was on the fourth floor, it became a dark and un-
used space that people didn’t care to enter. 台南市立圖書館的主樓梯採用大紅色，建築師的靈感來
自台南許多廟宇的意象。
The design team opened up an entrance through The main staircase in the Tainan Public Library is a vibrant
one of the walls, and turned the house into an area red color. The architects got their inspiration from the
dominant color in many temples in Tainan.
that one must pass through to get from the third to
the fourth floor. Library staff adorned the structure
with shell ginger, millet, and lamps, and turned it into
an area for indigenous people’s literature. Students
can often be seen sitting in the chairs or on the floor
of the slate house doing their homework.
The question of what kind of space is suited to
reading printed books is one of the focal points of
modern library design. “Our answer is to make a
place where one can be distracted.” Chen explains
this seemingly counterintuitive approach by saying
that if one wants to concentrate then one can just go to
a “study center” (a place that rents out quiet spaces to
study). “We thought about this carefully and decided
that the best place to read novels is a place where your
mind can wander.” But here you can drink a coffee,
imagine the scenes in the books, get lost in thought,
and look at the greenery outside.
Tainan Public Library: A cultural landmark
If you want to sit by a window, read, or just day-
dream, the Tainan Public Library, with all kinds of
chairs, sofas, and window-side reading desks, is an-
other good place to go.
The Tainan Public Library dates back 103 years.
Because the old building was dilapidated, during
the tenure as mayor of Tainan of current ROC vice-
president Lai Ching-te (William Lai), NT$1.8 billion

25
析圖書館的內部空間與使用行為，穿透的空間，讓藏
書書架一目了然；身在此開放的空間中，即能感受靜
謐卻自由的氣氛。
陳玉霖說，剛好合作設計的兩家建築師，都崇尚
建築學中「自由計畫」的價值。他解釋：「我們想像
圖書館是一個容器，可以放書、放活動。」由於基地
方正，每一層就像是一個平台，用家具定義每一個空
間、每一個人的位子。只要變動家具，就可以改變這
個空間的功能，這樣的彈性，讓圖書館可以因應時代
變遷的需要。
陳玉霖認為，台灣整體社會是有深度的社會，民
眾開始發現，好的建築氣質與內在更重要，不用爭奇
鬥豔，也可以成為文化的地標。
開放、彈性、透明的公共性
由於一樓是民眾造訪頻率最高的樓層，Mecanoo
建築師事務所運用下凹的中庭與天井，讓一樓的陽
光可以照進地下一樓，民眾可以輕易地下到這個鏤
空的地下室，好似有二個低樓層，讓圖書館的功能
可以做更好的發揮。
一樓挑高三樓的天井，展示著英國藝術家P a u l
Cocksedge創作的「陣風」（Gust of Wind），半空中
自由紛飛的白紙，代表了圖書館的本質，傳達了思想
的自由，以及紙本閱讀的快樂。
為了拓展民眾閱讀的廣度，館方運用各式的書
展、主題策展，將圖書資料立體化。特有的日文舊籍
區，1萬6,000件日治時期的舊籍，不僅做了充氮氣防
蟲處理，亦數位化，是想作日治時期研究的寶庫。
因應台南圖書館館內空間運用的彈性，一樓大廳
假日時，變身為弦樂與舞團的演藝場所；三樓有烏邦
圖獨立書店進駐，讓民眾感受圖書館還有百貨公司的
氛圍。從事圖書館工作30多年台南圖書館館長洪玉貞
認為，圖書館作為一個有機體，從過去以「書」為
主，轉變為以「人」為主。
手作教室、創客空間與烹飪教室，提供民眾更多
學習的機會；四樓運用科技互動展示的台南名人堂，
可以好好認識台南的故事與歷史。
圖書館作為承載知識的寶地，就如洪玉貞所說，
圖書館的公共性從以往市民的閱讀空間，轉變為學習
交流的空間。公共圖書館亦是落實知識平權之處。圖
書館「不只」是圖書館，這是圖書館回應時代叩問最
好的答案。
26
achieve maximum access to natural light, each floor
still enjoys shade and shelter from the rain.
The concept for the overall building design was
inspired by the decorative latticed windows in old
houses in Tainan. The aluminum slats around the
crown of the building provide shade, and as the hours
pass, the light that filters into the interior continu-
ously changes. Even the choice of colors was guided
by the amount of dust in downtown Tainan.
Mecanoo is skilled at designing areas for different
uses, and they rationally considered the interior space
of the library and how people use it. The open lines of
sight within the building enable one to take in all the
bookshelves at a glance. In this open space there is a
tranquil literary atmosphere.
An open, flexible, transparent space
The three-story-high atrium features the work Gust
of Wind, by the British artist Paul Cocksedge. White
paper flies through the air, symbolizing the functions
of a library and conveying the ideas of freedom of
thought and the pleasure of reading printed books.
To broaden the public’s reading horizons, the li-
brary stages all kinds of book exhibitions and themed
shows to draw attention to different types of reading
material. There is also a special section with 16,000 old
volumes in Japanese from the era of Japanese colonial
rule. Not only is nitrogen pumped in to prevent insect
pests, the collection has also been digitized in the hope
of making it a major resource for research into that era.
There is flexibility in the use of the library’s in-
terior space. On weekends and holidays, the first-
floor lobby is transformed into a performance space
for string music and dance. There is a branch of the
Ubuntu bookstore on the third floor, creating the
atmosphere of a department store inside the library.
Director Hung Yu-chen, who has been working in li-
braries for over 30 years, argues that a library should
be an organic place, and in this new age it should fo-
cus on “people” rather than “books.”
Libraries are important centers for the transmis-
sion of knowledge, and, as Hung says, public libraries
are places where equal rights to knowledge can be
enjoyed. Libraries should be more than just librar-
ies—that’s the best way for them to respond to con-
temporary needs. l
(Esther Tseng/photos by Jimmy Lin/
l tr. by Phil Newell)
英國藝術家Paul Cocksedge創作的「陣風」，帶給讀者
對閱讀的無限想像。
The work Gust of Wind by British artist Paul Cocksedge gives
readers boundless scope to let their imaginations soar.

夜色中之台南市立圖書館。
The Tainan Public Library at night.

27
 封封
面面
故故
事事
STORY
COVER

景觀設計之眼
驀然回首，發現台灣之美
文•蘇俐穎　圖•林旻萱　版面設計•馬英凱

28

南寮漁港的魚鱗天梯，緩降的堤
防，給了民眾親近大海的機會。
The gentle slope of the “fish-scale
staircase” at Nanliao Fishing
Harbor offers the public a chance
to get closer to the ocean.
生態學家愛德華．威爾森曾說，因為人類與生俱來
—Rediscovering the Beauty of Ilha Formosa
「親生命性」（Biophilia）的特質，所以對自然有著一
股冥冥中的嚮往。那麼，能適切地為自然與人搭建橋
梁，締造出美好交流的人，當屬景觀設計師了吧。
Seeing with a Landscape Designer’s Eye
景觀設計，不僅是蒔花種草、鋪石頭、建涼亭，
倘若將「景觀」兩字拆解，說文解字一番，「日」
照「京」城，稱之為「景」；有「艸」（草）、有
「隹」（鳥），加上「見」與兩個「口」，才成為
「觀」字，似乎意味著，人看見自然生態的美後交口
稱讚。可見得，「景觀」不僅指地表風景，更意味著
人與自然互動以後，和諧共存的美好境界。
E cologist E.O. Wilson proposed that humanity has an
innate affinity for nature, a trait he called “biophilia.”
As the people that build bridges between mankind and na-
ture, facilitating happy interaction between the two, one
could consider landscape designers to be ambassadors of
biophilia.
Kaohsiung is a city known for its industry and its seaport.
Through this concrete jungle flows the Love River, winding
some three kilometers before it finally reaches the sea, where
suddenly the landscape transforms. The crushing concrete is
swapped out for seemingly endless new greenery, with man-
groves clustered along the riverbank playing host to bugs, fish,
shrimps, and crabs as waterfowl gracefully flit and fly around.
To find such an oasis in this otherwise highly developed urban
area is a surprise and a delight.
29
 台灣景觀設計先驅郭中端。
Pioneering Taiwanese landscape
designer Kuo Chung-twn.

來到以工業、海運聞名的高雄，愛河一路流經 重新復育了整片濱海林相。在這裡，自然才是主
水泥叢林，抵達出海口前三公里處，卻突然出現 角，引導遊客活動的簡易碼頭、吊橋與公共教室
了一處綿延不盡的新綠，河岸邊簇擁著紅樹林， 等硬體設施，僅是酌量添加。
當中藏著蟲魚蝦蟹，水鳥翩然棲息，在高度開發 由此可見，景觀設計的重點和建築大不相同，
的都會區中居然有著這樣一片綠洲，著實讓人驚 「建築強調造型，景觀則是無形。」郭中端解
喜。 釋。建築擅長無中生有，強調建築師的個人主
這是景觀設計師郭中端的作品。建築本科出 張，但現代的景觀概念，則是為了修補大規模的
身的她，在景觀設計走了超過30年，特別樂意挑 建設工程所帶來的環境破壞，因此除了適度施作
戰困難、複雜案子的她，一路參與過多件大型公 硬體設施，更著重在人為活動與自然環境的整體
共工程，如冬山河親水公園、明池國家森林遊樂 統合。因此可說，在物質豐裕的年代，科技突飛
區、世大運主場館、八田與一紀念園區等，從都 猛進，景觀設計與「人定勝天」的思維逆向行
市到山野，從本島到離島，都有她的作品。而在 之，更強調設計思維上的「道法自然」，為當代
去（2021）年，郭中端獲得國家文藝獎殊榮，稱 環境倫理提出另一重省思。
她為台灣景觀界的先驅人物，當之無愧。 與其多，毋寧少；與其新建，不如修舊，郭
中端往往如此認為，但經驗告訴她，「做得少往
多不如少，新不如舊
往比做得多更困難。」她表示。她謹慎拿捏人工
郭中端曾經說，她執行的案子大多以荒地、 的上限，揣摩著能夠與不能夠、無為與有為，冀
惡地、頹圮房舍的「修復」工程為主，中都濕地 求兩端的均衡。就像她領軍的景觀公司，被命
公園亦如此。基地在百年以前本是一畦畦水塘， 名為「中冶環境造形」，特別選用「形」而非
甚至生長著大量的紅樹林，因為都市發展的緣故 「型」，便出於這樣的思維，「我不要帶給土地
逐步填平，甚至成為了一片荒蕪的野地，還不乏 刑罰，要像風吹拂一樣地自然。」她堅定地說。
垃圾堆積。在高雄市政府的邀請下，她率領著自
是景觀工程，也是考古工作
己的景觀公司「中冶環境造形」團隊前往，立下
恢復原本地景的目標，先清除垃圾、廢土，還找 即便為了堅持原則，讓案子進行起來格外曠
了植物學家郭城孟協助，搜尋合適的植物品種， 日費時。郭中端說，工程開始進行以前，團隊得

30
 This is the work of landscape designer Kuo Chung-
twn. With a doctorate in architecture, she has been
involved in landscape design for more than 30 years,
with a particular attraction to challenging, complex
cases. She has worked on many major public projects,
and in 2021 she received the National Award for Arts.
She has been called a pioneer in Taiwan’s landscape in-
dustry, and it is a title well deserved.
Less is more, old is new
Kuo once said that most of the projects she had
worked on were about the “restoration” of wastelands,
severely derelict sites, and tumbledown buildings. This
was also the case with the Jhongdou Wetlands Park.
A century ago, the site was a wetland with numerous
ponds and large areas of mangrove forest, but it was
gradually filled in due to urban development, becom-
ing a barren wasteland covered in piles of trash. At the
invitation of the Kaohsiung City Government, Kuo led
her landscape company, Laboratory for Environment &
Form (LEF), in a project aiming to restore the original
landscape. First they removed the garbage and waste
soil, and they enlisted the help of botanist Kuo Chen-
meng to search for suitable plant species and to reha-
bilitate the entire coastal forest. Here, nature is center
stage, while manmade structures that guide visitors’
activities, such as the simple jetty, suspension bridge,
and public classrooms, play a supporting role.
包夾在大城市裡的中都濕
地公園，是水泥叢林中的
一片綠洲。（中冶環境造
形顧問公司提供）
Located in downtown
Kaohsiung, Jhongdou
Wetlands Park is a green
oasis in the concrete jungle.
(courtesy of LEF)
This illustrates how greatly the focus of landscape
design differs from that of architecture. “Architecture
emphasizes form, while landscape is more intangible,”
explains Kuo Chung-twn. Architecture specializes in
creating something where there was nothing, empha-
sizing the architect’s personal ideas, but the modern
concept of landscaping was born out of a desire to
repair the environmental harm caused by large-scale
construction projects, so beyond the appropriate provi-
sion of physical facilities, more emphasis is placed on
the overall integration of human activities with the nat-
ural environment. Thus we can say that in this age of
material abundance and rapid technological advance,
landscape design is the reverse of the mindset of man-
kind enforcing his will on nature, its design philosophy
instead emphasizing going with the flow of nature, a
reflection of contemporary environmental ethics.
Landscaping as archaeology
Kuo’s insistence on sticking to her principles means
that projects can be extraordinarily time-consuming.
Before the landscaping work starts, the team has to
conduct intensive cultural and historical research,
pore over academic literature and historical texts, and
inter view local seniors, making landscape design seem
more like a kind of archaeology.
Take Taipei’s Beitou Park as an example. The site of
a project she undertook there includes a stream that
31
 因為「八田與一紀念園區」
的案子，郭中端訪談八田與
一的後代，修復後一家人在
老房子中重聚。（中冶環境
造形顧問公司提供）
For the Yoichi Hatta Memorial
Park project, Kuo Chung-
twn interviewed Hatta’s
descendants. After the
restoration was done, the
family had a reunion in the old
house. (courtesy of LEF)

先進行綿密的文史考察，閱讀文獻古籍、耆老訪 法之一。
談，景觀設計儼然如另一種形式的考古。偶有新 「就像大甲溪河堤上的卵石，我覺得那樣很
的發現，便得重新來過，但郭中端從不在乎行政 美。」郭中端說。但她也說，這樣「仿生」的工
作業上的麻煩，「畢竟每一次更改，都是希望能 法，並不是當代的創新，新竹新豐的紅毛堤有著
更好。」擇善固執的她說。 同樣的技術，新竹護城河亦是，「前人的智慧，
好比北投公園一案。基地內，有條起源於地熱 真的值得學習。」郭中端謙卑地說。
谷的泉水，一路蜿蜒往下，但天然的河道在人為
從與水抗衡到親水共生
使用的考量被逐漸填平、限縮，最後只剩三公尺
寬，為了交通的便利，還差點決定加蓋，將河道 中國文化大學景觀學系教授郭瓊瑩曾指出，四
一舉變成馬路。團隊對比了老照片，才發現河道 面環海的台灣，雖是海洋國家，但舉凡河堤、海
不應目前的狹窄，費上九牛二虎之力，敲開水泥 堤、濱海公路等大型建設、公共工程，往往在安
溝渠、清運堆積的垃圾，還找來日籍造園石組的 全優先的考量下，杜絕了人與海互動的可能，唯
專家，才把加蓋的河道恢復成原本的面貌，甚至 有人們轉念，從「抗衡」轉為「共生」，並在公
有五個小瀑布嘩然而下，原本不乏垃圾堆積，令 共建設中融合海洋的生態美學與人文美學，才能
人退避三舍的排水溝，一舉翻身為市民戲水的樂 真正合乎海洋國家的精神。
園。 郭中端的設計就有著這樣的特性。1986年，留
還有新竹護城河親子公園的案子。被水泥修改 日的她從日本回台，接下了冬山河親水公園的案
過的水景，團隊依序使用挖土機、小乖乖（迷你 子，這是她在台灣的第一個案子，也是投身景觀
挖土機）、人工逐步敲除，細工如此，「完全是 設計的起點。郭中端說，冬山河水流的清澈，感
修古蹟的規格。」郭中端稱。讓她驚喜的，是水 動了在台北長大的她，「在台北很難看到這樣乾
泥敲除後裸露出來的卵石，是日治時期的舊工程 淨的水質。」這個堤防工讓涓涓水流成為當地人
遺痕。相較於目前常見的混凝土河堤，古老的石 的日常，也為台灣樹立下了公共工程的新典範。
砌構造更能保持河道的本來生態與原貌樣貌，在 甚至可以說，如今許多倍受稱譽的景觀案例，好
當代已被認定為生態工法，也是她經常使用的手 比有著「小京都水岸」美譽的台中柳川水岸步

32
flows from a hot spring in the nearby Thermal Valley,
but the natural river channel had gradually been nar-
rowed and partly covered over to make space for roads
and buildings, leaving only a channel three meters
wide. The team compared this to old photos, finding
that the stream should not be so narrow. It took a lot of
effort to bust apart the concrete ditch and remove the
accumulated garbage, and they also had to find Japa-
nese experts in stone gardening to restore the original
appearance of the stream, including five small water-
falls. What was once a trash-clogged place that people
didn’t want to be around was transformed into a water
playground for the public.
In a project at the Hsinchu Moat Park, the team used
excavators large and small and manual work to gradu-
ally remove the water features that had been modified
with cement. Their work was so careful and detailed it
was “to the same standard as the restoration of a his-
toric monument,” says Kuo. What pleased her most was
that the round cobbles exposed after the concrete was
removed were the remnants of old construction work
from the Japanese period. Compared to the concrete
embankments commonly used today, the old masonry
structure preserves the original environment and ap-
pearance of the river, an approach that is now recog-
nized as more ecologically sound, and one which Kuo
frequently employs.
From domination to co-existence
Monica Kuo, a professor in the Department of Land-
scape Architecture and Environmental Planning at Chi-
nese Culture University, notes that although Taiwan is
surrounded by sea, large-scale construction and public
works such as river dykes, seawalls, and coastal high-
ways all tend to prioritize safety above any possibility
of human interaction with the sea. The only way to
truly live up to the spirit of a maritime nation is for peo-
ple to change their mindset from trying to fight nature
to living with it, and integrating maritime ecological
and cultural aesthetics into public construction work.
This is exactly what characterizes Kuo Chung-twn’s
work. In 1986, she returned to Taiwan after studying
in Japan and took on a project for the Dongshan River
Water Park in Yilan County, her first project in Tai-
wan and the starting point for her career in landscape
design. The project made the river a part of everyday
local life, setting a new benchmark for public works in
Taiwan. Many of today’s most acclaimed landscaping
projects, such as the Liuchuan Riverside Walk in Tai-
chung and the uncovering and renovation of Yunlin
Creek, can be said to bear her influence to some degree.
It is a wonderful coincidence that most of these proj-
ects are intimately tied in with water. In addition to the
humid and rainy climate of Taiwan, Kuo postulates,
“Maybe it’s that the presence of water is a factor in
these places becoming parks.”
Water doesn’t have to be troublesome or scary; it
can also be relatable and approachable, something that
Kuo’s designs try to highlight. Crossing a broad grassy
slope at Nanliao Fishing Harbor, we come to the “fish-
scale” staircase embedded in the shoreline. While, as
the name implies, they resemble fish scales, these large
「 明池國家森林遊樂區」是郭中端的早期作品，木棧道與暸
望台等人工設施，在山野中一點也不突兀。（中冶環境造形
顧問公司提供）
The Mingchi National Forest Recreation Area is one of Kuo
Chung-twn’s early projects, notable for how the manmade
facilities, such as wooden walkways and observation decks,
blend in with their surroundings. (courtesy of LEF)
33
礁溪教會主堂是雙皮層的結構，木構集成材形塑出如蛋型空
間，自外界篩落的光線，讓空間猶如「在樹林、曠野地裡禱
告和敬拜」的氛圍。
The Pingtung County Library is the only library in all of Taiwan to
have a slate slab structure; it houses an indigenous literature area.

34
廖偉立使用傳統紅磚、清水混凝土、木頭集成材、引入戶外
風景的玻璃，如雜木林的混用，形成建築的表情。
Architect Chen Yu-lin believes that through understanding the land,
buildings that arise from the land can become symbolic of Taiwan.

北投地熱谷周邊，以大石塊砌起的河堤、呼應自然色彩的木
造圍欄，均是以自然為本的設計手法。
Around Beitou’s Thermal Valley, the river embankment made of
large stones and the wooden railings echo the natural colors of
the site, embodying a design inspired by nature.

35
道；重新打開水溝蓋，經過整治的雲林溪等案子 「肉粽」，景緻與大海融合得天衣無縫，「為了
……都有被她影響的影子。 這個堤防的斜度，我和新竹水利技師討論了好
多數案子都脫不開水，是種奇妙的巧合，除了 久，」郭中端回憶著，「但是若不把坡度做緩，
因為台灣氣候本就潮濕多雨，「可能是因為有水 人們要怎麼下去？」幸好據理力爭的她，最後依
的地方，都有成為公園的因子吧……。」郭中端 願完成。
自我解釋。好比這個秋日午後，我們隨著她來到 低調如她，民眾不見得知道她的名字，但在假
新竹南寮漁港，負責整個漁港景觀設計的她，細 日，夕照的海岸線，民眾就著大階梯席地而下，
細與團隊討論著遊客服務中心旁、戲水池裡的磁 海水波光粼粼，沙灘上戲水的人影點點，一派河
磚設計，在工地裡滿場跑，活力充沛的她，讓人 清海晏的風景，無疑是對她最大的讚美。
難以想像，居然已是年過七旬的人。
重新遇見，台灣之美
水未必是惱人的、可怖的，而是可親的、可互
動的，郭中端的設計試圖告訴人們這一點。當我 景觀設計在台灣是一門仍在發展中的領域，
們穿越南寮漁港偌大的草坡，來到鑲嵌在海岸線 「景觀不是用來填補建築的縫隙。」台灣中生代
上的魚鱗天梯，這個造型肖似魚鱗瓦的大階梯， 景觀設計師吳書原多次表示。制式擺放苗圃、綠
其實是一處海堤，但是階梯坡度和緩、美觀，周 地、步道，都無法涵括景觀設計的內蘊，從英國
圍也另外鋪上大量的塊石，取代了傳統的水泥 返台的吳書原，近年致力從台灣原生種植物中，
蒐羅、建立出具有荒野特性的景觀語彙，識別性
極高的美學表達，讓他的案子屢獲關注，也引發
了景觀設計的關注熱度。
就像郭中端也曾說過，景觀設計不僅是綠美
化的工作，更是一種結合建築、動植物、土木、
水利、環工、文史、設計的統合性專業。論述景
觀，就和論述何謂「美」一樣，難以一言以蔽
之，但它的存在，卻又深刻地影響人們的生活。
然而，當我們有機會悠然地散步在古色古香
的新竹護城河旁，而發思古之幽情；或者踏入
由吳書原所設計的三井倉庫廣場、陽明山美軍
俱樂部，被生氣勃勃的植物所包圍，在都會區
中湧現台灣荒野、森林的臆想，或許可以說，
透過這些景觀設計師之眼，也讓我們發現了另
一種台灣之美。 l

由建築師黃聲遠率領的團隊修復的「隆恩圳親水廊帶」，以
全齡友善的設計細節與奇幻風格著稱。
The renovation of the Lon-En Canal Park in Hsinchu City, led
by architect Huang Sheng-yuan, is known for its family-friendly
design details and fantastical style.

修復後的「北投溫泉博物館」，從廢棄的公共溫泉浴場，轉
變為當地文史保存的重要據點。
The creation of the Beitou Hot Spring Museum transformed an
abandoned public hot spring bathhouse into an important site for
the preservation of local culture and history.

36
steps are actually a seawall. However, whereas usually
seawalls are imposing concrete walls flanked by mas-
sive tetrapod wavebreakers, this one is a beautiful gen-
tle slope surrounded by large stones, creating a scene
that blends seamlessly with the adjacent sea. “I had a
long discussion with hydraulic engineers from Hsin-
chu about the slope angle of this embankment,” Kuo
recalls. “I kept asking, ‘If we don’t make the slope more
gentle, how will people get down?’” Fortunately, by
reasoned argument she was able to win the engineers
over to her side.
Rediscovering the beauty of Formosa
Landscape design is still a developing field in Taiwan.
“Landscaping isn’t just for filling in the gaps in architec-
ture,” architect Wu Shuyuan has frequently said. Boiler-
plate nurseries, green spaces, and trails are not the full
scope of what landscape design can do. Wu, who spent
several years in the UK, has devoted himself in recent
years to collecting and establishing a landscape vocabu-
lary built around the characteristic wildness of Taiwan’s
endemic flora. His highly distinctive approach to aes-
修復後的「陽明山美軍俱樂部」，戶外景觀大量運用多年生與野放的草花，強烈的野地風格是吳書原的一貫手筆。
Brick Yard 33⅓, formerly the Yangmingshan US Servicemen’s Club, has a strongly outdoorsy vibe thanks to the use of
perennial plants and wild flowers in its outdoor landscaping, a characteristic of Wu Shuyuan’s style.
thetic expression has drawn attention to his projects and
triggered a fervent interest in landscape design.
As Kuo Chung-twn has also said, landscape design is
not only the work of greening and beautification, but also
a profession that brings together architecture, flora and
fauna, civil engineering, water conservation, environ-
mental engineering, literature, history, and design. It is as
hard to define landscaping in a few words as it is to define
beauty, yet it has a profound impact on people’s lives.
Nevertheless, when we have the opportunity to take a
leisurely stroll along Hsinchu’s ancient moat and ponder
the past, or to step into the plaza around the former Mit-
sui Warehouse in Taipei’s Zhongzheng District, or Brick
Yard 33⅓ (the former US Servicemen’s Club on Yang-
mingshan)—both sites designed by Wu Shuyuan—sur-
rounded by vibrant plants that bring a sense of Taiwan’s
forests and wild places into the city, we may find our-
selves rediscovering the beauty of Ilha Formosa through
the eyes of these landscape designers. l
(Lynn Su/photos by Lin Min-hsuan/
tr. by Geof Aberhart)
37
 封封
面面
故故
事事
STORY
COVER

以光為引
聖俗交融的空間
文•鄧慧純　圖•莊坤儒　版面設計•馬英凱

38

德光教會主堂。
Deguang Presbyterian Church, Tainan.
基督信仰於17世紀初期由西方傳教士篳路藍縷地帶入
台灣，繼之本地傳道人接棒，傳述聖經的道理。如今福
音的種子已落地結成果實，而生根在台灣土地的教堂建
築，會長成什麼姿態呢？
Where the Secular Meets the Sacred:
在歐洲，教堂常是城鎮的中心，甚或是都市發展開
端，舉頭仰望，天際線上的十字架與鐘樓，即是民眾信
仰寄託之所在。在台灣，隨著外國傳教士踏上島嶼，一
棟棟教堂從平地而起，豐富了城市的歷史與景觀，更與
多元文化交會，融合成為「在地」。
C hristianity was first introduced to Taiwan in the early
Taiwan’s Church Buildings
17th century. In more recent times, since the mid-19th
century, the indefatigable efforts of Western missionaries
have inspired generations of Taiwanese believers, and the
teachings of Jesus Christ have taken root here. But what
about our home-grown church buildings? W hat do they
look like?
Many European towns and villages are clustered around
churches. Rising above the horizon, church crosses and belfries
provide a focus for the spiritual life of local residents. With the
arrival of foreign missionaries in Taiwan in the 19th century,
churches began to appear across the island, enriching the history
and landscapes of many places. Merging with a variety of other
cultural influences, they have become “local” features in their
own right.
39
廖偉立認為，建築是在尋
找人跟土地的關係。
For Liao Wei-li, the aim of
architecture is to explore the
relationship between people
and land.
教堂空間的再定義
追溯歷史，台灣現存最古老的教堂建築是屏東
萬金聖母聖殿（1870年），西班牙白色古堡式建
築，至今仍獨樹一格。日治時期，日人建立的教
堂如台北幸町教會（今濟南教會）、大正町教會
（今中山教會）等，參考西方建築原型，並採用
台灣當地的紅磚和洗石子，亦形成一種新型態的
教堂建築。
二次大戰後，1963年由建築師貝聿銘與陳其寬
設計的，東海大學路思義教堂落成，獨特而前衛
的工法，已故建築大師漢寶德稱其為「中華文化
與西方相遇而產生的最佳作品。」由歐洲設計師
波姆設計的台南後壁菁寮聖十字架天主堂，角錐
體的造型是嘉南平原上特出的地標。在東海岸，
白冷會委託瑞士籍建築師達興登設計的台東公東
教堂，及傅義修士設計的40多間小教堂，空間中
強烈的現代主義語彙，為島嶼的教堂建築注入新
意。
時序進入21世紀，宗教在社會的影響已轉向，
東海大學建築學系副教授邱浩修在〈台灣教會建
築百年群像〉一文中提到，「長老教會在20世紀
推動『21世紀新台灣宣教運動』」，以『走入人
群、走進社區、營造共同體』為議題，讓『開放
40
性教會』成為當代信仰的主流。」教會逐漸朝向
「城市化、社區化、複合化與多元化發展」。
此時期，台灣本土建築師也參與教堂設計，思
考教堂在台灣該是長成什麼樣子？建築師廖偉立
也加入了對教堂再定義的路。
呼應城市的紋理
「建築很重要是在尋找人跟土地的關係。」是
廖偉立常掛在嘴邊的一句話。他一系列的教堂作
品都與所處的城鎮相呼應，就像是禮拜儀式中的
「啟應」，所處的城市是「啟」，那他的教堂建
築就是「應」。
位在台中市北區的台中救恩之光教堂（以下
簡稱「救恩堂」），位處住商混合的街區，面臨
車水馬龍六線車道的角地，一到四樓是樸質的清
水混凝土材質，頂部造型卻顯眼而強烈，有一突
出懸空的通道，連結一方舟狀的空間，以灰黑色
的鈦鋅板包覆，看似台灣常見的違章建築，卻是
教會中最重要的主殿空間。如此設計，廖偉立
說：「台中市對我來講是一個沒有涵構的城市，
很多舊的歷史、文物都已經消失了，所以在現
代化的城市裡頭，建築如何呈現出它的自明性
（identity）？是我所思考的。」這棟豎立在街角
的垂直量體，是建築師的實驗成果，只要將鏡頭
 Redefining churches
Ta iwa n’s oldest su r v iv i ng c hu rc h bu i ld i ng i s
t he Wanjin Basilica (1870) in t he sout hern count y
of Pingtung. Reminiscent of a Spanish castle, this
white-walled edifice remains eye-catchingly unique.
Churches built by the Japanese during the colonial
period were modeled on Western architecture, but uti-
lized locally produced red bricks and terrazzo, usher-
ing in a new age of church architecture in Taiwan.
The period after World War II saw the completion
of Tunghai University’s Luce Memorial Chapel in
1963. Designed by Ieoh Ming Pei and Chen Chi-kwan,
the chapel is known for its avant-garde style. The late
architect Han Pao-teh described it as “an excellent
work born of the encounter of Chinese culture and the
West.” Jingliao Holy Cross Church, located in Tainan’s
Houbi District, was designed by the German archi-
tect Gottfried Böhm. Its pyramidal spire constitutes
a prominent landmark on the Jianan Plain. On the
East Coast, we find the Chapel of St. Joseph Technical
Senior High School, which the Bethlehem Mission So-
ciety (SMB) commissioned the Swiss architect Justus
Dahinden to design. There are also more than 40 small
churches designed by Brother Julius Felder of the SMB;
they evoke a distinctly modernist sensibility, breathing
new life into Taiwan’s church architecture.
The 21st century has witnessed a change in the so-
cial impact of religion. As Chiu Hao Hsiu, an associate

以長長的通道、樓梯為中
介空間，「光」是指引，
把空間拉長，讓人的心情
逐漸沉澱，才進入與神共
處的空間。
We are guided by light
through long passageways
and staircases. The
elongated spaces enable us
to gather our thoughts before
we enter into communion
with God.

41
拉遠，從數條街外凝視，那似頂樓加蓋的主堂融 下簡稱「德光教會」），一走進巷弄，就被建築
入了周遭富活力卻雜亂的都市街景，但又不失個 物像是台南在地老仕紳的文雅氣質所吸引。廖偉
性，成為街區的亮點，適切地呈現了廖偉立想表 立解釋，他以《舊約聖經》中「會幕」的概念來
達的「自明性」。 設計教堂，會幕是以色列人出埃及的時期以移動
來到宜蘭探訪礁溪基督長老教會（以下簡稱 式的帳篷，做為聚會的聖殿；建築師以彩色金屬
「礁溪教會」），又見到另一形式的呼應。「礁 格柵為外層，讓建築像是穿上一層紗，「雙皮層
溪對我來講又像城市又像鄉村。」基地前方是四 的設計也因應台南炎熱的氣候與強烈的光照，有
線道的台九線，但後方則是礁溪舊有的窄窄、彎 助建築內外的空氣交流。」廖偉立解釋。他還把
彎的小巷道，這個受過規訓又帶點野性的城市， 台南常民生活的後巷空間引入建築空間，格柵創
設計師破除了向中央伍集中的方正造型，而以四 造半戶外空間形成的迴廊，有調節內外氣溫的功
個似是隨興散置的方形量體撐起二樓主堂，形成 能，把光和風引進來，自然也跟著進來了。
半通透的廣場，能連結後巷常民的生活空間；另
成為城市的客廳
一方面，又與北側、由建築師黃聲遠設計的「礁
溪生活學習館」相呼應，學習館奔放的外觀，層 畫過許多教會的設計圖，廖偉立總會回想到
層疊疊的造型，與礁溪教會非規律方整的建物本 他從小成長的通霄，鎮上的慈惠宮，廟埕前是鎮
體，兩者互見，各顯姿態，十分有趣。 民生活的活動場域，也是小孩們玩耍、看戲、聽
鏡頭再轉到台南東區的德光基督長老教會（以 故事的所在，這是台灣傳統廟宇的日常，「在那

42
professor in the Department of Architecture at Tunghai
University, says in an article on church buildings in Taiwan
over the past century, churches are endeavoring to inte-
grate themselves into their urban environments and local
communities, and to embrace versatility and diversity.
Contemporaneous with these developments, Taiwan-
ese architects have played a role in designing local church
buildings. Architects like Liao Wei-li find themselves pon-
dering this question: What should Taiwanese churches
look like? In attempting to come up with their own an-
swers, they, too, have contributed to the process of redefin-
ing churches.
Responding to local environments
“Very importantly, architecture explores the relation-
ship between people and land.” This is a favorite mantra
of Liao Wei-li’s, and connections can indeed be traced
between his church designs and the places where these
buildings are situated.
Light of Christ Salvation Church in Taichung’s North
廖偉立提供
courtesy of Liao Wei-li
District is located in a place where residential proper-
ties mix with commercial premises. The first four levels
of this church have a facade of unpretentious béton
brut. Above, a cantilevered passageway protrudes from
the main building, providing a link to an ark-shaped
structure. Clad in dark-gray titanium–zinc sheets, this
upper part of the building may remind us of the illegal
rooftop structures common in Taiwan, but it is in fact
where worship takes place. Referring to his design,
Liao tells us that for him Taichung is a city that lacks
context, and he has taken up the challenge of helping
a building show its identity in a modern city like this.
Situated at a road junction, the church gives expression
to the architect’s experimental thinking: If we look at it
from a distance, we will notice that the main worship
space, which has the appearance of an added rooftop
structure, actually blends in perfectly with the vibrant,
if somewhat cluttered, streetscape, even while it dis-
plays its own character. The architecture attests to the
“identity” that Liao wishes to bring out.
Jiaoxi Presbyterian Church in Yilan also illuminates
how a building can resonate with its local environment.
“For me, Jiaoxi is a hybrid town, which means it looks
both urban and rural,” Liao says. The site faces the
four-lane Provincial Highway 9, but at its rear are the
narrow, winding lanes that are characteristic of Jiaoxi.
Rejecting the ponderous rigidity of a single cubic build-
ing, the architect has used four smaller structures—
apparently randomly placed on the ground—to support
the main worship space on the second floor. The space
between these first-floor structures opens up the site to
locals who live in the back lanes.
Looking at Deguang Presbyterian Church in Tainan’s
East District from an adjacent lane, we’re likely to be at-
tracted by its aura, which recalls the old-world gentility
of local literati. Liao explains that he borrowed the con-
cept of the tabernacle from the Old Testament to design
礁溪教會主堂是雙皮層的結構，木構集成材形塑出如蛋型空
間，自外界篩落的光線，讓空間猶如「在樹林、曠野地裡禱
告和敬拜」的氛圍。
The main worship space of Jiaoxi Presbyterian Church in Yilan
has a “double skin” design, comprising a domed structure built of
laminated wood inside the building’s outer shell. Light penetrates
it, putting us in mind of biblical references to prayer and worship
in woods and wildernesses.
43
教會是人神交會的場所。
Churches are places where
humans commune with God.

邊常常可以感受到人跟神是非常的接近，」這成 此共聚共食，教堂不僅只在周末使用，而是每天
為他構思教堂樣貌的契機，「我設計的教會『神 都充滿人聲笑語，戶外退縮的草皮空間也成為居
聖與世俗』不是那麼截然的對立，而是互相融合 民停留交誼的場所，不時舉辦夜間音樂會，讓音
的狀態。」宗教空間討論的是「聖俗之間」的關 符繚繞。
係，到了21世紀的今日，廖偉立闡釋：「對我來 礁溪教會的設計，地面層以四棟看似不規則
說，教堂不只是教堂，它是社區的活動中心，是 配置的紅磚量體形成川流的開放空間，除了讓
人民心靈的7-11。」 空氣流動，也讓居民可以自在地走進來，成為
因此台中救恩堂將一樓與地下樓層開闢為公共 城市的客廳，連結起周邊的鄰里、巷弄、社區
空間，成為社區的關懷據點，每天有社區長者來 和常民生活。
玻璃帷幕牆映襯著樟樹林，產生綠意相疊的效果。
The glass curtain wall reflecting a camphor grove produces
a sense of overlapping greenery.

44
this church. The building is screened by colorful grill-
work. From a distance, you would think it is wrapped
in thin muslin. “This ‘double skin’ design,” Liao tells us,
“is a response to the scorching weather and the blazing
sun in Tainan, assisting the movement of air between
the outside and the inside of the building.” Liao has also
introduced Tainan’s characteristic back-lane atmosphere
into this church. By using the grillwork to create semi-
open corridors, he is able to balance outdoor and indoor
temperatures. Graced with light and breezes, the build-
ing seems to be integrated into nature.
Connecting with local lives
Liao, who has completed many church designs, often
thinks of his hometown of Tongxiao in Miaoli County.
Children used to play, watch theatrical performances, or
listen to stories on the square in front of Tongxiao’s Cihui
Temple. “There, you often felt that humans were very
close to the gods.” It was this experience that led Liao to
contemplate the physical appearance of churches. “My
church designs do not draw a clear-cut line between the
sacred and the secular. Rather, I allow them to inter-
mingle.” Liao says that in 21st-century Taiwan, “churches
45
 光是指引，是沉澱的力量

救恩堂、礁溪教會、德光教會都共同呼應「上
帝的殿建在高處」的話語，教堂裡最重要禮拜聚
會的場所，都設在建築的「最高處」。
「教會是人神交會的場所」，廖偉立再定義了
教會的空間，對應外面世俗的世界，他創造了長
長的廊道和階梯，藉由把空間拉長，通過的時間
也拉長，讓人的心情逐漸沉澱，才進入與神共處
的空間。
儘管建築物都設有電梯，廖偉立強力建議要
我們一步一步拾階而上，以通道、樓梯為中介空
間，「光」是指引，設計師也利用自然光創造了
許多驚喜與美麗。在德光教堂中，入口通道的端
景就是以鋼筋交叉的十字架，自然光源從上方射
入，營造了莊重寧靜的一角。在清水模空間中，
不規律的開洞，或是牆面不實接的設計，留了縫
隙，讓光隨著晨昏、季節透入，廖偉立說：「光
線是物質性裏頭最接近神性的」。救恩堂的階梯
也同樣精彩，各形式的開口變化，把自然光線引
入，他再解釋：「我想讓神性在每個不同的角
落，你都可以跟祂相遇。」
以光為引，進到主堂，你更會被空間氛圍所震
懾。礁溪教會的主堂位在二樓，雙皮層的結構，
外層是台灣常見的輕鋼構，內層是由木構集成材
形塑出如蛋型空間。蛋型空間不規律地開窗，自
外界篩落的光線，讓主堂猶如置身在聖經中所言
「在樹林、曠野地裡禱告和敬拜」的氛圍。
德光教堂的迴廊，格柵交織的光影隨晨昏起
舞，主堂的牆面以木構與玻璃虛實交錯，除了讓空
間富涵層次感，也成了光的通道，更有從屋頂縫隙
灑下的光束，讓心靈在空間中被輕輕地安撫。

光線是物質性裡頭最接近神性的，廖偉立讓神性在每個不同
的角落，與信徒相遇。
Of all things in the physical world, light is the closest to the
Godhead. Liao wants visitors to be able to encounter divinity in
every corner of his churches.

46
are, for me, not merely churches, but community centers. a light steel frame on the outside, which is a common
They are a sort of 7-Eleven for people’s spiritual needs.” sight in Taiwan, and a domed interior space made of
With this in mind, at Light of Christ Salvation Church laminated wood. This oval inner structure has irregu-
the first floor and the basement are designed as public larly spaced windows through which light streams in,
spaces that offer community care. The green area outside reminding us of biblical references to prayer and wor-
the building is also a place where local residents like to ship in woods and wildernesses.
meet up and chat, and where concerts are frequently Mixed forests
held in the evening. In 2002 Liao introduced his discourse of “mixed for-
The design of Jiaoxi Presbyterian Church comprises ests.” Formed by the collision of the Eurasian and Phil-
four apparently randomly placed structures that to- ippine Sea tectonic plates, Taiwan boasts a rich variety
gether constitute the first floor of the church. Locals are of trees and other plants. Its biodiversity contrasts
able to thread their way through the open spaces be- sharply with the relative homogeneity that character-
tween these red-brick structures. The site has become, izes forests in temperate and polar climates. In terms of
as it were, a living room for the neighborhood, connect-
ing local houses and lanes and bringing together the
daily lives of local residents.
救恩堂頂樓的主堂，看似台灣常見的屋頂加蓋，但融入了
Guiding light 周遭富活力卻雜亂的都市街景，又不失個性。
Light of Christ Salvation Church, Jiaoxi Presbyterian The worship space in Taichung’s Light of Christ Salvation
Church recalls the rooftop structures that are common in
Church, and Deguang Presbyterian Church all embody Taiwan. The building blends in with the vibrant if somewhat
cluttered streetscape, even while displaying its own character.
the idea that “the temple of God is to be built in a high
place.” In each of these churches, worship takes place
at the highest point of the building.
“Churches are where humans come into contact with
God.” In the process of redefining church architecture,
Liao has created exceptionally long passageways and
staircases. By stretching the space, he stretches time as
well: Visitors have to spend more time passing through
t he internal spaces. This helps t hem gat her t heir
thoughts before entering into communion with God.
Liao strongly recommends that we ascend the stairs
slowly and carefully. We are guided by light while
walking through these long passageways and stair-
cases. “Of all things in the physical world, light is clos-
est to the Godhead,” Liao says. In the case of Deguang
Presbyterian Church, natural light shines upon a cross
made of steel bars—it greets you as soon as you come
into the building. This church also features irregular
openings in the walls, and even gaps between segments
of the walls, through which sunlight enters, evoking
different moods at different times of the day and in
different seasons. “I want us to be able to encounter the
Godhead in every corner of the place,” Liao explains.
Guided by light into the main worship space, you’ll
be startled by the atmosphere. In Jiaoxi Presbyterian
Church, this is located on the second floor. The struc-
ture here again has a double skin design, comprising

47
 雜木林的實踐
2002年，廖偉立提出「雜木林」的論述，台灣
位處歐亞板塊與菲律賓板塊交界，植物、林相、
生態豐富，多元共存的景象，與寒溫帶國家的
單一林相截然不同。在人種上，台灣是個移民國
家，接納了各種族在島嶼上共榮共生，是充滿生
機的多元，也成了台灣的本色。
呼應雜木林的多元與異質，轉譯到建築上，
「我希望我的建築不要太一目了然，進到空間
時，可以迷路，可以探索，可以體驗。」廖偉立
說。
材質上，「我不會用一個單一的材料，這也
是我對雜木林的理解。這個房子需要什麼樣的結
構，就選用不同的材料。」在他的建築裡，運用
台灣傳統的紅磚、最能反映光線的清水混凝土、
住宅加蓋常用的金屬板、各類的木頭集成材、用
來引入戶外風景的玻璃等，都成了建築的表情。
礁溪教會的歷史已有百年，廖偉立留下第二
代教堂的原物，鑲嵌在新教堂中；舊教堂的匾額
「禮拜堂」三個字還掛在主堂的入口，第二代教
堂的舊木窗被保留下來，安在主堂兩側的牆上，
負責穿光引影，「建築也在呈現時代的意義，如
何承先啟後。」
還有，還有，那北緯23.5度的陽光和各個季節
的風。坐在德光教堂的主堂，或是礁溪教會的入
口，你會感受到建築師把光和風都當成材料，融
進了建築裡。因此，當某個時刻看見彩虹爬上牆
面，或十字架的倒影，這聖俗交融的空間時時刻
刻可見驚喜。
問廖偉立在建築裡如何看見台灣？建築師則
表示，用來指涉的符號易受限，時代的意義也會
褪色，只留下鄉愁而已。但是台灣的雜木林，反
映了台灣地理與人文的獨特性，是充滿生機的多
元，一同並存，展現常民駁雜的生活能量，讓個
別的存在眾聲喧嘩，就是台灣本色。 l tr. by Brandon Yen)
48
its human population, Taiwan is also a vibrant country
that continues to welcome immigrants of all ethnicities
and to pride itself on social harmony.
Applying the diversity and heterogeneity of “mixed
forests” to architecture, Liao hopes that the layout of his
buildings will not be too obvious, so that “when we enter
a space, it’s OK for us to lose our way, to explore, to feel.”
As for building materials, Liao says he doesn’t rely
solely on any particular material, and this is another in-
sight gained from mixed forests. “My choice of materials
hinges on what kind of structure a building calls for.”
Traditional Taiwanese red bricks, light-reflecting bare
concrete, the sheet metal that is often used for rooftop
structures, different varieties of laminated wood, glass
panes that bring the outside world into the interior—
these materials have all fed into the character of Liao’s
architectural projects.
Jiaoxi Presbyterian Church has more than 100 years
of history. The building we see there now is its third in-
carnation on that site. Liao has installed remnants of its
predecessor inside the new church. “In shedding light
on its historical contexts, architecture teaches lessons
about inheritance and legacy.”
And then there is the subtropical sun, and the winds
that change with the seasons. Sitting inside the main
worship space in Deguang Presbyterian Church, or at
the entrance to Jiaoxi Presbyterian Church, you will
feel that the architect has built these natural blessings
into the very fabric of the churches.
We ask Liao Wei-li how architecture may help us
think about Taiwan. He says that any kind of symbol-
ism has its limits, that every era will pass, and that nos-
talgia is the only thing that will remain. Yet Taiwan’s
mixed forests reflect the unique character of the island’s
geography and culture. Ours is a vibrant environment
where differences coexist, an energetic and varied folk
culture that cherishes individual voices. These are all
distinctly Taiwanese traits. l
(Cathy Teng/photos by Kent Chuang/
 德光教堂的氣質猶如台南在地的老仕紳。
Deguang Presbyterian Church in Tainan has an aura that
recalls the old-world gentility of local literati.

49
 港都洋裁師：
藏在日治庶民生活
好讀
月 與裁縫故事裡的微光 ◎ 莊仲平

◼ 從家族記憶出發，以母親洋裁生涯為題材，用小說方式帶領
讀者重返台灣近代女性的跨國教育生活史。
中研院台灣史研究所副研究員張隆志

◼ 以身為女性的強韌，用一把剪刀剪裁了自己與家人的人生片
段，也編織了一幕幕深刻的人生風景。
圖文創作者林佩穎
是一趟巡覽好文的旅程，
更是一回賞讀美篇的心靈停駐……
也是一段遍閱佳構的遨遊，

量體裁衣，培養裁縫技術
日本洋 裁學校 是職業技術學 第 一 堂 課 學 生 就 得 製 作 自己 的
校，課程 最重 實習，也占最 多的時 工 作 圍 裙，當 然 專 科 學 校 的 作 品
數。實習課開課，由副校長押切今 不 能 太 簡 單，要 增 加 一 些 困 難 度
朝枝女士主持，她說： 與 技 巧 性。所 以 這 件 圍 裙 被 要 求
「洋 裁與製圖計算有各種樣 要 有 荷 葉 邊 的 裙 襬，加 上 額 外 的
式，各校也傳 承不同流 派。其中歐 鈕 扣、雙口 袋、蕾 絲 鑲 邊，還 有 工
美的剪裁原理，因洋人身材體格、 作帽。
風俗習慣與我國不同，引進時必當 老師：「剪裁縫紉技藝是我們課
斟酌。本校採取獨特之綜合教學， 程的核心，首先拿布尺在人體實際
站 在實用角度，選 擇自由應 用。我 測 量，再 設 計 製 圖、繪 紙 版、剪 裁
們 盡 可 能 避 免 浪 費 時 間，在 各 科 布 料，粗 縫 試 樣 後，試 穿、修 正和
修業期間，達到最大效益。依照我 縫 製。要真正穿上身，衣 服才有生
們新 教學法，自入學 當日，即教 授 命喔！」
實 際 技 能，在 年 限 內 培 養 卓 越 實 「做 衣 服 的 基 本 要 求 是 手 要 洗
力。」 乾淨，很多 布料是很昂貴的，絕不
能弄髒，乾淨的手才有恭敬的心， 的是來自頂針及縫鈕扣。

做 事 才 會 細 心，妳 們 到 神 社 第 一 同 學 們 在 手 忙 腳 亂 中，忽 然 啪

件 事 不 就 是 洗 手？這 是 同 樣 的 道 一聲，有人把剪刀掉在地 上。老師

理。好，妳們大家通通給我排隊到 氣急 敗壞地怒吼：「幸好這 是木板

盥洗室去洗一下手。」 地，若 是 水 泥 地，剪 刀 就 碎 了。這

老 師 走 到 講 臺：「各 位 同 學，大 種大裁縫剪刀是鑄鐵的，硬而脆，

家 注 意！妳 們 縫 線 邊 的 縫 份 要 多 不像一般文具小剪刀，摔不壞。」

留一 點，至少 一 公 分。車好 線 後， 「而且剪刀掉地對 我們裁縫師

有必要還可以剪窄一點。」 是忌諱，聽說會帶衰的。」

「對了！還有 布 紋圖案，要注 意 老 師 慎 重 的 每 一 句 話，都 鏗 鏘

方 向 的 一 致 性，兩 塊 布 料 拼 接 位 有力。

置的花要對齊。」 踩 縫 紉機是手腳並用的細膩動

下 一 堂 課，同 學 拿 起 剪 刀 沿 著 作，手腳身心的速度都需要互相配 書名：港都洋裁師：藏在日治庶民

生活與裁縫故事裡的微光
劃線裁剪，然後 縫布邊，以 免布邊 合。剛開始操作縫 紉機，腳踩踏不
作者： 莊仲平
虛 解，驗 證 上 節 課 留 縫 線 邊 的 目 順，或以右手拉動輪盤的力道不穩 頁數：253頁 定價：320元
出版時間：2022年8月
的。老師先示 範步驟，微 笑的惠比 時，就可能會發生倒車 現 象。多 練
出版： 三民書局
壽福神老師，一舉一動氣定神閒， 幾次 之後，動作終能得心應手，手

連執針縫線竟也那麼優雅。 腳 與 機 器 宛 如 一 體，這 很 像 學 騎

有的同學每個步驟都拿給老師 腳 踏 車，熟 練 後 用 身 體 的 自 然 反

看，以確 保步驟 的正確 性。還 好， 應。但一開始還 是會車線不直，線 該怎 麼 做。前面有錯，後面也會跟

同學 們基本問題都只問一次，不會 跡 歪 斜。拉 布 進 料 的 速 度 也 要 配 著錯。」

笨到問第二次，畢竟大家是有志於 合機器，否則縫份會突起。 學 校 第 一次 考 試 是 製 作 一 套 洋

此的專業者。 老師看了學生的瑕疵初作，馬上 式睡 衣，包括上衣 與 短褲，必須 在

手工 縫 線 是 最 基 本 的 工 夫，但 說：「這不能看！拆掉重車。」 兩個星期完成。老師給同學三張圖

老 師 要 求 最 高 品 質。秀 絃 認 真 地 不得已拆了又車，車了又拆。有 樣任選，以自己為模特兒。這作 業

一針一 線，聚 精會 神，專注在針點 時做得差強人意了，但老師還是不 看似簡單，但包括了所有所學的基

的平直與針目。但 愈 是小心，在用 滿 意，讓 人 覺 得 老 師 是 故 意 找 麻 本技巧，老師強調必須合宜美觀。

頂針時，針尖 從布穿出，卻直直地 煩，這樣 下去，車 縫竟 變成不可能 這 套 睡 衣 的 上 衣 胸 部 有 蕾 絲，衣

刺進手 指。指尖 立 即冒出血 珠，也 的任務，有人 還因此做惡夢。但後 下 襬 有 荷 葉 邊，短 褲 下 襬 也 有 荷

沾 染了 布，秀 絃 不 禁 哇 的 大 叫 一 來 慢 慢才體會，這 就 是 磨 練，多練 葉 邊。睡 衣 選 用 便 宜 舒 適 的 棉 布

聲。 幾次 熟能 生巧。不久 之後，大家也 料，倒很適合學生試作。

同學 安慰說：「學裁縫沒有不受 都車得很熟練了。 以 同 學 的 程 度 作 出 來 的 作 品，

傷 的，沒被 針刺過，就不會成 為 裁 秀絃告訴杏子 最 終心得：「裁縫 最 困 難 的 是 在 胸 圍 和 腰 圍，倘 若

縫師。」 課給大家的訓練，就是培養耐性， 不合身，皺皺巴巴的就不好看了。

同 學 們 多 少 會 受 點 小 傷，最 多 每 走 一 步之 前 都 要 先 想 好 下一 步 要 操 縱 一 臺 縫 紉 機，零 件 的 使

53
用是基本常識，例如梭子捲下線，
安 裝 梭 子、穿上 線 和 注 入 機 油 等
等。學校的課程中，每週有一小時
的 縫 紉 機 調 整 與 修 理，有 系 統 的
教 導，使 大 家 對 於 縫 紉 機 的 機 械
構 造 原 理 瞭 若 指 掌，在 縫 紉 機 的
操作與調整上能夠得心應手。
同 學 好 不 容 易克 服 基 本 技術 問
題，惠比壽老師進一步說：
「 服 飾 是 實 用 的 產 品，提 供 人
體 保 暖 及 遮 蔽。但 服 飾 也 是 一 種
藝 術，是 立 體 的 藝 術，而 繪 畫、書
法是平面藝術。」
「 因 為 身 材 不 一，沒 有 一 件 衣
服 是相同的，但基 本原 則一樣，大
家要動點腦筋，舉一反三。」
惠 比 壽 老 師 輕 鬆 地 笑 著，狡 黠
地 宣 告 這 個 原 則，因 為 有 的 同 學
為了創意，哭 喪 著臉，不知如 何 變
通，也想不出具體 方向。例如買進
的布匹難免不平整，尤其方格圖案
的布 若是不 平，馬上 露 餡。所以在
剪裁前要先整理布紋，才不會縫得
歪斜變形。
同學又學習裁縫的各種技術，例
如弧 線 縫、包 覆縫、滾 邊 布包 覆、
拉鍊安裝、腰帶製作、褶縫及 厚薄
布縫之技術等等。
同 學 們 共 同 的 心 得 是，做 一 件
衣 服 要 有 耐 性 與 頭 腦，客人 穿 著
好看與否，也 是我們的責任。即使
按 圖 施 工，沒 有 職 人精 神，也不會
做得完美。
54
母親紮妥的兩條辮子 直 直 走，不近不遠的路程，不多久
入 公 學 校 以 前，秀 絃 閒 暇 就 是 就 到 了 高 雄 第 一 公 學 校，很 快 辦
隨處 逛逛玩玩，到廟口看 熱鬧，到 好入學手續。但其實當時旗後的大
港口看 漁 船，或是掠田嬰，日子 過 馬路也就只有這麼一條，可以一直
得 輕 鬆 自 在。但 心 裡 偶 爾 總 會 升 走 到 烏 松、中 洲 及 最 頂 頭 的 紅 毛
起 一 絲 隱 憂 ─ ─ 哪天 就 輪 到 她 上 港。
學了。 秀 絃 在七 歲 時 進 入 的「 高 雄 第
一 個 三 月 春 暖 花 開 的 上 午，秀 一 公 學 校 」歷 史 悠 久，前 身 是 設
絃 正 在 門 口 路 邊 掠 田 嬰，春 天 初 立 於 一八 九七 年 的「打 狗 國 語 傳
升的太陽尚不太熱，但只要日頭稍 習所」，一九 二一年 改 成 高 雄 第一
稍高掛氣溫 就很酷烈了，臺灣南部 公 學 校，是 高 雄 最 早 的 學 校。當
只有夏季與冬季，但夏季包含春天 時「公 學 校」專供 臺 灣人 就 讀，日
與 秋 天，所 以 掠 田 嬰 就 要 趁 早 晨 本人 雖 然 鼓 勵 臺 灣 人 就 學，但 並
時光。 非全 義 務 教 育，授 業 料（日 文，學
掠田嬰不用工具，只須從後面躡 費）還是要繳交的。
手 躡 腳 地 接 近 田 嬰，然 後 屏 息 靜 一 個 在 公 學 校 當 老 師 的 鄰 居，
氣伸出兩指捏住田嬰尾巴。若是動 是學校裡少數的臺籍老師之一，就
作太大，警覺的田嬰就會立刻驚飛 曾經說：
了。秀絃 對 於 掠田嬰的功夫很 好， 「日本政府真是矛盾，以為這少
有 非 常 豐 富 的 經 驗，因 為 她 沉 得 少學費老百姓不介意，但很多老百
住氣，不像有些人就是笨手笨腳。 姓 就是捨不得花這點錢讓孩子去
此 時 秀 絃 看 到 一隻 田 嬰 停 在 石 上學。」
頭 上，正 聚 精 會 神 準 備 伸 手 去 抓 日本人子弟則進入較尊貴的「尋
時，突然聽到母親的吆喝： 常 小 學 校 」，簡 稱「小 學 校 」。離
「 絃 仔，妳 不 知 道 今 天 要 去 上 秀 絃 家 最 近 的 尋 常小 學 校 在 對 岸
學 嗎？還 在 外 面 玩！日頭 下，掠 田 的哈瑪星，要 搭渡 輪過去。哈瑪星
嬰，妳會臭頭啦！」 是新生地，包括湊町、壽町及新 濱
「唉呀！阿娘，好啦！」 町，高 雄的日本人 大多聚居於此，
該 來 的 總 是 會 來。秀 絃 無 可 奈 這 個 區 域 建 築 古 典 華 美，街 道 整
何 乖 乖 地 回 家 換 衣 服，穿上 洗 燙 齊，店 鋪 鱗 次 櫛比，還 擁 有 神 社、
好 的 大 襟 衫及 黑 裙，母 親 快 速 地 武德 館、市役 所等，同時它也 是當
給她整齊地梳了兩條辮子。 時縱貫線火車的終點。
秀絃哥哥帶 著她從家門口馬路 當時第一 公 學校 只有一層樓的
木造 教 室、辦 公室與廁所，後來聞 秀 絃 母 親 跟 秀 絃 說：「 調 皮 孩 麼多書。貧窮的家長會想：孩子多

名 的 忠 孝 樓 半 圓 拱 門 廊 教 室，是 子 頭 髮 不 會 長 長 的。妳 這 兩 條 辮 一 個去上學，勞動力便少一 個。加

秀絃畢業之後才建的。教室圍著光 子 就 贏 單 條 辮 子，更 勝 沒 有 辮 子 上 當 時 經 濟 環 境 普 遍 不 佳，女 孩

禿 禿 的 操 場，在 這 個 大 操 場 上 早 的 孩 子，在 學 校 要 把 辮 子 保 守 好 子受教機會更被犧牲。常有生了很

晨升旗，師長訓話，然後 大家做體 喔！」秀 絃 點 點 頭，一 整 天 都 很 寶 多孩子，卻養不起的情 況，查某囡

操。有些師長喜 歡冗長講訓，酷暑 貝地 小 心 辮 子，有時家 裡忙，母 親 仔就分給人家養。有的是賣斷，有

烈陽下，身體不好的小朋友可能就 匆匆給她紮個單辮。 的 被 典 當 借 錢 一 段 期 間，所 以 女

昏倒，學校保健室有時會一下子躺 同 學 們 大 多 是 清 湯 掛 麵，瀏 海 孩上學校受教育的不多。

了好幾個小朋友。 齊眉的 髮 型。有 的 為了省麻 煩，剪 即 使 女 孩 有 幸 就 學，出 席 上 課

當時第一 公學校校長 是留著兩 髮 間 隔 可 拖 久一 點，甚 至 剪 到 耳 的 情 況 也 不 穩 定，常 因 協 助 家 務

撇 鬍子，甚有威 嚴的萩本先生，秀 上一 公 分，露出白色 頭 皮，被 笑 稱 或 勞 動 生 產 而 缺 席 或 輟 學。也

絃 的 導 師 伊 坂 先 生，他 們 都 是 嚴 「西瓜皮頭」。 有 些 女 孩 上 學 到 一 半 突 然 沒 來，

謹 的 日 本人，訓 起 話 來 沒 完 沒 了 秀絃上學穿大襟衫及黑裙，女同 可 能 是 被 父 母 分人（ 臺 語，p u n -

的。 學 們 也 都 是 傳 統 的 大 襟 衫及 黑 裙 l â n g，販 賣或 典當 等 方 式 讓 人領

學 校 裡 有 幾 棵 榕 樹 及 鳳 凰 樹， 或 寬 褲，好 一 點 的 是 裙 襬 有 滾 邊 養 ）。通 常 在七、八 歲 時，分 過 來

夏日火 紅 鳳 凰花 開 得 像 燃 燒 的 熱 或 鑲 邊。這種 二件式服裝叫做「上 養 大一 點 就可以做 工，也 就 是「查

焰。校園沒有 草 坪，旗後也沒有公 襦 下 裙 」。同 學 大 部 分 打 赤 腳 上 某嫺」，也有分來當養女或是童養

園，所以年幼學童很難理解課本上 學，秀絃很幸運 有 鞋穿。畢業合照 媳的。

〈花見小路〉的歌： 時，老師一再交待： 同 學 間 也 會 聊 這 個 問 題，秀 絃

花見小路上，鮮 花已 盛開，我們 「後天拍畢業合照，你們衣服要 感傷的說：

去看吧，就在東山裡。 整齊，並且一定要穿鞋子。」 「聽人說幾十圓就可以分一

雖然當時日本人統治臺灣多年， 結 果合 照 時 還 是 有 人 沒 穿 鞋 就 個，我家四姊妹 都沒被 分出去，也

但小朋友多來自漁民或工人家庭， 來，被 趕 到 後 排。當 時 男 學 生 已 沒有向人家分囡仔來。」

懂日語的人不多，大家在家都講臺 有制服的規定，並 戴白線帽。但 女 當 時 高 雄 最 繁 榮 的 旗 後，仍 有

語。所 以 上 課 便 從 日 語 五十 音 開 學 生 則 無 服 儀 規 定，所 以 秀 絃 能 大 部 分 女 孩 沒 有 入學 受 教 育，其

始： 夠 梳 辮 子。等 到 秀 絃 畢 業，學 校 他 農 村 地 區 及 鄉 野 山 區，女 孩 上

あいうえお、かきくけこ、さしす 才 開 始 實 施 制 服 制 度，女 學 生 穿 學識字的就更少了。在秀絃 入學前
せそ 著 海 軍 式 制 服，清 湯 掛 麵 短 髮 瀏 一 年 的 一九 二 六 年，臺 灣 學 童 就

公學校上課是臺語與日語並 海。秀 絃 這 個 年 級 畢 業 的 學 生 共 學比例，男 生占 四 十三%，女 生占

用，逐步增加日語的理 解能力。但 一 百 五 十二 人，女 生 只 有 三 十 五 十二．三%，平均二十八．四%。為了

下課時間，同學 們還 是講臺語。若 人，占不到總人數的四分之一。 提高學校就學率，老師常要登門拜

要同學平常用日語聊天，那是很彆 由於社會上重男輕女，普遍認為 訪家長，鼓吹讓小朋友入學。

扭的，寧可不講話。 查 某 囡 仔 讀 書 沒 用，不 需 要 讀 那 一 個 秀 絃 鄰 居 的 小 女 孩，因 為

55
家 裡 貧 窮，七 歲 就 到 公 學 校 日 本 「 沒 帶 材 料 來 的，通 通 給 我 站 係，被當成新 娘培訓的一環。據 說

老師家揹小孩。這年紀正是囡仔入 起來。」 新 娘 在 男 方 家 首先 必 須 面 對 的 課

學 年 齡，但 已 是 家 庭 經 濟 的 勞 動 沒帶材料的同學低著頭站起 題，就 是 縫 製丈夫的褲子，藉以試

力了。 來，被老師用藤條重重地打了好幾 探 新 媳 婦 的 能 力。對 於 名 門 大 戶

屬於查某囡仔的裁縫課 下。 人 家 來 說，衣 服 實 際 上 多 請 師 傅

當 時 公 學 校 的 課 程 有 國 語、算 當時 打罵體罰是學校 生活的日 縫製，不勞少奶奶的手。但裁縫刺

術、科學、修身、體操、唱歌、裁縫 常，有學 生會自備祕方藥酒擦手， 繡手藝仍是女孩子出嫁的基本能

及 家 事 課。裁 縫 及 家 事 課 是 第 三 以 減 輕 被 打 的 疼 痛。如 果 碰 上 老 力。

學年才開始，專屬於女生的課程， 師 像 喪 心 病 狂 地 抽 打，學 生 經 常 日 本人 做 事 一 板 一 眼，裁 縫 課

而且占了很重的分量，幾乎是所有 是 痛 得 嚎 啕 大 哭，不 過 只 是 讓 老 程也制訂要旨，裁縫 科的要旨是：

課程的三分之一。 師又打得更重。 「知識技能的習得，興趣的增長，

學裁縫除了向家長證明，上學有 其實並不是學生忘記帶，而是材 婦德的養成。」

其 實 用 功 能，可 以 習 得 一 技 之 長 料費 很 貴，根本買不起。有的窮學 熱鬧的廟口夜市

外，同 時 也 能 提 高 查 某 囡 仔 的 學 生 回 家 連 提 都 不 敢 提，她 們 能 來 秀 絃 旗 後 幼 年 時 的 日子 是小 城

習 興 趣，學 校 可 說 是 透 過 才 藝 課 學校上課，已屬難能可貴了。 生活，這裡 雖 沒有 高樓大 廈，但商

招 攬 她 們 入學。家 長 很 容 易 就 想 「哎 唷！妳 縫 歪了，拆 線 重 縫！ 業發達，各種吃的喝的都 有，生 活

到，孩子學得 裁縫，可幫家人修補 妳們真奇 怪，明明有 劃線，也會 縫 機 能 好，最 熱 鬧 的 是 天 后 宮 廟 埕

衣 服，對家 庭 經 濟 有所 幫助，而樂 歪。」 及 廟 旁 夜 市。廟 埕 尤 其 適 合 小 朋

意讓小孩上學。 「唉！剪錯了！這塊布報銷。」 友 玩 樂，附 近 攤 販 或 家 庭 小 店 多

裁 縫 課 首先 教 導 裁 縫 用具 的 使 老師逐桌檢查同學的工作進度， 做 兒 童 生 意，如小 零 食、尪仔標、

用，材料 種 類 及性 質。技術上教 針 似乎 狀 況百出，於 是漸 失耐心，破 糯米尪仔、抽獎、套圈圈等。

線 用法、運針及 剪 裁等。並實習縫 口大罵，但有時其實是老師並沒有 每 攤 都 有 幾 個 玻 璃 大 罐，裡 面

製 衣褲、枕頭套等，此外還有織毛 講清楚。做壞的同學只有低著頭， 放 著 紅、黃、綠 各色 的 糖 球仔。即

衣，並 教 授 衣 物 保 存 及 洗 滌 方 法 噙 著眼淚，即使被冤枉，也沒 人敢 使小吃攤，也多是 矮 桌低椅，坐在

等。 辯解。 小椅上吃一盤番茄沾醬油，是小朋

女 同 學 一 拿 起 針 線，感 覺 忽 然 基 本上 秀 絃 有 齊 全 的工 具 與 材 友特愛的美食。

瞬間成長了，原來裁縫課才是女同 料，單是 這 點不被老師罵，就不會 整 個 市 場 好 像 都 在 做小 孩 生 意

學 內 心 的 成 年 禮。但 裁 縫 課 需 自 減損自信心。有些同學被打罵個兩 似的，難道小孩子的錢比較好賺？

備材料，上課時許多同學沒帶材料 次，心中 留下陰 影，就一 輩子再也 可 能 那 時 小 孩 多，而 大 人 普 遍 節

來，總 是零零落 落。老師氣急 敗壞 不想碰針線了。 儉，不亂花錢，卻願意 給囡仔一點

大罵： 秀 絃 對 於 裁 縫 與 家 事 課，都 蠻 零 角，讓他們出去玩。但 其實囡仔

「 妳 們 老 是 不 帶 材 料 來，要 怎 有興趣。 手 頭 也 不 過 那 麼 點 零 錢，商 家 就

麼上課？講都講不聽。」 裁縫在當時與婚姻有密切關 是 要 設 法 賺 取 這 點 小 錢。另 一方

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面，小孩 生意的本錢 低，家家 可當 本人稱 呼「駄 菓子 店」的 小 鋪。至 瞪口呆，深信不 疑。在砂眼普 遍的

副業經營，小百姓 就是那麼勤奮， 於 經 常 有 的 迎 神 賽 會、布 袋 戲、 時 代，不乏 她 的 客人；但也有人嗤

以小本錢來賺取蠅頭小利。 野 臺 戲 等 幾 乎 接 連 不 斷，七 爺八 之 以 鼻，眼 睛 裡 哪 可 能 藏 那 麼 多

適 合 大 人 的 店，秀 絃 只 記 得 廟 爺、鑼鼓喧天，鞭 炮聲夾吆喝聲此 小蟲，應 是魔術 技 法。不過人們看

埕旁有家汕頭麵店，大鍋上不時霧 起彼落，是個熱鬧激情的世界。 不 出 破 綻，對 於 她 的 神 祕 絕 學 不

氣蒸 騰，現做的手工 麵 條 燙 熟，淋 秀絃從不記得，那是什麼節日或 得不嘖嘖稱奇。

上 大骨高 湯，放 兩片薄 豬肉片，灑 某 王爺生日，或是什麼人 還 願。但 另 外 還 有 基 督 教 的 宣 教 團，一

點 蔥 花 與 芹 菜 花，陣 陣 飄 到 鼻 尖 印 象 最 深 的 是 魁 儡 戲，也 就 是 懸 群 白 袍 教 徒，背 上 寫 著「 應 當 悔

的汕頭麵香，滋味真是清爽美味。 絲 戲，由 於 是 有 神 鬼 內 涵 的 神 祕 改，信 我 者 得 永 生」，他 們 在 布 幔

這 是 秀 絃 吃 過 最 好 吃 的 麵。她 每 表演，小孩子還被告誡不得去看。 圍起的攤區唱著聖歌，頌讚上帝來

次 路 過 總 是 流 著 口 水，總 想 等 有 只 要 是 演 魁 儡 戲 的 晚 上，秀 絃 連 吸引人入教，大聲呼籲著：

了足夠零用錢再來。只是因為捨不 夜市也不敢去逛。 「 大 家 來 信 耶 穌，來 信 耶

得花錢，一共也才來吃過兩次。 旗後晚上的夜市可熱鬧了，從天 穌……。」

麵 店 隔 壁 是 裁 縫 店，櫃 子及 桌 后宮一直 延 伸到修 善 堂，長 達 二、 而 彈 月 琴 的 盲 眼 夫 婦，在 微 弱

面上的生漆，因年代久 遠，都磨 損 三百公尺。同時充滿新 奇 趣味，例 電土燭火旁，以音色滄桑的恆春調

掉 光 露 出 木 紋 和 裂 痕。裁 縫 師 是 如 變 魔 術、賣 藥 粉 藥 膏、拳 頭 師 說唱，曲調悠 遠，唱出了貧 民生 活

男的，據 說 是福州人，都是 縫 製 唐 傅、算命 攤、唱 曲 調 等，聲 光 動 作 困苦的憂傷：

衫、長 袍 之 類，店中有賣些千古不 令人眼花撩亂。 思 想枝！日頭出來 滿天 紅，枋寮

變的棉麻布料。傳 統 上，拜師學唐 其 中 讓 秀 絃 印 象 最 深 的，就 是 過去是楓港，噯唷喂

衫裁縫技術，要三年四個月才能出 賣 跌 打傷 藥 粉 的 鹿 港 施 劍 仙，他 拿 小 板 凳 坐 在 月琴 前 專 注 聽 的

師，時間雖 長，但出來當學 徒時才 總是拿一把劍作勢要吞，說： 都是老人家，像 秀 絃 這種小孩，對

十三、四歲，出師也才十七歲，再實 「 我 是 鹿 港 來 的 施 劍 仙，這 支 於這種老調是沒有興趣的，更不會

作磨 練個三年，二十歲 就可以出來 劍可以吞到肚臍……」 理解到底好聽在哪裡。

開業，年紀輕輕就可以當老闆了。 他 拿 劍 指 著 肚 臍 的 位 置，一 副 「阿娘，莫看這啦，無聊。」

印 象中 旗 後 再 沒 有 其他 專 業 布 作 勢 要 吞 劍 了。大 家 無 不 屏 息 以 秀 絃 不 耐 煩 地 拉 著 母 親 衣 袖，

店，但時有行腳布販來，他們有的 待，但 他 每 次 總 在 這 時 候 就 把 劍 想 離 開 恆 春 調 說 唱，但 秀 絃 玩 得

挑擔，有的腳踏三 輪車，還有騎腳 放下，接著拿起白牡丹藥粉推銷， 久的地方，阿娘卻陪著她看。

踏 車 專 門 賣 針 線 鈕 扣 的，這 些 就 吊足 大家胃口。秀 絃看了幾 年，就 其 他 各 式 魔 術 或 技 藝 表 演，也

是 所 謂 的 賣 貨 郎。秀 絃 母 親 因 纏 從 來 沒 有 看 他 真 的 吞 劍，不 過 他 都 趣 味 盎 然，挑 動 著 孩 子 們 的 好

足不 那麼 方便，蠻喜 歡他們來，滿 的藥粉倒是真的不錯。 奇心。夜市各種聲音相混在一起，

心期待展開布料，逐一欣賞。 還 有 洗 眼 睛 的 王 樂 仔，她 能 用 充 滿 混 雜 的 野 趣。秀 絃 每 晚 總 要

旗 後 雖 然 工 商 業 發 達，卻 沒 有 棉花棒快速在眼球上一擦，挖出小 來 逛 一 圈，把 心 融 化 於 夜 市 的 晚

大商店，盡 是 這些臺 灣柑仔店，日 黑 蟲，一擦 就 是 一隻。有人看了目 風，然後才心滿意足地回家。

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影像對話　PHOTO ESSAY

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Readers’ Photos 《光華》
攝 影 徵 件

季風中的山林—
台灣森林之美
The Beauty of Taiwan’s
Mountain Forests

林間雲海霞光金龍山（吳坤炳）
Sunshine on a Sea of Clouds at Mt. Jinlong (Wu Kunbing)

南投縣魚池鄉金龍山，是台灣低空雲海聖地之一。日出之後，
雲海在森林間此起彼落的波動，陽光灑落在雲霧裡的斜射光影，
是台灣特有的森林美景。
Mt. Jinlong, in Nantou County’s Yuchi Township, is one of the
best-known spots in Taiwan to see a “sea of clouds” at a low
elevation. After sunrise, the clouds undulate through the forest as
the sun’s rays shine on the mists. This forest scene is a special
part of the beauty of Taiwan.

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浮浪躍金（林憲茂）
Sparkling Golden Light (Lin Xianmao)

大崙山位於溪頭的羊彎附近，秋冬之際不僅可徜徉在金黃的銀杏森林間，每當夕陽時分，
璀璨的斜陽映照在層層雲浪之上，甚是迷人。
Mt. Dalun is located near Yangwan in Xitou, Nantou County. In autumn and winter not only
can one wander in the ginkgo forest, but as the day ends one can see the angled rays of the
setting sun shining across layers of clouds, an enchanting sight.

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小烏來的森林星空（陳勇明）
Starry Skies over Xiao Wulai (Chen Yongming)

小烏來瀑布位於桃園復興區，瀑布旁有森林步道可以近距離觀賞，同時感受大自然的芬多精，
入夜後，森林上方就會出現美麗的星空。
Xiao Wulai Waterfall is located in Taoyuan's Fuxing District. A forest trail beside the waterfall lets
visitors admire it up close while also experiencing the natural phytoncides. After dark, a gorgeous
starry sky appears above the forest.

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 阿里山姊妹潭（蕭慶良）
Jiemei Lakes on Alishan (Xiao Qingliang)

空景下的姐妹潭，座落阿里山國家森林遊樂區內最密集的檜木群，
林中伴生著寒、熱帶兼具的樹種。相思亭有木橋連接岸邊，
潭水清澈、平靜無波，可循著環潭步道遍覽全景。
This aerial view of Jiemei (Sisters) Lakes shows them in the midst of the densest
cypress tree concentration in the Alishan National Forest Recreation Area, while
the surrounding forest includes trees from both frigid and tropical zones. A wooden
bridge leads from the lake shore to a pavilion built above the limpid, tranquil water,
and a hiking trail around the lakes offers views from every angle.

阿里山神木（蔡沛桓）
Giant Tree at Alishan (Cai Peihuan)

微觀神木，阿里山神木都屬高齡二、三千年的紅檜與扁柏，翠綠蕨類生長在樹幹上。
The giant trees of Alishan (Mt. Ali) are Taiwan red cypress and Taiwan yellow cypress that are 2,000–3,000
years old. The trunks of these ancient trees are covered in verdant ferns, seen here in closeup.

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63
深山楓林（陳勇明）
Autumn Colors in the Mountains (Chen Yongming)

在桃園山區的森林裡，季節推移，翠綠葉子慢慢變黃。在朝陽照射下，呈現出耀眼奪目金黃色澤，
放慢腳步就地感受秋意美感。
In the mountain forests of Taoyuan, with the turning of the seasons the green leaves gradually turn
yellow. In the morning sunlight the foliage creates a dazzling golden vista, and you can slow your
steps and take in the beauty of autumn.

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阿里山夫妻樹星軌（陳秀美）
Star Trails over Couple Trees on Alishan (Chen Xiumei)

入夜後，在深藍的天幕下，擁有絕佳的觀星條件，高聳參天的巨木日復一日見證著光年星空，
成為林中讓人無法忽視的奇觀。
After dark, the deep blue sky provides an ideal setting for stargazing. Deep in the forest, night
after night, the towering trees watch the distant stars pass by, creating a magical view.

阿里山森林（蔡沛桓）
Alishan Forest (Cai Peihuan)

阿里山四季精彩非凡，春天尋花蹤、夏天訪螢河、秋天賞楓祭典，
緊接著冬天齊聚迎接第一道曙光。
Alishan is wondrous throughout the year. In spring there are flowers, in summer there are fireflies,
in autumn there are maple trees changing color, and in winter crowds gather together to welcome
the dawn of the new year.

65
66
 二萬坪神木（張文雄）
Giant Trees at Erwanping (Zhang Wenxiong)

阿里山二萬坪地區高大密集杉木構成的廣大的黑森林，其中的樹抱石巨木是兩棵千年紅檜，
懷抱著直徑超過 3 公尺的巨石，巨木呵護在側，更是二萬坪景觀最大的亮點。
The “Black Forest” in the Erwanping area of Alishan is a dense concentration of tall cedar
trees. Among them is a pair of thousand-year-old Taiwan red cypress, one of which is wrapped
around an enormous rock more than three meters in diameter. This is one of the highlights of
Erwanping’s scenery.

太平山雪景（利勝章）
Snow on Mt. Taiping (Li Shengzhang)

位於北台灣宜蘭山區的太平山國家森林遊樂區，擁有豐富多樣的森林資源，尤以檜木與台灣山毛櫸森林最為珍貴。
冬季時可見靄靄白雪覆蓋的美景，宛如來到銀白色的仙境。
The Taipingshan National Forest Recreation Area, located in the mountains of Yilan County in northern Taiwan, has
abundant and diverse woodlands, of which the most precious are forests of cypress and Taiwan beech. In winter,
when snow covers the trees, the scene becomes a silvery wonderland.

67
全球視野　GLOBAL OUTLOOK

「牠」的守護者
眾 志 成 城 的 公 民 科 學
文•蘇俐穎　圖•林旻萱　
版面設計•蕭郢岑

公民科學計畫「新年數鳥嘉年華」在台南七股
記錄到的紅嘴鷗與大白鷺。（呂翊維攝）
A citizen science project conducted
around the New Year’s holidays is
aimed at collecting data about
populations of great egrets
and black-headed gulls
in Tainan’s Qigu
District. (photo
by Allen Lyu)

68
 Citizen Science
in Taiwan:
People Working to
Protect Animals
69

「路殺社」和「路透社」有關係嗎？「慕光
之城」和吸血鬼電影《暮光之城》有關聯嗎？這
些發揮鄉民幽默，令人會心一笑的公民科學社
團，幕後推手居然是一群身負保育重任的生態研
究員們。他們在網路上一呼百應，可以動員千萬
大眾，起心動念不為其他，不過想為大千世界裡
的繽紛生物留下紀錄，甚至，留下生路。
2019年夏季，有糧食殺手之稱的秋行軍蟲，因西
南氣流的吹拂來到台灣，農民如臨大敵，農政單位
嚴陣以待，在輿論沸騰之下，甚至傳出不明的網路
流言，被稱為秋行軍蟲的草地貪夜蛾幼蟲並不
是初來乍到，十年以前就已經存在台灣。
特有生物研究保育中心副主任林旭
宏，同時也是公民科學社團
70
「慕光之城—蛾類世界」
創辦人林旭宏。
Lin Hsu-hong, founder of
Moth Observation in Taiwan.
「慕光之城─蛾類世界」創辦人，拿出了2010年
開始，超過25萬筆（至2022年10月則已累積高達
51萬筆）的台灣蛾類調查資料，其中沒有任何一
筆是秋行軍蟲的紀錄，鐵錚錚的科學事實，讓謠
言不攻自破。
隨手之勞，小民立大功
「公民科學」（Citizen Science）是由群眾參
與，與科學家協力完成的科學研究方式。這一詞
彙在1995年由英國社會學家艾倫•厄文提出，後
來被廣泛地運用在各種科學調研上，除生態調查
以外，也常見於氣象、天文、環保等領域。
即便多數人對於公民科學一詞或許相當陌生，
但這樣的概念在不少領域早已被運用得駕輕就
熟。好比昔日，道路即時影像監測系統與智慧型
手機尚未普遍的年代，駕駛人上高速公路，會打
開「警察廣播電台路況導航」收聽即時路況，好
迴避車多或有事故的路段，這些資訊往往來自於
熱心民眾的無償提供，警廣路況的運作模式，正
是來自於眾志成城的公民科學。
「資訊的提供者，同時也會是使用者，這是
公民科學的特性。」特有生物研究保育中心助理
研究員林大利說。駕駛人在公路上馳騁，看見事
故，Call-in到電台分享；大眾到戶外踏青，看到
蟲魚鳥獸，拿出手機拍照留念，再上傳到特定的
“D oes the Roadkill Network have anything to
do with the Reuters news agency?” (Their
Chinese names share two of three characters.) “Is
the group ‘Moth Observation in Taiwan’ related to
the vampire film Twilight?” (They sound identical
in Chinese.) Their names may inspire endless jokes,
but the ecological scientists behind these organiza-
tions have taken on their shoulders responsibility
for a serious task: protecting the environment.
In the summer of 2019 the fall armyworm moth,
known as “the crop killer,” was said to be coming to
Taiwan on southwesterly winds. Farmers saw the pest
as a formidable enemy, and government agricultural
agencies were put under intense public pressure as
rumors spread online that it had been in Taiwan for a
decade already.
Lin Hsu-hong, deputy director of the Endemic Spe-
cies Research Institute (ESRI), is the founder of the
由特生中心主導的大型鳥類公民科學如「台灣繁殖鳥類大調查」、「新年數鳥嘉年華」等，
每年均會根據資料提出年度報告與民眾交流成果。
Major citizen science campaigns promoted by ESRI, such as the bird-focused BBS Taiwan and
NYBC Taiwan, publish their data in yearly bulletins available to the general public.
citizen science group “Moth Observation in Taiwan.”
Since its beginnings in 2010, the group has collected
510,000 data points about moths in Taiwan, which offer
no evidence of any armyworm moths at all. Those iron-
clad scientific findings put the alarmist rumors to rest.
Lending a hand: Citizen power
“Citizen science” is a model of scientific research that
mobilizes public participation to help scientists do their
work. The term was first coined by the British sociologist
Alan Irwin in 1995. Aside from its prevalence in ecologi-
cal surveys, citizen science has become a fixture in astron-
omy as well as in climate and environmental sciences.
“The supplier of data is also a user of it—that’s a char-
acteristic feature of citizen science,” says Lin Dali, an
assistant research fellow at ESRI. Drivers can call radio
station hotlines to report accidents and traffic conditions
on highways. When citizens go on outings and see an-
imals—whether beast, bug, fish or fowl—they can take
a cellphone photo to post on Internet platforms. Citizen
71
網站平台。公民科學社團的資料來源，往往就來 究保育中心研究員兼棲地生態組組長林瑞興提出
自於這樣的隨手之勞，與個人紀錄不同的是， 幾個重要指標，證明了台灣公民科學的發展堪稱
這些資料經過公開、彙整，成為大數據，經由解 蓬勃，「包括計畫的多樣性、公民的參與熱度、
讀，不僅讓使用者受惠，甚至還能在意想不到之 發展速度與擴展到其他面向的程度。」光以最大
處發揮出莫大效益。 宗的鳥類公民科學，台灣就有二十餘種計畫推
由美國康乃爾大學「鳥類學研究室」所推出的 動，社團的參與人數往往可達上千甚至萬人。
鳥類線上資料庫「e B i r d」，是全世界知名的公 台灣的公民科學發展可以溯源到40年以前，多
民科學計畫之一。這個全球最大的鳥類資訊的平 以賞鳥人的鳥類記錄為主。2003年，東華大學自
台，資料來源提供者正是全世界的賞鳥人，至今 然資源與環境學系副教授楊懿如率先有系統且大
已有超過80萬名的賞鳥人將資料上網公開，超過 規模地推動「兩棲類監測」計畫，讓公民科學在
6億筆的資料，加上歷史資料，時間橫跨200年的 台灣發展進入下一階段。
尺度。除了提供個人的紀錄功能，經過長期的大 位於南投集集的特生中心，更是促成此波公民
數據累積，能協助賞鳥人針對不同地區、鳥種， 科學風潮的幕後推手。林瑞興談到，成立於1992
進行交叉比對；甚至也成為科學家觀察氣候變遷 年的特生中心，恰恰好與《生物多樣性公約》簽
對物種之影響的客觀紀錄。 署同年，遙相呼應一般，中心的成立初衷便以台
灣特有種生物的保育、研究、推廣教育為主要任
台灣公民科學風潮的推手
務。但身為研究員的他們，因著生物調查範圍遍
公民科學興起的背景包括當代資通訊技術的 及全台，光憑一己之力，資料累積緩慢，封閉式
躍進（如全球定位系統、網路資料庫、社群媒 的作業方式，難與公民對話，更難引發對於保育
體）、與智慧型手機的普及等原因。特有生物研 議題的共鳴。為了突破困境，2009年才開始嘗試

林瑞興協助推動台灣多項鳥類公民科學計畫。
Lin Ruey-shing has helped organize several citizen ornithology studies.

72
science organizations rely on that kind of convenient
and serendipitous gathering of data. Where the phe-
nomenon differs from personal record making is that
all the data is public and aggregated, thus becoming
“big data.” Available for analysis and interpretation,
the information both benefits platform users and can
have major impacts in unexpected ways.
Four big citizen science projects
For the general public, birds are beautiful to be-
hold and easier to observe than many other forms of
wildlife. Consequently, birdwatching may well be the
world’s most popular form of ecological observation.
With that in mind, ESRI created four bird-related citi-
zen science projects. “There was a strategy to the order
in which they were promoted,” says research fellow Lin
Ruey-shing, the chief of ESRI’s Division of Habitats and
Ecosystems, who was in charge of planning them.
The first was a survey of breeding birds in Taiwan: BBS
Taiwan. The plan was jointly organized by ESRI and the
Institute of Ecology and Evolutionary Biology at National
Taiwan University, which designated scientific methodol-
ogies and sampling areas throughout Taiwan. The Taiwan
Wild Bird Federation has helped by making appeals for
volunteers. From March to June, during the breeding sea-
son, volunteers make counts of wild birds breeding in the
sampling areas using standard methodologies.

「台灣鳥類生產力及存活率
監測」計畫，由培訓過的志
工協助繫放鳥類。
（蘇美如攝，MAPS Taiwan
提供）
Trained volunteers tag and
release birds as part of MAPS
Taiwan, a study of the fecundity
and fledgling survival rates
of birds in Taiwan. (photo by
Su Meiru, courtesy of MAPS
Taiwan)

志工在全台各地進行調查，
橫跨的地理尺度，可改善過
去由研究員一人調查，資料
累積緩慢的困境。
（呂佳家攝，B B S Ta i w a n
提供）
Large numbers of volunteers
collect data throughout Taiwan,
in surveys that improve upon
the slow accumulation of data
by lone researchers in earlier
times. (photo by Lü Jiajia,
courtesy of BBS Taiwan)

73
運用公民科學的方法，陸續推出鳥類、蛾類、蜘
蛛、蝸牛、路殺等研究計畫。
四大鳥類公民科學計畫
對於民眾來說，鳥類的姿態美麗，又容易觀
賞，是生態觀察中最熟悉且風行的一項了，且是
全球皆然。特生中心從此著手，有計畫地推動了
四個大型鳥類公民科學計畫，「推動的順序是有
策略性的。」負責計畫的林瑞興表示。
率先推出的是以繁殖鳥為對象的「台灣繁殖鳥
類大調查」（BBS Taiwan）。計畫初期，在林務
局的支持之下，由台灣大學生態學與演化生物學
研究所規劃出全台調查的樣區與研究方法；接著
由特生中心接手主導，並藉中華民國野鳥學會的
協力，號召到志同道合的志工。在每年3∼6月的
鳥類繁殖季節，志工會在樣區以標準化的方法來
蒐集野外繁殖鳥的數量。
接續啟動的，是在BBS Taiwan的基礎上進階
的「台灣鳥類生產力及存活率監測」（M A P S
Taiwan），以更高難度的捕捉與繫放作業，了解
台灣鳥類在繁殖季的繁殖進程與存活狀況。
為了將參與對象從賞鳥迷拓展到一般大眾，
2013年進一步推出以留鳥與冬候鳥為主的「台灣
新年數鳥嘉年華」（NYBC Taiwan），這個活動
呼應北美流行超過百餘年的「聖誕節鳥類調查」
74
活動，也是全球發展最早的公民科學計畫之一。
活動時間落在元旦左右，全台各地共計172個樣
區，每個樣區均有志工組隊並分派不同的任務，
每年均有超過千人響應。
2015年8月，特生中心取得康乃爾大學鳥類學
研究室同意，中文化的「eBird Taiwan」正式上
線。這一重要進展，被林瑞興稱為台灣鳥類公民
科學基礎工程的最後一步，台灣的鳥類資料可以
匯流到單一平台，更串連到國際。
路殺社：另類的生態學觀察
倘說鳥類公民科學，是在特生中心主導下，由
上（研究單位）往下（大眾）展開，那麼「路殺
社」的行程，則是全然相反，由下往上的另種類
型。時常被簡稱為路殺社的「台灣動物路死觀察
網」，創辦人是特有生物研究保育中心動物組助
理研究員林德恩。創社至今11年，林德恩娓娓道
來當時「無心插柳柳成蔭」的創社過程。
研究兩棲爬行動物的林德恩，在公民科學風氣發
軔時，便已嘗試投入。然而因為主要研究的蛇類相
較不討喜，加上習性擅躲藏，路殺的屍體比活體還
要常見的狀況，多年嘗試舉辦志工訓練，願意留下
長期投入的人卻不多。
搭上社群媒體崛起的風潮，2011年，下班後的
他在Facebook上創辦了爬行類調查志工的交流社
路死動物的屍體經過記錄、採集，被運用於重大傳染病監測、
野生動物保育等不同方面。（黃惠敏提供）
Roadkill specimens are recorded and collected for research
about infectious diseases and wild animal conservation.
(courtesy of Huang Hui-min)
路殺社社長林德恩。
Lin Te-en, head of the Taiwan Roadkill Observation Network.
Building on the foundation laid by BBS Taiwan, the
next effort was MAPS Taiwan, which aims to measure the
fecundity and fledgling survival rates of birds in Taiwan.
With a goal of expanding participation from hard-
core birders to the general public, NYBC Taiwan was
then launched in 2013 with a few weeks of activities in
December and January. These are aimed at providing
data both on Taiwan’s resident birds and on migratory
birds that overwinter here. In designated sampling
zones throughout Taiwan, teams of volunteers take on
different duties. More than 1,000 people answer the call
every year.
In August of 2015 ESRI reached an agreement with
Cornell University’s Lab of Ornithology to formally
bring online a Chinese-language version of eBird Tai-
wan. This important development is described by Lin
Ruey-shing as the final block in a sturdy foundation of
Taiwan citizen ornithology. It allows data about birds in
Taiwan to be collected on one platform and linked up to
the international community.
Stealing Reuters’ thunder
If citizen ornithology under the direction of ESRI
has unfolded from the top down (from a research insti-
tute to the citizenry), the Taiwan Roadkill Observation
Network is the reverse, offering a model that starts at
the grass roots. Known as the “roadkill club,” the net-
work was founded by Lin Te-en, an assistant research
fellow in the Zoology Division at ESRI.
Riding the wave of social media, in 2011 he es-
tablished a group on Facebook aimed at volunteers
wanting to share information about reptile sightings.
One evening he posted a picture of a roadkill snake,
and overnight he received nearly 100 replies with sim-
ilar photos. The response stunned him. “It was only
then that I realized how many people were concerned
about the problem of roadkill. But no one knew what
to do about it.” It was his colleagues who joked that
he should rename the group “the roadkill club,” he
recalls. “We were thinking that we could steal some of
the spotlight from the Reuters news agency [lutoushe,
75
 體樣本，並且與屏東科技大學野生動物保育研
究所、農業藥物毒物試驗所等單位攜手，發現造
成黑鳶、領角鴞及鳳頭蒼鷹等猛禽的死因，有很
高比例是毒鼠藥所造成。另外，加保扶、納乃得
等農藥的濫用，也導致許多食穀鳥類如麻雀、
紅鳩，因急性中毒大量死亡。這些發現促成農
政單位全面禁用加保扶、納乃得，並取消了
常態舉辦的滅鼠周活動，改為針對重點區域的
撲殺。
至於回到源頭的路殺議題，在數年的資料累
積，後來路殺社透過資料分析並綜整專家意
見，整理出全台138個路殺熱點路段，與道路管
理單位如國家公園、林務局、公路總局合作，運
用警示牌、防護圍籬、地下通道等方式來改善路
標本採集袋中的動物屍體由特生中心統一管理，這些樣本
常在意想不到的時刻發揮重要功用。 殺風險。而這些資料也被科技廠商、汽車業者採
The bagged remains of roadkill are collected for processing by
ESRI. The samples have proved highly useful in unexpected ways. 用，應用在導航王、Garmin、和泰汽車的內建導
航系統中，當車輛行駛到熱點區段，會主動提
出警示。
團「四處爬爬走」。某晚，他信手po上一張路殺
從理念到實踐，從旁觀到參與
的蛇屍照片，經過一夜的發酵，居然收到近百張
同樣是路死動物照片的回饋，網友回應之熱絡， 常云台灣最美的風景是人，公民科學是最好的
讓他驚訝不已，「這時才發現，原來關心路死動 例證。林德恩提到，路殺社的資料提供者，大部
物的人這麼多，只是大家都不知道該怎麼辦。」 分也不是來自生態領域畢業的「圈內人」，也非
林德恩說。在同事們的開玩笑下，社團更名為路 退休人士或者生態導覽解說志工，就只是一般熱
殺社，「想說還可以藉此沾沾路透社的光，沒想 心的大眾人，「只要告訴他們該怎麼做，願意付
到也成真了。」他幽默地說。 出的人比想像中的還要多。」林德恩說。顯而易
見，公民科學建立了一條路徑，拉近了學術研究
路死動物的另重意義
與普羅大眾的距離，也見證了萬眾一心、聚沙成
隨著社團的成長，民眾的踴躍迴響，與各種專 塔的公民力量，還將環保、動保理想落地，有了
業的生物學家的加入，路殺社也逐步擴大資料蒐 實際且正面的效益。
羅的範圍，從數位照片到實際的動物大體，種類 林瑞興分析，公民科學的發展成功與否，與
也從兩棲爬行類拓展到鳥類、哺乳類等。 社會的發展程度成相當正比。經濟發展必須到
截至2022年9月，路殺社已累積高達23萬筆路 位，資通訊設備才能完善；國家體制必須民主、
殺資料，這些資料，屢屢在意想不到之處立下奇 開放；公民參與必須夠踴躍；以及最重要的，人
功。好比在2012年，因為志工觀察到不尋常的大 們在生態、自然的保育意識必須提升。當所有條
量鼬獾死亡個體，讓路殺社與特生中心的獸醫、 件到位，經過特定單位如特生中心的整合，才能
動物植物防疫檢疫局的防疫專家合作，翌年從野 順水推舟地推動，遂引動沛然莫之能禦的能量。
生動物急救站的救傷個體中，追蹤到存在台灣已 聖雄甘地曾謂：「一個國家的偉大與文明道德進
經超過百年的鼬獾狂犬病病毒。 步的程度，端看他如何對待動物。」從此角度檢
有此先例，後來發生大量猛禽死亡事件，防檢 視，台灣公民科學的成功經驗，值得引以為豪，
局主動找上門，這一回，路殺社也提供及時的遺 更值得與國際分享。 l

76
which shares its first and third Chinese characters with
‘roadkill club,’ lushashe]. Little did we know that the
name would stick.”
With public enthusiasm and participation from
biologists of various disciplines, the club has grown,
gradually broadening the data it gathers and expand-
ing from digital photographs only to collecting frozen
animal remains, and from reptiles and amphibians to
include birds and mammals as well.
As of September 2022, the network has 230,000 sepa-
rate data entries on roadkill. The data has proved highly
useful, often in unexpected ways. For instance, back in
2012 volunteers documented unusually large numbers
of Formosan ferret-badger corpses. The following year
the network worked with veterinarians at ESRI and
experts from the Bureau of Animal and Plant Health
Inspection and Quarantine to track cases of rabies in
ferret-badgers at animal rescue stations. The virus has
been present in Taiwan for more than 100 years.
With regard to the problem of roadkill itself, after
gathering data for several years the network analyzed
the data and consulted with experts to come up with
a list of 138 roadkill hotspots. It subsequently worked
with relevant government agencies, such as the national
parks, the Forestry Bureau, and the Directorate Gen-
警示牌可以改善野生動物的處境，也降低駕駛人的行車風險。
（林德恩提供）
Warning signs can aid the safe passage of wildlife as well as
reduce risks for drivers. (courtesy of Lin Te-en)
eral of Highways, to install warning signs, protective
fences, and underground passages and to make other
improvements. The data has also been used by tech
and auto companies in vehicle satnav systems, alerting
drivers that they are approaching these hotspots.
Bringing ideals into reality
In Lin’s analysis, the success or failure of citizen
science is in large part connected to a nation’s level of
social development: Economic development must reach
a certain level; information and communications infra-
structure must be comprehensive; the political system
must be open and democratic; there must be sufficient
public participation; and most importantly, there
must be high levels of ecological and environmental
consciousness among the people. When all these con-
ditions are met, specific agencies such as ESRI will be
able to guide the launch of citizen science projects that
can attain unstoppable momentum. Mahatma Gandhi
once said: “The greatness of a nation and its moral
progress can be judged by the way its animals are
treated.” From this perspective, the successful experi-
ence of Taiwan’s citizen science is worthy both of our
pride and of sharing with the world. l
(Lynn Su/photos by Lin Min-hsuan/
tr. by Jonathan Barnard)
77
島嶼行旅　AROUND TAIWAN

漫走老官路，沿路都是森、樹、林的對話。
All along the Laoguanlu Trail, hikers can converse
with the trees and the forest.

老 官 路 ． 傳 遞 大 湖 馨 香 故 事
Trailing the Past
—Stories of the Laoguanlu Historic Trail
文•郭美瑜　圖•林格立　版面設計•蕭郢岑

78
 記憶中，阿嬤的大衣總飄散著樟腦的淡香，那是掛在衣
櫃捨不得穿出場的貴重衣裳才有的款待。這氣味，曾讓台
灣成為世界樟腦王國。
協助尋找百年前苗栗大湖運輸茶、樟腦等物資之山徑
「老官路」的師鐸獎得主彭宏源，近年除草、當導覽，用
愛鄉之情傳遞古道上的馨香故事。

21世紀台積電所產晶片在全球產業扮演舉足輕重角色，
因而被喻為「護國神山」；19世紀台灣茶、蔗糖、樟腦因
應國際需求，成為台灣三大出口物資，也為台灣賺進大
量外匯而被喻為「台灣三寶」，宛如當時的「護國神山
群」。
中興大學森林系退休教授馮豐隆說，樟樹皮有深的縱裂，
全株具樟腦般的氣味，可藥用、驅蟲劑、提煉製成樟腦，並
作為建材、雕刻。百年前遍布於台灣中低海拔的山林間，因
無煙火藥、賽璐珞（Celluloid）及底片發明，做為原料之一
的樟腦需求大增，使得台灣成為「樟腦王國」達半世紀之
久，直到化學合成的樟腦問世，天然樟腦產業才逐漸式微。
樟樹現為淺山常見的行道樹種。
中央研究院近代史研究所兼任研究員林滿紅在《茶、
糖、樟腦業與台灣之社會經濟變遷》著作中指出，當時台灣
茶樹多分布在新北石門至彰化的丘陵地，提煉樟腦的樟樹則
分布於宜蘭至嘉義的深山，再以肩挑、竹筏將茶、樟腦從山

I n my memories, Grandmother’s coat always gave

off a gentle fragrance of camphor. This honor was
reserved for precious clothing that she would only
wear on formal occasions, and so mostly remained
hanging in the closet. This fragrance once made Tai-
wan the world’s “camphor kingdom.”
Peng Hung Yuan, a winner of the National Excellent
Teacher Award, assisted in rediscovering the route of
the Laoguanlu (“old government road”) Historic Trail,
which was used in days gone by to transport tea and
camphor from Dahu in Miaoli. In recent years, moti-
vated by his love for his hometown, he has worked to
keep the trail clear of vegetation and has acted as a
guide in order to tell the stories of this path.
In the 21st century the Taiwan Semiconductor Manu­
facturing Company, whose products play a crucial role in
global industry, has been nicknamed “the sacred moun­
tain that protects the nation” by the people of Taiwan. In
the 19th century, in response to international demand,
tea, cane sugar, and camphor became Taiwan’s three
most important exports and were called the “three trea­
sures of Taiwan.” They earned large amounts of foreign
exchange for Taiwan and were the “sacred mountains
that protected the nation” back in the day.
Feng Fong­long, a retired professor from the Depart­
ment of Forestry at National Chung Hsing University,
explains that camphor wood has multiple uses, as med­
icine, insect repellent, building material, or material for

79
區送往港口輸出。山區因種植經濟價值極大的茶 若是漫遊渡南古道，可見日人引進種植的大
樹及樟樹，是台灣山區得以開發的一大契機。 葉種阿薩姆茶樹，還可順遊台紅茶業文化館、百
年三合院「羅屋書院」。步行石峎古道，可遊電
「樟之細路」古道分級
視劇《茶金》拍攝地姜阿新洋樓。從古道下到客
近年行政院客家委員會與台灣千里步道協會等 庄，可品嚐道地的客家粄條、水晶餃等經典客家
官民協力，理出昔日肩挑、舟筏的茶、樟腦運輸 小吃，或創新的客家菜。
山徑，再結合農路及現今產業道路，串成從桃、
老官路，森、樹、林是主角
竹、苗、台中縱橫380公里的「樟之細路」，是
七條國家級長距離綠道之一，以彰顯百年前「樟 大湖老官路位於台三線133.6K至141.1K東側的
腦王國」與「茶業大亨」的輝煌歷史，並於2019 山稜線，全長約9.2公里，昔日是樟腦、茶及民生
年與韓國濟州島翰林港的「濟州偶來步道」締結 物資的運輸山徑，是六條國旅路線中路程最長。
友誼步道，第四屆亞洲步道大會也將於2022年12 向東可眺望台灣小百岳之一、也是泰雅族聖山的
月在台舉辦，讓國人參與盛會。另外，客委會也 馬拉邦山，以及大克山，西為海拔889公尺的關
委託AXN頻道製播《樟之細路的秘密》節目，讓 刀山，屬山相豐富古道，秀麗的山景及竹林秘境
觀眾一探古道風光。 最吸睛，沿途沒有過多的囂喧，遍路是森、樹、
百年前的茶、樟產區多集中在現今客家庄， 林與果園的對話。走累了可順叉路往台三線。
台灣師範大學歷史系名譽教授吳文星說明，客家 彭宏源原是苗栗農工森林科主任，2009年全國
移民在原鄉就遍住在丘陵地，來台後也依習慣選 POWER教師獎、2010年教育部師鐸獎得主，任教
擇丘陵地落腳，因環境多茶樹及樟樹，因此以採 時參與調查世居村莊的伯公祠廟，後來擴及大湖全
茶、焗腦為業，隨移民人數增加越往山區開發， 區，還合著相關書籍。退休後恰巧客委會規劃「樟
衍生漢人與原住民的衝突。 之細路」，他義不容辭加入老官路的考證工程。
客委會將樟之細路其中七段古道，結合客庄的
師鐸獎得主，傳遞大湖馨香故事
茶、樟腦之歷史景點，規劃為六條國旅路線，包
括桃園的小粗坑古道、新竹的渡南、飛鳳、石峎 「老官路，我小時候常走，經過幾十年後卻已
古道、苗栗的鳴鳳、老官路（又名老官道）及出 找不到路。」彭宏源回憶邀兩名同伴先行探路的
關古道，並依路況分親子、挑戰、健行三級。 情景：「三人帶著鐮刀上山，從南湖入口走約半

彭宏源帶鐮刀掃除豪雨過後的倒竹，維護路型。
Sickle in hand, Peng Hung Yuan clears fallen bamboo from
the trail after heavy rain.

80
sculpting, and can be processed into camphor. With the
invention of cordite (smokeless gunpowder) and celluloid,
demand for camphor, which was used in the manufacture
of both, skyrocketed, making Taiwan into the “camphor
kingdom” for half a century. It was only with the advent of
synthetic camphor that the natural camphor industry went
into decline.
Lin Man­houng, an adjunct research fellow in the Insti­
tute of Modern History at the Academia Sinica, noted in her
book The Tea, Sugar, and Camphor Industries and Socioeconomic
Change in Taiwan (1860–1895) that in those days tea plants
in Taiwan were mainly distributed in hilly country from
Shimen in today’s New Taipei City to Changhua, while
camphor trees grew deep in the mountains from Yilan to
Chiayi. Tea and distilled camphor were carried on shoul­
der poles or transported on bamboo rafts to the ports from
which they were exported. Because tea and camphor were
such valuable commodities, their production was a power­
ful driver of development in mountainous areas of Taiwan.
The Raknus Selu Trail
In recent years, a partnership between the Hakka Af­
fairs Council (HAC) and the Taiwan Thousand Miles Trail
Association has led to the restoration of old mountain
pathways once used to transport tea and camphor, and the
linking of these with farm roads and other commercial
access roads to create the 380­kilometer Raknus Selu Trail,
which runs from Taoyuan through Hsinchu and Miaoli to
Taichung. Their goal has been to draw attention to Taiwan’s
glorious history as a tea and camphor kingdom a century
ago. In 2019 the Raknus Selu Trail became a Friendship
Trail of the Jeju Olle Trail in Korea, and in December 2022
the Fourth Asia Trails Conference will be held in Taiwan.
Why is it that 100 years ago tea and camphor production
was mainly concentrated in areas that today are still Hakka
communities? Wu Wen­hsing, professor emeritus in the
Department of History at National Taiwan Normal Uni­
versity, explains that Hakka immigrants to Taiwan tended
to live in hilly regions on the Chinese mainland, and after
coming to Taiwan they settled in similar areas. There were
many tea plants and camphor trees around them, so they
became active in tea harvesting and camphor distilling.
The HAC has selected seven sections of historic trails
along the Raknus Selu Trail and combined them with
historic scenic spots connected with tea and camphor to
create six national tourism itineraries. These include the
Xiaocukeng Historic Trail in Taoyuan; the Dunan, Feifeng,
and Shi’en (a.k.a. Shiyingzi) trails in Hsinchu; and the
Mingfeng, Laoguanlu, and Chuguan trails in Miaoli. They
have been graded into three categories based on trail con­
ditions: family­friendly, challenging, and healthful hiking.
The HAC also commissioned the AXN network to produce
and broadcast the program Secrets of the Raknus Selu Trail,
to encourage more people to explore these historic trails.
Along the Dunan Historic Trail, you can see many in­
teresting sights, including the large­leaf Assam tea plants
introduced by the Japanese, the Formosa Tea Industry and
Culture Gallery, and the Lo House, a well­preserved three­
sided courtyard residence that is a century old. If you
81
 桃園市
Taoyuan City

新竹縣
Hsinchu County
1
苗栗縣
Miaoli County
2

6 5

1 小粗坑古道 4 鳴鳳古道
Xiaocukeng Historic Trail小 小 Mingfeng Historic Trail

2 渡南古道＆飛鳳古道 5 老官道（路）
Dunan and Feifeng historic trails小 Laoguanlu Historic Trail

3 石峎古道 6 出關古道
Shi’en Historic Trail Chuguan Historic Trail

樟之細路國旅路線。( 客委會提供 )　National tourism routes along the Raknus Selu Trail. (courtesy of HAC)

天，劈、劈、劈，還找不到路。」顯示重現古道 養了各類植物，藤蔓、五節芒竄出擋道，彭宏源拿
的艱難挑戰。後來水保局測量人員花17天才將古 鐮刀一路披荊斬棘、清除倒竹，手被芒草割傷、腳
道定線，最後他還加入手作修復步道工程。 被樹枝劃破也不以為意，他說「這是家常便飯」。
彭宏源說，老官路是1883年當地焗腦大墾戶 前行一公里進入大片竹林，陽光從高聳的竹葉
吳定新與葉春霖赴官府，請稟開闢大湖至卓蘭之 縫隙鑽進林間，芬多精環繞四周而感沁涼，洗塵、
道路，作為交通及防範原住民衝突的隘勇路（巡 淨心，讓人有漫步在日本知名的京都嵐山竹林小徑
守路線），拓修後成為較具規模的官路。舉凡隘 之感。穿過竹林是寬闊的平台，山谷有聚落傍水而
勇、郵驛、公務、商務、挑夫，均以此為唯一的 居，你可以想像與世無爭的愜意農村生活。沿途，
通路，較台三線早了52年通行。台三線開闢後交 大地因雜草鋪陳顯得柔軟，也有樹根盤曲形成樹
通便捷，山徑也悄歸自然。 梯，路路不相連時有手作的枕木與石塊鋪陳串起。

竹林秘境，賽京都嵐山 古道有山羌，喝斥不速之客

初秋的大雨過後，彭宏源帶領《光華》團隊走 山徑有間以台灣傳統建築工法「編竹夾泥
訪老官路。從北入口樟樹樹幹所掛指標「水頭福 牆」所建的廢棄老宅，客語稱「併仔壁（b i n
德祠」拾級而上，山壁下的草堆有掉落的千年桐 eˋb i a gˋ)」，這是山上人家及豬舍、牛寮所
花點綴著，原生種的台灣百合植株果實垂掛在林 在，屋後的牆面歷經風霜已經破敗，正當我們
緣處，路旁的草莓園有名農婦正在除草。丘陵地 從縫隙窺探屋內陳設時，山羌發出短促叫聲，
沒有車水馬龍，只有農村的寧靜。 彷彿在喝斥不速之客，我們只得趕忙離去。老
越往海拔高處路徑越天然，吸飽水分的大地滋 宅右前方有株樹形優美的老樹淋漓，再前行，

82
 山林間有座以「編竹夾泥牆」工法
建造的老屋。
An old house in the mountains built
using traditional Taiwanese-style
wattle and daub construction.

（下圖）果實口感酸澀後回甘的油
柑，現在是政府輔導栽種的苗栗縣
農特產。
(below) Indian gooseberry, a fruit with
an astringent mouthfeel but a sweet
aftertaste, is a niche product that
farmers in Miaoli are growing with
guidance from agricultural agencies.

walk the Shi’en Historic Trail, you can see the Chiang
A­Hsin Mansion, which was featured in the TV drama
Gold Leaf. Leaving the trails to visit nearby Hakka
communities, you can taste classic Hakka dishes such
as flat noodles, crystal dumplings, and steamed vege­
table buns, or try out some innovative Hakka cuisine.
Laoguanlu highlights trees and forest
The Laoguanlu Historic Trail, located in Miaoli’s
Dahu Township, is about 9.2 km in length and runs
along ridgelines to the east of Highway 3, from the
133.6 km mark to the 141.1 km mark of the highway.
The longest of the six national tourism itineraries
along the Raknus Selu Trail, it was once a mountain
pathway used for transporting camphor, tea, and
household goods. To the east of the Laoguanlu Trail there are trees, woods, and fruit orchards. If you get tired you
hikers can see Mt. Manabang, one of Taiwan’s “Small can just follow one of the turn-offs to get back to Highway 3.
100 Peaks,” which is a sacred mountain to the Atayal Peng Hung Yuan was previously director of the Forestry Divi­
indigenous people, as well as Mt. Dake; while to the sion at National Miao­Li Agricultural and Industrial Vocational
west there is the 889­meter­tall Mt. Guandao. The High School. The winner of a National Excellent Teacher Award in
beautiful mountain vistas and secluded bamboo for­ 2010, while still at his job he took part in a survey of shrines to the
ests are the main attractions, while all along the route Earth God (known to Hakkas as Bo Gong) throughout the Dahu

83
留意腳下，可見山間砌石導水的水路遺跡。
吳文星說，當年漢人往內山推進砍伐樟樹，
衍生原、漢爭奪領域而衝突頻仍。目前老官路義
和、栗林村交界處仍有座日治大正六年（1917
年）所設警察官吏管轄的「境界標」石柱，栗林
村、新開村有紀念發生在隘勇線上史事的石碑。
制高點是早期銃櫃（槍、彈藥庫）的隘寮，現為
觀景平台，可遠眺關刀山及遼闊的鯉魚潭水庫。
伯公廟，客庄必遊建築藝術
遊客庄不能錯過客家人篤信的伯公文化，住
家、樹下、小路旁、田中央，一粒石（靈石）、
祠廟式、廟中廟，每座都是藝術。
「總共238座、340尊伯公。」這是彭宏源調查
大湖地區的伯公總數。老官路北口從大寮村大窩
橋進入就是大湖鄉大窩地區的「伯公遍路」，約
84
四公里路就有十座伯公廟；大寮村大窩12鄰福德
祠的舊祠被抬升於神龕，外覆鋼筋水泥祠室，形
成廟中廟。同鄰、地景藝術旁的苦楝樹福德祠，
朝上微彎的燕尾脊，石室型的樸素牆面、石板案
桌彰顯樸實風格。
大寮村的龜山福德祠較為華麗，大榕樹下的
神龕內供奉福德正神牌位，燕尾脊有雕花，祠門
牆有浮雕，屋簷有規帶、筒瓦、瓦當、滴水等造
型，搭配石板案桌很是古意，石板的跪墊則考驗
信眾的膝蓋。
三兩三停車場方圓一公里內可拜訪經典客家歌
謠〈客家本色〉創作者涂敏恆故居，或參觀客家
三合院老屋、近年新設的地景藝術，或探訪全台
少數保存完整、由開拓者陳履獻等人以斧鑿石所
開闢寬約60公分的灌溉水路「穿龍（窿）圳」，
一窺先民拓墾的艱辛與智慧。
「樟之細路」沿線有道地的客家美食。圖為客家擂茶
食材。（KC Global Media AXN Asia 頻道提供）
There is authentic Hakka cuisine to be had all
along the Raknus Selu Trail. The photo shows
the ingredients for Hakka leicha (mashed tea).
(courtesy of KC Global Media AXN Asia)
（下圖）農民種植台灣特有種「寶
島甘露梨」，果子碩大多汁是熱門
的送禮佳品。
(below) Farmers cultivate ‘Baodao
Ganlu,’ an Asian pear variety that
was developed in Taiwan. The large,
juicy fruit is popular as a gift item.
area. Shortly after he
retired the HAC set out
its plan for the Raknus
Selu Trail, and he felt
duty bound to join in the
work of researching the
Laoguanlu section.
Stories of Dahu
“I often walked along
t he Laog ua n lu Tra i l
when I was small, but
several decades later I
could no longer find it.”
彭宏源解說伯公祠廟。
Peng recalls how he in- Peng Hung Yuan introduces a Bo Gong (Hakka Earth God) shrine.
vited a couple of friends
to scout out the path with him: “The three of us carried
sickles, and entered the trail from the entrance at Nanhu.
We spent about half a day there hacking away, but still
couldn’t find the route.” This illustrates the difficult chal-
lenge of restoring historic trails. Later on, surveyors from
the Soil and Water Conservation Bureau spent 17 days
mapping out the route, after which Peng joined in the
work of restoring the trail by hand.
Peng says that the Laoguanlu Trail was originally a
military trail opened up between Dahu and Zhuolan
at the request of two major camphor processors back in
1883. It was the only road available for anyone active in
the area, including frontier guards, postal workers, gov-
ernment officials, businesspeople, and porters. After Pro-
vincial Highway 3 was opened to traffic in the mid-1930s,
it was much more convenient to use the new road and
nature reclaimed the old one.
Bamboo forest
On an early autumn day not long after a typhoon, Peng
takes us on a hike along the Laoguanlu Historic Trail. We
climb the steps from a sign reading “Shuitou Fude Shrine”
that is hung on a camphor tree at the north entrance. The
wild grasses and fallen leaves below the rock walls are
sprinkled with the fallen blossoms of mu-oil trees (Vernicia
montana), while seed pods hang from endemic Formosa
lily plants (Lilium formosanum) and to one side of the trail a
farmer is weeding her strawberry field. There is no traffic
in this hilly area, only the tranquility of the countryside.
As we climb higher, the trail is increasingly under the
sway of nature. The water-soaked soil nurtures a wide
variety of plants, while vines and silvergrass grow across
t he pat h. All along
the way Peng uses a
sickle to cut away the
vegetation, and clears
away fallen bamboo
culms. He is unboth-
ered by the cuts and
scrapes he gets from
the silvergrass and tree
branches, saying, “This
is just the usual.”
A kilometer along
the trail we enter a
large stretch of bam-
boo forest. Sunlight fil-
ters through the foliage high overhead. Just like strolling
through the famous Arashiyama Bamboo Forest in Kyoto,
Japan, there is a refreshing and mind-cleansing coolness
in this place, and the air is filled with phytoncides. Soon
we reach a broad platform which offers expansive views,
while down in the valley there lies a hamlet beside a
stream, and you can imagine the tranquil contentment of
life in such a rural community, aloof from the world and
its strife. Along the trail, the earth covered with vegeta-
tion seems soft and gentle, while tree roots twist to form
steps. Wherever there are breaks in the path, hand-built
sections of wooden railroad ties or stone blocks are laid
out to link the trail together.
A startled muntjac
Beside the trail there is an abandoned old homestead
built using traditional Taiwanese-style wattle and daub
construction. Here there are the remains of a house, a
pigsty and a cowshed. The rear wall of the house has
been broken down by wind and weather. When we peek
inside, a Reeves’ muntjac emits a short bark as if repri-
manding uninvited guests, and we hurry on our way.
In front of the house, to its right, stands a beautifully
proportioned Wulai tanoak (Castanopsis uraiana), and as
we walk on we notice beneath our feet the remnants of a
water channel made of stone masonry.
Increasing immigration from China in past centuries
and the expansion of Han Chinese communities into
mountain areas led to conflict with Taiwan’s indigenous
peoples. Beside the Laoguanlu Trail there is still a stone
pillar that marked the boundary patrolled by police offi-
cials in the era of Japanese colonial rule, as well as stone
85
 苗栗大湖是農業鄉，草莓、高接梨全國知名， tablets commemorating historical events that occurred
along this demarcation line. There is also an old armory
近年許多農民嫁接台灣在地水梨品種「寶島甘露
building, on top of which there is now an observation
梨」，碩大如圓臉般，肉質細緻多汁，夏秋採收
platform with views of Mt. Guandao and the broad Liyu-
時節躍為中秋佳禮，成了這個山城小鎮的豐收物 tan Reservoir in the distance.
產。老輩農作時的零嘴「油柑」，也被列為官方 Must-see Hakka architecture
輔導栽種的農產品。 In the local Hakka communities visitors should not
miss the Bo Gong (Earth God) culture. Every such place
邀踩踏古道雜草，阻上天收回 of worship is a work of art, be it in the form of a simple
客家俗諺：「人勤地獻寶，人懶地生草。」老 “spirit stone,” a small shrine, or a “shrine within a tem-
ple,” and whether located outside a house, under a tree,
官路重現後，曾有人酸：「就跟你講嘛，沒有人
at the roadside or in the middle of a field.
走」，讓彭宏源擔心旅人寥寥，古道又被上天收
“There are a total of 238 shrines, with 340 Bo Gong
復，他除了擔任導覽，還與志工除草維持路型，
statues.” These are the numbers from Peng Hung Yuan’s
用愛鄉的誠意邀旅人來訪。 survey of Dahu Township. Along the “Bo Gong Road”
「我能做的有限，但有做總比沒有做要來得 at Dawo in Daliao Village, near the north entrance to the
好。」文史調查是項與時間賽跑的工程，彭宏源 Laoguanlu Trail, there are ten Bo Gong shrines in just
常感訪談越多，就更需加快腳步訪談耆老。他憑 four kilo meters. Dawo’s Fude Temple is an old shrine

著熱愛生長的土地，以「一人團隊」奔走地方， that has been upgraded into “shrine within a temple” by

being raised up onto a platform inside a newer temple
拚出老官路的前塵往事。
built of reinforced concrete. Another Bo Gong temple in
專長森林學的他深知，路無人踩踏就會被上天
the same neighborhood, located under a chinaberry tree
收回，也認為歷史不是僅供憑弔與追憶，他期待 (Melia azedarach), is designed with great simplicity, with
古道重生後，慢遊的人潮與返鄉創生的遊子能再 a slightly upturned swallowtail roof ridge, stone block
度繁榮這個客庄山城。 l walls, and a stone slab altar.

客家三合院老宅。
A traditional three-sided Hakka residential compound.

86
走出林間是寬闊的平台，遠山與山谷聚落盡收眼底。
Emerging from the forest, walkers are treated to an expansive view of the mountains in the valley below.
The Guishan Fude Shrine, also in Daliao Village, is more
elaborate. Under a banyan tree, the shrine has a niche with
a memorial tablet dedicated to Bo Gong. There are decora-
tive bas-relief carvings on the swallowtail roof ridge and
on the front, while the roof and eaves have features such as
guidai (embellished smaller ridges that extend out from the
main ridge), semi-cylindrical tiles, ornamental eave tiles,
and “rain curtains.” The stone slab altar has an ancient feel,
while the kneeling stones really test the knees of believers.
Within a one-kilometer radius of the Sanliangsan park-
ing lot one can visit the old home of Tu Min-heng (writer of
the classic Hakka folk song “Kejia Bense,” meaning “The
Character of the Hakka”), take a look at traditional three-
sided Hakka residential compounds or some newly created
land art, and explore one of Taiwan’s few well-preserved ir-
rigation channels built by our ancestors out of hewn stone.
Dahu in is an agricultural township, famous through-
out Taiwan for its strawberries and Asian pears. In recent
years farmers have been growing the local ‘Baodao Ganlu’
Asian pear variety by grafting, and these large, round,
juicy fruits, harvested in summer and autumn, make ex-
cellent gifts at Mid-Autumn Festival. Meanwhile, agricul-
tural agencies are also encouraging farmers to grow Indian
gooseberry (Phyllanthus emblica).
Keeping the trails clear
A Hakka proverb has it that “When people work hard
the earth produces treasure; when they are lazy it pro-
duces weeds.” After the resurrection of the Laoguanlu
Historic Trail, some people said caustically that no-one
would come and hike there. Fearing the trail would be
reclaimed by nature, besides acting as a guide Peng Hung
Yuan also began working with volunteers to clear away
wild vegetation and keep the trail intact, as a way of sin-
cerely welcoming visitors to their beloved hometown.
“There’s a limit to what I can do, but after all it’s better
to do something than to do nothing.” Recording an area’s
history and culture is a race against time, and his passion
for the land where he grew up drives him to act as a “one-
man team,” visiting elderly residents to gather stories of
the Laoguanlu Trail’s past.
As an expert in forestry, Peng is well aware that if no
one walks the trail it will return to nature. He also believes
that the purpose of studying history is not just to reminisce
and lament the past. He hopes that with the restoration of
the historic trail, both visiting hikers and former residents
returning home to found businesses can bring new pros-
perity to this Hakka mountain community. l
(Mei Kuo/photos by Jimmy Lin/tr. by Phil Newell)
87
 ﹁畫﹂時代的永恆
﹁畫﹂時代的永恆
藝文脈絡　CULTURAL TRENDS

1927年，日治時期台灣第一個大
型的美術展覽會首登場，入選的台
籍畫家竟是三名未滿20歲的青年，

． 郭雪湖　
他們以在地題材的寫生創作崛起畫
壇，更翻轉台灣美術畫風從臨摹走
向寫生。

Kuo Hsueh-hu
入選的「台展三少年」：郭雪湖
家貧自學、林玉山組畫會推動美術
交流、陳進在性別不平等的大時代
勇闖世界畫壇，這三位台灣第一代
台 展 三 少 年 領 頭 寫 生 潮

膠彩畫家演繹在地風情，為當代的
台灣萬象留下永恆之光。

． 林玉山　
T he Taiwan Art Exhibition (Tai­
ten) was the first large-scale art
show to be held in Japanese Taiwan.
When it was launched in 1927, three
young Taiwanese painters were se­
lected to exhibit their works. T hey
dazzled the audience with paintings
Lin Yushan

of local subjects that showed a fresh

immediacy.
文 •

These painters were Kuo Hsueh-hu,

郭美瑜

Lin Yushan, and Chen Chin. Dubbed

t h e “ T hr e e Yo ut h s of t h e Tait e n ,”
　
圖 •

they were among the first Taiwan­

ese painters to specialize in nihonga
長流基金會提供 版面設計 •

(Japanese- style painting, typically

using polychrome “Asian gouache”
paints) . T hroughout the ir caree rs,
they dedicated themselves to repre­
．陳
　

senting Taiwanese subject matter.

進
　
Chen Chin
蕭郢岑

（右圖）郭雪湖〈南街殷賑〉畫大稻埕中元節
慶繁榮的夢幻場景。（郭雪湖基金會授權，台
北市立美術館典藏）
(facing page) Kuo Hsueh-hu’s Festival on South
Street portrays the hustle and bustle of Taipei’s
Dadaocheng during the annual Ghost Festival.
(collection of the Taipei Fine Arts Museum, by
permission of Kuo Hsueh-hu Foundation)

88
The Three Youths of the Taiten:
Epoch-Making Art in Colonial Taiwan

89
 林玉山〈寶島長
春〉畫木棉花
開，一對紅嘴黑
鵯停在前枝很吸
睛，樹枝上有對
綠綉眼、數隻麻
雀，整體畫面顯
得春意盎然。
Lin Yushan’s
Spring in Formosa
depicts cotton
trees in bloom.
A pair of black
bulbuls perch on
a branch in the
foreground, two
warbling white-
eyes are below,
and there are also
a few sparrows,
breathing life into
this spring scene.

1920年代的台灣畫壇，正歷經中國水墨畫、日本
東洋畫的文化衝擊。1927年日本官辦第一屆「台灣
美術展覽會」（簡稱台展），入選東洋畫的台籍畫
家是郭雪湖、陳進、林玉山，三名未滿廿歲的年輕
人，作品多為膠彩畫，讓落選的台籍水墨派大老們
鳴不平。
國立臺灣美術館典藏組長林明賢說，日治前
台灣美術屬漢文化體系的美學觀，亦即繪意境、
臨摹的傳統水墨畫，日治時期導入融合西方寫生
觀念的「日本畫」，亦即重彩的膠彩畫，透過競
賽，台灣畫壇從「寄情筆墨以寫胸中丘壑」的水
墨畫意境，轉而重視在地特色的寫生與寫實，媒
材也以繽紛的膠彩為主流。但1945年政權更迭，
掀起膠彩畫是否歸屬「國畫」的「正統國畫論
戰」，膠彩畫家因此遭到排擠，直到畫家林之助
提議以媒材畫分，才平息爭論。
而郭雪湖、林玉山、陳進在日治時期的美術展
覽屢次入選、獲獎，證明是實力、非僅幸運。他
們出生背景迥異，但一生皆以繪畫為志業，觀其
創作，後代也能感受他們散發的生命熱力。
工寮餵蚊，林玉山〈蓮池〉登國寶
林玉山（1907∼2004）生於嘉義美街（今成仁
街），本名英貴，後改名玉山。幼時向家中裱畫
店畫師蔡禎祥、蔣才學習水墨畫，進入公學校（國
小）後學西畫，還向前輩畫家陳澄波學水彩畫，向
日人伊坂旭江學「四君子」水墨畫法，1926年赴日
深造一年，先學西畫後轉東洋畫，1927年林玉山以
〈大南門〉、〈水牛〉入選首屆台展，1930年畫嘉
義牛稠山的〈蓮池〉更獲得第四屆台展賞榮譽。

90
 〈蓮池〉融合西方寫實觀念，又具東方繪畫特色、台 林玉山是畫壇少見精
通詩、書、畫
灣風土色彩，是他創作生涯的經典之作，2015年由文化部 的前輩畫家。
（柯錫杰攝，
登錄為國寶，是台灣近現代第一件國寶級作品。
林柏亭提供）
林玉山之子、故宮博物院前副院長林柏亭說，〈蓮池〉 Skilled in poetry,
calligraphy, and painting,
除展現工筆功力，更運用黃、赤、青、金四種金粉呈現宋 Lin Yushan was an
extraordinarily
畫的溫潤感。畫家為捕捉蓮花綻開的最美時刻，前一晚 versatile artist.
(photo by Ko Si-chi,
就到池旁的工寮等待，整晚「餵蚊子」，終於見到花開 courtesy of Lin Po-ting)
的瞬間，這就是「寫生命」的精神。此畫流入民間，日
人有意收購，國美館發動募款才將畫作留在台灣。
Lin Ming-hsien, who manages the collection of
詩、書、畫「三棲」，東洋畫第一人 the National Taiwan Museum of Fine Arts, tells us
林玉山返台籌組「春萌畫會」交流美術心得，其後在 that the dominant art form in Taiwan prior to the
Japanese era was traditional Chinese ink-wash paint-
中學、台師大藝術系執教，桃李滿天下。林柏亭說，日
ing, which gave priority to intangible moods and
治時期嘉義詩、畫家交流盛行，林玉山就加入詩社學吟
established motifs. Under Japanese rule, Taiwanese
詩，是詩、書、畫「三棲」的藝術家，也是東洋畫第一 painters were exposed to the vibrant colors of ni-
人。台灣重要膠彩畫家黃鷗波之子、長流美術館長黃承 honga, which was influenced by the Western concept
志說，其父就是因林玉山等人在台展的成績而立志當畫 of observing nature en plein air.
Lin Yushan: A national treasure
Born in Chiayi, Lin Yushan (1907–2004) was
林玉山次子、故宮博物院前副院長林柏亭談台展三少年。 skilled in traditional Chinese painting, watercolor,
（莊坤儒攝） and nihonga. In 1926 he went to Japan to study art. Af-
Lin Yushan’s second son, Po-ting, formerly served as deputy
director of the National Palace Museum. He tells us about the ter his return to Taiwan in 1927, his works The South
“Three Youths of the Taiten.” (photo by Kent Chuang) Gate and Water Buffaloes were selected for the inaugu-
ral Taiten. In 1930 his Lotus Pond, a nihonga painting
that depicts a scene on Chiayi’s Mt. Niuchou, won an
award at the fourth Taiten. In 2015 the Ministry of
Culture listed Lotus Pond as a “national treasure.”
Lin’s son Po-ting, a former deputy director of the
National Palace Museum, says that Lotus Pond uses
gold pigments to evoke the warm texture of Song-
dynasty paintings, in addition to displaying the fine
brushwork that characterizes traditional Chinese
bird-and-flower painting. To capture the glorious
moment when the blossoms began to unfurl, the
painter arrived at the pond at night and stayed in
a bunkhouse nearby. This painting subsequently
went into private collections. When a Japanese buyer
sought to acquire it, the National Taiwan Museum
of Fine Arts mounted a successful fundraising cam-
paign, and kept the work in Taiwan.
Lin was known for his bird-and-flower paintings,
as well as his paintings of tigers and sparrows. Late
in life, his paintings of mountains and seas bore
witness to the astonishing vigor of a seasoned artist.

91
家。據統計，在十屆台展中入選的畫家以嘉義籍最多，
遂有「嘉義乃畫都」之稱。
林玉山有「花鳥畫家」之稱，也擅長畫虎、畫麻雀，
曾言「學畫花鳥，麻雀是最好的入門」。林柏亭說，為
完美詮釋麻雀，父親會展開死掉的麻雀的飛羽，並端
詳、究其層次。至於畫虎，舉凡猛虎、慈母虎，還畫出
童心，Ｑ版〈虎姑婆〉都是「畫」題。
林玉山的畫風不斷創新，〈寶島長春〉運用幾何線
條及色調畫出陽光之感。歷經1946年國畫論戰、1970年
台灣美術鄉土運動，讓他更關注台灣主題。林柏亭說，
父親晚年畫山、海，總能展現蒼勁老辣的功力，簡單的
用色就能呈現磅礡之氣，〈高山夕照〉、〈蘭嶼圖〉、
〈龜山遙望〉即是代表。

郭雪湖跑圖書館學作畫技巧

郭雪湖（1908~2012）原名郭金火，出生於大稻埕，
兩歲喪父，由母親撫養長大。就讀日新公學校三年級
時，繪畫天分受級任老師陳英聲啟發，僅短暫拜師蔡雪
溪學繪神像，蔡為其改名為「雪湖」。
郭雪湖在台展以水墨畫〈松壑飛泉〉入選，初見日籍

（上圖）郭松年形容父
親郭雪湖「藝高膽大」
的作畫人生。
（莊坤儒攝）
(above) Kuo Song-
nian tells us about Kuo
Hsueh-hu’s courage
and lofty visions of art.
(photo by Kent Chuang)

郭雪湖晚年作品〈石榴
斑鳩〉，結合了水墨畫
與東洋畫的技法。
Completed late in
Kuo Hsueh-hu’s life,
Pomegranates and
Turtle Doves combines
traditional ink-wash
and nihonga painting
techniques.

92
審查員鄉原古統展出的膠彩畫〈南薰綽約〉，工
膽大藝高，一隻筆養九口人
筆細膩、用色豔麗，令他眼界大開，轉而學習膠
彩畫，隔年就以〈圓山附近〉獲特選，奠定畫壇 台南市美術館長林育淳導讀〈圓山附近〉；
地位，也與鄉原成為莫逆。 她說，圓山地標山丘與明治橋、農婦回眸凝望作
未曾接受正統美術教育卻力爭上游，用本土 物展現生動氣息、彩霞呈現天空景象，整體畫作
審美觀的精神在台展、府展（即台灣總督府美術 展現審慎鋪陳的構思，「這是20歲的年輕人吸引
展覽會）大放異彩，郭雪湖激勵人心的故事與成 人的特質所在」。這種將景物規律、細緻綿密地
就，獲2008年行政院文化獎，並編入公視〈紫色 佈滿畫面、用色繁複卻很和諧的畫法，遂被稱為
大稻埕〉的故事。他曾自述白天作畫、晚上到 「雪湖派」，並引起仿效。
新公園（現二二八公園）府立圖書館研讀作畫技 郭雪湖的另一代表作〈南街殷賑〉是畫大稻
巧，持續多年創出傲人成績，令他很自豪。 埕中元節慶繁榮的夢幻場景。林育淳說，原為

郭雪湖成名作〈圓山附
近〉，景物規律、細緻
綿密地佈滿畫面、用色
繁複卻很和諧，此種畫
法被歸為「雪湖派」。
（郭雪湖基金會授權，
台北市立美術館典藏）
Kuo Hsueh-hu’s Scenery
Near Yuanshan, which
made him famous,
features rhythmically
and densely placed
landscape components,
and a complex yet
harmonious combination
of colors. This has
been referred to as
the “Hsueh-hu Style.”
(collection of the Taipei
Fine Arts Museum, by
permission of the Kuo
Hsueh-hu Foundation)

In these works, he was able to call up the majesty of na-
ture through just a few simple colors.
Kuo Hsueh-hu: An autodidact
Born in Taipei’s Dadaocheng, Kuo Hsueh-hu (1908–
2012) lost his father when he was two years old, and was
brought up by his mother. He discovered his artistic
talents while studying at Rixin Public School, and later
spent a short time learning to paint religious portraits.
Kuo’s ink-wash painting Waterfall in the Pine Valley
was selected for the first Taiten. At the exhibition, he saw
a set of three nihonga paintings of birds and flowers by
the Japanese artist Koto Gobara, who had served as one
of the selectors. Gobara’s works led Kuo to study nihonga.
The following year, Kuo’s own nihonga painting Scenery
Near Yuanshan was selected for the Taiten, giving him a
firm footing in the art world.
Though he had received no formal art education, Kuo
distinguished himself at various art exhibitions. He said
that he painted by day, and in the evenings went to a li-
brary to study artistic techniques.
Lin Yu-chun, director of the Tainan Art Museum,
remarks that the composition of Kuo’s Scenery Near Yuan-
shan bespeaks the artist’s scrupulous attention to detail.
“This is what is attractive about the 20-year-old young
man,” she says.
Another of Kuo’s masterpieces, Festival on South Street,
shows Taipei’s Dadaocheng during the annual Ghost
Festival. Lin tells us that Kuo added an extra story to the
area’s two-story buildings, and juxtaposed Taiwanese
with Japanese elements, and tradition with modernity, in
his depiction of shops, banners and signs.
One of Taiwan’s earliest nihonga painters, Kuo was so

93
兩層樓的建物在畫 摩登女性圖像，除捕
中「被增建」為三 捉仕女的神韻，衣
層樓，街景旗幟以 物、家具、首飾都很
台、日式對比，時 講究，因在屏東任
計店（鐘錶行）與 教，很早就關注原住
傳統的仙公卦等巧 民文化，〈山地門社
妙地融合傳統與現 之女〉更有意識地將
代，並藉色彩讓景 台灣原住民及其生活
深呈現律動感，觀 引入畫作。
者的視覺也跟著走
孫兒當模特兒扮路
進時光隧道。
人甲入畫
1946年「正統國
陳進（右）與夫婿蕭振瓊。（陳進孫女蕭莉莉提供）
畫之爭」，讓台灣 Chen Chin (right) and her husband, Xiao Zhenqiong. 黃承志說，陳進
(courtesy of Xiao Lili)
膠彩畫先鋒郭雪湖 背負在畫展出頭天
壓力大到遠赴日、美定居，直到80年代末期本土 的期望，作品也反映她閉門作畫的嚴謹與用功，
文化抬頭，才返台辦展。 國畫論戰後，她逐漸走出學院派，晚年創作宗教
「我覺得我父親一生很辛苦，膽子很大。」郭 題材，〈廟會〉就是她走進庶民生活的表現。
雪湖次子郭松年說，郭家曾因父親學畫而遭質疑 陳進孫女蕭莉莉回憶，有一回她充當模特兒扮
「你們這家是不是要餓死了？」一家九口人的生 路人甲，雖然畫群眾，也被要求站立不動，「幸
計、國畫論戰的輿論，讓父親壓力大到咬爛筆桿、 好獲豐厚的零用錢」。她說，她從事金融業與祖
撕破上衣。縱然如此，郭雪湖仍不斷創新畫風，自 母的嚴謹身教不無關係。
認藝術之路是「下險棋、人生的大賭博」。
百年之作，穿越時空的感動
陳進，勇闖世界畫壇的時代女青年 林明賢說，全球化歷程中，多元文化總被單
陳進（1907~1998）出生於新竹香山望族，在 一化，台展三少年的作品雖引入西方現代藝術觀
台北第三高女（今中山女高）求學時，受美術教 念，卻是用在地視野創作屬於台灣特有的作品，
師鄉原古統鼓勵赴日校學畫，以畫日本畫為主， 建立了台灣藝術的主體性。
題材多為仕女與花卉，被喻為「閨秀畫家」。她 中央研究院歷史語言研究所研究員顏娟英說，
的作品不僅屢入選台展，1934年的〈合奏〉更入 當世人讚嘆故宮文物、〈蒙娜麗莎〉世界名畫等
選「日本帝國美術展覽會」，成為台灣史上第一 文化遺產時，台灣藝術家的創作同樣令人感動。
位入選帝展的女畫家，1996年她獲頒行政院文化 她舉例，台灣第一位雕塑家黃土水在1920年代已
獎殊榮，是該獎項首位女性得主。 創作具現代感的作品，而陳進，當時單槍匹馬赴
台展第一屆，陳進以膠彩畫〈姿〉、〈罌〉、 日求學已屬不易，還力拚在台展、帝展表現具台
〈朝〉入選，第二屆〈野分〉獲特選，第三屆 灣特色的畫作，以爭取頂尖大師的認可，甚有企
〈秋聲〉就獲得免審查特選，第六屆起擔任台展 圖心盼能躋身世界殿堂，更要抵擋當時傳統觀念
審查員資格，早於林玉山、郭雪湖等人。 的壓力，遲至40歲才走入家庭，實屬不易。
林育淳說，陳進擅觀察，尤其是人的姿態、樣 顏娟英認為，陳進為作畫犧牲青春，林玉
貌、擺設都能精雕細琢，反映她一絲不苟、追求完美 山、郭雪湖亦是如此，前輩畫家們融入台灣
的特質，以〈合奏〉迅速揚名日本畫壇後，隨即獲邀 意象，創出令當時大師感動的作品，現代人認
執教屏東高女，是首位任教台灣公校的美術教師。 識、欣賞他們畫作的同時，也能有穿越時空、
陳進的重要作品包括〈悠閒〉、〈化粧〉等近代 與有榮焉的感動。 l

94
deeply upset by the controversies from 1946 onward over
what could be considered “legitimate Chinese painting”
that he emigrated to Japan in 1964, and later moved to
America. It wasn’t until the late 1980s, when local Tai-
wanese culture was finally allowed to assert itself, that
he returned to Taiwan to exhibit his paintings.
“I think my father had a hard life. He was very brave,”
says Kuo’s second son, Song-nian. People used to taunt
this family of nine because they had an artist father: “Are
you going to starve to death?” Yet Kuo carried on paint-
ing and pursuing innovations in art. He believed that
being an artist required a big leap of faith.
Chen Chin: Overcoming gender bias
Born into an affluent family in Hsinchu, Chen Chin
(1907–1998) was encouraged by her high-school art teacher
to study art in Japan. Dubbed a “Lady Painter,” Chen culti-
vated a Japanese style, and most of her subjects are women
and flowers. Three of her works were selected for the inau-
gural Taiten, and in 1934 her Ensemble was selected for the
Japanese Imperial Art Exhibition (Teiten), marking the first
time a female Taiwanese painter had received this honor,
and establishing her reputation in Japanese art circles. In
1996 she received Taiwan’s National Cultural Award.
Chen had a keen eye for detail. The postures and
facial expressions of her human subjects, as well as the
objects around them, testify to her uncompromising
perfectionism.
Re-experiencing the past
According to Lin Ming-hsien, although the nihonga
paintings of the Three Youths of the Taiten are informed
by Western modern art, they drew on local Taiwanese
perspectives and have helped consolidate the subjectiv-
ity of Taiwanese art.
Yen Chuan-ying, a research fellow in the Institute of
History and Philology, Academia Sinica, says that Chen
Chin, Kuo Hsueh-hu and Lin Yushan all embraced Tai-
wanese subject matter, producing paintings that won the
hearts of the masters of their time. Today, these works
help us re-experience Taiwan’s past, and we find our-
selves sharing the pride and honor of their creators. l
(Mei Kuo/photos courtesy of the Royal Foundation of
Art and Philosophy/tr. by Brandon Yen)
〈廟會〉，是陳進走
出學院派的工筆畫、
走進庶民生活的作品
之一。
In Temple Fair, Chen
Chin renounces
her characteristic
academic style to
represent the vibrancy
of folk culture.
95
藝文脈絡　CULTURAL TRENDS

用樂譜記錄台灣歷史
台灣作曲家筆下風景

文•謝宜婷　圖•國立傳統藝術中心臺灣音樂館提供　
版面設計•蕭郢岑

Recording History in Music:

Taiwan’s Classical
Composers
and Performers

96
 提起古典音樂，多數人想起的是貝多芬、巴
哈、莫札特等西方作曲家。然而，自20世紀以
降，台灣也出現不少由當地人作曲，或以本土素
材為主題的曲目。這些從寶島誕生的曲目，反映
了1930年代開始，台灣知識分子對本土文化的思
索與提倡。聽著這些以「台灣」為題的曲子，像
是穿越時光，回到日治時期，見證東洋文化與台
灣社會碰撞的火花。
1934年，一位出身台灣，留學日本的24歲青
年：江文也，回到家鄉台北城，久別重逢，故鄉
的新面貌令他驚喜、感動，於是將感情化為樂
曲，寫下著名的〈台灣舞曲〉。80年後，台裔奧
籍音樂家陳瑞斌（Rueibin Chen），回到家鄉演奏
這首曲子，紀念這位台灣早期的作曲家，也想提
醒大眾「台灣也有自己的古典樂」。
台灣第一代作曲家
從荷治時期開始，西洋音樂透過傳教士進入
台灣，清朝時，台灣開港通商，四大港口附近紛
紛建立教會，讓西洋音樂更深入民間。到了日治
時期，日本受西方影響，當時學校裡的音樂課以
西洋音樂為根本，台灣學生在陶冶下，有些人決
定前往日本深造，成為台灣早期知名的作曲家，
如：江文也、陳泗治、呂泉生等等。
W hen it comes to classical music, most people
think of Western composers like Beethoven,
Bach, and Mozart. However, since the first half of the
20th century many Taiwanese have composed classical
works, often inspired by local elements. These works
born in Taiwan reflect the reassessment and advo-
cacy of nativist culture that began among the island’s
intellectuals in the 1930s. Listening to these Taiwan-
themed compositions is like transcending time.
In 1934, at the age of 24, Taiwanese-born composer
Chiang Wen-yeh returned to his hometown of Taipei after
studying in Japan since childhood. Having been away for
so long, he was delighted and moved by the new charac-
ter of his old home. He turned these emotions into music,
writing the famous work Formosan Dance. Eighty years
later Rueibin Chen, a Taiwanese-born pianist of Austrian
citizenship, returned home to perform this piece in com-
memoration of this early Taiwanese musician and to re-
mind us that “Taiwan has its own classical music.”
Taiwan’s first generation of composers
Western music was first introduced into Taiwan by
missionaries in the period of Dutch rule (1624–1668).
Near the end of Qing-Dynasty rule (1683–1895), after
Taiwanese ports were opened to foreign trade, churches
were built near the four major harbors of Tainan, Tam-
sui, Keelung, and Kaohsiung, allowing Western music to
penetrate more deeply into local society. Under Japanese
江文也在1936年以管弦樂作
品〈台灣舞曲〉獲得第11屆奧
林匹克國際音樂比賽作曲獎。
（劉美蓮授權）
In 1936 Chiang Wen-yeh’s
composition Formosan Dance won
an honorable mention in the arts
competition at the Olympic Games.
(by permission of Liu Meilian)
97
 江文也自幼在日本學習音樂，24歲時短暫回到 力推行愛國戲劇，有民族自覺的台灣人遂以本土
台灣，看見家鄉繁華的樣貌，以及純樸的田野風 戲劇《閹雞》與之對抗。呂泉生憑著作曲的技能
光，便創作〈台灣舞曲〉，甚至以該曲目拿下當時 與蒐集的民謠，改編創作出〈丟丟銅仔〉、〈六
奧運國際音樂比賽作曲獎。鋼琴家陳瑞斌與江文也 月田水〉與〈一隻鳥仔哮啾啾〉，作為該齣戲劇
擁有相似背景，從小就離鄉學音樂，且都師承俄羅 的串場音樂，引起觀眾熱絡回應與傳唱。這次嘗
斯作曲家亞歷山大・齊爾品等派系。陳瑞斌20多歲 試結合台灣民謠與管弦樂，讓草根性的文化以藝
時，從日本音樂家手中拿到珍貴的江文也樂譜，便 術的方式呈現，改變以往大眾對民謠的看法。
開始練習，如今對他的作品相當熟悉。「他的曲子
古典音樂，台灣精神
非常精準，數理應該相當好。受到日本教育影響，
曲子有東洋風，但說的是他對台灣的思念」。 為了帶領國內外民眾認識台
與江文也相差一歲的陳泗治，也曾經到日本留 灣民謠、本土作曲家，許
學，回台後擔任淡水中學近30年的校長。他的代 多樂團開始改編、
表作之一是描述寶島風景的《台灣素描》，這系 演奏台灣主題
列共有十首曲子，是陳泗治從台南搭火車回台北 的曲目。
時沿途所見景色，像是〈蕉葉微風〉、〈水牛背
上的八哥〉，還有〈台灣高山之舞〉描繪原住民
歡慶祭典的熱鬧氣氛。前台藝大音樂系主任卓甫
見評論：「陳泗治作品底子是古典的，但有
台灣風，從他的曲子可以看見當時的台
灣社會景象。」
有「台灣合唱之父」稱號的呂
泉生，1940年代初期回到台
灣後，開始採集閩南民
謠。當時正值二戰期
間，日本政府大

98
 rule (1895–1945), the Japa-
nese, influenced by the West,
placed Western music at the core
of school music classes. Some Tai-
wanese whose tastes had been cultivated
to appreciate Western music chose to go to
Japan for further study, becoming the best-known
composers of the early period of classical music in
Taiwan. Examples included Chiang Wen-yeh (1910–1983),
Chen Su-ti (1911–1992), and Lu Chuan-sheng (1916–2008).
Chiang’s Formosan Dance won an honorable mention in the arts
competition at the 1936 Olympic Games. Rueibin Chen and Chiang
share very similar backgrounds: Both left home in their early teens to
study music overseas, and both were strongly influenced by Russian musicians
such as the composer and pianist Alexander Tcherepnin. When Chen was in his 20s,
he received sheet music of Chiang’s work from a Japanese musician and began to learn
the pieces, so that today he is very well versed in Chiang’s oeuvre. “His works are very pre-
cise; he must have been very good at mathematics. Influenced as he was by his Japanese education,
the pieces have a Japanese flavor, but what they express is his attachment to Taiwan.”
A series of ten works entitled Taiwan Sketches, depicting the scenery of Taiwan, are among Chen Su-ti's
most famous compositions. They represent sights that Chen saw on a train ride from Tainan back to Taipei.
Zhuo Fujian, former chairman of the Department of Music at National Taiwan University of Arts, offers the
following assessment: “The foundation of Chen Su-ti’s works is classical, but they have a Taiwanese flavor,
and from his compositions you can see images of Taiwanese society from that time period.”
Lu Chuan-sheng, known as “the father of Taiwanese choral music,” returned to Taiwan in the early 1940s,

99
 像是巴洛克獨奏家樂團的「台灣歌謠保存計
畫」，以歐洲巴洛克時期協奏曲結構，重新演
繹台灣經典歌謠。樂團去（2021）演出《印
象・台灣》，將1930∼1990年代多首台灣民謠
融入協奏曲中，並以多媒體音樂劇場的形式，
帶觀眾走進台灣社會變遷的時光。其中曲目包
含呂泉生的〈阮若打開心內的門窗〉，講述台
灣1950∼1960年代，由農業轉型到工業社會，
許多農村子弟到都市打拼產生的思鄉心情，創
作者想藉由這首歌來鼓勵出外的青年。而這首
歌的誕生也讓大眾了解台語歌的優雅。
鋼琴家陳瑞斌為了推廣台灣的古典樂，也
於2016年創立「天籟之音合奏團L’En semble du
C i e l」，使用的樂器有鋼琴、二胡、琵琶、笛
子，結合國樂與西洋樂器。透過這樣的配搭，陳
瑞斌想向國際展現國樂與古典樂融合的可能性，
還有台灣在國樂累積的實力。他表示：「台灣在
國樂的實力應該是全球第一，因為傳統有被保存
與傳承，反觀中國因為文化大革命，這方面曾遭
破壞與中斷。」即使陳瑞斌自幼學習西洋音樂，
但是他在天籟之音合奏團時，表演的是〈草螟弄
100
雞公〉、〈高山青〉這類東方民族歌曲，展現地
方文化。
由作曲家李哲藝創立的灣聲樂團，以古典音
樂為媒介，呈現台灣文化。樂團演奏的曲目多改
編自經典的台語歌、民謠或是熟悉的電影配樂
等等，像是〈 丟丟銅仔〉 、〈 雨夜花〉 與〈 綠
島小夜曲〉 等等。先前的演奏會「臺灣電影配
樂大師」，更邀請資深影評人藍祖蔚導聆，向觀
眾介紹曲目的時代背景與作曲特色，拉近觀眾與
古典音樂的距離。灣聲成立迄今僅五年，已經獲
得許多愛好古典樂的企業家支持，擔任顧問給予
經營方面的建議。而灣聲樂團對推廣台灣文化的
堅持：只演奏台灣元素的曲目與台灣作曲家的創
作，也成為他們最動人的品牌特色。
用音樂轉譯文學作品
將文學作品轉換為音樂演奏為國際趨勢，2012
年，由苗栗縣立國樂團與多位音樂家演奏的客家音
樂史詩：《寒夜三部曲》即為一例。作家李喬的客
家小說《寒夜三部曲》，由《寒夜》、《荒村》、
《孤燈》組成，描寫日治時期台灣的彭、劉家族三
陳泗治代表作之一：鋼琴曲《台灣素
描》刻劃他從台南搭火車到台北所見
美景。
The ten piano pieces known collectively
as Taiwan Sketches, some of Chen Su-
ti’s most representative works, depict the
sights and scenery he saw on a railway
journey from Tainan to Taipei.
日治時期的台灣本土劇《閹雞》，加入由呂泉生改編的台灣民謠音樂。
The Taiwan nativist play Yanji (“Capon”) from the era of Japanese rule incorporated
Taiwanese folk music adapted by Lu Chuan-sheng.
after which he began to collect folk songs. It was the mid-
dle of World War II, and the Japanese government was
strongly promoting patriotic theater, which Taiwanese
with their own ethnic consciousness resisted with the local
play Yanji (“Capon”). Lu adapted folk songs as music for the
play, inspiring enthusiastic responses from audiences and
the spread of such songs. This effort to combine Taiwanese
folk songs with orchestral music enabled downhome cul-
ture to be expressed artistically, changing previous public
perceptions of folk music.
Classical music, Taiwanese spirit
To help people at home and abroad to better know Tai-
wanese folk music, a number of musical organizations have
begun to adapt and perform pieces with Taiwanese themes.
One example is the folk song conservation program of
the ensemble Baroque Camerata. They reinterpret classic
Taiwanese songs using the compositional structures of the
Baroque period. In 2021 they released a CD and did concerts
entitled “Image • Taiwan,” for which they integrated Tai-
wanese folk music from the 1930s to the 1990s into concertos
and used a multimedia musical theater format to take the
audience on a journey through time in Taiwan’s changing
society. These songs include Lu’s “If Only I Could Open the
Door to My Heart” (written in Taiwanese), which describes
the nostalgia for their hometowns felt by many rural young
people who moved to the cities to make a living during Tai-
wan’s industrialization in the 1950s and 1960s. Lu wanted
this song to be a source of encouragement for these young
people. Moreover, it enabled the general public to discover
and appreciate the elegance of Taiwanese-language songs.
In order to promote Taiwanese classical music, in 2016
the pianist Rueibin Chen founded “L’Ensemble du Ciel,”
which includes piano, erhu (two-stringed Chinese vio-
lin), pipa (Chinese lute), and dizi (Chinese flute), thereby
combining traditional Chinese instruments with Western
ones. With such an ensemble, Chen hopes to demonstrate
to the world the possibilities for blending traditional Chi-
nese music and Western classical music, as well as the
consummate skills of traditional Chinese musicians in
Taiwan. “Taiwan probably offers the finest traditional Chi-
nese music in the world, because the traditions have been
maintained and passed on, whereas in China they were
disrupted by the Cultural Revolution,” Chen says.
The group “One Song Orchestra,” founded by composer
Lee Che-yi, uses classical music as a medium to express
Taiwanese culture. The pieces they perform are mostly
adaptations of classic Taiwanese-language songs, folk
songs, or well-known film scores. For a concert dedicated
to masters of Taiwanese film scores, One Song invited the
senior film critic Lan Tsu-wei (Tony Lan) to introduce the
historical background and special features of the compo-
sitions to the audience. Though One Song has only been in
existence for five years, it has already won support from
many businesspeople who are aficionados of classical
music and who serve as advisors providing management
advice. The orchestra is determined to spread knowledge
101
 代人的悲戚生活，以及對殖民政府的反抗。後由音
國際知名台裔鋼琴家陳瑞斌致力將台灣元素的曲目推向國際，
也成立樂團，表演時結合國樂與西樂。（莊坤儒攝）
樂總監黎俊平改編為演奏曲，除了國樂之外，還邀
The internationally renowned Taiwanese-born pianist Rueibin 請鋼琴家、大提琴家、聲樂家等西洋演奏家加入。
Chen is endeavoring to promote works with Taiwanese elements
to the world. He has also formed an ensemble that combines 將文學轉換成音樂，箇中技巧是什麼？黎俊平
traditional Chinese with Western musical instruments.
(photo by Kent Chuang) 表示，為了讓音樂有客家味，他將客家山歌的特
色用音符呈現：「在山裡面採茶，要呼喊對面山
頭的夥伴時，聲音要拉長、拉遠，這
種微分音的飄動，我編曲時就安排鋼
琴來呈現。」首演《寒夜三部曲》的
鋼琴家陳瑞斌回憶：「演奏這個作品
時，鋼琴88個鍵全部都用到了。」由
此可見，客家山歌音調的迴轉多變。
首部曲《寒夜》為展現客家人硬
頸的精神，使用有厚實、剛強音色的
鋼琴。黎俊平回憶閱讀這部文學作品
時：「當時感受到與土地很深厚的依
戀。小說裡提到每個人的肚臍都連著
黑色的土地，就算臍帶斷了，還是跟
土地連結在一起。鋼琴是音域最寬廣
的樂器，才能釋放、堆疊這樣的情
緒。」第二部曲《荒春》講的是日治
時期被欺壓的蔗農，於是選擇以聲樂
的男高音、中音、童聲來表達農民悲
戚的處境。
除了寒夜三部曲，黎俊平其他作品
也富含台灣土地的元素，像是以卑南族
聖山──都蘭山為題的曲子，將那座山
的座標22.53°N, 121.11°E作為樂曲題目
一部份，在國外演出時，觀眾就能藉此
認識台灣原住民。還有創作描寫台灣四
季的曲章時，黎俊平以油菜花作為冬天
的主題：「台灣的冬天不下雪，沒有很
冷，反而能看見一片黃澄澄的油菜花，
讓人感到溫暖。」引起國外觀眾對台灣
景色的興趣。
欣賞音樂就像欣賞畫一樣，從日治
時期台灣第一代作曲家，民主運動興起
後注重本土的作曲家，到現在演奏台灣
題材的樂團，透過他們的演出，台灣的
歷史正透過音符的排列，組成一幕幕故
事情節，流進我們的心裡。 l

102

about Taiwanese culture, and the most remarkable char-
acteristic of their brand is that they perform only works
by Taiwanese composers or with Taiwanese elements.
Interpreting literature through music
There is an international trend of transforming lit-
erature into musical performances. One example is the
performance of the work Wintry Night Trilogy, a Hakka
musical epic, performed by the Miaoli Chinese Orches-
tra and a number of additional musicians. The novels in
Hakka writer Li Qiao’s Wintry Night Trilogy depict the
sorrowful lives of three generations of the Peng and Liu
families in the era of Japanese rule, and their resistance
to the colonial government. The trilogy was adapted into
a musical work by MCO music director Lee Chun-ping.
Besides using traditional Chinese instruments, Lee also
invited performers of Western classical music (including
piano, cello, and vocals) to participate.
Lee states that in order to give the music a Hakka
flavor, he drew on the special characteristics of Hakka
mountain songs: “When picking tea in the mountains, if
you want to call across to a fellow tea-picker on another
hilltop, you have to stretch out your voice and extend it,
and when I wrote the music I arranged for the piano to
express these kinds of microtonal fluctuations.” Rueibin
Chen, who premiered Wintry Night Trilogy, recalls: “When
I performed this work I used every one of the 88 keys on
my piano.” From this you can see the variety and tonal
range of Hakka mountain songs.
作曲家黎俊平（右）的客家音樂作品《寒夜三
部曲》首演時，由陳瑞斌（左）彈奏鋼琴，展
現客家人硬頸的精神。（莊坤儒攝）
When the Hakka music work Wintry Night Trilogy
by the composer Lee Chun-ping (right) was
first performed, Rueibin Chen played piano;
the instrument expresses the tough and
unyielding spirit of the Hakka people.
(photo by Kent Chuang)
For the composition based on Volume 1 of Wintry Night
Trilogy, the solid and staunch tone of the piano is used
to represent the tough and unyielding spirit of Hakka
people. Lee recalls that when he read this literary work,
“At the time I felt the deep attachment of the people for
the land. The novel talks of how each individual’s navel
is connected to the black soil, and even if the umbilical
cord is cut they are still linked to the land. The piano has
the widest range of any instrument, which made it the
only instrument that could express and build this kind of
mood.” For the composition based on Volume 2 of the tril-
ogy, which describes how sugar-cane farmers were bullied
and oppressed under Japanese rule, Lee elected to go with
vocalists, including a male tenor and baritone and chil-
dren’s voices, to express the tragic situation of the farmers.
Appreciating music is like appreciating paintings.
Looking back over time, we can see the first generation of
Taiwanese composers in the Japanese colonial period, the
focus on nativist composers following the rise of democ-
ratization movements in the Japanese era and from the
1970s onward, and the situation today, with groups per-
forming music that draws on Taiwanese themes and ele-
ments. Through their works and performances, Taiwan’s
history is organized into a series of stories told through
the arrangement of musical notes, through which it flows
into our hearts and minds. l
(Tina Xie/photos courtesy of the Taiwan Music Institute,
National Center for Traditional Arts/tr. by Phil Newell)
103
產業新創　ENTREPRENEURSHIP

製香是台灣的傳統技藝，蘊含民間敬神畏天的文化。
Incense making is a traditional craft integral to Taiwan’s religious culture.

104
Let the World Smell
Taiwan:
Marketing Local Scents
文•陳群芳　圖•林格立　版面設計•蕭郢岑

聞到桂花香，我們知道秋天快來了；台灣民謠〈四季紅〉、
〈六月茉莉〉的歌詞，使用了花香比喻心情的悸動。氣味能勾
動記憶，牽引情緒，更能標記出文化印象。使用台灣元素調和
的茶香水、力求突破的台灣傳統香品，皆以香征服國際，要讓
世界聞到正港的台味。

S mells can trigger memories and stir emotions. They can

even capture the essence of a culture. From perfumes dis-
tilled from Taiwanese teas to traditional incense re invented
for the modern age, Taiwan is captivating the world through
its authentic local fragrances.

以台灣元素調和的茶
香水〈Aged Tea 暗香〉，榮
獲香水屆奧斯卡A+OA的獨立設
計大獎。
“Aged Tea,” a perfume carrying
distinctly Taiwanese
scents, won an
“Independent” award at
the Art and Olfaction
Awards, the “Oscars
of independent
perfumery.”

105
 由美國洛杉磯藝術和嗅覺研究所舉辦的A+OA
國際獎（The Art and Olfaction Awards），素有香
水界奧斯卡之稱，為香水界的年度盛事。向來由
歐美國家包辦獎項，今年卻有匹來自台灣的黑馬
脫穎而出。香氛品牌P.Seven以〈Aged Tea 暗香〉
獲得來自各國不同領域的專家青睞，拿下獨立設
計大獎。來自台灣的茶香水站上世界舞台，創辦
人潘雨晴實踐了「讓台灣被看見」的理想。
茶香水風靡國際
綜觀國際香水市場，以往的氣味都是以花香、
果香為主，像是小蒼蘭、玫瑰、黑醋栗，而香水
的品味與潮流，也幾乎來自歐美文化。即使如
此，潘雨晴始終認為，「亞洲應該有屬於自己的
味道。」茶葉、米飯等，都是擁有豐厚底蘊的亞
洲文化，而要如何以現代形式詮釋文化，則是潘
雨晴給自己的功課。
以獲獎的作品〈暗香〉為例，潘雨晴透過香氣
來詮釋台灣老茶的味道。所謂的老茶，泛指陳放
十年以上的茶葉，後發酵作用使得茶葉陳化，氣
味也變得與新鮮茶葉不同，逐漸轉化為如梅香、
樟香和蔘香等風味。初聞〈暗香〉會先在綠茶清
新的氣味中，逐漸感受到煙燻木質調，尾韻則帶
有烏梅和龍眼乾的香甜。潘雨晴以香氣表現老茶
特有的舊木感、仙草乾、中藥等味道，將老茶文
106
Established by the Los Angeles-based Institute for Art
and Olfaction, the Art and Olfaction Awards are known
as the “Oscars of independent perfumery.” While their
winners are usually from Western countries, this year the
Taiwanese brand Pan Seven International (P.Seven) won
an award in the “Independent” category with a perfume
called “Aged Tea.” Founder Pan Yu Ching has realized
her dream of “helping Taiwan get noticed by the world.”
Tea perfumes
Looking at the international fragrance industry, we
find that most perfumes are either floral or fruity, while
fashions and trends are almost invariably driven by
Western cultures. Going against this grain, Pan firmly
believes that Asia should take pride in its own scents.
Pan’s award-winning perfume captures the soul
of Taiwanese aged tea. “Aged tea” refers to tealeaves
that have been stored for more than a decade. Post-
fermentation facilitates the aging of tealeaves, bring-
ing out aromas different from those of fresh leaves.
Progressively, aging leaves develop scents evocative
of plums, camphor, ginseng, and so on. The top notes
of P.Seven’s “Aged Tea” include the refreshing smell
of green tea, from which the fragrance of wood smoke
gradually emerges. With the passing of these earlier
notes, we then perceive the sweetness of smoked plums
and dried longans. Pan has given consummate expres-
sion to the mellow taste of aged tea, a subtle maturity
that only time can bestow.
P.S e v e n以台灣茶香水，
詮釋屬於亞洲文化的氣
味，令國際驚豔。
P.Seven uses Taiwanese
tea perfumes to reinterpret
authentically Asian aromas,
winning international
acclaim.
（右圖）台灣擁有豐富的
山林資源、各樣的特有種
植物，能激發調香師的創
作靈感。
(facing page) Blessed with
an abundance of woodlands
and a wide variety of
endemic plants, Taiwan
provides an inexhaustible
source of inspiration for
perfumers.
107
潘雨晴堅持使用台灣元素調製香水，要讓台灣被世界看見。
Pan Yu Ching insists on using Taiwanese elements to make her perfumes, hoping to get Taiwan noticed by the world.

化中，那份經過時間淬鍊的沉穩內斂表露無遺。 國際香水設計指標性大獎的肯定，愛沙尼亞、布達
得知作品獲獎時，潘雨晴忍不住激動落淚，彷 佩斯、紐約、越南等，都有經銷商意欲上架台灣的
彿她一路走來的不被看好，終於得到肯定。「十年 茶香水，潘雨晴成功將台灣的氣味行銷國際。
前台灣是沒有香水產業的，」潘雨晴表示，提起台
氣味設計，行銷台灣
灣的氣味，大家可能滿頭問號，頂多就是明星花露
水、熊寶貝、綠油精等，台灣沒有香水品牌，香水 相比視覺的看得見摸得著，抽象又主觀的嗅
產業幾乎是一片荒蕪。曾當過茶道師的潘雨晴，在 覺，在台灣仍屬於待開發的領域，所以潘雨晴在
品茶的過程發現自己對於氣味的敏銳，也著迷於台 經營品牌的同時，也透過舉辦氣味展，開啟民
灣茶的味道，希望將香氣雋永的收納，於是成立了 眾對嗅覺的探索。而台灣是座由多元族群組成的
P.Seven。而台灣茶的好品質，早已獲得國際的普 島嶼，P.S e v e n的第一場氣味展，便以原住民為
遍認可，她更堅定以茶香水作為品牌定位。 主題，運用馬告、小米酒、檳榔花、月桃葉等元
潘雨晴懷抱著：「我想讓台灣茶香水，成為 素，將原住民的狩獵與祭典、泛靈信仰等文化，
經典的存在。」帶領團隊投入一年半的時間， 透過氣味來呈現，創作出〈獵〉、〈泛靈〉、
歷經200多次的調香研發，P.Seven的第一支作品 〈石縫之花〉等作品。而後也陸續策劃了客家、
〈茗〉才終於問世。以台灣檜木作為前調，接著 閩南氣味展，創想了以東方美人茶主調的〈細妹
帶出金萱茶特有的馨甜奶香，後調則是以製墨常 安醬〉，或是以日月潭紅茶加上桂花，營造微苦
用的龍腦、柑松等，讓尾韻留有墨香。調和台灣 中帶甜的香水〈紅桂〉等，藉由氣味呈現台灣是
特有種植物、台灣培育的茶樹品種，以及東方的 座融合多元族群、蘊含豐富文化的島嶼。
書法文化，茗香水蘊含濃厚的台灣基因。其沉靜 潘雨晴表示，嗅覺是人類很早就發展的感官，
優雅的氣息偶然吸引了日本媒體的注意，成為日 就像新生兒聞到媽媽的味道會感到安定，氣味會在
本雜誌推薦的台灣伴手禮。許多日本民眾來台旅 腦中形成資料庫，串聯特定記憶。氣味亦可激起人
遊，都指定購買這款香水，去香港參展時也受到 們對顏色、溫度等其他感官的連結，腦科學家稱之
熱烈歡迎，讓潘雨晴從國外紅回台灣。 為「聯覺」。潘雨晴以聞到洋梨的味道來舉例，腦
潘雨晴表示，我們是台灣第一個出口的香水， 中可能會浮現淡黃色或青綠色的畫面，而不會是黑
連出口法規也都需要逐一摸索，通過日本的嚴格把 色、紅色的。調香師在進行氣味設計時，便是以聯
關，才終於讓台灣的香水在日本上架。如今，獲得 覺為概念，透過氣味的堆疊來呈現想要的畫面感。

108
 “Ten years ago Taiwan had no perfume industry,” Pan
tells us. It was while she was working as a tea master that
she discovered her acute sense of smell. Enamored of Tai-
wanese teas, she came up with the idea of collecting tea
fragrances, and eventually founded P.Seven. As Taiwan-
ese teas had long been known to the world for their high
quality, Pan decided to specialize in tea perfumes.
Pan’s ambition is to “turn Taiwan Tea Perfume into
a classic.” She and her team spent a year and a half de-
veloping their range of perfumes. After trying out more
than 200 blends, their first product—called “[mor] Tea
Parfum”—was born. Its top notes feature the scent of
Taiwan cypress, while Jin Xuan (a variety of oolong tea)
is part of its sweet and milky middle notes. The base
notes comprise borneol, spikenard, and other ingredi-
ents that are used to make inksticks, offering a lingering
sense of literary refinement. Weaving together Taiwan’s
endemic flora, a distinctly local variety of tea, and Ori-
ental calligraphy, this perfume is profoundly Taiwanese.
Its understated elegance attracted the attention of Japa-
nese media, and many Japanese tourists looking for gifts
and souvenirs have been inquiring about it. [Mor] Tea
Parfum also garnered warm praise when it was exhib-
ited in Hong Kong. These enthusiastic responses from
overseas have contributed to Pan’s local fame.
Pan’s first export sales were to Japan, and now the
prestigious Art and Olfaction Award has brought her Tai-
wanese tea perfumes to the notice of distributors from
Estonia, Budapest, New York, and Vietnam. Pan has suc-
ceeded in marketing Taiwan’s scents on the global stage.
Marketing Taiwan
As part of her brand management, Pan organizes
“aroma exhibition tours” that encourage visitors to ex-
plore their olfactory sense. Her first tour highlighted
Taiwan’s Aboriginal cultures, using scented ingredients
such as mountain pepper (Litsea cubeba), millet wine,
areca palm flowers, and shell ginger leaves to reinter-
pret indigenous hunting, rituals, and animist beliefs.
P.Seven produced a series of perfumes to accompany
this tour, including “Hunter,” “Animism,” and “Flower
of Life.” Subsequent exhibitions have focused on Hakka
and Minnan cultures, showcasing perfumes like “Ori-
ental Beauty,” which is primarily based on the epony-
mous tea, and “Ruby,” which derives its bittersweetness
from a combination of osmanthus and the black tea of
Sun Moon Lake. By appealing to our sense of smell,
these exhibitions present Taiwan as an island of rich
ethnic and cultural diversity.
In addition to creating perfumes, Pan designs scents
that help institutions and companies boost their brand
identity. For example, she was commissioned by a sea-
side hotel to make a room aroma that had a “sunny”
flavor. The hotel’s environment was very humid, and
the cleaning staff found it impossible to completely
P. S e v e n 舉 辦 各 式
氣味展，藉由嗅覺
饗宴呈現台灣文
化的豐富多元。
（P.Seven提供）
P.Seven’s “aroma
exhibition tours”
showcase Taiwan’s
cultural diversity by
offering a feast for
the nose. (courtesy of
P.Seven)
109
 除了設計香水，潘雨晴也為許多機關行號以氣味創造識別
符碼。例如，曾有臨海的飯店，因為環境的溼度高，不論怎
麼清掃，卻仍覺得有霉味，便請潘雨晴設計了曬過太陽的味
道，做為飯店的空間香氛。使用氣味來營造暖烘烘的感覺，
自然淡化令人不快的霉味。
而潘雨晴應台北市迪化商圈之邀，以中藥行為發想，設計帶
有漢方、青草感的神農香，並搭配設計師方序中設計的香囊，
讓原本傳統的老味道，有了新的詮釋，吸引年輕族群重新認
識迪化商圈。持續耕耘氣味行銷的概念，透過味道能讓企業
的品牌形象被記住，國家文化亦同。就像潘雨晴為桃園機場
公司十周年設計的國門香，以台灣森林、廟宇，以及茶文化
為靈感，運用檜木、雪松帶出山林氣息，線香傳遞寺廟的溫
暖，茉莉香片則蘊含台灣人熱情款待的真心，勾勒出帶有台灣
味的氣味輪廓。除了在桃園國際機場迎賓使用，去（2021）年
也被帶到日本的「未來之花見：TAIWAN HOUSE」設計展，透
過獨特香氣，向日本民眾展現台灣印象。

傳統香品走向世界

讓台灣的氣味走向世界的，除了香水，還有傳統的香品。
華人社會敬神畏天、祭祀祖先的文化，使用香品的歷史已十
掄香必須快速撥動枝條，邊潑上香粉，十分考驗製香
師傅的技術。 分悠久，幾乎是有華人的地方就有香，台灣也不例外。屬於
An incense maker has to turn the bamboo sticks rapidly
while he stirs up whirls of incense powder. This is a 台灣百工的製香業，是台灣民間的傳統技藝，1970年代台灣
process that really tests his skills.
經濟起飛，許多民眾興廟、還願，廟宇林立的同時，也使得
台灣的製香業蓬勃發展。
李建霖接下李慶成製香廠的經營，守著傳統手工製香 製香業的昔日榮景，從上游製作、盤商，到終端銷售，利潤
技藝。
Li Jianlin now manages Li Qing Cheng Sandalwood,
豐厚，甚至只要遞出名片便能收購香品再往下游轉手賣出，賺
continuing the traditional craft of incense making. 取價差。隨著低價香品進口，市場
概況轉變，中間的盤商消失，許多
製香廠也一間間收起，而堅持守護
傳統手藝的製香廠，則必須積極尋
找突破點。已有70多年製香經驗的
李慶成製香廠，則在第三代的李建
霖接班後，嘗試將客戶從傳統的香
舖、盤商，轉攻電商平台，直接面
對消費者。
返家接班十多年的李建霖，起
初是獨自在斗室中默默製香，面
對台灣香品市場的萎縮，一度十
分徬徨無助，是客人鼓勵他將目
光放向世界。於是李建霖投入電
商，透過網路的無遠弗屆，開拓

110
eliminate the musty odor inside. By wholesalers, the third-generation
summoning up the warmth of sunshine, owner, Li Jianlin, has expanded his
Pan’s aroma was able to neutralize the unpleas- customer base through e-commerce,
ant smell in a natural way. which enables him to sell directly to
The concept of olfactory marketing is not independent customers.
only embraced by private businesses con- Thanks to the vast reach of the Internet,
scious of their own brand images, but it also Li is able to venture into foreign markets
has a role to play in larger, national contexts. and serve customers in the USA, Germany,
For the tenth anniversary of the Taoyuan and Mexico. Never afraid of challenges,
International Airport Corporation, Pan Li accepted a special order and plunged
created a perfume called “Breath Taiwan,” himself into manufacturing one of the
drawing inspiration from the island’s least common products in the industry:
forests, temples, and tea culture. She ingot-shaped incense.
used Taiwan cypress and cedar to bring Li tells us that the most widely
out the smells of our woodlands; in- available incense products are vari-
cense to convey the warmth of local ous types of sticks and coils. Cones
temples; and jasmine tea to evoke (or “pagodas”) are less common, and
Taiwanese hospitality. “Breath Tai- cones shaped as ingots are even
wan” delineates the natural and rarer. Incense makers that produce
cultural contours of the island. ingots are hard to find, especially
Reinventing incense ones that accept customization.
It is not just Taiwan’s per- In modern Taiwan, incense is no
fumes that have been brought longer confined to religious and
to the wider world. Incense- ritual purposes. Many people
ma k i ng is a t radit iona l burn incense in their daily
Taiwanese craft. During lives simply to create a fra-
the economic boom of the grant atmosphere, and to at-
1970s, many people built tain a sense of serenity. For
temples to express grat- Li, incense cones in special
itude for their finan- shapes have enormous
cial success. This phe- market potential. Relying
nomenon boosted the on Taiwan’s manufac-
prosperity of Taiwan’s t u r i ng prowess, he
incense industry. engaged a company
With the importa- to design compression
tion of cheap incense, molding machines and
however, t he ma rket automatic slicers. Now,
underwent seismic shifts. The 製香時，枝條沾水必須輕緩，急躁不得， in an air- conditioned room
middlemen were all but wiped 「水路走的好，香才做的好。」 inside Li’s factory, we can ob-
李慶成總是這樣叮囑。
out, and many incense factories An incense maker has to be gentle and
serve how his staff produce in-
folded. Those traditional in- patient when dipping the bamboo sticks in gots that smell of sandalwood
water. Li Qing Cheng sets great store by this
cense businesses that wished to process. and Chinese medicinal herbs
continue had to be proactive to on machines that conform to
achieve a breakthrough. Li Qing Cheng Sandalwood European safety standards—a sight that overturns our
has been producing incense for 70 years. While the stereotypes of the traditional incense industry.
company traditionally supplied incense shops and The machine-made ingots are then carefully fettled

111
國外市場，將台灣傳統香品銷往美國、德國、 不走傳統大量製造的路線，李建霖主攻客製化、精
墨西哥等。而喜歡接受挑戰的他，也因為承接 緻化，可以客製香氣、外型，還能刻印法號，而且元
客製化訂單，一頭鑽進傳統香品裡最為冷門的 寶香塔製作後，還會由人工打磨，修整外型，讓產品
項目──元寶香塔。 更為細緻，也累積了口碑，目前已固定外銷新加坡與
李建霖表示，香品中較常見的有立香、臥 馬來西亞。李建霖表示，縱使六台塑形機全開，元寶
香、香環、小盤香等，香塔則較少見，而香塔 香日產量約是兩萬顆，光是消化現有訂單就已供不應
中的元寶香更是冷門中的冷門。因為製作者 求，吃不下其他來自海內外的詢問。這讓李建霖考慮
少，民眾想客製化就難上加難。隨著香品不再 增拓產線，他有雄心，要以成為台灣最大的元寶香供
只是宗教、祭祀用途，現代人品香、供香，也 應商為目標，讓台灣的香品走向世界。
會在生活中焚點薰香，增加空間香氛，也帶來
修女也愛台灣香
安定的力量。具有造型變化的香塔，成為李建
霖眼中的潛力產品。挾著台灣在工具機械的製 即便開拓了元寶香塔的機械化產線，李建霖仍沒
造能力，他拜託廠商開發壓模塑型的機台、自 忘記要守著阿公傳承的製香手藝。製香廠的另一處
動化切料機等。看著空調室裡，人員操作著符 空間，堆放著各式的香粉，台灣肖楠、中藥粉、各
合歐盟安全規格的機台，壓出一顆顆飄著檀 國檀香、沉香等，李建霖拿起一把竹枝，將枝條三
香、中藥香氣的元寶香，早已跳脫人們對傳統 分之二的部分緩緩浸入水缸中，再緩緩提起甩掉多
製香業的想像。 餘水分。這是香的打底步驟，必須均勻沾上水分，
急躁不得，「水路走的好，香才做的好。」阿公李
慶成以前總是這樣對李建霖說。
機器壓製好的元寶香，還需人工打磨，修去邊角，讓外
觀更為細緻。 接著要將香的枝條如扇形般展開，在盛裝香粉的
Workers have to finish the machine-made ingots by hand,
smoothing out their rough edges. 篩子裡，快速地把香粉播撒到香枝上，稱之為「掄
香」。只見李建霖一邊快速撥動手裡的枝條，一邊把
粉末潑上，這動作必須快速，否則香枝會沾黏在一塊
兒，香粉無法均勻沾裹，十分考驗製香師傅的技術。
接著再送到甩粉機，將多餘香粉震掉，如此反覆進行
沾水、展開、掄香、抖香的工序四到五次後，才完成
初步製作。後續要再經過數日的晒乾，將香腳染上顏
色後晾乾，才算大功告成。
在網路累積不少口碑的李慶成製香廠，經常會
有來自各方的參訪，像是小學的鄉土課程，國高中
生的校外參觀等。即使製香工作忙碌，李建霖仍很
樂於分享製香的技藝，而且不只台灣民眾有興趣，
還有許多外國旅客特地前來，希望深入了解台灣傳
統技藝。李建霖笑說，有來自德國的遊客，因為他
女兒很喜歡台灣的傳統香品，特地來參觀，錄下製
香過程的影片，想回國和孩子分享。又或是從法國
來的修女，前來向李建霖請教製香，因為當地買不
到。即使雙方對於彼此的母語都不甚熟悉，但透過
實作，李建霖仍教會修女簡易的製香方法，讓她能
回國自製祈禱用的香，也讓台灣傳統的製香工藝，
悄悄地在法國的修道院飄香。 l

112
傳統製香業力求突破，要讓世界聞到屬於台灣的味道。
Traditional incense makers are trying to open up new markets,
bringing Taiwan’s scents to the wider world.
by hand. The finished product demonstrates such finesse
that discerning customers have begun to notice it. At
present, Li’s ingot incense is routinely exported to Singa-
pore and Malaysia. Aiming to expand his production ca-
pacity, Li wishes to become Taiwan’s biggest supplier of
ingot incense, and bring Taiwanese incense to the world.
Incense making
This newly established production line does not
distract Li from the traditional craft of incense making
that he inherited from his grandfather. An assortment
of incense powders is stored in another section of his
factory: Taiwan incense cedar (Calocedrus formosana),
Chinese medicinal herbs, sandalwood from various
countries, agarwood, and so on. Li picks up a handful
of bamboo sticks, slowly dips two-thirds of their length
into a vat of water, gradually lifts them, and shakes off
the excess water. This is to prepare the sticks for in-
cense making. Great care must be taken to ensure that
they are evenly wetted.
Having completed this preliminary step, Li fans out
the sticks, holds them above a container full of incense
powder, and rapidly showers them with the powder.
We see Li swiftly turning the sticks with a swirling
motion while he stirs up whirls of incense powder. He
has to do this very quickly, or the sticks will adhere to
each other, and will not be evenly coated with powder.
This is a process that really tests the skills of an incense
maker. Next, Li puts the sticks in a machine that helps
shake off excess powder. The entire procedure—from
dipping and fanning out the sticks to swirling and
shaking them—has to be performed four or five times.
It will then take several days to dry the sticks. The last
step is to dye and dry the uncoated end.
Li Qing Cheng Sandalwood, which has successfully
established an online presence, often has visitors from
various backgrounds. Despite his busy work, Li Jianlin
takes pleasure in sharing his incense-making skills. He
has welcomed not only local visitors but also many for-
eign tourists who are interested in traditional Taiwanese
crafts. Li remembers a German tourist visiting the fac-
tory to film the process of incense making for his daugh-
ter, who loves Taiwanese incense. There was even a nun
from France who asked Li to teach her how to make
incense because she couldn’t find anything like it where
she lived. Although they didn’t understand each other’s
language, Li was able to pass on the basic skills through
physical demonstration, and Taiwan’s traditional incense
has made its way into a French convent. l
(Chen Chun-fang/photos by Jimmy Lin/
tr. by Brandon Yen)
113
多元族群　COMMUNITIES

為浪人織造
社會安全網
創立自英國的《The Big Issue》（大誌）雜

Through Work Opportunities

Helping the Homeless
誌，由街友販售，開啟人們對無家者勞動樣貌
的想像。在台灣，有許多組織致力培力無家
者，創造合適的就業機會，讓弱勢者能憑藉自
己的力量脫離街頭，諸如在夜市擺攤的浪人食
堂、專攻特殊清潔的友洗社創，以及提供社區
清潔服務的居家美等。這些團體在社會底層織
起安全網，接住每個被遺漏的人，點亮社會的
灰暗角落。

T he Big Issue, a street paper founded in the UK,

opens people’s imaginations to what employ-
ment for homeless people can look like. In Taiwan
there are numerous organizations working hard to
cultivate the employment skills of the homeless, such
as Wanderers’ Table, with its night-market stalls
staffed by homeless people; Yo Wash, which special-
izes in power washing; and the community cleaning
service Jujiamei. These organizations are weaving a
safety net of support for homeless citizens.

114
孵化無家者
的多元職場
文•陳群芳　圖•莊坤儒　
版面設計•劉俊良

饒河夜市裡的浪人食堂，為弱勢者打造友善職場，搭起與大眾對話的平台。
Wanderers’ Table at the Raohe Night Market provides a friendly workplace for
disadvantaged people, a place where they can engage in conversations with the
general public.

熙來攘往的台北饒河夜市，一處位於松山長老 At the Raohe Night Market, a stand in front of the

教會前的小攤，老闆們熱絡地招呼客人，販售茶 Songshan Presbyterian Church sells tea, desserts, sta-

飲、點心、文創小物等，乍看與一般夜市攤位無 tionery items and gifts. At first glance, it doesn’t seem

異。然而，這處名為浪人食堂的空間，接納了來
自各方的無家者、經濟弱勢者，培力他們製作餐
點、銷售商品、人際溝通等職場技能。浪人食堂
打造一個弱勢者返回職場前的中繼站，讓人們在
此喘息，重新獲得打理生活的力量。
創造友善職場：浪人食堂
「如果他只是睡在你家巷口的無家者，即使每
天經過他身旁，你們的關係十年也不會改變。」
much different from neighboring stalls. Yet the stall,
which is operated by Wanderers’ Table, is staffed by
the homeless and other economically disadvantaged
people. Wanderers’ Table embraces these people and
cultivates their skills in food preparation, sales and
interpersonal communication. It serves as a halfway
house on their journey to reenter the labor force.
Wanderers’ Table: Creating a friendly workplace
Founded in 2018, Wanderers’ Table came into being
from the Songshan Presbyterian Church’s desire to use

115
 「願社會裡沒有
被遺漏的人。」
余思賢與慕哲人社的夥伴們，致力關注無家者，盼能撐住每個被遺漏的人。
Aiming to help all those in need, Yu Szu-hsien and his partners at the Philo
Society are working hard on behalf of homeless people.

浪人食堂創辦人，同時也是東吳大學社工系助理 笑稱烹飪技能只會煮泡麵的他，帶著無家者與
教授的余思賢如此說著，但當無家者是鄰家餐飲 社工夥伴，學習炸雞肉、煮紅茶、製作鯛魚燒
店的服務人員時，與客人有一搭沒一搭的聊著， 等，也販賣文創小物。
彼此間的關係就可能改變。這是余思賢活用浪人 余思賢分享了一個浪人食堂的大哥，很熱衷
食堂空間時的期許。 和客人介紹有關無家者的著作《街頭生存指
成立於2018年的浪人食堂，是松山長老教 南》，因為書裡收錄了他的故事，每次顧攤，
會有意釋出教會前的空間做為公益使用，輾轉 大哥逢人就分享自己被收錄在第幾頁，笑著說
找上長期關注社會運動的組織「慕哲人社」。 可以簽書。余思賢認為，當這樣的人際互動累
時任理事長的余思賢表示，無家者是社福體系 積多了，無家者心裡的餘裕會打開，便可以練
中容易被忽略的一塊。看似有勞動能力，不符 習更有彈性的去面對生活。
合補助資格，但卻又無法在職場中找到足以支 浪人食堂成立的這些年，雖然社會強調競爭
撐生活的工作，只能打零工，微薄的收入，租 的價值觀沒有改變，但食堂所累積的能量，仍
不起房子，最後只能流落街頭。「當主流社會 讓不少無家者脫離街頭，重新回歸社會。而且
一味強調競爭，是不是能有一個更彈性的空間 值得欣慰的是，目前食堂已由培力的弱勢夥伴
讓流浪的大哥大姊，在此稍作休息，並成為他 接手攤位的經營，即使疫情減少了夜市的人
們與人群互動的平台。」帶著這樣的思考，過 潮，但培力夥伴仍決定留下來，只因能為自己
去主修社會心理學，從事研究工作的余思賢， 賺到自信和負責任的生活態度。回應了余思賢

116
the space in front of the church in the public interest.
It led them to the Philo Society, an NGO that has long
been concerned with social issues. Yu Szu-hsien was
then chairman of the group, and he explains that many
of Philo’s members were deeply concerned about the
plight of homeless people. The homeless, he notes, are
easily overlooked by the social welfare system.
“Amid the focus that mainstream society puts on
competition, why can’t there be a flexible space for our
homeless brothers and sisters to rest a while and a plat-
form for them to interact with other groups?” It was in
this spirit that Yu, despite his background
“We hope that
in social psychology and research, and
culinary skills that he jokes were limited
to preparing instant noodles, led home-
less people and social workers in learning
no-one in society
how to fry chicken, brew black tea, cook will fall through
fish-shaped taiyaki cakes, and sell gifts.
Yu shares how one of the homeless the cracks.”
men there is keen on introducing the
book Street Survival Guide, because it records his story.
Every time he mans the stall, he shares with customers
the page where he is featured and jokingly offers to
autograph it. Yu believes that with greater social inter-
action, homeless people will open up psychologically
and teach themselves to take a more flexible approach
to life.
The good news is that some of the disadvantaged
persons trained by Wanderers’ Table have opened
street stalls of their own. Although the Covid-19 pan-
demic reduced night-market crowds, those trained
workers decided to stay put, revealing a confident and
responsible attitude toward life.
Helping others at Fu Hsi Living Room
In 2021, when a major Covid-19 outbreak hit Taiwan,
people here continued to spread goodwill: Many orga-
nizations serving the homeless, including Wanderers’
Table, went onto the streets to give out disease control
supplies and meals.
Wanderers’ Table social workers noticed that train-
ees cooperated more and showed a softer side while
distributing supplies, revealing a greater sense of ful-
fillment as they progressed to self-sufficiency and even
to helping others. Consequently, to help more people
needing assistance, the Philo Society in 2021 founded
another space near the Wanhua railway station in Tai-
pei City. The venue provides meals but also has social
workers on duty to provide psychological counseling.
Aspiring to offer a home-like warmth, it is named the
Fu Hsi Living Room (fu hsi meaning “good fortune and
happiness”).
Apart from providing meals, it also offers training
courses. Many homeless people come from broken
homes or dysfunctional families, or have been victims
of violence. Often, to learn small tasks that are easy
and habitual for most people, such as calculating wages
or grooming themselves properly, they need repeated
practice. They may need to learn
how to communicate their thoughts,
and how to deal with interpersonal
conflicts without just running away.
The social workers help them find the
missing pieces of their life experience.
Bit by bit their confidence grows, and
that is key to finding a new footing
in life.
Yo Wash: Washing away both dirt and stigma
Likewise established during the pandemic, Yo Wash
is a pressure-wash cleaning service that employs home-
less people. Lin Li-ching, the author of the novel We,
the Laborers, observed that the pandemic was increas-
ing the ranks of the homeless. It prompted him to be-
come an entrepreneur, working to bring about change
through consequential action.
浪人食堂的夥伴用心調製每一杯飲品，金黃的茶湯裡蘊含著
希望。
The trainees at Wanderers’ Table carefully prepare each
beverage. The golden liquid of the tea is filled with hope.
117

強調的，「浪人食堂的目標，不是這些人會變
成怎麼樣，而是他們有餘裕為自己做決定。」
讓甘苦人扶助甘苦人：福喜小客廳
2021年Covid-19在台灣爆發，原本以拾荒、打
零工維生的無家者們，頓失工作機會，且暴露在
染疫風險中，處境更為嚴峻。然而在面臨考驗的
同時，台灣民間也持續散播善意，許多服務組織
上街發送防疫物資與餐食，而浪人食堂也加入行
動，協助包裝物資，並發起街頭英雄包計畫，由
食堂培力的弱勢夥伴製作點心和飲料，分送給默
默守護防線的清潔與消防人員。
從受助者轉變為自助，甚至助人，浪人食堂的
社工們發現，培力夥伴在分送物資時，彼此有了
更多的合作和互助，柔和的表情中透露出滿足。
於是，慕哲人社為涵蓋更多需要扶助的對象，去
（2021）年底在台北萬華火車站附近另覓了一處
118
福喜小客廳透過培力課程，伴著無家者重拾對生活的信心。
The Fu Hsi Living Room offers training courses that build
homeless people’s confidence to tackle life anew.
空間，提供弱勢者餐食，並有社工陪伴，讓人們
在用餐之餘，心靈也能獲得休憩，盼能提供如家
般的溫暖，取名為「福喜小客廳」。
延續浪人食堂闢建友善職場的概念，福喜小
客廳匯集來自公、私單位的物資與餐食，並交由
無家者整理、包裝、分送，能透過自己的雙手工
作，除了找回尊嚴，也在助人的過程中，讓他們
肯定自己的付出，相信自己是有機會重新站起來
的。
在供應餐食之餘的時間，福喜小客廳也提供培
力課程。許多無家者來自破碎、失能的家庭，或
曾遭受暴力對待，許多常人習以為常的小事，他
們卻必須反覆練習，像是學習計算薪資、打理自
己的外表；或是試著與夥伴溝通想法；遇到人際
衝突時，要如何面對而不是選擇逃跑等，福喜小
客廳的社工們手把手地教學，就像是幫他們補回
過往生命經驗中，所失落的拼圖。而這些點滴，
會在無家者心中逐漸累積自信，成為重振生活的
關鍵。
洗去汙名，洗出未來：友洗社創
同樣在疫情下成立的，還有專聘無家者從事
高壓清洗的「友洗社創」。長年關注社會底層人
物，著有《做工的人》的作家林立青，眼見疫情
使得街頭的無家者增加，促使他從為小人物書寫
 “For disadva ntaged people to t u r n t hei r l ives
around,” says Lin, “the best way is to select a skill and
then practice it to a level that meets society’s needs.”
He explains that when using a pressure washer to clean
pavement, it is immediately obvious whether it is clean,
and this will naturally foster a sense of accomplish-
ment in the operator. And all you need is one piece of
equipment that you teach someone how to operate, and
they can rely on that skill to support themselves.
Since Yo Wash was founded at the beginning of
2022, Lin has led homeless workers to clean outdoor
spaces at locations including the Red House Theater
in Ximending, Sacred Heart Girls’ High School in Bali,
the Xiahai City God Temple, and the Báng-kah Presby-
terian Church. When people see them working hard,
友洗社創用高壓清洗技術增加弱勢者的工作技能，也洗去人們對無家者的刻板印象。
Yo Wash teaches homeless people and others to operate pressure washers. These work skills help to wash away stereotypes that
many hold about disadvantaged groups.
washing away grime and making these surfaces look
new again, Lin hopes that it will wash away the stigma
attached to being homeless. Far from being lazy, many
homeless people are simply trapped in situations where
it is difficult to extract themselves from poverty.
With Keelung’s abundant rainfall, the exercise
grounds and walkways of schools there tend to become
slippery with moss. Out of concern for students’ safety,
Yo Wash workers have pressure washed more than ten
campuses in the city. When the teachers and students
step forward to express their thanks, it gives these
homeless workers a great sense of accomplishment.
So that more people can improve their situation
through pressure-washing work, Lin has joined forces
with the Against Wind theater group, which has long
119
 發聲，轉而創業，想以殷實的行動，促成改變。 洗去汙泥，讓地面煥然一新的同時，林立青更希
「弱勢要翻身，最好的方式是選擇一個技 望讓大眾見到無家者願意奮鬥的那一面，洗去加
能，練到社會上需要你。」林立青表示，使用 諸在無家者身上的汙名。因為多數的無家者，並
高壓清洗機沖洗鋪面，乾不乾淨效果立見，自 非不努力，而是他們身處在努力也難以跳出貧窮
然會增加操作者的成就感，且僅需要單一設 的處境。
備，只要教會弱勢者如何操作，他們便能依靠 多雨的基隆，因長久潮濕，許多學校的操場、
這項技能養活自己。 路面都積累了青苔，容易滑倒，而友洗的夥伴們擔
友洗自今年初創立後，林立青至今已帶著無家 心學生的安全，希望在有人受傷前，事先預防，已
者洗過西門紅樓、紀州庵文學森林、聖心女中、 陸續清洗了基隆的十多所學校。當友洗的夥伴們穿
大稻埕的霞海城隍廟、艋舺教會等戶外空間。在 著公司制服，在校園內認真清潔地面時，師生們總
會上前致謝、關心，讓這些曾經是無家者的友洗同
仁，萌生滿滿的成就感與正能量。
為讓更多人能藉由高壓清洗工作翻轉現況，林
立青也與長期輔導飛行少年的逆風劇團合作，讓那
些因為家庭變故、中輟、學習成就低落的青少年，
能習得一技之長。與友洗一起進入校園，維護孩
子跑跳的安全，讓這些飛行少年從被助者變成助人
者，而這樣賦能的過程，將令他們相信，自己的人
生其實是有翻轉的希望。

為弱勢創業：居家美清潔公司

一份工作不僅是賺取收入，也代表著自立的
機會，為人生困境帶來希望。位於台中市的居家
美，便是優先聘僱街友、更生人、身心障礙者、
中高齡就業等，致力關照弱勢的清潔公司。
會對弱勢如此關懷，也許源自老闆張茗富的
感同身受，有著兩個特殊的孩子，大兒子有自閉
症，小兒子則是罹患先天性疾病，來不及長大就
離開人世。正因熟知苦痛，讓張茗富對於弱勢總
是特別關懷，早在2005年便成立台中行善團，扶
助弱勢與急難家庭。但只靠金錢的捐助，無法幫
助弱勢跳出貧困的循環，於是張茗富與妻子楊玉
蘭在2014年動念成立了居家美，為弱勢朋友創造
工作機會。
居家美接收了來自伊甸基金會、社會局、勞工
局等社福單位轉介的個案，安排他們從事社區大
樓、公部門的清潔工作。已經在居家美服務多年的
楊玉蘭與丈夫張茗富成立居家美清潔公司，為街友、更生人、 王大哥，便是轉介自伊甸基金會，因工傷截肢，也
身心障礙者等弱勢族群，創造就業機會。
曾遭遇車禍、中風的他，很慶幸自己在人生絕望之
Yang Yulan and her husband Andy Chang founded the cleaning
service Jujiamei to provide employment opportunities for homeless 時遇到張茗富，不嫌棄他的年老體衰，反倒一步步
people, ex-convicts, mentally and physically disabled people, and
members of other marginalized groups. 教他如何從事清掃工作。讓王大哥能有機會重新站

120
已在居家美服務多年的王大哥，認真打掃社區的每個角落，能靠自己雙手賺錢，他充滿感激。
“Big Brother” Wang, who has been employed by Jujiamei for many years, scrubs every nook and cranny as he works on a
community cleaning job. He is extremely grateful for the opportunity to support himself through his own efforts.
worked with troubled youths in Taiwan. The two orga-
nizations are aiming to teach skills to youths who have
troubled home lives, are school truants or dropouts, or
are poor academic achievers. From being helped, they
can turn to helping others and through that process
of empowerment realize that they can truly turn their
lives around.
Entrepreneurship for the disadvantaged
A job not only is a way of earning some income, but
also represents an opportunity to stand on one’s own
feet, thus bringing hope amid life’s struggles. Located
in Taichung, Jujiamei is a cleaning company that cares
for the disadvantaged by putting a priority on employ-
ing homeless people, formerly incarcerated persons,
people with physical or mental impairments, and older
workers.
On the recommendation of various social welfare
agencies, Jujiamei has been contracted to clean commu-
nity centers and public agencies. “Big Brother” Wang,
who has been working for Jujiamei for several years,
came on the introduction of the Eden Social Welfare
Foundation. An amputee as a result of a workplace
accident, he was also injured in a traffic accident and
suffered a stroke. He feels very fortunate that he met
Jujiamei’s cofounder, Andy Chang, at a point of great
despair in his life. Chang did not look askance at his
age but instead taught him step by step to perform
this cleaning work, giving Wang a new opportunity to
stand up and support his family.
Over the years, Chang has helped countless disad-
vantaged people to reenter the workforce, and Jujia-
mei’s model has attracted others who share Chang’s
ideals. Using an unpaid franchise model, more than ten
other cleaning companies have been established under
121
起來，靠自己的力量養家活口。 the Jujiamei umbrella around Taiwan. Like-minded
張茗富多年來的耕耘，扶助了無數的弱勢重回 people from Malaysia, Singapore, the UK, Japan and
elsewhere have also contacted Chang to invite him to
社會，而居家美的模式也吸引了其他理念相同的
their countries to share his operating model.
人，張茗富以無償加盟的方式，協助開設清潔公
The poverty faced by homeless people, those with
司，讓居家美在全台各地遍地開花，目前已有十 criminal records, and other disadvantaged groups is an
多個據點。甚至還有馬來西亞、新加坡、香港、 issue in every country. Perhaps the Taiwanese experi-
英國、日本等國家的民眾，來信邀約將居家美的 ence can serve as an example for the international com-
模式，帶到國外分享。 munity. Meanwhile, back in Taiwan, disadvantaged
people are gradually gaining the skills and courage
無家者、更生人等弱勢族群所遭遇的貧窮處
to survive so that they may ultimately emerge from
境，是每個國家都在面對的課題，台灣的經驗，
poverty. The goal is one that Yu Szu-hsien has long
或許能成為國際參考的對象。而台灣社會累積的 championed: “We hope that no one in society will fall
點點善意，能提供弱勢者生存的能力與勇氣，讓 through the cracks.” l
貧窮終將有機會被消弭，就像余思賢始終期盼 (Chen Chun-fang/photos by Kent Chuang/
的：「願社會裡沒有被遺漏的人。」 l tr. by Jonathan Barnard)

台灣有許多類似福喜小客廳的組織，在一方空間裡陪伴無家者走過生命的艱難，為社會帶來亮光。
Taiwan has many organizations that are like the Fu Hsi Living Room, offering a space for homeless people to spend time and
brightening Taiwan’s society in the process.

122
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