MAR.

2023 中英文北美版

Slow Travel in Small-Town Taiwan

台式招牌街景
台灣雕塑拓荒者蒲添生
記憶中的「糖金歲月」
雙濱慢食光

Vol. 48 No. 3 March 2023

CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
 享受日光浴的麵條------ 關廟麵

Guanmiao’s Sunkissed Noodles

圖／文•林格立　版面設計•馬英凱

走
進台南關廟，映入眼簾的
是各家製麵廠的關廟麵招 A rriving in Tainan’s Guanmiao District, you see
countless signs advertising Guanmiao noodles
from different makers. After the dough is kneaded, rolled
牌林立。經過和麵、壓麵、切
麵、人工折麵後，整齊排放在 and cut, the noodles are folded by hand, arranged neatly
竹篩上的麵條，被一盤一盤的 on bamboo trays, and moved outdoors to dry in the sun.
搬到戶外的曬麵場，享受陽光 This is the key to Guanmiao noodles’ fragrance and
的洗禮，這也是關廟麵香Q彈 al dente mouthfeel, and their resistance to overcooking.
牙，不易軟爛的關鍵所在。 (photo and text by Jimmy Lin/tr. by Phil Newell)
 編人 的
編者 絮話語
《光華》帶您環島一遊
文．陳亮君

中華民國112年3月1日出版（月刊）／
中華民國65年1月1日創刊
「各位旅客，《光華》觀光列車即將從台 蘭傳藝園區的糖蔥文化館、傳唱台灣道地傳
出版者 光華畫報雜誌社 北出發，沿途經宜蘭、花東、高雄、台南、 統戲曲的漢陽北管劇團，讓你在宜蘭流連忘
發 行 人／ 吳釗燮
Publisher: Jaushieh Joseph WU
社 長 ／ 徐詠梅 嘉義，甚至遠渡離島，帶你走一趟深度台灣 返、意猶未盡。
Director: Catherine Y.M. HSU
總 編 輯／ 陳亮君
Editor-in-Chief: Ivan CHEN 之旅……」 到了花東雙濱一帶，依山而建、色彩鮮
主 編／ 曾蘭淑
Editor: Esther TSENG
文 稿 副 主 編／ 鄧慧純 郭美瑜
首站來到台北林森北路上的蒲添生紀念 明的原鄉部落就在眼前，趕緊跟著《光華》
Deputy Editors: Cathy TENG, Mei KUO
文 字 編 輯／ 陳群芳 蘇俐穎 謝宜婷 館，由館長蒲浩志與台灣美術史專家蕭瓊瑞 編採團隊，進入一場又一場美食與自然、生
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, 教授，共同述說在那顛沛流離的年代，蒲添 活與文化交織而成的原民風景；再到高雄小
Lance LIU
攝影組召集人／ 莊坤儒
Photographic Coordinator: Kent CHUANG
生的成長歷程及其風格，並看見台灣雕塑藝 鎮，跟著美濃在地文史工作者邱國源、《今
攝 影 組 長／ 林格立
Photographic Director: Jimmy LIN 術發展之足跡，與其創作背後之時代意義。 日美濃》總編輯黃森松，還有「美濃農村田
攝 影 編 輯／ 林旻萱
Photojournalist: LIN Min-hsuan
英 文 編 輯／ 陳瑩潔 唐樂榕 倪凱駿 在旅途的過程中，各位是否有觀察到街邊 野學會」理事長溫仲良等人，走讀美濃客
English Editors: Audrey CHEN, Robert TAYLOR,
Phil NEWELL
日 文 編 輯／ 山口雪菜 施家騏 五花八門的各式招牌？雖然形式繁雜，卻是 庄，細數美濃開庄數百年累積的飲食風華。
Japanese Editors: Yukina YAMAGUCHI,
Shila SHIH
印 尼 文 編 輯／ 陳德銘
饒富趣味與特色，讓人容易親近。探照文化 一路往北來到橫跨台南與嘉義的西拉
Indonesian Editor: Temmy WIRYAWAN
越 南 文 編 輯／ 武秋香 執行長李明璁在接受《光華》專訪時說道： 雅國家風景區，放慢你的腳步，讓這具有
Vietnamese Editor: VU Thu Huong
泰 文 編 輯／ 王玉雯
Thai Editor: WANG Yu-wen 「招牌是文化的一個縮影……首先，不可否 「永續概念」的景點，和木產業之都──嘉
資深行政編輯／ 段蜀華
Senior Administrative Editor: DUAN Shu-hwa
社 群 編 輯／ 蕭淑憶
認的是華語漢字文化，再來是日本殖民的文 義，沉澱你的心靈，好好體會生活中的美
Social Media Editor: Dawa HSIAO
化，最後當然與全球化有關，尤其來自美國 好；最後來到台灣離島，從金門高粱風獅
總 監 ／ 鍾宜蓉
Marketing Director: Carianne CHUNG
業 務 協 理／ 陳俊偉 的影響，更晚近一些，甚至會發現屬於在地 爺、澎湖西吉嶼藍洞、七美月鯉灣浮潛、
Deputy Manager: CHEN Jyun-wei
資 訊 部 主 任 ／ 卓宏基
Director of Information Systems: CHO Hung-chi 的原住民，和來自鄰近的東南亞國家，都被 蘭嶼日出拼板舟……等各式各樣的美圖美
綜 合 服 務 組／ 李淑慧
General Affairs: S.H. LEE
加總進來。」 照，以及聽聽來自越南、印尼、馬來西亞等

接著來到宜蘭，造訪有「東方起司」之 六個國家，來台參加外交部「連結新南向菁

稱的豆腐乳製作產地，以及知名的二胡冶琴 英培育專班」的東南亞學生們的分享，為全

師李十三，讓這需時間堆疊，以及純熟技術 台環島之旅畫下一個「驚嘆號」，期待下次

加持的美味與音色，充滿你的旅途；還有宜 再出發。 l
A Tour of Taiwan with
Taiwan Panorama
“L adies and Gentlemen, the Taiwan Pan-
orama sightseeing train is departing
from Taipei and will be stopping in Yilan, Hua­
lien, Taitung, Kaohsiung, Tainan, and Chiayi.
This in­depth tour of Taiwan also includes a trip
to some of our offshore islands….”
Our first stop is the PTS Sculpture Memo-
rial Museum on Taipei’s Linsen North Road,
where museum director Pu Hao-chih and art
historian Hsiao Chong-ray will tell us about
sculptor Pu Tian-sheng’s artistic style and
maturation, and outline the development and
historical significance of sculpture in Taiwan.
During our journey, I hope you will notice
the rich variety of shop signs along our city
streets. Though they come in a confusing
array of styles, they are fascinating and dis-
tinctive. Dr. Lee Ming-tsung, CEO of Search-
light Culture Lab, observes: “Shop signs are
a micro cosm of culture…. Foremost is the
culture of Chinese characters, then comes
Japanese colonial culture, and finally the
impact of globalization and American influ-
ence. More recently, the cultures of Taiwan’s
indigenous peoples and of Southeast Asia
have been added into the mix.”
Next we go to Yilan, where we will visit
some makers of the county’s well-known
fermented tofu, including “Lee 13,” who is
also a renowned erhu fiddle maker. Other
highlights of our unforgettable stay in Yilan
are the Tangcong Culture Hall at the Na-
tional Center for Traditional Arts, and the
EDITOR’S NOTE
Hanyang Beiguan Troupe, which is keep- GPN: 2008000038 ISSN1991-525X
原刊名光華 Sinorama Magazine
ing alive Taiwan’s authentic tradition of 中華民國95年1月改為台灣光華雜誌
Taiwan Panorama
Beiguan music and drama. SUBSCRIPTION RATES:
Continuing south along Taiwan’s East 　Republic of China: NT$150 per copy,
　　NT$1500/year, NT$2600/2 years
Coast, we will visit colorful indigenous com-
　Asia & Pacific Regions: US$40/year,
　　US$72/2 years by airmail
munities in Hualien’s Fengbin Township
　Elsewhere: US$45/year,
　　US$80/2 years by airmail
and Taitung’s Changbin Township. There we 社址／中華民國台灣台北市100209中正區愛國西路
will experience the cuisine, natural environ-
2號3樓
Address: 3F, No. 2, Aiguo W. Rd., Zhongzheng
ment, lifestyles, and culture of local indige-
District, Taipei City 100209, Taiwan, ROC
郵政信箱／100908台北復興橋郵政第8-398號信箱
nous residents. Then we travel to Kaohsiung,
PO Box 8-398, Taipei Fuxing Bridge,
Taipei City 100908, Taiwan, ROC
where we will learn about the Hakka com-
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　
munity of Meinong from Chiu Kuo-yuan, 網址／http://www.taiwan-panorama.com/
a local historian, Huang Sen-sung, pub-
讀者服務專線／+886-2-2397-0633
E-mail: service@taiwan-panorama.com
lisher of the community magazine Today’s 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。
Meinung, and Wen Chung-liang, chair of the 如發現書頁有裝訂錯誤或污損事情，
請寄至本社調換。
community association Rural Meinung Field All rights reserved. Photos and articles may not
be reprinted without our permission.
Learning. If you wish to reprint any of our articles or
photographs, please contact our senior
Next we head northward to the Siraya administrative editor.
Damaged or misbound copies returned to us will
National Scenic Area, which stretches across be gladly replaced.
parts of both Tainan and Chiayi. The lei-
surely pace of life in this place, along with
Chiayi City—known as “Timber Town”—
will calm your souls. Then we go to Taiwan’s
offshore islands, with readers’ photos from
Kinmen, Matsu, Penghu, and Lanyu. Last but
not least, we hear about the experiences of 本刊物印刷油墨使用環保認證大豆油墨
students from six Southeast-Asian countries
who came to Taiwan to take part in the New
Southbound Policy Elite Study Program, or-
ganized by the Ministry of Foreign Affairs.
This rounds off our tour, and we look for-
ward to your joining us again next time! l
(Ivan Chen/tr. by Phil Newell)
目次
CONTENTS 中華民國112年3月 第48卷 第3期 Vol. 48 No. 3 March 2023

封面故事 Cover Story

6
6 漫遊西拉雅
玩賞廢墟的華麗變身
The Transformation of Abandoned Assets
—A Journey to the Siraya National Scenic
Area
文•陳群芳　圖•莊坤儒

16 品味．宜蘭特調
與時光共舞的釀造滋味
Taking Their Time
—Yilan’s Artisanal Fermenters
文•郭美瑜　圖•林格立

26 雙濱慢食光

16 品嚐阿美族大山大海的餐桌
The World on a Platter
—Amis-Style Eating on
Taiwan’s East Coast
文•蘇俐穎　圖•林格立

36 二通物語．木都風情
慢漫走回「嘉」
Timber Town Stories
—A Stroll Along Chiayi’s Second Avenue
文•鄧慧純　圖•林旻萱

影像對話 Photo Essay

36 編者的話 來自地方的明信片
56 《光華》攝影徵件
探索旅人風情──離島觀光
Readers’ Photos:
Exploring Taiwan’s Offshore Islands

Editor’s Note Postcards from Home

2 《光華》帶您環島一遊 1 享受日光浴的麵條 50 月月好讀

A Tour of Taiwan with ──關廟麵 Variety Pages
Taiwan Panorama 文•曹銘宗
Guanmiao’s Sunkissed
文•陳亮君
Noodles
圖／文•林格立
 封面說明：
到雙濱品味阿美族的山海餐桌；到嘉義度過老屋裡的懷舊時
光……精彩的台灣，值得把腳步放慢品味。（光華攝影組
攝、馬英凱設計）
Cover: Sampling Amis cuisine on the East Coast, basking
in nostalgia amid the old houses of Chiayi... Taiwan
is worth taking time to savor. (photos by Taiwan Panorama
島嶼行旅 Around Taiwan
photojournalists, design by Ma Ying-kai)

66 甜的滋味
記憶中的「糖金歲月」──糖蔥
Sweet!
—Tangcong Candy and the
Golden Age of Sugar
文•郭美瑜　圖•莊坤儒

76 歷久彌新的美濃客庄
鄉情濃醇，人情堅毅

66
Meinong: An Old Hakka Town Renewed
文•蘇俐穎　圖•林旻萱

藝文脈絡 Cultural Trends

88 抓住永恆的氣韻
台灣雕塑拓荒者蒲添生
Molding the Spirit of His Times:
Sculptor Pu Tian-sheng
文•謝宜婷　圖•林旻萱

94 聽它們眾聲喧嘩
台式招牌街景

88
Signs of the Times:
Shop Signs’ Place in Taiwan’s Streetscapes
文•鄧慧純　圖•林格立

104 北管台灣調
漢陽北管劇團 ┼ 梨春園
In Tune with Beiguan:
Hanyang Beiguan Troupe and
Li Chuen Yuan Beiguan Club
文•曾蘭淑　圖•林格立

多元族群 Communities

114 帶著「台灣」經驗返鄉

94
外交部新南向菁英培育專班
Taking the “Taiwan Experience”
Back Home
—The New Southbound Policy
Elite Study Program
文•曾蘭淑　圖•林格立
 漫遊西拉雅
玩賞廢墟的華麗變身
The Transformation
of Abandoned Assets
—A Journey to the Siraya
National Scenic Area

文•陳群芳　圖•莊坤儒　版面設計•馬英凱

西拉雅國家風景區官田遊客中心裡，弧型建築體的設計靈感，來自西拉雅族的祀壺文化。
The Siraya National Scenic Area’s Guantian Visitor Center features rounded structures whose design
was inspired by the ritual vessels of the Siraya indigenous people.

6
 封 面 故 事 COVER STORY

隨著國際旅遊復甦，台灣也張開雙臂，迎接旅人來探索地方之
美。這回，《光華》前進西拉雅國家風景區，探訪具永續概念的景
點：舊軍事訓練場化身景觀綠建築；鄉村廢墟加上新意，成了有美
感的大型遊戲場；荒廢檳榔園變身生態農場；還有偏鄉社區用漂流
木打造提琴小鎮。看看他們如何讓廢墟逆襲，把閒置空間變得好看
又好玩。

A s countries around the world have reopened their borders, inter-

national travel has been revitalized, and Taiwan is also opening
wide its doors to welcome visitors. For this report, we went to the Si-
raya National Scenic Area to explore a number of scenic spots that
embody the concept of sustainability. These include an old military
training site that has been transformed by green architecture, village
ruins that have become a large play area, an abandoned betelnut or-
chard that has been turned into an ecological farm, and a remote com-
munity that makes violins from driftwood. Let’s take a look at how
these idle spaces have been turned into fun and beautiful places.

7
 位於台灣西南部的西拉雅國家風景區，地貌豐 品，走一趟，就能更加認識西拉雅族。
富，有溫泉、惡地，還有多座水庫，轄區橫跨台 這處占地11公頃的園區，原是停用多年的野戰訓
南、嘉義，幅員廣大，是全台第二大風景區。西拉 練場，管理處保留原有的丘陵地形，並利用地勢的
雅的命名，源自長居於此的原住民──西拉雅族。 高低起伏，以半覆土的型式將行政中心巧妙地建造
如今，西拉雅國家風景區裡仍散居著數個西拉雅的 在彷彿地下層的一樓，遊客則能從入口處順著地勢
部落，也保有西拉雅族特有的信仰中心暨議事聚會 直達二樓的遊客中心。三樓則有瞭望台，視野開
場所──公廨。為擁有秀麗景致的風景區，增添豐 闊，可將戶外廣場盡收眼底。園區的大草原上有著
富的人文色彩。 SIRAYA（即西拉雅）字樣，以及梅花鹿的裝置藝
術，象徵早年嘉南平原鹿群遍布的意象，是旅客必
在綠建築裡閱讀西拉雅
拍景點。一旁的步道串聯廣大腹地，種有苦楝樹、
若想認識西拉雅族，位於台南的西拉雅國家風 風鈴木、落羽松等，四季皆有不同風情，十分適合
景區官田遊客中心，可作為入門磚。這座2020年啟 散步、野餐。
用的綠建築，外觀設計融入西拉雅族的元素，廣場 西拉雅國家風景區遊憩課課長張麗君表示，這
上方的採光天井，靈感來自西拉雅族的十字繡工藝 幾年管理處結合山海圳國家綠道，舉辦健行及自行
中常見的八瓣花，牆面也以錯落的八瓣花點綴。而 車活動，也規劃一條菱波官田自行車路線，鼓勵親
遊客中心的弧狀建築體，則是取材自西拉雅族的祀 子同遊。沿線景點有八田與一紀念園區、烏山頭水
壺文化。以阿立祖（Alid，西拉雅語的祖先、祖靈 庫等，可欣賞有「菱波仙子」之稱的水雉在菱角田
之意）為信仰核心的西拉雅族，會用瓶、甕、罐等 翩翩起舞，瞭解八田與一開墾嘉南大圳的故事，細
「壺體」盛裝水或酒來祭祀，因此祀壺為西拉雅傳 細品味官田的自然生態與人文歷史。
統文化的特徵，而被稱作「拜壺民族」。
農村裡的跳島旅行
除了將西拉雅族的元素融入建築外觀，遊客中
心裡還設有西拉雅文化的常設展區，介紹西拉雅族 距離官田遊客中心約十分鐘車程，我們來到鄰
的歷史、信仰、飲食、風俗等，並展示服飾與工藝 近台南藝術大學（簡稱南藝大）的大崎村落創藝

官田遊客中心以代表稻浪及水庫波光的黃色，搭配西拉雅族
服飾常見的紅色、藏青色，點綴窗框，營造活潑氛圍。
The window frames at the Guantian Visitor Center are painted in
different colors, creating a fun atmosphere. Yellow represents rice
fields and the sunlight that reflects off the reservoirs, while red
and navy blue are colors often seen in Siraya indigenous attire.

8
 從官田遊客中心向外望，能將無邊際水池、大片草原與藍天盡收眼底，令人心曠神怡。
Looking out from the Guantian Visitor Center, one can see a large pool of water, a broad
meadow, and blue skies. The view puts the observer in a carefree and happy state of mind.
The Siraya National Scenic Area (SNSA), located in
southwestern Taiwan, has a rich variety of geographic
features, including plains, mountains, hot springs,
badlands, and reservoirs. Taiwan’s second-largest sce-
nic area, it takes its name from the Siraya indigenous
people, who have long lived in the area. Today there are
still a number of Siraya communities scattered through
the SNSA, adding cultural richness to the area’s gor-
geous natural beauty.
Understanding the Siraya
If you want to learn about the Siraya people, a good
place to start is the SNSA’s Guantian Visitor Center, lo-
cated in Tainan’s Guantian District. This green building,
opened in 2020, incorporates Siraya elements into its
exterior design. The walls are decorated with the eight-
petal flower motif that is so common in the cross-stitch
embroidery of the Siraya. The building also includes
rounded elements modeled on Siraya ritual vessels. The
Siraya fill various types of vessels, including bottles,
earthenware jars, and cans, with water or wine as offer-
ings to Alid, the ancestors and ancestral spirits that are
central to their religious beliefs, and these vessels are a
defining feature of traditional Siraya culture.
The Guantian Visitor Center houses a permanent ex-
hibition on Siraya culture. It introduces the traditional
Siraya diet and customs and displays clothing and
handicraft items.
The site on which the visitor center and the SNSA
Adminstration buildings now stand was previously
a military field operations training ground that had
lain disused for many years. The site’s original hilly
topography has been retained. On the third floor of the
visitor center there is an observation platform where
one can take in the outdoor plaza. On a large meadow
close to the plaza the word “Si raya” is sculpted in out-
size capital letters, and there is outdoor installation art
inspired by the Formosan sika deer, symbolizing the
deer herds that once roamed the Jianan Plain. It offers a
setting where visitors are sure to take photographs.
Chang Li-jung, chief of the recreation section at the
SNSA Administration, states that over the past several
years they have been holding hiking and cycling events
along the Mountains to Sea National Greenway. They
have also mapped out the Lingbo Guantian cycling
route, which is especially suitable for family outings.
Along the way one can see pheasant-tailed jacana active
in the water caltrop fields, and learn how Yoichi Hatta
pioneered the development of the Jianan Plain irrigation
system. This route offers an in-depth taste of Guantian’s
natural environ ment and cultural history.
Playground in a rural community
About ten minutes’ drive from the visitor center, we
arrive at the Daqi Creative Art Village Base, adjacent
to Tainan National University of the Arts (TNNUA). It
looks like an ordinary rural community, but when you
walk into the information center (known as “The House
of Art Grower”) and pick up a map, it takes you into a
magical world in which “village life is fun!”
9
林建叡（左）與羅婉慈（右）活用
建築專長，將大崎的農村廢墟改造
成好玩的遊戲體驗。
Lin Jian-ruei (left) and Lo Wan-
tsz (right) put their expertise in
architecture to good use to renovate
derelict buildings in Daqi Village and
use them for fun games.

基地。這處像是動畫《神隱
少女》的村莊，看似普通農
村，路上只有寥寥幾人和頹
圮的古厝；然而，只要走進
村裡的問路站「藝農號」，
索取遊戲地圖，便彷彿打開
結界，帶人進入「村是遊戲
小島」的奇幻世界。
跟著遊戲地圖的指引，穿梭在老屋之間的小
徑，等在轉角的，是精心設計的童趣體驗。像是
「跳島123」可以擲沙包玩大富翁，看看誰先到終
點；「飛越投石器」比賽把球丟得遠；「山溝疊疊
樂」則有色彩繽紛的大型疊疊樂，大人小孩玩得不
亦樂乎；其他還有打彈弓、套圈圈、彈珠台等。而
且這些設施，多是取材自改造老屋的廢料，水管、
木條釘成投石器，彩繪廢棄蒸籠，掛在滿是藤蔓的
牆上，就成了可裝飾的標靶。這些創意，讓大崎有
了不一樣的農村風景，到處盈滿笑聲。
發想這童趣計畫的推手，是自詡「藝農」的兩
名青年林建叡與羅婉慈。「種米的是稻農，種水果
的叫果農，我們生活在村落裡，以藝術耕耘社區，
『種』好玩的藝術，不就是藝農嗎！」林建叡如
此定義。原本就讀南藝大建築所的他們，學生時期
就參與大崎的社區營造。林建叡的碩士論文，即是
改造村子裡歷史悠久的中山堂。這座日治時期作為
集會布達的木造空間，經林建叡從設計、募款、改
造，被活化為社區圖書館。如今也成了遊戲小島的
手作教室，讓遊客到村裡採集自然素材，動手做一
個結合農村地景的彈珠台。
定義廢墟新美學
林建叡表示，1920到30年代為了建造烏山頭水
庫，原本居住在水庫原址的居民遷出，才逐漸有
了大崎聚落。隨著時代變遷，大崎人口外移，空屋
逐漸成了廢墟。然而，頹圮的三合院，反倒讓林建
叡和羅婉慈發揮所長，在一連串老屋改造行動中，
摸索如何從社區圖書館出發，延伸到整個聚落的營
運。2020年，改造閒置碾米廠的「藝農號」開張，
以選物店的概念展售在地物產與工藝品。遊戲小島
的體驗也從藝農號出發，到村子的各點遊玩集章，
再回到藝農號兌換冰淇淋，或是品嚐在地農產製作
的鮮果冰。林建叡笑說，有時候還能從藝農號的窗
前，看到村民為芒果樹套袋、採收。彷彿欣賞質樸
的農村實境秀，令遊客感到驚喜。
跟著林建叡、羅婉慈在村子裡逛上一圈，每座
廢墟都有故事，像是一間從水庫裡的祖厝拆下屋
樑，再到大崎重新以編竹夾泥牆搭建的老屋，乘載
著大崎開墾的歷史，團隊計劃保留老屋的紋理，作
為見證大崎文史的展覽空間。不強調修舊如舊，而
以更開放的想像改造成遊戲場，例如，屋頂塌陷的
老屋，不加蓋屋頂，而是結合溜滑梯，拆除危險結
構，賦予新的機能，廢墟就有了新生命。惜物的他
們，經常在老屋裡挖寶，裁縫機、收音機等，成了
藝農號的裝飾；被卸下的紅瓦片，羅婉慈發想了古
瓦杯墊、植栽掛板等手作課程，讓舊物的價值得以
延續。
擅長資源整合的兩人，有意在今年秋天舉辦藝
術季。林建叡表示，日本瀨戶內海藝術季有海、新

10
 Following the map along the path that winds among
the old houses, just around a corner there is a meticu-
lously designed children’s games area. For example, at
“Island Hopping 123” one can play Monopoly by throw-
ing small sand bags; at “Flying Catapult” there is a
competition to see who can cast a ball the farthest; and
at “Diediele Valley” there is a colorful large-sized Jenga
set. Other activities include slingshots, quoits, and old-
style pinball. Moreover, these facilities are made mostly
from materials that were thrown away when the old
houses were renovated. For example, water pipes and
pieces of wood were nailed together to make catapults,
and discarded food steamers were painted in bright col-
ors to make decorative targets. Thanks to these creative
ideas, Daqi is alive with the sounds of laughter.
The founders of Daqi are two young people, Lin Jian-
ruei and Lo Wan-tsz. Formerly students in the Graduate
Institute of Architecture at TNNUA, the two became
involved in community revitalization in Daqi when
they were still students. Lin’s MA thesis was about ren-
ovating Zhongshan Hall, a Japanese-era building in the
village, to turn it into a community library. Today it is
also a craft classroom where visitors who have gathered
natural materi als from the village can combine them
into items such as pinball tables that incorporate the
community landscape.
在大崎村落創藝基地，體驗農村日常與童趣遊戲交融，圖為
廢建材打造的投石器。
At the Daqi Creative Art Village Base, one can experience a
combination of rural lifestyles and a children’s play area. The
photo shows a catapult made from reclaimed building materials.
Defining an aesthetic for ruins
The village of Daqi grew up in the 1920s as local
residents were displaced by the flooding of Wushantou
Reservoir, but was later largely abandoned. The House
of Art Grower, created by renovating an idle rice mill in
Daqi, opened in 2020 and applies the boutique concept
to showcase and sell local produce and crafts. It is also
the starting point for family experiential activities in
the play area, and after getting a card stamped at the
various games spots in the village parents and children
can return to the house to exchange the card for ice
cream or try out shaved ice with locally grown fruits.
Walking around the community, every tumbledown
歷史悠久的屋瓦，被再製成杯墊、植栽上牆板材，從此有了
新生命。
Old ceramic roof tiles are being remade into coasters and
hanging planters, giving them new life.
藝農號是大崎村落的問路站，展售在地物產與文藝創作，還
能吃到當季鮮果冰。
The House of Art Grower is the information center for Daqi. It
sells local produce and cultural and creative items, and also
serves shaved ice with seasonal local fruit.
11
瀉的大地藝術季有山，而大崎鄰近烏山頭水庫，有 摸看起來尖銳，實則柔軟的肉棘。「蝴蝶的幼蟲其
山有水還有水庫上小島，更有南藝大的藝術資源， 實沒有毒，只有摸到少數毒蛾的幼蟲才會讓皮膚腫
或許可以在水庫小島做藝術裝置，然後搭船巡禮 癢。」劉朝維總會這樣分享著毛毛蟲被人類誤會的
……，各種天馬行空的想像都是可開展的項目，大 故事。「生態需要有人引導」是他營造環境教育場
崎絕對有辦藝術季的量能。從水利人文、農村文化 域的初心，因為唯有讓大眾認識自然，才能發自內
再到藝術創意，大崎的魅力值得探訪。 心保護這塊美麗的土地。
懷抱著與環境永續共生的想法，夫妻倆種了各
檳榔山蛻變探索樂園
式食草、蜜源植物，馬蜂橙、馬兜鈴、長穗木、高
常言道：「花若盛開，蝴蝶自來。」位於嘉義 士佛澤蘭等，也種下肖楠、茄冬等，涵養土壤水
中埔的築夢森居生態農場，原是荒廢的檳榔園，過 分。園區裡還有棵被劉朝維戲稱「會打呼的樹」的
去因為除草劑的使用，土地上只剩檳榔樹和枯草； 彩虹桉，此樹種生長速度旺盛，樹皮會不停脫落，
然而，劉朝維、湯怡楓夫婦十多年的悉心整理、復 而且隨著歲月樹皮的顏色會越來越繽紛。劉朝維總
育，如今生態豐富、蝶舞翩翩。 愛邀請大家貼近樹幹靜心聆聽，水分經由維管束運
「你看，黃裳鳳蝶的幼蟲正要化蛹，就像是用 輸，發出呼嚕嚕像是打呼的聲響，彷彿裡頭躲了群
繩子把自己綁起來。」葉梢上長得像豌豆的東西， 辛勤工作的小精靈，充滿生命的喜悅。
其實是水青粉蝶的蛹；仔細看，葉子上一顆顆白 當自然生態被重建，園區裡能聽見盤旋在天空
白的，是台灣黃蝶的卵。跟著劉朝維的生態導覽 的大冠鷲，果子狸會跑來波羅蜜樹覓食，而地上不
走逛園區，他一下捉了隻樺斑蝶，介紹牠捲曲的口 時出現的土堆，則是鼴鼠在地底生活的證明。鼓勵
器，採蜜時會伸長探進花裡；不一會兒又抓了紅紋 人們親山近水，劉朝維將築夢森居當作山林教育的
鳳蝶的幼蟲，讓我們聞聞牠嚇唬敵人的臭角，摸一 場域，帶著大家溯溪、攀樹，夏天還能到一旁的澐
building has its own story. For example, there are beams
torn out of an ancestral home that was lost to the reservoir,
which were brought to Daqi and used along with woven
bamboo wattle-and-daub walls to build an old-fashioned
house that tells of Daqi’s early history. The aim of ren-
ovation is not to restore the buildings to their original
condition, but rather to transform them into play areas.
For example, an old house with a collapsed roof was re-
purposed by installing a slide. The founders, who cherish
old things, often find treasures in the old houses, such as
a sewing machine or radio, and they use these items to
decorate the House of Art Grower. Lo Wan-tsz also came
up with the idea of DIY classes for making coasters and
hanging planters out of discarded red ceramic roof tiles.
The two founders are thinking of holding an arts festi-
val this autumn. Lin Jian-ruei notes that Japan’s Setouchi
Triennale art festival has the sea and the Echigo-Tsumari
Art Triennale has the mountains, while Daqi is close to
Wushantou Reservoir with its mountains, water, and
small islands, and has the artistic resources of TNNUA
on its doorstep. Lin and Lo have plenty of ideas for the
festival. For example, perhaps artists can install artworks
on the reservoir’s small islands, and people can take boat
tours to view them. From water resources and village
culture to artistic creativity, there are many ways for
Daqi to make the most of its charm.
From betelnut grove to eco-farm
Dream River Explore Farm, an ecological farm located
in Chiayi County’s Zhongpu Township, was previously a
disused betel nut orchard. Due to past use of herbicides,
all that remained on the site was betelnut trees and dead
vegetation. But after more than a decade of cleanup and
restoration work by husband and wife River Liu and
Feng Tang, today it has a vibrant ecology and butterflies
dance through the air.
“Look, this golden birdwing caterpillar is turning into
a chrysalis. It looks as if it is tying itself up with string.”
As we follow Liu on a guided nature walk through the
farm, he catches a plain tiger butterfly to introduce its
coiled mouthparts. A little later he picks up a caterpillar
of the common rose butterfly and lets us touch its “os-
me terium,” a defensive organ that the caterpillars of
swallowtail butterflies use to repel predators. Liu’s moti-
vation for creating this environmental education venue is:
“People need guidance to understand the environment.”
Embracing the idea of sustainable coexistence with
西拉雅國家風景區官田遊客中心的大草原上，有SIRAYA
（西拉雅），以及象徵平原鹿群的雕塑，是遊客必拍景點。
On the large meadow at the SRNA’s Guantian Visitor Center,
the word “Siraya” is spelled out in giant letters and there are
sculptures of Formosan sika deer. It’s a scene that cries out to be
photographed.
13
水溪玩漂漂河，即使不諳水性，也能開心體驗溪流
的樂趣。劉朝維還以樸門工法建造生態窯，讓民眾
用在地食材動手做披薩，摘菜、擀麵通通自己來，
就連挑食的孩子，也能自動把討厭的蔬菜吃光光。
「建築孩提時的夢想，在森林裡居住。」是劉朝維
取名為築夢森居的期待，他與太太精心準備的體驗
活動，讓這片荒蕪的檳榔山，蛻變成大人小孩都能
開心探索自然的樂園。

漂流木小提琴點亮小鎮風景

人口外移、老化是許多偏鄉的境遇，然而，西
拉雅國家風景區裡的曾文水庫旁，卻有座以漂流
木小提琴聞名的小鎮，用製琴工藝作為亮點，不
僅離鄉的孩子回來了，外地人、外國人也受到吸
引而匯聚。
「我們這裡可以欣賞水庫的秀麗美景，還能近
距離感受老鷹俯衝抓魚的震撼，或是到山豬島看看
被歌劇吸引的野生山豬……」嘉義大埔的和平社區
發展協會理事長吳倚豪熱情地介紹家鄉的遊程。故
鄉雖美，他卻總覺得少了什麼，直到一次友人在水
庫旁即興的小提琴演奏，他像被雷打到，原來音樂
就是他在找的答案。
有意師法義大利的克雷蒙納，以製琴工藝帶動
地方發展，吳倚豪表示，歐洲的提琴板材多是白松
木，台灣的森林多樣性豐富，論製琴材料一點也不
會輸，而大埔每逢大雨就有許多來自阿里山的漂流
木，具有發展提琴小鎮的潛力。於是他邀請製琴經
劉朝維（左）與太太湯怡楓（右）在廢棄的檳榔園
裡築夢，打造大家能開心探索的自然樂園。
River Liu (left) and his wife Feng Tang (right) have
transformed an abandoned betelnut orchard into a
natural paradise for everyone to come and explore.
驗豐富的小提琴家黃聖彥來教學，一周三天的製琴
課，讓原本務農的居民們有了不一樣的生活風景。
幾年下來，大埔和平村的漂流木小提琴名聲逐
漸傳開，不少民眾前來學製琴，因而被當地的景致
與生活氛圍吸引，從跨縣市通勤，最後甚至選擇移
居到大埔。當地的長輩還組了提琴樂團，經常在台
灣各地公益演出，號稱大埔小虎隊。未來，還將成
立提琴故事館，把那些刻有山豬頭、老鷹，彩繪著
每把製琴者故事的小提琴，作為展示。提琴小鎮不
賣琴，而是用琴串起人與人的連結，期盼更多人走
進小鎮，看見在地的暖心風景。 l

紅肩粉蝶 黃裳鳳蝶幼蟲
A redbase Jezebel butterfly. A golden birdwing caterpillar.

14
nature, Liu has planted all kinds of edible and nectar- style, and decided to stay. Local elders have even orga-
producing plants, including kaffir lime, blue snakeweed, nized a string orchestra that does benefit performances.
and Kusukusu eupatorium. On the farm there is even a In the future they plan to establish a violin story house,
plant that Liu jokingly calls “the tree that snores”—the where they will display violins and the stories of their
rainbow eucalyptus. He loves to invite visitors to put their makers, who have carved images of boar heads or eagles
ears up against the tree trunk and quietly listen to the on their works, or painted them with colorful patterns.
noise of water being transported through the vascular The violins made in the town are not for sale; instead
bundles, which makes the tree sound as if it is snoring. the instruments are used to build connections between
To encourage people to get out into nature, Liu uses people in hopes that even more visitors will come to this
Dream River Explore Farm as a mountain forest educa- community and see its entrancing scenery. l
tional venue. He takes visitors river tracing and tree climb- (Chen Chun-fang/photos by Kent Chuang/
ing, and in the summer organizes inner-tube rides down tr. by Phil Newell)
the Yunshui River, which runs past the farm. Liu has also
built an environmentally friendly pizza oven where people
can make their own pizzas using local produce. Liu and
his wife have turned this abandoned betelnut farm into a
築夢森居裡有棵「會打呼的樹」，湊近聆聽，水分經由維管
paradise that both adults and children can enjoy exploring. 束運輸，發出呼嚕嚕的聲響，滿是生命的喜悅。
Little town of driftwood violins Press your ear to the “tree that snores” on the Dream River Explore
Farm, and you can hear the gurgle of water passing through its
Within the Siraya National Scenic Area, next to the vascular bundles. It’s a sound that expresses the joy of being alive.
Zengwen Reservoir, there is a small town that is famous for
its violins made from driftwood. Violin craftsmanship has
become a highlight of the town, and not only have young
people originally from this place returned home, even out-
siders and foreigners have been attracted to settle there.
“Here we can admire the beautiful scenery of the res-
ervoir and get an up-close view of eagles diving to catch
fish, or we can go to Shanzhu Island to see wild boar at-
tracted by the sounds of opera....” Wu Yihao, chairman of
the Heping Community Development Association, enthu-
siastically informs us of possible itineraries in his home-
town, Chiayi’s Dapu Township. Although he has always
found his hometown beautiful, he always felt there was
something missing. It was only when a friend performed
extemporaneously beside the reservoir that he realized
what it was: music.
Taking his cue from Cremona, the Italian city of violins,
Wu decided to try to drive local development by promot-
ing the making of violins. He invited Huang Shengyan,
a violinist and highly experienced violin maker, to come
to give classes in violin making three times a week. Wu’s
efforts have provided local residents, who had previously
all been farmers, with a different kind of lifestyle.
Several years have gone by, and the fame of the drift-
wood violins made in Dapu’s Heping Village has gradu-
ally spread. Many people who came here to study violin
making have been won over by the local scenery and life-

15
 品味．宜蘭特調
與時光共舞的釀 造滋味
Taking Their Time
—Yilan’s Artisanal Fermenters
文•郭美瑜　圖•林格立　版面設計•馬英凱

16
 封 面 故 事 COVER STORY

起司、味噌、葡萄酒，這些經過時間醱酵蘊釀
的美食，皆是餐桌上的日常料理，有「東方起司」
之稱的豆腐乳、釀造醬油，則是東亞飲食脈絡中普
遍的醱酵佐料。台灣東北方的宜蘭縣，釀造環境優
良，早年家戶自製豆腐乳、醬油等，家傳至今依舊
美味。

F ermented foods such as cheese, miso, and wine

are common parts of modern people’s daily diets,
and fermented tofu and soy sauce in particular are
esse nt ial to East Asian c uisines. Taiwan’s Yilan
County offers an excellent environment for fermenta-
tion, and the Erhu area of its Yuanshan Township is
the most northerly location in Taiwan where ‘Smooth

17
17
 宜蘭縣境員山鄉二湖地區出產全台最高緯度 宜蘭員山鄉二湖地區是全台緯度最高的鳳梨產區，鳳梨在雪
山腳下享受田園的靜謐。
的鳳梨，在雪山山脈山腳下，經過風雨滋潤、陽 The fields of the Erhu area of Yilan’s Yuanshan Township, in
the foothills of the Xueshan mountain range, provide a tranquil
光照耀的鳳梨，添入豆腐乳製程，淬煉成為可口 environment for pineapples to grow.
的鳳梨豆腐乳。台灣知名的二胡冶琴師李十三，
則是回到家鄉跨界釀造。這些風土食材與時間舞
出的好滋味，值得旅人用味蕾探索。
壤，適合種植開英種鳳梨（俗稱土鳳梨），這
好幾世紀以來，人類為保存得之不易的食物， 裡也是全台最高緯度的鳳梨產區，近年有
利用鹽漬、醱酵等方法，在時間的作用下延長或 農主將自種的鳳梨用於釀製豆腐乳，還
轉化食物的賞味，例如，起司、日本味噌、韓國 開放採果、DIY豆腐乳，讓遊客以此
泡菜等，皆是經過醱酵的好滋味；帕瑪森起司、 連結這片青山綠水，也記憶這個
藍紋起司（Blue cheese），這些長時間熟成而獨 在地的美味。
具魅力的美食，更吸引饕客品味與探索。 冬天的清早，《光華》團隊
受地形影響，夏季的宜蘭常有颱風，冬季受東 拜訪於2022年獲宜蘭縣優質
北季風影響，從海面吹進的濕冷空氣碰到山脈， 農業評選銅牌獎的二湖鳳梨
經過舉升而多雨，許多家戶以醱酵的釀造方式儲 館，探訪農家釀造豆腐乳
存食糧，在地的釀造技藝因而發達，豆腐乳也躍 的技藝。該處位於雪山山
上名產店架上。 麓，當車輛轉進蜿蜒的山
有「東方起司」美稱的豆腐乳，各區域有其 徑，停駐在湖西村時，
風味與質地，例如日本沖繩的紅豆腐乳以紅麴釀 眼前巍然的山巒，令人
造，特殊的口味吸引觀光客嚐鮮，在台灣豆腐乳 忘卻都市塵囂。
是清粥小菜必備的庶民菜色，口味有原味，或加 這個純樸的村莊少有車
味三星蔥、紅麴、鳳梨等。 馬喧，偶有鄰家的狗兒追
宜蘭縣員山鄉二湖地區，因氣候及砂礫型土 著發出「噗噗噗」的老爺

18
Caye nne’ pineapples are g rown . T hanks to the
local climate, the pineapple fermented tofu made
there is especially tasty. Among its artisanal fer-
menters are “Lee 13,” a renowned maker of erhu
fiddles, who broadened his horizons upon return-
ing to his hometown and now works par t time
making fermented foods. Created from local pro-
duce with time and care, these fermented products
are well worth exploring and savoring.
Over many centuries, humanity has used methods
such as salting and fermentation to preserve easily
spoiled food. For foods such as miso, kimchi, parmesan
cheese and blue cheeses, extended periods of fermenta-
tion create unique flavors that appeal to gourmands.
Yilan County is prone to frequent summer typhoons
and damp, windy winters, so many households here
have traditionally fermented foods to preserve them.
Thanks to those well-honed skills, the fermented tofu
(a.k.a. fermented bean curd paste) produced in the area
has earned a high reputation islandwide.
Every locale’s fermented tofu has its own unique fla-
vor and mouthfeel. For example,
t he red fermented
tofu produced in Okinawa, Japan is a favorite among
Taiwanese tourists, who bring it back as a side dish for
rice porridge. It is also available with added ingredi-
ents such as spring onion, red yeast rice, or pineapple.
Because of its climate and gravelly soil, the Erhu
area of Huxi Village in Yilan’s Yuanshan Township is
well suited to planting ‘Smooth Cayenne’ pineapples. It
is the northernmost point in Taiwan where this variety
is grown. In recent years farmers have been using these
pineapples to ferment tofu. They have even opened
tourist orchards, where visitors can pick the fruit for
their own DIY fermented tofu. In this way, the locale is
becoming linked in travelers’ memories to unforgetta-
ble flavors.
Early one winter morning, we visit the Erhu Pine-
apple Hall in Huxi Village to learn how farmers create
fermented tofu. The hall itself earned a bronze medal
for “leisure agriculture” from Yilan County in 2022.
You can scarcely hear a single vehicle on the vil-
lage’s peaceful streets. The pineapples that grow in the
fields on its mountain slopes are nourished by plentiful
rainfall and sweet natural springs. The chatter of chick-
ens and the calls of wild birds provide the soundtrack
for an enjoyable visit.
The farmer Jiang Chaoqing takes us into the fields to
pick fruit. We hesitate at first, wary of the prickly pine-
apple leaves. “Just take big strides and the leaves will
make way for you!” instructs Jiang. His advice proves
spot on.
Jiang says that ‘Smooth Cayenne’ have small fruit
that are not as sweet as ‘Golden Diamond’ pine-
apples. But they have more fiber, with a slightly
sour flavor and sweet aroma. They are truly
delicious. In the summer these pineapples
are a joy to eat fresh, and in the winter—
with their high fiber and sourness—they
become better suited to processing. Today
they are being added to fermented tofu.
板豆腐在做日光浴，去除水份後即可用來
製作豆腐乳。
Once the tofu set outside in the sunshine has
dried out, it can be used to make fermented tofu.
19
 板豆腐、鳳梨、砂糖、米酒依序入罐，再加幾片甘草提味，
就等時間舞出釀造的好滋味。
Tofu, pineapple, sugar and rice wine are placed into jars in
layers. After a few pieces of licorice are added for flavor, it’s time
to wait for fermentation to work its magic.

江朝清以鳳梨取代豆麴或米麴醱酵，製作的豆腐乳可以維持
金黃色澤 。
Jiang Chaoqing uses pineapples as a substitute for bean or rice
koji. The fermented tofu will retain a golden color.

大自然特調「東方起司」

起初江朝清是以豆麴製作
原味豆腐乳，但是促進豆
腐醱酵的豆麴需要日曬，
秋分後日照不足，豆麴製
程也就停擺，無法生產豆
腐乳，有顧客建議他以鳳
梨的酵素取代麴菌，他經多
次試驗才成功，現在一年四
季都可以製作鳳梨豆腐乳。
鳳梨館的屋簷下，煠過的豆腐胚
正在搧冬風，煠的工序是因應現代人講究
少鹽養生，先去掉豆腐胚的過多鹽份，待風乾後
摩托車狂奔、狂吠，二湖鳳梨館的鳳梨田就位在 才釀製。
雪山腳下，依山而生長的鳳梨，有雨水、甘泉天 江妻則在館內裝瓶；豆腐胚放入玻璃罐中排排
然養成，還有鳥鳴、雞啼伴奏，鳳梨享受著山居 站好，加幾片甘草增添風味，接著舀進一勺鳳梨
幽趣，令人欣羨。 汁、鋪一層鳳梨果肉、覆蓋一層砂糖，再重覆鋪
農主江朝清領著我們到田裡採果，土堆上覆蓋 放的程序，最後鳳梨汁改換成料理米酒，用以殺
了保暖用的黑色塑膠布，田畦搭起了鐵絲架，一 菌，再封蓋裝瓶。
旦寒流來襲可以鋪蓋塑膠布防寒害；尖刺的鳳梨 鳳梨豆腐乳罐頭隨後被搬上屋頂，享受氣候的
葉在田間張牙舞爪，我們前腳才踏進田裡，就感 「馬殺雞」（意：按摩／massage），罐子裡的豆
受到鳳梨葉的「殺傷力」，江朝清喊道：「大步 腐因醱酵而冒出許多小氣泡，代表了生命力，感
向前，葉子自然就會讓路！」一試，果然驗證了 覺豆腐乳在靜置的過程很是享受啊。
老農的智慧。 江朝清說，鳳梨豆腐乳有了鳳梨酵素加持，
江朝清說，土鳳梨個頭小，甜度不如金鑽，但 加上日照，最快一周即可食用，但愈陳口感愈綿
纖維質較高、口感微酸，且香氣十足，吃得到鳳 密，較一般採米麴或豆麴釀造需時約四個月更快
梨的真口味。夏季採收的鳳梨適合鮮食，冬季產 速，且歷時四個月色澤也未褐化變色。
的纖維質高、酸度足，適合用做加工，現用來添 這味大自然特調的鳳梨豆腐乳，口感綿密紮
加製成豆腐乳。 實，減了鹹味，多一些回甘。江朝清說，有到

20
 Flavored by Mother Nature Thanks to Mother Nature’s help, this fermented tofu
At first Jiang used bean koji (the mold Aspergillus has a dense and smooth mouthfeel. It is sweeter and
oryzae) to create standard fermented tofu, but after less salty than standard versions. Jiang recalls that a
the autumn equinox there was insufficient sunlight Japanese person who came to learn about his methods
to warm the jars, so the fermentation process came told him, “The flavor is a lot like Japanese cheese.” US-
to a halt. Then a customer recommended that he use based Taiwanese visitors miss the flavor so much that
pineapple enzymes as a substitute for koji. After many they helped him distribute it in the United States.
failed attempts, he ultimately succeeded, and now he “Yilan has good water, so you know the stuff made
produces pineapple fermented tofu year round. with it is going to be good too.” Jiang displays no lack
Under the covered walkways of the Pineapple Hall, of confidence about locally produced food.
chunks of tofu are drying in the winter air. The pro- Entering Chinese and Western cuisines
cess has been adjusted to meet people’s preference Back when Taiwan was an agricultural society, a
nowadays to cut down on sodium consumption. You chunk of salty and sweetly fragrant fermented tofu
first need to quickly blanch the tofu to remove excess was all that was needed to complement a bowl of rice.
salt. Then you should wait for it to dry in the wind be- Hsieh Pao-chuan, a professor of food science at Na-
fore beginning fermentation. tional Pingtung University of Science and Technology,
Inside the hall Jiang’s wife is bottling the tofu,
putting the chunks into glass jars with a few pieces
of licor ice for added flavor. She then pours in a spoon-
ful of pineapple juice and spreads a layer of the fruit,
which she covers with a layer of granulated sugar,
before repeating the whole procedure but substituting
rice wine for the pineapple juice, as a sterilizer. The
jars are then closed.
At that point, the jars are brought up to the roof to
be exposed to the weather. The jars here show plenty
of bubbles, a sign of their content’s vitality.
Jiang says that this fermented tofu, thanks to the
pineapple enzymes and the exposure to sunlight,
is ready to eat in one week, as opposed to the four
months needed for fermentation with rice or bean koji.
Furthermore, its texture only grows denser with time,
and it won’t go brown even after four months.

裝罐的鳳梨豆腐乳被搬到屋頂，享受陽光、空氣的薰陶。
Once placed in jars, the pineapple fermented tofu is brought to
the rooftop to bask in the open air and sunshine.

農友將二湖土鳳梨用來製作豆腐乳及果乾，鳳梨乾纖維多又
微酸，吃到的是鳳梨的真滋味。
Farmers in Erhu use their pineapples to make fermented tofu and
dried fruit. The dried pineapple has a lot of fiber and a slightly
sour taste. It retains its true pineapple flavor.

21
此交流的日本人嚐了鳳梨豆腐乳後告訴他：「口
味像極了日本的起司」，還有旅美台人想念這一
味，助他經銷到美國。
「宜蘭的水質好，物仔（mih-á，台灣閩南語讀
音）用宜蘭水作的，一定好吃。」江朝清對於此
地風土孕育出的美食，相當有信心。
這是因為釀造的好味道還有好水來成就。台灣
自來水公司第八區管理處說，宜蘭多雨，雨水涉
入地層，處處有湧泉，還有冷熱溫泉，吸引不少
觀光客。地下水源終年充足穩定，且不易滋生藻
類或其他微生物，出水所含的鈣、鎂離子及硫酸
鹽等離子含量比例適當，口感自然甘甜無異味。

中、西式入菜

早期農業社會，一小塊鹹甜香的豆腐乳，就可
以完食一碗白飯。屏東科技大學食品系教授謝寶
全說，豆腐的蛋白質經由酵素分解產生胺基酸，
讓身體易於吸收，其產生的菌種還有益健康。
專長食品微生物學醱酵技術的海洋大學食品科
學系助理教授陳建利說，醱酵是透過酵母、細菌
或黴菌等微生物作用產生轉化，以保存食物，還
能提升口感、風味與營養價值。
至於豆腐乳的製作，陳建利說，一般是將豆腐
沾鹽後脫水製成腐乳胚，再以麴菌、毛黴菌、米
酒、香辛料、紅麴或水果等材料混合後，靜置醱
酵熟成，西方的藍紋起司的醱酵原理，與豆腐乳 台灣二胡製琴名師李十三，從宜蘭的大自然智慧中，找到使
琴身更輕盈的方法。
有許多異曲同工之妙。而台灣農家使用的鳳梨得 Drawing on the wisdom of nature, Yilan-based Lee 13, one of
Taiwan’s master erhu makers, discovered a method to make
以取代麴菌，是因果肉本身含有酵素，減少了豆 lighter soundboxes for his instruments.
麴或米麴醱酵產生酵素的時間，因而可以縮短製
程。
西式的披薩、義大利燉飯常加入起司增添濃 李十三的胡琴音質清澈，琴身輕盈，在國際間小有知名度。
郁口感，豆腐乳也很適合做為醬料或調味料。陳 With their bright timbre and light bodies, the erhu made by Lee
have acquired an international reputation.
建利說，一般豆腐乳口味略鹹，常搭配羊肉爐食
用，以袪除羊騷味，或調配醬料炒腐乳空心菜，
也可用做海鮮沾醬、燉魚，或作為麵包抹醬、用
於西班牙燉飯，或搭配奶油、大蒜調製成大蒜麵 蕩多年後，他自台中返鄉成立工作室，從宜蘭的
包醬，中、西式作法都很美味。 自然環境中，找到更精進胡琴品質的方法，也意
外地開啟了釀造的「斜槓人生」。
冶琴師跨界釀造
「我的琴音色好，我有信心。」早期李十三製
台灣知名的二胡冶琴師李十三（本名李春 作的二胡琴音質清澈，但琴身拉起來略顯重，能駕
正），製作的胡琴在國際間小有名氣，在外地闖 馭者有限，他常思索著有何方法可以使他的胡琴音

22
 醬料在醬缸中深呼吸，攪拌時可眼觀醬料醱酵程度、嗅嗅醬香，確保陳釀品質。
The soy sauce brewing in this vat is “breathing deeply.” It requires occasional stirring, at which time one can
judge the progress of the fermentation. Taking a sniff is the best way to gauge how well the brewing is going.
says that the enzymes in the fermenting process break
down the tofu’s proteins into amino acids, making
them more digestible, and the high quantities of pro-
biotics are good for the health.
Chen Chien-li, an assistant professor of food science
at National Taiwan Ocean University, explains that fer-
mentation is a process wherein food is transformed by
microorganisms such as yeast, bacteria or mold so as
to preserve the food, improve its flavor, or increase its
nutritional value. When fermenting tofu, the process
typically involves dehydrating chunks of tofu by salt-
ing, then adding such ingredients as koji, Mucor fungi,
rice wine, spices, red yeast rice or fruit to the tofu and
leaving the mixture to ferment and mature. The pro-
cess is similar to that of making blue cheese.
Pizza and risotto typically have cheese added to en-
hance their flavor and mouthfeel, and fermented tofu
is likewise well suited as a strongly flavored sauce.
Chen says that fermented tofu is typically quite salty
and is often used in mutton stews to temper the gamey
smell. It can also be used in stir-fries of water spinach,
or in fish stews and dipping sauces for seafood, or to
spread on bread or add to paella. One can even com-
bine it with butter and garlic for a variation on garlic
bread. It’s delicious whether used in Chinese or West-
ern cooking.
Instrument maker turns fermenter
Lee 13 (Lee Chun-cheng) has acquired a bit of a
name for himself internationally for the erhu fiddles
he produces. After living away from Yilan for many
years, he returned to establish a workshop. Thanks
to Yilan’s natural environment, he both discovered
a more refined method of making high-quality erhu,
and unexpectedly became a “slashie” by starting a fer-
menting business.
“My erhu have a good tone. I’ve always been con-
fident of that.” From early on Lee’s erhu fiddles had a
bright, clear timbre, but it took a lot of bow pressure
to bring the sound out, so few people could play them
well. After spending 20 years in Yilan experimenting
with different woods and treatments, he finally discov-
ered a preservation method that allowed him to reduce
the weight of the soundbox, improving their response.
“Bang! The market for them exploded.”
With demand for his erhu steadily growing, Lee
broadened his horizons and began to “play at making
23
在醬缸醱酵的醬油、味噌，
悠閒地聆聽著二胡與大自然
共譜的協奏樂章。
These vats of fermenting soy
sauce and miso can enjoy
notes from erhu fiddles floating
on the wind, as well as the
sounds of nature.
質好、又容易表現。
李十三說，二胡的音色，從決定使用何種木材
及皮料時，幾乎就確定了，但能否達到預期的境
界，則靠演奏家演繹。琴身減重，材料碳化效果
是關鍵，他在宜蘭花了近20年研究，終於從木材
的保存找到方法，「啪！整個市場就出來了。」
製琴市場穩定拓展到日本之後，李十三開始跨
界「玩」釀造，但製琴與釀造怎會連結在一起？
李十三說，夏季的宜蘭多颱風，早年婆婆媽媽
利用醃漬、釀造技術保存食物，家戶都有獨門口
味，像他自家就常釀豆腐乳、醬油，一缸醬油吃
三年，吃完接著釀。
他說，早期不覺得這些是寶，直到有一回，
將送禮的名酒改為阿嬤的手工豆腐乳，沒想到
幾天後客戶探詢「豆腐乳有沒有賣？」他直覺
送對了。
食物能滿載情感與回憶，法國文學家馬塞爾·普
魯斯特，在其著名的小說《追憶似水年華》中，
撰寫了一篇吃瑪德蓮蘸茶的故事，香氣與口感不
自覺地喚起了童年記憶，至今為人稱頌。
李十三的釀造食，承襲祖母與媽媽的溫馨記
憶；豆腐乳的製作，他以糙米製作米麴，夏天製
麴備用，製作豆腐乳時，再將豆腐胚、米麴、
糖悉數混合裝瓶，並加入原酒殺菌，等待醱酵熟
成。他端出六個月後開封的豆腐乳，醬香及酒香
撲鼻而來，入口的豆腐乳在舌尖化開，口味清爽
且不死鹹，還可嚐出前中後段的層次滋味。
24
聆聽二胡釀的醬油
來到李十三的工作室，接待室後方是製琴工
廠，架上有木材、裁切機具、蛇皮，完工的琴
筒、琴弦、弓桿，還有陳釀的味噌、豆腐乳等。
穿過工作室來到後院，屋簷下的烤肉架上，有
在冷風中享受的炭火微溫的冬季限定白玉蘿蔔，
已烘得皮皺乾癟，湊近一聞，柴魚香味飄香。
「這是台灣人蔘，要低溫烘烤七天，燉雞湯甘甜
無比。」李十三這樣形容。
空曠的草地上，八個大醬缸悠然而立，醬油、
味噌在醬缸內深呼吸，偶而聆聽屋內傳來的二胡
琴聲，更多的時候，是「洗耳恭聽」自然界的交
響樂章。李十三說著說著，拿起木棍開始攪拌並
「觀照它」，嗅嗅氣味、察看醱酵程度。
醬油在東方人的日常中扮演了重要的角色，例
如滷肉、吃水餃，都少不了這一味。李十三選用
宜蘭在地的黑豆製麴，加入雪山山脈的山泉水，
以及大量的粗鹽釀造醬油，麴菌產生酵素，分解
豆子的植物性蛋白質，冬天濕氣重則留意溫度
與環境變化，並不時攪拌，得經過六年熟成與壓
榨，才得出佳釀。
釀一罐豆腐乳、一甕醬油，冶一把胡琴，時間
扮演不可或缺的角色，皆是慢工出細活的藝術呈
現。宜蘭人在慢活城市中，實踐品質與精緻兼具
的創作技藝，旅人們別錯過從釀造食載入一段時
空蘊釀的「食光旅行」。 l
fermented foods.” Like many other families, the Lees
used to make foods such as soy sauce and fermented
tofu, and when they ran out they’d make some more.
He didn’t especially treasure them. But when he gave
some to his erhu customers, they soon asked if he had
any for sale. That’s when he knew that he had selected
the right gift.
Food spu rs emot ion a l con nec t ion s a nd mem­
ories. The French writer Marcel Proust, in his novel
Remembrance of Things Past, tells a story about eating
madeleines dipped in tea. Their taste and fragrance
unexpectedly awake intense memories of childhood.
The story is still admired today.
Lee’s fermented tofu brings him warm memories of
his mother and grandmother. In the summer he makes
a reserve of koji from brown rice, and then, when
making fermented tofu, he bottles chunks of tofu with
the koji and sugar, adds a bit of undiluted distilled
spirits as a disinfectant, and leaves it to ferment and
mature. When the jars are opened six months later, the
fermented tofu is strongly fragrant and melts on the
tongue. The flavors are refreshing and not overly salty,
and they come in layers across the palate.
Brewing to the sound of fiddles
Behind Lee’s workshop, there is a grill under the
李十三回到老家宜蘭，精製胡琴又
玩釀造，在慢活城市中找到斜槓的
樂趣。
Lee 13 returned to his hometown of
Yilan to make exquisite fiddles and
have fun fermenting. He discovered
the pleasures of being a “slashie” in a
place known for its slow pace of life.
eaves where some winter­crop daikon radish is being
dried over charcoal. It carries the aroma of bonito. “This
is ‘Taiwanese ginseng.’ It must be grilled on a low heat
for seven days. Chicken soup made with it has an in­
comparably sweet fragrance.”
On the vast lawn sit eight vats in which soy sauce
and miso are brewing. Occasionally the sounds of erhu
float over from inside the house. To make soy sauce,
Lee uses Yilan­grown black soybeans along with the
spring water that flows from the Xueshan foothills and
large quantities of coarse salt. During the fermenta­
tion, the koji mold produces enzymes that break down
the plant proteins in the beans. In the winter, when
humidity is high, you must pay vigilant attention to
weather changes and stir occasionally. Only after be­
ing aged for six years is it fully brewed.
Time plays an important role whether brewing soy
sauce and fermenting tofu or making an erhu. These
artisanal endeavors each require great care. While
enjoying a slower pace of life, the fermenters of Yilan
demonstrate great patience in their pursuit of culinary
excellence. Visitors shouldn’t miss the opportunity to
taste this county’s “time­travel cuisine.” l
(Mei Kuo/photos by Jimmy Lin/
tr. by Jonathan Barnard)
25
 雙濱慢食光
品嚐阿美族大山大海的餐桌
The World on a Platter
—Amis-Style Eating
on Taiwan’s East Coast

文•蘇俐穎　圖•林格立　版面設計•馬英凱

26
 封 面 故 事 COVER STORY

鯨豚色的大海拍岸，依山而建、色彩明豔的原鄉
部落，一處處面向大海的小教堂。比國外還要遙遠
的雙濱，沒有什麼眾所皆知的熱門景點，卻有著難
得的安靜、閑逸，吸引著旅人一次又一次地回來。

S m all c h u r c h e s look o ut o ve r t h e whal e - g ray

waves striking the shore. Colorf ul Aboriginal
villages that feel more distant than foreign lands to
urban Taiwan nestle against the coastal mountains.
While the townships of Fengbin and Changbin offer
no obvious tourist attractions, visitors come again
and again to e njoy a t ranquilit y and easy- going
atmosphere that is rare in the modern world.

27
 跟著部落大叔陳立年的腳步，一起認識阿美族文化。
A group goes on a walk with tribal elder Chen Linian to learn about Amis culture.

拜訪雙濱，沒有捷徑。台北出發，至少需要 身輕裝的他，只揹著一只黃藤揹包，這是阿美族
三個小時以上的車程，我們第一站，是花蓮豐 男子用來裝獵物用的。入山前，他噘脣輕輕吹起
濱的豐富部落。午飯在頭目家裡享用，涼拌翼 口哨，據說，這是為了引導風來同行。
豆，爆炒的雨來菇與蝸牛，還有各種野蔬煮成 「在這裡，你們會認識不知道的南島語族的
的大鍋湯。 文化。」陳立年說。在連當地人都自嘲「房子比
「阿美族人除了天上的飛機、路上的車子、 人還多」的部落，看似封閉，其實是迎向大海的
水裡的潛艇不吃，其他基本上都會被吃掉。」 另一個世界，根據人類學家的考據，這裡是南島
同桌共餐的部落大叔陳立年說。被稱作「吃草 語族的發源地，紐西蘭的毛利族人甚至連年來此
的民族」的他們，憑著在自然中走跳的敏銳本 「拜祖先」。
能，雖有農耕文化，日常三餐仍有就地取材的 我們跟著陳立年一起學習「看進森林的深
習慣。都會區的人多少倚賴冷凍食品，陳立年 處」，辨識山豬挖的洞、山羊行走的路徑、猴子
說，阿美族的冰箱，在高山，在大海，冷凍過 留下的糞便、穿山甲刻意吃剩的螞蟻窩，也認識
的，是次級貨。 了阿美族用來製作獨木舟的麵包果與毛柿、部落
媽媽喜愛採集的牧草心，以及野外求生時能救命
進入南島語族的世界
的月桃心。
飯後，我們尾隨陳立年往山裡走去，「我希望 最後，來到海拔362公尺的半山腰，咖啡香撲
你們把腳步放慢，最好能慢上平地的三倍。」一 鼻，這是豐富部落的頭目許永哲與頭目娘葉美珠

28
 There are no quick routes to the neighboring coastal
townships of Fengbin and Changbin. We drive for
more than three hours from Taipei before reaching our
first stop, the Amis indigenous community of Tingalaw
(Chinese name Fengfu) in Hualien County’s Fengbin
Township, where we enjoy lunch in the tribal leader’s
home. It’s a communal meal of chilled winged beans,
stir-fried star jelly (Nostoc commune) and snails, along
with a soup of mixed wild vegetables.
“We Amis eat basically everything under the sun ex-
cept the planes in the sky, the cars on the ground, and
the submarines in the sea,” jokes one of our tablemates,
village elder Chen Li-nian. Sometimes known as “the
grazing people,” the otherwise agrarian Amis regu-
larly forage for ingredients. In contrast to city dwellers’
reliance on frozen foods, Chen says that the Amis treat
the mountains and the sea as their pantry, and believe
fresh foods are better than frozen.
Entering the Austronesian world
After lunch, we join Chen for a walk in the moun-
tains. “I hope you can walk slowly. We want to move at
about a third of the speed we would on flat ground,”
says the lightly dressed senior citizen. Before we start,
he puckers his lips and whistles softly, inviting the
wind to walk with us.
He tells us, “Out here, you’ll learn things you didn’t
know about Austronesian culture.” Locals joke that
Tingalaw has “more houses than people.” Though
（左圖）豐富部落裡傳出了咖啡香，吸引著遊客聞香而來。
(above left) The scent of coffee wafts through the air of Tingalaw,
attracting visitors to the village.
（右圖）遊客在大自然中體驗炭火烘豆。
(above) Visitors try roasting coffee beans for themselves in the great outdoors.
it looks cut off, the village is actually its own world,
oriented to the ocean. In fact, according to anthropolo-
gists, this area was the starting point for the great sea-
borne migration of the Austronesian-speaking peoples.
On our walk, Chen teaches us how to “see into the
deep parts of the forest”—to spot holes dug by wild
boars, trails made by goats, monkey scat, and even ant
nests partially eaten by pangolins (who are saving the
rest for later). We identify breadfruit and velvet apple
trees, both of which Amis use to craft dugout canoes,
shell ginger hearts that can save your life in the wilder-
ness, and the elephant grass hearts that village women
like to gather.
When we finish our hike, we are 362 meters above
sea level and smell coffee. It turns out that tribal leader
Xu Yongzhe and his wife, Ye Meizhu, grow coffee here.
When the couple retired after working in Taipei, they
came back home to Tingalaw and planted two hectares
of mountainside in coffee trees. Their daughter now
markets their outstanding East Coast coffee under the
“Coastal Coffee” brand.
29
辛勤農耕的結果。十多年前，他們從台北退休，
回到老家，在將近兩甲地的山頭上種滿了咖啡
樹，豆子風味勻淨，再由女兒許清娟打造成「海
岸咖啡」的品牌，成為東岸一支獨秀的咖啡莊
園。林蔭間，用炭火烘焙的咖啡香，成為遊客踏
入部落的引子。
脫胎自傳統飲食的白玉蝸牛
離開豐富部落，我們往南抵達台東長濱。在
這裡，有全台唯一從事白玉蝸牛養殖的AWOS農
場。踏入茵綠的田間，我們大啖蝸牛潛艇堡，一
邊聽農場主人文宏程敘述起這門生意的起源。
阿美族的他，家中務農，小時他隨著爸爸一同
出門打田，「夏天早上，我們帶著鍋子、生米出
門，沒有其他配菜，中午，田邊的蝸牛、青蛙就
是我們的主食，搭配著野生的昭和菜一起吃。」
有了這樣的背景，五年前返鄉的他，無意發現
蝸牛的高經濟價值，決定以此作為創業的起點。
只不過，他飼養的不是原住民習慣食用的黑蝸
牛，而是有著陸上鮑魚美稱，口感軟嫩、風味更
文宏程經營的AWOS農場，是台灣目前唯一的白玉蝸牛農場。
Wen Hongchen operates Awos, Taiwan’s only white jade snail farm.
30
雅緻的白玉蝸牛，「這種蝸牛，吃起來有淡淡的
青草香。」連喜食蝸牛的法國人也情有獨鍾。
對於飼養方式，文宏程也摸索出一套精細的
操作方法。三分大的田區，依養殖週期區分為種
螺、小蝸、成長螺、商品螺等區，飼料來源，
則是自家種作的有機地瓜葉與木瓜，另外拌入米
糠、豆渣、生蠔殼，求其營養均衡。
每年收穫的300萬隻蝸牛，在產區就先作初步
處理，先依體型分為五個等級：個頭最小的燒酒
螺；中餐廳拿來快炒的一般級；以及合適放在焗
烤盅的頂級；和最常出現在西餐盤上，重達30克
以上的特級。整理好以後，會並放到-65℃的大型
冷凍庫貯存，全年供應無虞。
一口食物，一片風土
有人如此描述旅行：「你的生活，是我遠道而
來的風景。」在雙濱旅遊，更能體會這句話的真
髓，既然沒有非看不可的景點，對於旅客來說，
來此無非就是脫離繁湊的生活，體會阿美族人獨
特的生活。「在這裡，就是休息，就是吃飯。」

White jade snails
After departing Tingalaw, we head south across the
county line to Changbin Township in Taitung, which
is home to Awos Farm, Taiwan’s only white jade snail
farm. There, we nosh on submarine sandwiches made
with the snails as we listen to Awos founder Wen
Hongcheng describe how he started his business.
An Amis from a farming family, Wen spent part
of his childhood in the fields with his father. “We’d
leave home on summer mornings carrying only an
empt y pot and some uncooked rice for lunch. At
noon, we’d catch snails and frogs living near t he
fields for our main course, and pair them with wild
fireweed [Crassocephalum crepidioides].”
以木瓜、南瓜為主食的白玉蝸
牛，口感軟嫩，具有青草香。
White jade snails raised on a
diet of papaya and pumpkin
have tender flesh with a slightly
herbal flavor.
When Wen returned to his hometown five years
ago, he discovered that snails had commercial value
and decided to go into the business of raising them.
But rather than the ordinary giant African snails (Lis-
sachatina fulica) more commonly raised by Taiwan’s
indigenous peoples, he chose to produce white jade
snails (L. fulica “White Jade”), a white variant some-
times referred to as “land abalone” for their tender,
delicately flavored flesh. Wen explains that the meat
of these snails has a hint of grassiness in its flavor,
and that the French are said to be especially fond of
the variety.
His farm harvests 3 million snails per year, and
does the initial processing onsite. This includes sep-
arating the snails into five size grades, ranging from
small “winkle grade” snails and the “ordinary grade”
snails fried up in Chinese restaurants to the large
“special grade” snails weighing 30 grams and upward
most commonly seen in Western restaurants. The farm
then stores the snails in large freezers at −65°C so they
can be supplied to buyers throughout the year.
白玉蝸牛潛艇堡。
A white jade snail submarine
sandwich.
31
雙濱地區最高檔的Sinasera 24法式餐廳，餐廳的
行政主廚楊柏偉這麼告訴我。
事實上，也只需要好好吃上一頓飯，就能真切
地體驗到當地的風土紋理，而這也是楊柏偉對餐
廳抱持的初心。不是本地人的他，因為曾在長濱
國中當替代役，才與這裡結下不解之緣，本來在
法國的三星餐廳工作，因為南竹湖部落裡的渡假
飯店「畫日風尚」的老闆向他提出邀請，他才辭
職，慨然赴任。
上任後，他大破大立，拆掉旅館一樓的兩間房
間，改裝成正規的法式餐廳，餐廳取作Sinasera
24，「Sinasera」是阿美族語的「大地」，「24」
則指「24節氣」。法式料理一向重視強調地域的
風土特質，他想把動輒長達三小時的用餐時間，
打造成一場五感交融的文化饗宴，也讓這家餐
廳，成為當地物產的展演平台。
如同楊柏偉率先使用的白玉蝸牛，呼應的是阿
美族的飲食文化，也展現出了當地氣候、物產的
獨特性。畢竟，AWOS作為目前全台唯一的白玉
蝸牛農場，不僅是因著品質拔尖，更如文宏程所
說，是受惠於長濱穩定的天氣。
「這裡可能是最適合養蝸牛的地方，你相信
嗎？」如文宏程的解釋，屬於變溫動物的蝸牛，
溫差劇烈尤其容易死亡，但即使是寒冬，長濱的
溫差也不過6∼8℃。說白玉蝸牛是長濱大地的餽
贈，實不為過。
也由於Sinasera 24首開先例，打出口碑以後，
許多西岸的星級餐廳如RAW、鹽之花，也紛紛向
AWOS農場下單。
串聯當地的農友、工坊
如此一般，經過楊柏偉的辛勤走訪，這一帶
許多市面難得一見的食材，就像璞玉經過打磨，
在法式餐桌上熠熠發光。包括脫胎自黑蝸牛的白
玉蝸牛；從太平洋提煉出的手炒海鹽；坊間罕見
的柴燒黑糖；南溪部落的苦茶油；台 坂部落的鰻
魚；鳳林出產，香氣飽滿，但運送尤其不易的豐
香草莓……等。
楊柏偉認為，餐廳與農家、工坊，應該是魚幫
水、水幫魚的關係，除了下單採購，他常率餐廳
團隊前往產地見學，除了深入了解農法、製程與
在地文化，也分享食材處理的知識。
Sinasera 24的菜餚既精緻又華麗，更創造了
法國文化與阿美族文化的豐富對話。
The exquisite dishes at the restaurant Sinasera
24 are opening a dialogue between French food
culture and Amis culture.
 Embodying local culture
Travel has been described as a
way to experience other people’s ways
of life. A trip to Fengbin and Chang-
bin highlights the essential truth of this
statement. With no must-see scenic desti-
nations, visitors come here to escape their own
hectic lives and sample the very different lifestyle
of the Amis. “People come here to relax and eat,” says
Nick Yang, the executive chef at Sinasera 24, the twin
townships’ fanciest French restaurant.
A meal can give you a sense of the warp and weft
of a local culture, and that’s exactly what Yang aims
to deliver at Sinasera 24. He explains that the restau-
rant’s name combines sinasera, an Amis word meaning
“the earth,” with the number 24, representing the 24
solar terms of the traditional Chinese lunisolar calen-
dar. Yang notes that French cuisine has always placed
great importance on regional cultures, and says he
wants to use what can easily be three-hour-long meals
at his restaurant to offer cultural feasts involving all
five senses, and as a showcase for local products.
Yang’s use of white jade snails mirrors Amis food
culture, while also highlighting the local climate and
products. After all, the local weather is part of the
reason that Awos is Taiwan’s only white jade snail
farm.
“This is probably the best place in Taiwan to raise
snails,” says Wen. He explains that the creatures are
cold blooded and easily killed by rapid changes in
temperature. The fact that Changbin’s temperature
only varies by 6–8°C even in winter makes it an ideal
place to farm them. Viewed in that light, the snails are
almost a gift from the local environment.
Connecting with local farmers and artisans
Yang’s pursuit of local specialties has brought
m a ny ra r e a nd h a r d-t o -f i nd i n g r e d i e nt s t o h i s
restaurant’s tables. These include white jade snails,
handmade Pacific sea salt, wood-fired brown sugar,
camellia seed oil from the Amis community of Kusa-
hala (Chinese name Nanxi) in Changbin’s Zhangyuan
Village, eels from Tjuaqau (Taiban), a Paiwan commu-
nity in Taitung’s Daren Township, and very flavorful
but hard-to-transport Toyonaka strawberries grown
in Fenglin, Hualien County.
Yang believes that restaurants should have mutu-
ally beneficial relationships with farmers and arti-
sans. He doesn’t just order from them, but also takes
restaurant staff to visit them so that staff can learn
how ingredients are grown or made, and absorb some
of the local culture. He also shares how the restaurant
uses the ingredients he buys from them.
Yang’s sourcing is in keeping with the spirit of
the slow food movement that originated in Italy in
the late 1980s. Even though his farm-to-table process
involves only one restaurant, it is linking up a small
but significant production ecology. This slow food ap-
proach enables consumers to tangibly support small-
scale local producers and keeps local tradit ional
cultures alive.
33
 這樣的行動，合乎了從義大利開始的慢食運動
的精神宗旨。從餐桌到農田的過程，光是一間餐
廳，就足以串接起一個規模雖小但意義深遠的產
業生態系統，藉由「慢食」行動，消費者實際支
持在地的小規模生產者，也保障當地傳統文化的
長久延續。
從粗獷原味到星級珍饈
一旦坐上Sinasera 24的餐桌，讓人驚訝的發覺，
台灣東岸的原鄉部落，居然與千里之遙的法國如此
呼應。法式料理常說的「吃在地、吃當季」，豈不
正是阿美族人依循自然節奏的生活態度。不同的
Sinasera 24行政主廚楊柏偉。
Sinasera 24 executive chef Nick Yang.
是，法式料理強調細節的堆疊，阿美族的菜餚，如
同在豐富部落頭目家用過的便飯，或以涼拌、或以
快炒、或以水煮。
「就是很野啦！」Sinasera 24合作的另一個農
友，被稱作「海鹽爺爺」的蔡利木，如此形容阿美
族的餐桌。野，指的是野生食材未經馴化，也是滋
味的生猛犀利。蔡利木回憶，昔日部落物資匱乏，
常連炒菜的沙拉油都沒有，辛嗆的辣椒、蒜頭、生
薑，族人常只是蘸了鹽巴就直接入口。基於這樣的
生活經驗，才促使後來的他向耆老請益，學習直接
用海水煮鹽的技術。
34
但，相較起原住民飲食的粗獷原始，楊柏偉的
料理巧奪精工，精細華麗，是光譜上的另一極端。
白盤是他的畫布，料理是藝術，自然的變化、田間
的產出，是創作的線索。
「每天上班途中，看到稻田結穗、洛神花開；
去到港口，看到盛產的白帶魚、海藻，就知道大自
然在提醒我，該用什麼食材。」這樣信手拈來的靈
感，在快步調的現代難能可貴，「如果是在都市，
路上只剩下水果店會提醒我現在的季節，但偏偏水
果店裡，一年四季又常陳列著一樣的東西。」
並不打算推出原民風味餐的他，把當地食材偷
天換日到經典菜式裡，蘸麵包的橄欖油，用苦茶
油取代；可麗露必得用上的香草籽，拿月桃子取
代。他不排斥馬告、刺蔥、苦茄、香檬等風味強
烈的食材，但會藉由層層的轉化、醬汁的調和，
替客人打造一條更容易親近的途徑。
在這個深冬，餐廳推出了別開生面的全肉類野
味套餐。不論大眾接受度為何，楊柏偉想的是，
想藉由這套料理，向法式料理的野味文化致意，
更暗示阿美族冬季特有的狩獵文化，尋常餐桌難
得一見的兔肉、蜂蛹、鴕鳥肉、綠頭鴨，在滋味
的層層交融裡，台灣東岸無比遼闊的大山大海，
就在眼前。 l

向耆老學習從海水提煉海鹽的蔡利木，保
留下了傳統的手炒海鹽技術。
Cai Limu learned to make salt from seawater
from his elders and is helping preserve this
traditional salt making method.
From rustic to refined
When you sit down for a meal at Sinasera 24, you’ll
be surprised to find how much this Aboriginal village
in Eastern Taiwan recalls faraway France. French cui-
sine is often described as being local and seasonal. Isn’t
that much the same as the Amis approach to living in
accord with the rhythms of nature? But there are differ-
ences. Whereas French cuisine emphasizes a layering
of details, Amis dishes more often resemble the home
cooking we enjoyed in the Tingalaw tribal leader’s
home: they are generally chilled, fried or boiled.
Yang’s delicate and refined menu is clearly at the
opposite end of the spectrum from the rustic dishes
因為Sinasera 24的串聯，許多罕見
又樸實的食材經過打磨，在法式餐
桌上閃閃發亮。圖為金字塔形狀的
手炒海鹽。
Sinasera 24 integrates ordinary
and hard-to-find ingredients in its
French-inspired dishes. The photo
shows pyramid-shaped crystals of
handmade salt.
typical of Aboriginal cuisine. The plates are his can-
vas, the food his art, and the changing seasons and the
products of the field his inspiration.
“On my way to work today, I saw blooming hibiscus
and ripening paddy rice. When I went to the harbor, I
found an abundance of beltfish and seaweed. Nature
was reminding me what ingredients I should cook.”
The rapid pace of modern life makes it hard to notice
this kind of quiet inspiration. “If I were in a city, the
only thing to tell me the season would be the fruit
stores. But even the fruit stores often sell the same
things the whole year round.”
Yang has no plans to introduce fully fledged Aborig-
inal cuisine to his menu. Instead, he sneaks local ingre-
dients into classic French dishes by doing things like
replacing the olive oil used for dipping bread with ca-
mellia oil, and swapping shell ginger seeds for vanilla
seeds in canelé. Nor does he shy away from using po-
tent flavors like those of aromatic litsea (Litsea cubeba),
Japanese prickly ash (Zanthoxylum ailanthoides), scarlet
eggplant (Solanum integrifolium) and Taiwanese tanger-
ine (Citrus depressa). But he layers transformations and
sauces to make them more approachable.
This winter, the restaurant has introduced yet an-
other new twist: a 100% game meat prix-fixe menu.
Yang’s idea is to give a nod to French cuisine’s game
culture and hint at the Amis winter hunting culture.
The new menu will serve up foods rarely seen on
restaurant tables in Taiwan, including rabbit, bee lar-
vae, ostrich, and mallard, layering and integrating their
flavors to mirror the incredible terrestrial and marine
vistas of Taiwan’s East Coast on diners’ plates. l
(Lynn Su/photos by Jimmy Lin
tr. by Scott Williams)
35
 二通物語．木都風情
慢 漫 走 回「 嘉 」

Timber Town Stories

—A Stroll Along Chiayi’s
Second Avenue

文•鄧慧純　圖•林旻萱　版面設計•馬英凱

36
 封 面 故 事 COVER STORY

「一府二鹿三艋舺」，描述清領時期台灣政經重
心由南往中北部開墾的歷程，但你知道位處西部平
原心臟地帶的嘉義，是比台南更早建起城柵，比高
雄更早發展工業的城市嗎？

T he phrase “first Tainan, second Lugang, third

Bangka” describes the movement from south to
north of Taiwan’s political and economic center of grav-
ity under Qing-Dynasty rule. But did you know that
Chiayi, located in the heart of Taiwan’s western plain,
had wooden city walls even earlier than Tainan, and ex-
perienced industrial development before Kaohsiung?

37
 舊稱桃城、諸羅縣的嘉義市，其木柵城垣早 到。」時至今日，還有許多傳統產業駐守，比如
在1704年就建起，是清領時期一府三縣中最早 充滿草根味的山產行。
者，台灣府（今台南）的城池遲至1723年才修 「山產行是像迪化街上的南北貨店，但是我
築。唯1906年梅山大地震，巨大的天災震毀了發 們這邊稱為山產行。」陳怡秀解釋。中正路上的
展近300年的街道系統，日本人啟動市區改正計 「益昌山產行」，老闆謝文祥再簡單扼要地說
畫，劃出了棋盤式的街廓，當時的二通（今中正 明，「從山上採來的貨品，都稱作山產，舉凡像
路），是本島人交易民生用品的集散地。 木耳、蜂蜜、筍乾、香菇、愛玉籽和金針乾等都
1912年，阿里山林業鐵道通車，1914年被譽為 是。」僅與台北市士林區差不多大的嘉義市，因
「東洋第一」的嘉義製材所完工啟用，匯集了來 為林業鐵道的緣故，在日治時期是重要的陸路樞
自歐美最先進的器械，形成完備的產業聚落，也 紐，南來北往的物資交易都在這邊。謝文祥指著
成就了嘉義「木都」的美名。 對面的雜貨店說，當年那家店過年的時候，生意
好到鐵門都拉不下來。而隔壁的店家，銀行派了
一代傳一代的故事
一名會計到店裡幫忙，薪水由銀行支付，就希望
發源於台北大稻埕的「島內散步」，2022年來 店家把錢存在銀行，可以想見當年這條街是如何
到嘉義，以「環時好室」為品牌與據點，用散步 的摩肩接踵。
認識家鄉，最先推出的就是二通的故事。 中正路上的其他商號也厲害得不遑多讓。「嘉
島內散步雲嘉南區域總監陳怡秀說起，在日治 義針車行」是已經傳五代的老店了。怎麼看它
時期，大通（今中山路）是日本人活動的區域； 老？看門面上還留著四碼的番號（電話號碼），
二通則被稱為「本島人街」，顧名思義是在地人 就知道是頗有年歲的老店。1944年創業，店內陳
商賈貿易的街區，「人稱二通上面的店＋家， 列的自家開發生產的東鄉牌縫衣機，是過去許多
從人出生到入棺材都有，所有的東西都可以買 家庭縫縫補補的回憶，也是許多婦女的經濟來

嘉義是因阿里山林業資源而興起的城市。
The city of Chiayi owes its development to the
forestry resources of Alishan.

38
 Formerly known as Taocheng (“Peach City”) and
Zhuluo County, Chiayi was fortified with a wooden
palisade in 1704. However, the massive Meishan earth-
quake of 1906, in the early years of Japanese colonial
rule, devastated the road system that had grown up
over nearly three centuries. In response, the Japanese
redesigned the city with a grid street layout. The street
they named “Second Avenue” (today’s Zhongzheng
Road) became a center where Taiwanese people bought
and sold household goods.
The Alishan Forest Railway began operating in 1912,
and in 1914 the Chiayi Sawmill, a complex of timber
industry buildings that was acclaimed as “number one
in the Orient,” was completed. Equipped with the most
advanced machinery from Europe and North America,
it constituted a comprehensive industrial cluster, and
earned Chiayi the nickname “Timber Town.”
Stories passed down through time
The walking tour company Walk in Taiwan, founded
in the Dadaocheng area of Taipei City, set up shop in
Chiayi in 2022. Since establishing “Chiayi in House” as
its brand and base of operations, the company is intro-
ducing Chiayi through walking tours. The first tour they
devised is built around the story of Second Avenue.
Betty Chen, Walk in Taiwan’s regional director for
Yunlin, Chiayi and Tainan, explains that in the era of
Japanese rule, “Main Street” (today’s Zhongshan Road)
mainly catered to Japanese residents, whereas Second
Avenue, also known as “Locals’ Street,” was a place
where Taiwanese conducted business. “People said that
on Second Avenue you could buy anything from cradles
to coffins.” Even today, many traditional businesses re-
main there, such as “mountain product” shops with a
real grass-roots ambience.
Xie Wenxiang, owner of Yichang Mountain Products
on Zhongzheng Road, says: “‘Mountain products’ means
food products from the mountains, such as jelly ear fun-
gus, honey, dried bamboo shoots, shiitake mushrooms,
jelly fig seeds, and dried daylily.” Thanks to the forest
嘉義針車行的門面還留著四碼的電話番號，就知是頗有歷
史的老店。店內的縫衣機，藏著過去許多家庭縫縫補補的
回憶。
The four-digit telephone number still visible over the doorway of
Chia Yi Sewing Machine shows that this is an old-established
business. The veteran sewing machines on display inside the
shop are reminders of the clothes making and mending done in
many homes in the past.
railway, in the Japanese era Chiayi City was an important
hub of overland transportation routes, and a trading cen-
ter for goods being shipped north or south. Xie points to a
general store across the street from his shop and says that
back in the day it was so busy in the run-up to the Lunar
New Year that they didn’t close their doors day or night.
Other businesses on Zhongzheng Road are no less
impressive. Chia Yi Sewing Machine is a venerable store
that is now in the hands of the fifth generation of its
owning family. How do you know it is old? Just look at
the four-digit phone number that is still written above
the doorway! But it is only when you walk inside this
building, which on the outside has an elegant washed
terrazzo finish, that you discover that the old house is
built of cypress wood. There is a story behind every de-
tail of the place, from the cypress staircase to the trade-
mark emblem carved on a wooden panel.
39
源。而從外觀看是洗鍊的洗石子建築，探到內部 想，那代表我們嘉義人都沒生到壞子孫，都有好
才發現是檜木老屋，檜木的樓梯和木刻的商標標 好地把家業傳承下去呀！」
誌，每個空間細節都藏著故事。
生活的風景
陳怡秀再引我們到隔壁的「賴信成香業」，
第四代老闆賴隆毅站在店門口，客人進門先問要 「嘉義是一個麻雀雖小五臟俱全的城市」，離
拜什麼？他說看要拜神明、祖先、好兄弟或是地 鄉五年、返鄉六個月的陳怡秀，喜歡這樣形容她
基主，該準備的紙錢都不一樣，他攤開燒給好兄 的家鄉。當初就立下回家工作的志向，陳怡秀認
弟的經衣白錢，印上梳子、衣服等器物，他解釋 為嘉義是可以舒服生活的城市，她也很是贊同地
分享曾在書中讀到的，「如果說台北人的步行時
速是90，這裡（嘉義）大概是20。」
以往嘉義最著名的IP大概就屬阿里山了，但近
年來，這個不疾不徐的城市正慢慢嶄露風華，返
鄉人陳怡秀最驚訝的是，「這是一個擁抱所有
懷有理想的人的城市。」她發現許多年輕人回
（來）到嘉義，創業生根，從事自己喜歡的工
作，實踐自己的夢想，「就像是一灘平靜的湖
水，有了許多小石子丟進來，激起了許多的水花
漣漪。」
從地方誌《本地：嘉義市》書中，讀到許多
統計數字，也讓人出乎意外。嘉義市總面積僅60
多平方公里，卻一天24小時都能吃到火雞肉飯，
手搖飲料店密度居全台第一，咖啡廳密度是全台
第二，便利商店密度全台第三，公園密度全台最
高。提到的這些之最，比拚的不是科技、經濟實
力，反而是一幕幕的生活現場。還有涼麵上面淋
的是美乃滋，豆花要配豆漿才對味，嘉義人用自
己的速度走自己的路，有自己的生活主張。
陳怡秀稱，嘉義是一個擁抱懷有理想人們的城市。
Betty Chen says that Chiayi is a city that embraces 尺度大小剛剛好的城市，可以觀光，可以生
anyone with dreams.
活，就如環時好室的位置鄰近中央噴水池圓環，
外頭是繁華的車水馬龍，觀光人潮如織，但從巷
子一轉進來，卻是如此靜僻的空間，能夠享受一
下午的寧靜。
這是好兄弟需要的日用品，而且紙跟紙錢怎麼區 離開環時好室時，陳怡秀建議我們循二通再往
分，其中都有大學問。賴信成香業擁有自家的製 東走，會遇見仍保有檜木結構的東市場，這邊是
香工廠，原料都是純正的中藥、檀香和沉香，所 嘉義人的大廚房、大食堂。還有在地居民信仰中
以燒香絕對不傷身。傳統拜拜用的香或現代的薰 心城隍廟，她提醒不要忘記進到正殿，仰頭看看
香，在這間近百年的老店都可以得到滿足。 美麗的藻井，華麗不說，上頭裝飾的人偶，除了
這一代傳一代的故事，讓我想起那天在計程車 東方的彌勒佛、武將外，還藏著數個穿西裝、戴
上的對話。司機跟我們說，有乘客抱怨30年前在 高帽、拄著拐杖的西方紳士和長有雙翼的神像，
嘉義當兵，怎麼30年後再訪嘉義，街道店家都還 是出自溪底派大師王錦木之手。寺廟的志工還引
是一模一樣。司機豪爽的回答客人：「換個角度 導我們看牆上的日文和歌對聯，是日治後期皇民

40
 Betty Chen leads us next door to Lai Shin Chun In-
cense, where fourth-generation boss Lai Longyi stands
at the door and asks the customers that enter what kind
of worship they are preparing for. He explains that the
spirit money that should be burnt differs depending
upon whether one is honoring deities, ancestors, wan-
dering spirits, or the souls of the former owners or oc-
cupiers of a building. Spreading out some spirit money
intended for wandering ghosts, he explains that the
objects such as combs printed on the paper are every-
day items needed by these spirits. Moreover, there is
a whole body of knowledge related to the distinctions
between different kinds of spirit money.
These stories of businesses passed down from gen-
eration to generation remind me of a conversation I had
with a taxi driver that day. The driver told us she had
had a fare who was revisiting Chiayi three decades after
doing his military service there, and complained that
the shops on the city’s streets were all exactly the same
as they had been 30 years previously. The taxi driver
島內散步在2022年來到嘉義，率先推出散步二通的行程，用散步認識家鄉。（環時好室提供）
The firm Walk in Taiwan set up shop in Chiayi in 2022 to help people get to know the city
through walking tours. They started out with tours of “Second Avenue.” (courtesy of Chiayi in House)
boldly replied: “Yes, but if you look at it from another
angle, this means that we Chiayi people raise our chil-
dren right, because they all take good care of the family
business and pass it on to the next generation!”
The scenery of daily life
Betty Chen, who left Chiayi for five years and only
returned six months ago, likes to describe her home-
town in this way: “Chiayi is like a sparrow: small, but
perfectly formed.”
In the past, Chiayi’s most famous landmark was prob-
ably Alishan (Mt. Ali). But in recent years this city where
life moves at a comfortable pace has been gradually de-
veloping into a place where talent flowers. What has most
surprised Chen since her return home has been that “this
is a city that embraces anyone who has dreams.”
In the travel book The Place: Chiayi City, you can find
many surprising statistics. In a city with a total area of
just 60-odd square kilometers, you can buy shredded
turkey meat on rice 24 hours a day, and it has Taiwan’s
highest concentration of hand-shaken drinks shops, the
41
賴信成香業第四代老闆賴隆毅，藏了滿肚子關於拜拜的知識。
Lai Longyi, owner of Lai Shin Chun Incense, has a profound knowledge of religious rituals.

化運動時，為保有民間傳統信仰，地方仕紳希望 車，各式各樣的物資與人力因之聚集、流動，促
和日本政府打好關係所做。 成了嘉義市的發展，陳正哲形容，「阿里山森林
這充滿生活感的街道，食衣住行的日常，懷抱 是一個母體，嘉義市好像是她生出來一個小孩，

諸多故事的店家，果然散步是最能夠發現這座城 然後阿里山鐵道就像一條臍帶，她輸送養分，讓
這個城市慢慢慢長大。」直到1963年，阿里山林
市的趣味，是要用慢速才能體驗到的風景。
木禁伐，木業停頓，致使這個曾經飛黃騰達的木
木都DNA 業城市，沒落了。
2014年，陳正哲的團隊進駐嘉義舊監獄宿舍
除了生活感的嘉義，嘉義的另一大特色是木
群，開始修復被閒置已久的木屋，同時也思考如
業。根據南華大學建築與景觀學系副教授陳正哲
何用修一間宿舍來復興一座城市，他提出了「木
的調查，嘉義市目前至少留有6,000戶以上的木造
都2.0」的概念。從1912到1963，木業創造了嘉義
房子，是全台木造房屋密度第一的城市。
市木都1.0的榮景；而全球淨零碳排的議題，木頭
回顧嘉義木業的歷史，1912年阿里山鐵道通 造屋的風潮再起，還有木業技術的創新改變；陳

42

圖為城隍廟拜殿一角的神桌下，龍邊的富士山彩瓷。另一側虎邊則是日治時期
被稱為新高山的玉山。
A painted-tile depiction of Mt. Fuji on the “dragon” side of the deities’ shrine in
Chiayi’s Chenghuang Temple. On the other side (the “tiger” side) there is a depiction
of Yushan, known in the Japanese era as Mt. Niitaka.
second highest of coffee shops, the third highest of con­
venience stores, and the highest of parks. Looking at
these superlatives, it seems that people here measure
the city’s worth in terms of settings for daily life rather
than technology or economic power. They have their
own ways of doing things—for example, spreading
mayonnaise on cold noodles or maintaining that tofu
pudding only tastes right when accompanied by soy
milk—and they walk their own road at their own pace.
As we leave Chiayi in House, Betty Chen recom­
mends that we follow Second Avenue eastward and visit
the Eastern Market, which still has its cypress­wood
framework. This is a major dining space for the people
of Chiayi. There is also Chenghuang Temple, a center
of faith for local residents. Looking upward in the main
hall we see a beautiful caisson ceiling. The human fig­
urines that decorate the ceiling were made by Wang
Jinmu, a master craftsman from the Xidi School of
Quanzhou in China’s Fujian Province. They include not
only figures from Eastern religions such as the Maitreya
Buddha and deified military leaders, but also a number
of Western gentry wearing suits and hats and carrying
walking sticks, as well as winged angels.
The shops on Second Avenue have ever yt h i ng
needed for daily life, and many interesting stories to
城隍廟華麗的藻井裡，藏著穿西裝、戴
高帽、拄著拐杖的西方紳士，在導覽時
最容易勾起外國朋友的好奇。
The figurines that decorate the caisson
ceiling in Chenghuang Temple include
Western gentry wearing suits and hats
and carrying walking sticks. During tours
of the temple, foreigners find these figures
especially intriguing.
tell. It turns out that walking is indeed the best way to
discover the fascination of this city, for you have to go
at a slow pace to fully appreciate it.
Timber Town
But there is another side to Chiayi—the legacy of the
timber industry. According to a survey conducted by
Chen Cheng­che, an associate professor in the Depart­
ment of Architecture and Landscape Design at Nanhua
University, there are still more than 6,000 wooden build­
ings in Chiayi, making it the city with the largest con­
centration of wooden structures in all of Taiwan.
Looking back at the history of the timber industry in
Chiayi, the opening of the Alishan Forest Railway back
in 1912 gave a big boost to the city’s development. As
Chen Cheng­che describes it: “The forest on Alishan was
like a mother, and Chiayi was the child she bore. The
railway was like an umbilical cord, supplying the nutri­
ents that enabled it to gradually grow.” This lasted until
1963, when logging was banned on Alishan, and this city
that had prospered thanks to timber went into decline.
43
正哲解釋，以前樹木要生長數十年才能成材，現 鐵皮，亂七八糟的棚架陽台，用減法和打燈的方
今利用疏伐的木頭膠合，就能拼成為一塊大料， 式，讓老屋重現原初的樣態，大家才發現當年的
供建築結構使用，這稱為「集成材」的木料，經 房子蓋得有多「水」（台語：漂亮），多典雅。
過測試，強度比同尺寸的原木還要強，是振興木 他提了數個地點讓我們去看看卸妝的成果。
業的重要材料。 位在蘭井街上的「新陽春藥房」，與隔壁是連棟
世界潮流與新興的技術讓「木都2.0」有了機 的兩層樓日式街屋，如今立面修復，重現的二樓
會，希望復振曾經的木業繁華，讓木頭再次走進 圓窗、弧形陽台及雨淋板漆色等，引人遙想過往
常民生活中；陳正哲提出「以修代租」方案，公 的輝煌歲月。80多歲的老闆已習慣許多訪客來探
部門將現有閒置舊監獄宿舍開放出來，引入民間 問，還打趣地跟我們說：「跟這間房子比，我還
小型資本投入木屋修繕，並由專業團隊提供修繕 算是少年。」
經驗；只要求進駐業者的業務要有一件事情與木 位在中正路上的「大益糖果店」，是曾經被
業相關，讓木業相關的行業在此形成聚落。 陳澄波畫入作品的建築，進到屋內跟老闆攀談，
陳正哲帶我們參觀「矯正塾1921」，此處是舊 他不忘指著牆上翻拍的陳澄波畫作，說：「這一
監獄宿舍區最先修復好的木屋。他們把增建的空
間解開，形成綠帶與留白空間。內部空間則降低
地板，抬升天花板，形成寬敞通透的起居空間，
不必依文資條件修復，不用改回原樣，而是加入
新技術，在空間中展示新舊木料如何交融，利用
新技法強化建築安全，木屋的技法也可以摩登
現代，木屋也能省能舒適，「這間是我們的樣品
屋」，要讓大家重新體驗木屋的美好。
隔壁棟則由四間宿舍打通成為實驗木場，置入
木業加工的機器，舉辦課程，作為人才培育的教
室，因為市區有上千棟木屋等著要修繕，他說。
經過修繕、景觀整治的宿舍群，現今成為產業
育成、周末市集、夜間散步的舒適空間，讓人們
重新進到木屋生活，讓木頭再次回到嘉義人的生
活中。

素顏風景，老屋卸妝

對於木產業有相關的策略推動，對市區的民居
木屋，陳正哲則提出「老屋卸妝」計畫。想要讓
木屋的議題在巷弄間激起漣漪，陳正哲提出從門
面修繕開始，「我們先顧門面，因為門面是公共
財。」把老屋許多原本被封掉的窗戶，被蓋上的

位在中正路上的「大益糖果店」，洗石子的外牆，入內卻見
木屋的結構，這樣的房子在嘉義還藏有很多很多。
Dayi Store, a candy shop on Zhongzheng Road, has exterior walls
with a washed terrazzo finish, but inside the building is made of
wood. There are still many buildings of this kind in Chiayi.

44

陳正哲提出了「木都2.0」的概念，要再造嘉義木業的榮景。
Chen Cheng-che has proposed the concept of “Timber Town 2.0”
in hopes of reviving the fortunes of Chiayi’s lumber industry.
In 2014 Chen’s team moved into the former staff
quarters of the old Chiayi Prison and began to restore
these wooden buildings that had long stood idle. At
the same time they considered how the restoration of
some employee dormitories could be leveraged to spark
the renaissance of a city. Chen proposed the concept
of “Timber Town 2.0.” The lumber industry drove the
prosperous era of “Timber Town 1.0” in Chiayi from
1912 through 1963, and now, with the rise of the issue of
net zero carbon emissions worldwide, there is renewed
interest in the construction of wooden buildings,
under pinned by innovations in timber technology.
To help the Timber Town 2.0 plan succeed, Chen pro-
posed a program whereby tenants who leased premises
in the old prison dormitories would pay for renovations
rather than paying rent. The government would open
existing idle dormitories for lease in order to attract the
private sector to invest small amounts of capital into re-
storing the wooden buildings with the assistance of pro-
fessional teams. The only precondition for businesses
to move into the buildings would be that some part of
their activities be connected with the timber industry,
so that wood-related tenants would form a cluster here.
Chen guides us on a tour of “Department of Cor-
rection 1921,” which was the first of the wooden dor-
mitory buildings to be fully renovated. The team that
did the work introduced new technologies to the old
building, combining new and old wood materials
while using new techniques to enhance the structure’s
safety. They demonstrated that the techniques used in
wooden buildings can be modern and up to date, and
that wooden structures can be energy saving and com-
fortable. “This is our show house,” says Chen, and it is
aimed at enabling people to once again experience the
beauty of wooden structures.
Meanwhile, the building next door is an experi-
mental carpentry workshop made by removing the
partitions between four dormitories. Woodworking ma-
chinery has been installed and skills training classes
are being offered. This is needed, Chen says, because
there are still thousands of wooden buildings in the
city that require renovation.
Revealing old houses’ true face
There is a different strategy for promoting the ren-
ovation of privately owned wooden structures. For old
wooden houses where Chiayi residents still live and
work, Chen proposed a program for “removing the
makeup” from old buildings. Hoping to inspire peo-
ple in the back streets to engage with the issue of old
wooden structures, Chen advocated starting by reno-
vating the facades. “We first take care of the facades, be-
cause these are in a sense public assets.” The approach
is to remove additions to old houses and add lighting,
and to return houses to their original appearance by
restoring windows that had been sealed up, taking
off sheet-metal cladding, and dismantling ramshackle
porches and balconies. Only then do people realize how
beautiful and elegant these houses were back in the day.
Chen mentions a number of locations where we can
see the results of this program. Xinyangchun Pharmacy,
located on Lanjing Street, is part of a corner row of two-
story Japanese-era townhouses. Today the facade has
45
 been restored, including the round windows and curved
balcony on the second floor of the corner house, and the
board-and-batten wood siding has been repainted. It in-
spires people to think back to the glory days of the past.
Dayi Store, a candy shop on Zhongzheng Road, is
a structure that once featured in a painting by Chiayi-
born artist Chen Cheng-po (1895–1947). As we chat
with the owner inside the shop, he points to a photo of
Chen’s painting hanging on the wall and says: “That is
this building.” Chen Cheng-che adds: “The best part of
this structure is its gable wall, but it was unfortunately
covered up by ugly corrugated steel.” He describes “re-
moving the makeup” from old buildings as being like
discovering a Marvel Easter Egg: every building that is

老屋卸妝後的「新陽春藥房」，讓人回溯舊時的風華。
The renovated Xinyangchun Pharmacy recalls a past age of
prosperity in Chiayi.

棟就是那一棟。」陳正哲則說：「那棟建築最精
采的其實是它的山牆，可是過往被很醜的鐵皮包
住。」陳正哲形容老屋卸妝就像在「開彩蛋」一
樣，每一棟房子打開來都是驚喜。比如許多房子
外表看來是洗石子，初判以為是磚造或水泥RC，
結果打開來是整棟的木結構，陳正哲將此類歸類
為「假面」，這被我們戲稱是「浮誇」的建築方
式，更可想見，當年嘉義木屋曾有的黃金歲月。
甚至，修補房子也能修補家族關係，有些連
棟的木屋屋主在上一代已經分家，兩戶明明是兄
弟，可是已經不連絡了，因為房子是連在一起
的，有許多共同的介面要處理，陳正哲反而成了
溝通的橋梁，修復房子變成修復家族關係。
老屋卸妝的過程常引起周邊鄰居出來關心，
議論起房子當年的樣態，讓大家看見了、討論起
來，就是老屋未來的契機。
聽著這些慢慢被挖掘出來、關於木屋的故事，
映照出台灣木業的發展史，下一回的嘉義小旅
行，想必你的口袋路線已經規劃好了。 l

46
uncovered is full of delightful surprises. For example,
many houses have an exterior finish that looks like
washed terrazzo, so at first glance one would conclude
that they are built of brick or reinforced concrete, but
when you remove the exterior they turn out to be con-
structed entirely of wood. Chen classifies these as “false
fronted” structures, and this building technique is a re-
minder of the golden age of wooden buildings in Chiayi.
In fact, restoring houses can sometimes even restore
family relations. The owners of one pair of adjacent
wooden townhouses had set up separate households
in the previous generation, and although the heads of
these neighboring families were obviously brothers,
they were no longer communicating with one another.
But because their houses are connected, there were
many matters that both had to deal with, and Chen
Cheng-che thereby became a bridge for communication.
When a building’s original facade is laid bare, neigh-
bors often come out to talk about the appearance of
the old structures back in the day. Getting people to
see and discuss the old buildings gives the buildings a
chance to survive into the future.
Listening to these slowly emerging stories about old
wooden buildings and the history of the timber indus-
try, it seems to me that the itinerary for your next trip
to Chiayi is already set! l
(Cathy Teng/photos by Lin Min-hsuan/
tr. by Phil Newell)
嘉義的魅力，請你來細細品味。
Why not come to Chiayi and see its charm for yourself.
47
 好讀
月 蚵仔煎的身世：台灣食物名小考
◎ 曹銘宗

■除了講求美味健康滿足口腹之慾，飲食值得探究之處更在於如
何反映社會脈動與歷史發展，飲食用語的來源與變遷，正是個最
好的切入點。
國立高雄餐旅大學食創所副教授
《美食考》、《食藝》作者 蔡倩玟

■書副題是《台灣食物名小考》，又說小考另有一意思，指小考
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，

試。我倒認為小考是健康國民的自我診斷，讀者不妨飯前飯後自
己小考一下「連台灣人也搞不懂的台灣食物名」，相信對自己周
遭的族群與歷史文化，或台灣越洋國際交流往事，會有健康，而
不是巨癡腫瘤的現代國民知識。
中央研究院台灣史研究所 翁佳音

歲寒三友： 母鴨、羊肉爐未必台灣原 創。儘 管

麻油雞、薑母鴨、 如此，這三種台式補湯絕對與眾不

羊肉爐 同，因為都使用獨一無二的祕方：
在台 灣，麻 油 雞、薑母 鴨、羊 肉 台灣米酒（紅標米酒）。
爐 可 說 是 進 補、禦 寒 最 常 見 的 食 台灣米酒有何不同？中國、日本
物，所 以 有 網 友 戲 稱 為 台 灣 人 過 的米酒都是釀造酒，台灣的米酒則
冬的「歲寒三友」。 是蒸餾酒，酒精 濃 度較高，而且 還
由 於 世 界上 很 多地 方 都 有 雞、 加了大半的甘蔗糖蜜酒精，米酒香
鴨、羊 的 湯 料理，所以 麻 油 雞、薑 中多了甜味。因此，對吃慣台灣米
酒的台灣人來說，如果沒有台灣米
酒，麻油 雞、薑母 鴨、羊 肉 爐 就 完
全不對味，甚至無法烹煮。
麻油雞
麻油 雞的全 稱是「麻油 雞 酒」，
簡 稱「雞 酒 」，除了 薑 之 外，主 角
就 是 酒 和 麻 油。酒 是 台 灣 獨 特 的
甘 蔗 米 酒，一 般 煮 麻 油 雞 都 要 加
大 量 米 酒，甚 至 完 全 以 米 酒 來 取
代水。
麻 油 也 是 台 灣 的 特 產，台 灣 從
荷蘭時代就開始種植、生產麻油。
根 據 清 代 文 獻，台 灣 生 產 的 麻 油
有 芝（脂）麻油、蓖（萆）麻油，品
質「勝 於 內地」；台 灣 的 蓖 麻油 還
賣到蘇州、上海、寧波、鎮江等地。
在台灣，一般稱芝麻油為麻油。
因此，以優質的麻油、獨特的米
酒，所做出來的麻油 雞，最能代 表
「台灣味」，展現台灣 飲 食 文化的
特色。此外，麻油 雞也是台灣 傳 統
生命禮俗的重要食物。
台 灣 的 孕 婦 在 產 後 坐 月 子 時，
都 會 吃 麻 油 雞 補 身。在 古 早 醫 藥
不 發 達 的 時 代，由 產 婆 到 家 裡 接
生，孕 婦生 產相當凶 險，順產或 難
產 可 謂 生 死 攸 關。所 以 台 灣 俚 諺
說：「生 贏 雞 酒 芳，生 輸 四 片 枋」
（ 芳 音 p h a n g，香 的 意 思；枋 音
p a n g，木 板 的 意 思），或 說：「生
會過，雞酒芳；生袂過，棺材枋」，
生產如果順利，可以享用美味又滋
補的麻油 雞；生 產 如果失 敗，恐 怕
就要面臨死亡躺進棺材了。
在 嬰 兒 滿 月 時，也 有 請 客 吃 油
飯、麻油雞的習俗。
薑母鴨
薑 母 鴨 是台 灣 人冬 令 進 補 常 吃
的 食 物，現 在 大 都 做 成 火 鍋。與
麻油雞相比，薑母鴨 少用了麻油，
卻多用了薑，而且 服 膺「薑 是老的
辣」，必須用老薑。
有 人 搞 不 懂「 薑 母 鴨 」三 字 的 書名：蚵仔煎的身世：
台灣食物名小考
意 思，就 問：「為 什 麼 一定 要 用母 作者：曹銘宗
鴨？」哈！台 語 的「 薑 母」就 是 老 頁數：256頁
定價：390元
薑，薑 母 鴨 是「 薑 母＋鴨 」，不 是
出版時間：2020年9月 九刷
「薑＋母鴨」。 出版： 貓頭鷹出版
客 家 語 則 稱 薑 為「 薑 嫲（麻）」
（g i o n g - m a），老 薑 就 是「老 薑
嫲 」。苗 栗 縣 大 湖 鄉 有 一 個「 薑
麻 園 」社 區，就 是 客 家 人 種 薑 的 在台灣，羊肉爐 是一九八○年代
地方。（此處客家語標音採教育部 才 開 始 盛 行 的 火 鍋，也 是 冬 令 進
《台 灣 客 家 語常用 詞 辭 典 》，g 等 補頗受歡迎的食物之一，羊肉大都
於 教育部台語辭典的k。） 是切塊，也有切成薄片。
事實上，薑母鴨大都使用公的紅 《 本 草 綱 目 》記 載 吃 羊 肉 可 以
面番鴨，一般認為公鴨生性較猛， 「補虛」、「益氣」，台灣人古時就
吃起來較補。 相 信 羊 肉 是 食 補 聖 品，但 早 年 羊
羊肉爐 肉腥味重，吃的人較 少，後來 在品
51
種、料理 上獲 得改善，吃的人 就愈 菜、梅 乾 菜（梅 干 菜），其 實 都 是 漬，菜因 鹽 的作用繼 續出水，菜 就

來愈多了。 用芥菜做出來的！ 在 湯 汁 中 發 酵 生 出 酸 味，做 成 又

台北有一家羊肉專賣連鎖店，店 芥 菜 是台 灣 常見 的 十 字 花 科 蕓 香又脆的客家酸菜。一般的「酸菜

名叫「莫宰羊」，招牌寫著：「您來 薹 屬蔬 菜，台語 音k u à - t s h à i，所 心」只有 酸味，而客家酸菜還帶 有

了 就 宰 羊！嘸 來 還 是 莫 宰 羊！」很 以也 被 寫 成 諧 音 的「刈 菜」，客 家 鹹甘味。

多人看不懂，為什麼前一句說要宰 語則稱芥菜為「大菜」。 二、福菜

羊，後一句又說不宰羊了呢？ 依 台 灣 過 年 吃 團 圓 飯 的 習 俗， （客家語稱覆菜，台語音
原來這是一句雙關語，前一句的 在 南 台 灣 以 外 的 地 區，芥 菜 又 稱 phak-tshài）
「宰 羊」是國 語，但後 一句 的「莫 「長年 菜」（南台灣的長年 菜是菠 把做好的客家酸菜，再經日曬、

宰 羊 」是 台 語「毋 知 影」（t s a i - 菜），主要 是芥 菜的葉子在一般 蔬 風 乾，在水分 未完全乾燥時，撕成

i á n n）的諧 音，意 思 是不知道。這 菜中最長最大，用來象徵長壽。 長 條塞入 瓶中，再 把瓶子 倒置，讓

家羊肉店的老闆是要說：「我們店 在台灣的客家人，由於族群遷徙 水分流出，最後再 把瓶口密 封，瓶

的羊 肉 很 好 吃，您 來了，我們宰 羊 的歷史背景，加上較為艱苦的生活 子 放 正。經 過 約 四 至 六 個 月 的 發

您吃了就 知道；您若不來，還 是不 環境，發展了以勤儉精神來保存食 酵，就做出比酸菜更有 韻味、最具

知道！」 物、物盡 其用的飲食 文化，例如以 代 表 性 的 客 家 醃 菜。由 於 製 作 過

戰後，很多外省軍人來到台灣， 醃 漬 來 保 存 容 易 腐 壞 的 蔬 菜，再 程 把容 器 翻 轉，客 家 語 叫「 覆」，

在學講 台語時，以外省腔調把「毋 以醃菜搭配肉類做出特色的客家 所以做 好 的 菜 稱 為「覆 菜」，但一

知 影」講 成「 莫 宰 羊」，寫 成 文 字 料理。 般以吉祥的諧音稱為「福菜」。

後相當有趣，也 就 流 傳下來，變成 台 灣 客 家 人 以 芥 菜作 為 醃 菜 的 三、梅乾菜

「台式國語」。 材 料，可 謂 表 現 得 淋 漓 盡 致。首 （客家語稱鹹菜乾，台語一

芥菜的孩子： 先，利 用 稻 作 休 耕 期 間 來 種 植 芥 般仍稱phak-tshài）

菜，就 展現了勤儉精神。等 芥 菜收 把做到一半的福菜，即經日曬、
酸菜、覆菜、梅乾菜
在 苗 栗 縣 銅 鑼 鄉，由 行 政 院 客 成後，再以傳 統的 醃 漬 方法，依不 風 乾但 尚 未 放 到 甕 裡 密 封 之 前，

家委員會建立的客家文化園區，看 同時間的發酵、日曬和風 乾，依次 再經日曬、風 乾，直到幾乎沒有水

到 客 家 婦 女 醃 漬 芥 菜 的 蠟 像，讓 可以做成： 分，再將之 捆紮成團，就做 成更 加

人 想 到 具有 獨 特 鹹 菜 香 味 的 客 家 一、酸菜 甘醇、可 耐久 藏的梅 乾 菜了。一 般

料理。 （客家語和台語都稱鹹菜） 梅 乾 菜 只 取 葉 子 部 分，但 傳 統 客

台 灣 的 客 家 菜 別 有 風 味，我 們 把 整 株 的 新 鮮 芥 菜，先 經 日 曬 家 梅 乾 菜 是 連 梗 帶 葉 做 的，有 捆

吃過「酸菜炆豬 肚」（炆 是 燜煮的 一至 三 天後 變 軟，以一層菜、一層 紮、零碎兩種。

意 思 ）、「 酸 菜 鴨 湯 」、「 福 菜 炆 鹽的鋪排，再由人用腳把菜踩軟、 台灣助選蔬果：

讓鹽容易滲入菜裡，並在最上層以
筍乾」、「福菜苦瓜 湯」、「梅 乾扣 鳳梨、蘿蔔、蒜頭
石頭重壓出水，最後再入甕密封。
肉 」、「梅 乾 蹄 膀 」等，但 有 人可 （大蒜）
能 不知道，客家 菜使 用的酸菜、福 在 甕 中 經 過 約 一 至 二個 星 期 的 醃 台灣 每逢 總 統、縣市長、立 法 委

52
員等選舉，在電視 新聞、選舉場子 「菜 頭」，象徵「好頭彩」、「好 彩 「凍蒜」一詞。

上 除了看 到 候 選 人、助 選 員，還 有 頭」。 在 選 舉 最 熱 烈 的 造 勢 大 會，司

三大助選蔬果：鳳梨、蘿蔔、蒜。 台 灣 舉 行 民 主 選 舉 多 年，在 助 儀 高 喊 候 選 人 的 名 字，群 眾 齊 呼

三 大 助 選 蔬 果 可 能 出 現 一 種、 選 場 合，傳 統 上 是 贈 送 候 選 人 鳳 「凍 蒜」，工作人 員同時 搭 配 敲 鼓

兩 種，但 在 冬 季，蘿 蔔、大 蒜 是 盛 梨、蘿 蔔，但 近 年來 新 增了 蒜，因 兩響，現場氣氛High到最高點！

產 期，鳳 梨有時 還能買到，所以常 為 蒜 與台語當 選 的「選」諧 音，如 在 傳 統 中 文，「當 選」指 合 適 的

見候選人雙手捧著三種蔬果。 果當 季 沒 有大 蒜（青 蒜 苗），就 用 人 選，或應當的選擇，都與選舉 無

台灣習俗在喜慶場合要多講好 蒜頭代替。 關。其 實，台 語「當 選 」一 詞 源 自

話，吃 飯 時 可 講 與 食 物 名 諧 音 的 曾 有 國 內 外 學 者 研 究 台 灣 的民 日文 漢 字「當 選」（簡 寫 為当 選，

吉 祥 話，例 如 過 年 講「食 棗，年 年 主 選 舉 文 化，發 現「 當 選 」是 最 t ō s e n）。日本比中國更早引進歐

好」，入 厝（搬 新 家）講「食 雞，起 重要的助選語言。但國語「當選」 美文化，並以漢字翻譯了民主制度

家」，婚 酒桌（喜酒）講「食芋，新 （注音，漢語拼音d āng xu ǎn ） 的詞彙，例如：「選舉」、「當選」、

郎好頭路，新娘緊大肚」。 的平上聲，並不足 以 展現 氣 勢，只 「落選」等，後來才被中文引用。

祝賀時則可講與禮物名諧音 有台語「當選」（t ò n g-s u á n）二 日 本 統 治 台 灣 時 期，經 台 灣

的 吉 祥 話，例 如：贈 送 鳳 梨，台 字連 續高降 音調，最為有力，所以 人 力 爭 多 年，台 灣 總 督 府 終 於 開

語 稱 之「王 梨」（ô n g l â i），象徵 常 在 助選場合高喊。後來，新聞報 放 有 限 制 的 地 方 自 治，允 許 基 層

「 旺 來 」；贈 送 蘿 蔔，台 語 稱 之 紙才創造了與台語「當選」同音的 議 員 半 數 官 派、半 數 民 選，並 在

芥菜流程（林哲緯繪圖）

53
一九 三 五 年 舉 行 第 一 屆 市、街、
庄 議 員 選 舉。這 是 台 灣 人 第 一
次 選 舉 投 票，投 票 率 高 達 百 分之
九十五，當時由台灣仕紳楊肇嘉主
導 的「台 灣 地 方自治 聯 盟 」，所 推
薦 的 候 選 人都 具有 大學 學 歷 及 正
直人格，結果全部當選。
當 時 台 灣 會 不 會 就 有 人 喊「 凍
蒜」？根 據日本 時 代的《台日大 辭
典》，也收錄了台語「當選」（注明
是日語），但發音是t o n g - s o á n，
也 就 是 說 那時 的「當」（t o n g）是
平聲，不同於現在的「當」（tòng）
是去聲。
或 許，台 灣 在 戰 後 真 正 步入 競
爭激 烈的民主選 舉時 代，台語「當
選」二字才改 念成最 有力的t ò n g -
suán！
助 選 時，除了贈 送 鳳 梨、蘿 蔔、
蒜，也可贈送包子和粽 子，這 是國
語 諧 音「包 中」的 吉 祥 話。因 此，
有時也看到候選人收到「五合一」
的助選禮物。
題 外 話，蒜 可 以 冷 凍 嗎？答 案
是可以的，蒜 頭（剝瓣）、蒜 苗（切
粒）密封冷凍，可以保存很久。
舉 例 來 說，台 灣 人 與 虱 目 魚
（台 語 音 s a t - b a k- h î）已有 四 百
年 以 上 的 關 係，但「 虱 目 」之 名
從 何 而 來，至 今 沒 有 確 切 答 案。
鄭 成 功 的「什 麼 魚？」是 玩 笑 之
說，最 後 只 好 以 日 本 時 代 文 人 連
橫 在《 台 灣 語 典 》中 說 是「 番 語
也 」三 個 字 帶 過。近 年 來，台 灣
的 虱 目 魚 想 打 進 中 國 大 陸 市 場，
但 對 岸 認 為「 虱 」與「 屍 」同
音，又 會 讓 人 想 到「 蝨 子」，最
後被改名為「狀元魚」。
其 他 台 灣 人 常 吃 的「土 魠 」、
「午仔」、「嘉臘」、「花飛」、「四
破 」等 魚，也 是 講 不 出 名 字 的 由
來。
基 本 上，這 些 搞 不 懂 的 海 產 俗
名，可 能 是 早 年 原 住 民 命 名 的 音
譯，可能 是台語 的命 名，前者幾乎
無解，後者還可以研究。
有些推 測較為合理。例如：新 北
市 萬 里 區 第 二核 能 發 電 廠 出 水 口
在一九 九 三年發現 的「祕 雕 魚」，
俗名「花身仔」（鱸形目 鯻 科），應
該與魚身上明顯的花紋有關。
「 軟 絲 仔」（槍 烏 賊 科 擬 烏 賊
枝」（墨 魚），身上很多花紋，長得
就像一枝 花啊！再來 猜 猜「煙仔」
（正 鰹），就 是身上有煙 霧般的花
紋啊！
但有些推測缺乏說服力。例如：
有人說「敏豆」＝B e a n＋豆，同理
可推「花飛」＝花＋F i s h。但 鯖魚
是台灣普遍的海魚，不是從國外引
進，怎需要英語翻譯呢？
有 人 說「四 破 」（ 鰺 科）應 該 叫
「四剖」，因為捕獲立 刻用鹽水煮
熟、剖成四半。但我看 到的是整 條
完 整，或去 頭去骨 剝成兩半啊！另
有人 說，這種 魚剝成兩半後，從中
間的直線很容易再剝成兩半，所以
一共是四半。
有 人 把「午 仔」（ 馬 鮁 科）寫 成
「鯃 仔」，但「鯃 」是 中 國 古 書 上
的 魚，所 以 應 該 只 是 借「 午」與
「吾」（ngóo）同音。
近 年 來，台 灣 因 為 盛 行 日 本 料
理，所 以 也 常 使 用 日 本 漢 字 的 魚
名，尤 其 是 鯛 類，以 提 高 身 價。例
如：「 嘉 臘 」變 成「 真 鯛 」、「 馬
頭 」變 成「 甘 鯛 」、「 烏 格 」變 成
「黑鯛」，連「吳郭魚」都改名「台

台灣人也搞不懂的台 屬 ）的 肉 質 比「 花 枝 」（ 墨 斗 魚 灣鯛」了。

科 ）、「小 卷 」（ 長 大 稱 中 卷、透 台灣傳統過年食物的

灣海產俗名
抽，槍烏賊科）軟嫩，故得名。
「花 枝 」是 什 麼 花？「花 飛」想 吉祥涵義
飛去哪？「四破」要破什麼？ 當 然 我 們 可 以 再 發 揮 想 像 力。 在 台 灣，農 曆 新 年 是 一 年 之 中

台灣是 海島，海產 豐富，但很多 先 來 想 想「 花 飛 」（ 鯖 魚 ），因 為 最 重 要 的 節 目，每 個 家 庭 為了 團

海產的名字，學名很 難 記，俗名卻 魚背上有 花 紋，又 游 得 飛 快，所以 圓、聚餐 所準備的各種 食物，在食

搞不懂。 就「花」＋「飛」啊！順便看 看「花 物的名稱、形狀、味道或象徵 上都

54
 後 全 家「圍 爐」吃 年 夜 飯（古早 時 魷 魚：吃魷 魚（魷的正字是鰇）

在 餐 桌下 放置「烘 爐」，把 炭 火 燒 時的押韻吉祥話是「食 魷魚，生囡

旺 取 暖，並 象 徵 團 圓、興 旺 ），準 仔 好 育 飼」（小 孩 健 康 好 養 育）。

備的食物主要如下： 台 灣 傳 統 年 菜 常 見「 魷 魚 螺 肉

春飯：白米飯在碗裡盛滿堆高， 蒜」，將泡 發 過 的 魷 魚 與 蒜 苗、芹

插上 以紙或布 剪成的「春 仔花」， 菜 炒 香 後，把 罐 頭 螺 肉 連 湯 汁 倒

稱 之「 春 飯 」，放 在 神 桌 上。台 語 入鍋中煮沸即成。

的「春」與「賰」（t s h u n，剩餘 之 烏魚子：烏魚是台灣冬季的重要

意）同音，「賰飯」就是剩飯，象徵 漁獲（或養殖），以鹽醃、日曬（乾

米飯有餘。 燥）製 成烏魚子特產。過年團圓吃

年 柑：「年 柑」指在 農 曆 過 年 期 烤烏魚子，以 魚卵象徵多子多孫、

間 上市 的「桶 柑」，這種 柑 橘 原 產 子孫繁衍。

林哲緯繪圖
於 中 國 嶺 南，早 年 都 以 木 桶 裝 運 佛 跳 牆：福 州 名 菜 佛 跳 牆 在 台
具有吉祥涵義。 到外地販售。一 般以 五個桶柑，三 灣也非常流行，以諸多珍貴食材用
台 灣 閩 客 族 群 的 傳 統 過 年，在 個 做 底 蒂 頭 向 上，中 間 放 一 個 蒂 文火慢煨而成，寓意「福壽全」。
除夕的前幾 天，家家 戶戶都 要「磨 頭向下，上面再放一 個蒂 頭向上， 大 年 初 一 有 人 來 拜 年，家 裡 的
米 炊 粿 」（台 語 稱 粿，客 語 稱 粄， 疊成「柑塔」（或稱柑墩），放在神 果 盒、果 盤都 要放一些「四秀 仔」
就 是以米做 成的糕 點），主要有以 桌上。柑橘（橘簡寫為桔）的「柑」 （零 食），用 來 招 待 客人，並 講 一
下三種： 與「 甘 」諧 音，「 桔 」與「 吉 」諧 些與零食諧音押韻的吉祥話。
甜 粿：以 糯 米 粉 漿 加 赤 砂 糖 音，象徵甘甜、吉祥。 紅 棗：乾 果，「 食 紅 棗，年 年
蒸 製而成，「甜」（t i n n）與「年」 長年菜：過年 期間都 要吃的「長 好」。
（ n î ）押 韻，寓 意「 吃 甜 甜 好 過 年菜」，一般指芥菜（刈菜）。在常 糖 仔餅：糖果、餅乾，「食甜，予
年」。 見 的 蔬 菜 中，芥 菜 的 葉 片 最 長 最 你 大 趁 錢 」（台 語「趁 錢 」就 是 賺
發 粿：以在 來 米（秈 米）粉 漿 加 大，象徵 長壽；一 般 把芥 菜 整 葉 撕 錢）。「食甜甜，予 你生後 生」（台
麵 粉、酵 母、糖，經 發 酵 膨 脹 蒸 下煮肉湯，本來有 點 苦味，但 愈煮 語「後生」指兒子）。
到 表 面 裂 開，台 語「發」有發 酵之 愈 甘甜，象徵 苦 盡 甘來。台灣南部 龍 眼 乾：龍 眼 又名 福 圓，「食 福
意，也 象 徵「大 發 財 」、「大 發 好 （台 南 至 屏 東）的「長年 菜」則 是 圓，中狀元」。
運」。 菠 菜，連 紅 根 帶 綠 葉 整 株 一 起 蒸 瓜子：西瓜、南瓜或 葵 花子 做的
菜 頭 粿：以 在 來 米 粉 漿 拌入 炒 煮，也要整株吃，取其長壽。 零食，「食瓜子，好過日子」。
過 的 蘿 蔔 絲、蝦 米 等 配 料 蒸 製 而 雞：一 般 都 用全 雞，台 語「雞 」 土 豆：台 語 土 豆 就 是花 生，「食
成，「菜頭」諧音「好彩頭」（好預 （k e）與「家」（k e）同音，所以說 土豆，食到老老老」。
兆）。 「食 雞，會 起 家」（起 家 是 成 家 立 豆 乾：豆 腐 乾，「食 豆 乾，會 升
到了除夕，就要先 祭拜祖 先，然 業之意）。 官」。

55
影像對話　PHOTO ESSAY

外垵漁港之美（劉昭君）
Wai’an Fishing Harbor (Liu Zhaojun)

外垵漁港位在澎湖縣西嶼鄉內，因地形得天獨厚，漁業興盛。居民將漁貨所
得多數用於房舍興建，綿延漁港的樓房比鄰相接，盞盞燈光明耀，由三仙塔
眺望漁港呈現出如希臘地中海般的異國風情。
Wai’an Fishing Harbor is located on Penghu’s Xiyu Island, and the fishing
industry flourished here thanks to the area’s ideal natural topography. Residents
have used much of the money they make from fishing to build homes, so that
multi-story houses are crowded together along the harbor. When the lights are
shining, gazing over the fishing harbor from Sanxian Tower there is an exotic
Greek Mediterranean feel to the scene.

56
 《光華》攝影徵件
離 探索旅人風情
— 島觀光

Readers’ Photos:
Exploring Taiwan’s
Offshore Islands

57
藍眼淚（王敦濤）
Blue Tears (Wang Duntao)

馬祖近年觀光相當火熱，除了獨特的戰地文化，更有許多人忘情追逐藍眼淚。其實馬祖的夜，更有迷人的暗空，
當浩瀚的星野和銀河掛在暗空，月亮從海面上緩緩升起，和潑灑在海面的藍眼淚，構成了一幅絕美的海洋星夜。
藍眼淚的出現是屬於需要或然率的自然現象，是不可預期的景色。
Tourism to Matsu has boomed in recent years. Besides the islands’ unique battlefield history, many people go there
in search of “blue tears”—the blue bioluminescence of the marine dinoflagellate Noctiluca scintillans, known in
English as sea sparkle. The night sky over Matsu is enchanting, with the Milky Way stretching across the darkness
of the vast firmament and the moon gradually rising from the ocean. But when set off by the glow of blue tears
splashed across the surface of the sea, the scene is even more beautiful. Observing blue tears is largely a matter of
luck, for it is a natural phenomenon that is hard to predict.

58
 北海坑道（陳其軒）
Beihai Tunnel (Chen Qixuan)

1968 年為戰略需要，馬祖地區開鑿了不少地下碼頭，專供船舶運補功能。北海坑道位處鐵板海岸線，高 18 公尺，

長 640 公尺，呈井字形交錯的水道，坑道內均由人力一鑿一斧挖掘花崗岩壁而成，一幕幕壯闊的岩壁及幽暗浮
動的倒影，堪稱鬼斧神工。
In 1968, many underground docks were built in the Matsu Islands to transport military supplies. The Beihai Tunnel,
located at Tieban on the coast of Nangan Island, is 18 meters tall and 640 meters long, with intersecting waterways.
The tunnel was hacked out of the granite rock by human labor. The imposing tunnel walls and the shimmering
reflections in the dark water highlight this remarkable place.

59
澎湖目斗嶼（陳紫晴）
Mudou Island, Penghu (Chen Ziqing)

目斗嶼燈塔是澎湖最北端的燈塔，也是全台塔身最高的燈塔。由吉貝島坐船到目斗嶼只需要 20 分鐘。目斗嶼像是滄海
中的一盞明燈，照耀澎湖海面，指引漁船回家的路。
The Mudou Lighthouse is the northernmost lighthouse in the Penghu archipelago, and the tallest in all Taiwan. Just a
20-minute boat ride from Jibei Island, Mudou Island is itself like a light in the ocean, shining across the water to guide
fishing boats home.

60
高粱風獅爺文化季（陳聖文）
Wind Lion God Festival (Chen Shengwen)

風獅爺是金門獨有的信仰文化，又稱風獅、石獅爺、石獅公。早期金門因林木逐漸消失，東北季風非常強勁，為了防
止風害，設立風獅爺來鎮風止煞。金門有百餘尊風獅爺，各個造型不同，或有立姿、或有蹲踞，最高的風獅爺高可達
380 公分，最小有 19 公分，刻工技巧粗糙細緻不一，臉部表情圓眼凸出、呲咧大嘴，有的稚氣、有的莊嚴。座落的位
置也不盡相同，或於村莊口、或民家門口、屋頂等。
Belief in the Wind Lion God is unique to Kinmen. As forest cover disappeared from Kinmen many centuries ago, the island
became increasingly exposed to the powerful northeasterly monsoon winds, and statues of the Wind Lion God were
erected to ward off harm from the wind. There are more than 100 Wind Lion statues in Kinmen, each with its own form,
some standing and others crouching, the tallest measuring 3.8 meters high and the shortest only 19 centimeters. The
carving is variously crude or refined, while the faces have protruding round eyes and big grinning mouths. Some of the
statues are childlike, others dignified. They are placed in many different locations, such as at the entrance to villages, in
front of private homes, and on rooftops.

澎湖西吉嶼藍洞（張秀凰）
Blue Cave on Xiji Island (Zhang Xiuhuang)

從澎湖馬公搭乘遊艇出航前往西吉嶼藍洞，是澎湖特有的海蝕洞，目前是無人島，海水的沖刷下，眼前看到的景觀是
排列整齊的柱狀玄武岩，清澈的海水和翠綠的青苔，呈現的景觀令人眼睛一亮。
Traveling by boat from Penghu’s county seat of Magong to the Blue Cave on Xiji Island, you will see a unique cave created
by marine erosion. The now uninhabited Xiji Island has tall cliffs made up of orderly ranks of columnar basalt. Along with
the crystal-clear seawater and verdant moss, they form an image that delights the eye.

61
 七美月鯉灣浮潛（蕭慶良）
Snorkeling in Yueli Bay (Xiao Qingliang)

月鯉灣外觀是像上弦月形的海灣，為天然的小灣澳，是七美島漁民最早近海作業的港口。澎湖七美月鯉灣擁有著全澎
湖最棒的珊瑚礁群，獨具特別的海灣造形，緩和的波浪及溫暖的南風，成為熱帶魚與珊瑚的故鄉。
Yueli Bay on Penghu’s Qimei Island is a crescent-shaped natural bay that served as the island’s earliest harbor for
inshore fishing. Yueli Bay boasts the most beautiful coral reefs in all of Penghu. Its special shape, gentle waves, and warm
southerly winds make it an ideal home for tropical fish and coral.

七美臥牛灣鹿角珊瑚（陳美秀）
Staghorn Coral off Qimei Island (Chen Meixiu)

台灣離島陸地風光綺麗，然而海下的風景更是一絕。位於澎湖南方的七美島臥牛灣，3 月珊瑚產卵將海岸染成一片浪漫
的粉紅，8 月海下則是一片薰衣草色。七美臥牛灣下，魚兒悠遊在浪漫紫色的鹿角珊瑚，美得令人陶醉。
The scenery visible on land on Taiwan’s offshore islands is beautiful indeed, but the undersea scenery is even more
breathtaking. In Woniu Bay, located on Qimei Island in the southern part of Penghu County, when the corals spawn in
March the coastline is dyed a romantic pink, while in August the reef turns a lavender color. Under the water in Woniu Bay,
fish swim lazily through the enchanting purple staghorn coral, creating an intoxicating sight.

62
 澎湖後寮天堂路（王啟文）
Houliao’s Paradise Road (Wang Qiwen)

澎湖後寮天堂路早期的舊碼頭，從空中看像是一條海上的巨蛇，夏天的澎湖海是藍的，但天堂路的海域卻是碧綠，炎
炎夏季，給澎湖帶來一絲清涼。目前已成澎湖熱門的打卡景點之一。
“Paradise Road” at Houliao on Penghu’s Baisha Island is an old jetty, and seen from the air it looks like a giant snake in the
sea. In summer the seas around Penghu are blue, but the waters around Paradise Road are jade green, bringing a hint of
cool to the intense summer heat. Today it is one of the most popular scenic locations in Penghu
for checking in on social media.

63
蘭嶼東清灣的打卡景點（潘桐錫）
Check-in Spot at Lanyu’s Dongqing Bay (Pan Tongxi)

前往蘭嶼觀光，東清灣的日出是絕對不能錯過的必訪景點，拼板舟和美麗日
出影像每天都不一樣，值得前往記錄。
When you travel to Lanyu (Orchid Island), one of the can’t-miss attractions is
sunrise at Dongqing Bay. The scenes of the traditional Tao fishing boats and the
sunrise change from day to day, so it is worth making a visual record of your
visit there.

64
65
島嶼行旅　AROUND TAIWAN

甜的滋味 記 憶 中 的「 糖 金 歲 月 」 —— 糖 蔥

Sweet!
Tangcong Candy and the
Golden Age of Sugar
文•郭美瑜　圖•莊坤儒　版面設計•蕭郢岑

66
 生命有兩種甜，一種是吃在嘴裡，一種是甜
在心裡。過年、婚慶時吃糖，我們以「呷甜甜」
的吉祥話祝福對方，正是因為糖的甜蜜滋味，象
徵幸福與美好。
19世紀中期前，糖是稀缺性的珍貴食物，現
在則是唾手可得物資。而台灣在17世紀就因生產
糖而初登世界史舞台，日治時期更位居台灣出口
貿易之首，並賺進大量外匯。現今，糖的來源
多元，但拉糖工藝、百年糖廠，刻畫台灣曾有的
「糖金歲月」。
人類天性喜歡甜味，英國女王伊莉莎白一世在
位期間，因愛吃糖及甜食，而被人們銘記。美國知
名的人類學家西敏司（Sidney W. Mintz）在《甜與
權力》一書就提及，人類對於甜味的認識，最早僅
來自於水果和蜂蜜，直到過去五、六百年間，熱帶
區域甘蔗製成的蔗糖才擴及世界各地，但當時的糖
還是貴族用以表徵身分與地位的奢侈品，直到19世
紀，科學家從溫帶作物的甜菜中找到煉糖技術，才
改變了全球糖業的面貌。
台灣在17世紀就有產糖紀錄；早期是漢籍移
民來台零星種植甘蔗，1624年荷蘭人來台開始有
記載，還提供資金並招攬漢人墾拓、種植甘蔗製
糖，鄭成功時期，台灣糖業漸具雛形，使得台灣
成為亞洲重要的蔗糖產地。依台糖公司資料顯
示，1652年就有糖外銷日本的紀錄，日治時期的
蔗糖，更位居台灣三大出口品之冠。
台灣的糖飲食
中研院台灣史研究所副研究員曾品滄說，日治
時期日本人在台灣發展現代製糖業，許多台灣的地
主仍持續經營糖廍，生產台灣人食用的粗砂糖，
當時砂糖未被限制交易，只要有錢就可以買賣。二
戰時期砂糖才真正成為配給品加以管制，此時雖為
配給品，但島內並不稀缺，甚至戰末糧食嚴重欠缺
時，殖民政府無法如數配給米糧，有部分配給品還
改為香蕉乾和砂糖，顯然當時的砂糖運不出島外，
在島內反而有數量過於充裕的困擾。
I n Taiwan people eat candy at the Lunar New Year
and at weddings, while in Taiwanese Hokkien
the phrase “eat sweet things” is an auspicious say-
ing used to wish others well. It is precisely because
candy has a sweet taste that it symbolizes felicity
and good fortune.
Human beings naturally love sweet things. Queen
Elizabeth I of England, for example, was renowned for
her sweet tooth. American anthropologist Sidney W.
Mintz notes in his book Sweetness and Power that the ear-
liest sweet things that humans knew of were fruit and
honey. It was only in the last 500–600 years that sugar
made from tropical sugarcane spread across the globe,
and at first it was a luxury item that the aristocracy used
to symbolize their status and position. Not until the 19th
century did scientists develop technologies for refining
sugar from sugar beet grown in temperate regions, revo-
lutionizing the global sugar industry.
Records of sugar production in Taiwan go back to
the 17th century. In the early days Han Chinese settlers
occasionally planted sugarcane, but written records only
began with the arrival in Taiwan of the Dutch East India
Company in 1624. The company invested capital and re-
cruited Han Chinese to clear land for sugarcane cultiva-
tion and to make sugar. In the era of Zheng Chenggong
(Koxinga), Taiwan’s sugar industry gradually took shape,
and the island became a major producer of cane sugar.
Records held by the Taiwan Sugar Corporation show
that as early as 1652, sugar was exported to Japan. Later,
during the era of Japanese colonial rule, cane sugar be-
came Taiwan’s leading export product.
Sugar in the Taiwanese diet
Tseng Pin-tsang, an associate research fellow in the
Institute of Taiwan History at the Academia Sinica, says
that under Japanese rule the Japanese developed a mod-
ern sugar industry in Taiwan, while many Taiwanese
landlords continued to operate their own sugar cane
mills, producing coarse-grained raw granulated sugar
for local consumption. At that time anyone with money
could buy and sell sugar. It was only during World War
II that sugar was rationed and trade was restricted. How-
ever, even then there was no scarcity of sugar in Taiwan.
67
 著有《砂糖之島》的國立陽明交通大學人文社會
學系教授黃紹恆認為，台灣產糖，對於飲食有重要
的影響，他細數古早味的糖蔥、龍鬚糖、麵茶，看
廟會常吃糖葫蘆、過年吃年糕、發糕，客庄還有碗
仔粄（黑糖碗粿）等，現代人更發展了手搖飲，珍
珠奶茶還揚名國際，南部的料理也會多加一匙糖，
顯見一年四季，糖在台灣日常飲食扮演重要角色。
黃紹恆說，1895年日治時期，砂糖已是國際商
品，很多國家以機械製糖，品質相去不遠，若要分
出高下，只能以生產成本而定。日治時期殖民政府
致力提高產糖技術，但當時台灣採佃農制，土地租
金導致生產成本高，結果也反映在糖價；國際糖業
則是群雄並起，加上戰後台灣社會由農轉工，糖產
業因而式微。不過，糖產業貫穿了台灣三、四百年
歷史，是其他產業所沒有的景象。
糖蔥頭、蔥段各有擁護者
場景來到宜蘭傳藝園區糖蔥文化館，拉糖師傅
卓創慶正在拉製古早味的糖蔥，這難得一見的技
藝，吸引許多遊客駐足圍觀。他俐落地將琥珀色的
糖膏圈在木棍上，利用身體的律動反覆地拉、扯，
糖膏打在木棍上發出「啪、啪、啪」的音符，不消
一分鐘，琥珀色的糖膏變成了延展性極高的白色長
條狀，因外形似蔥，故名「糖蔥」，珍珠亮白的色
澤則顯得十分貴氣。
此時，卓創慶迅速地將糖蔥纏繞在木棍上定
型，接著入內，與兒子卓韋同聯手，快速地將糖
蔥剪成小段並包裝，以免受潮；掛在木棍定型的
糖蔥頭，紮實有嚼勁，長條狀剪成段為蔥白，口
感酥脆，兩者各有擁護者。有上了年紀的顧客試
嚐這一味，還向店家說：「你們把我帶回到小時
候的記憶。」
糖蔥不僅是糖果，卓創慶還提供了古早時富
貴人家才有的吃法，將糖蔥包進潤餅皮、加香菜
68
In fact, towards the end of the war, when food was in
short supply and the colonial government could not pro-
vide adequate rice rations, part of the ration was instead
given as dried bananas and granulated sugar. This shows
that as it became increasingly difficult to transport sugar
off the island, there was actually a surplus of it.
Huang Shaw-herng, a professor in the Department
of Humanities and Social Sciences at National Yang
Ming Chiao Tung University, avers that Taiwan’s long
history of sugar production has had a major impact on
local diets. He mentions various sweetened foods eaten
here, including old-fashioned tangcong (“candy scal-
lion”), dragon’s beard candy (filled candies wrapped
in hand-pulled candy floss), seasoned millet mush, the
sugar-coated haws often eaten at temple festivals, and
the new year’s cakes and sponge cakes consumed at the
Lunar New Year, while in Hakka communities there is
rice pudding made with brown sugar. In modern times
people have developed sweet hand-shaken drinks and
boba (pearl milk tea) has become famous around the
world. Also, sugar is often added to dishes in Southern
Taiwanese cuisine. These examples illustrate how sugar
plays an important role in the daily diet of Taiwanese all
year round.
Huang says that in 1895, when Japanese rule began,
granulated sugar was already an international com-
modity. In many countries sugar production was mech-
anized, with competitiveness depending on production
costs. Under Japanese rule the colonial government tried
to upgrade sugar making technology, but at that time
agriculture in Taiwan was based on the tenant farmer
system, and land rent led to high production costs. The
international sugar trade was very competitive, and as
Taiwan transitioned from a primarily agricultural society
to an industrial society after World War II, its sugar in-
dustry fell into decline. Nevertheless, the sugar industry
continued in Taiwan for nearly four centuries, a history
unmatched by any other industry on the island.
 糖 蔥 製 作 流 程
Making tangcong

1.
卓創慶拉糖蔥前，先用大鍋將白糖煮成糖水，再用
小鍋，以慢火將糖水熬煮成糖漿。
Before making tangcong candy, Zhuo Chuangqing first
uses a large pot to heat a solution of sugar in water
to make a syrup, then uses a smaller pot to slowly
2.
糖漿隔水冷卻後變
成糖膏，就可以用
來拉製糖蔥。
simmer the syrup to make “liquid caramel.”
As the liquid caramel
cools it forms a
pliable dough-
like mass that can
be pulled to make

3.
tangcong.

琥珀色的糖膏經過拉扯，就產生延展性，色澤也漸轉為珍珠白。
The amber-colored candy dough is stretched to many times its original
length, and takes on the luster of pearls.

4.
5.
被反覆拉扯的糖膏，逐漸變成中空的長條狀。
As the hot candy is repeatedly stretched it gradually
takes on a hollow elongated shape.

拉製好的糖蔥，先掛在木棍定型。
Once the stretching process is complete, the tangcong is
6.
draped over a wooden rod and allowed to cool and set.
將糖蔥條切段，即可裝罐保存，冷藏可避免受潮，且口感更佳。
Tangcong is cut into sections which can then be packaged. Refrigeration
prevents the candy from absorbing moisture and improves the texture.

69
製成糖蔥捲，或加冰淇淋讓潤餅口感較濕潤。潤 糖蔥放進潤餅皮中，搭花生粉、芝麻粉、香菜，是古早味的
糖蔥捲吃法。
餅皮是自製的，卓韋同自信地說：「潤餅皮是阿 Tangcong can be wrapped in popiah with peanut powder, sesame
powder or coriander to make old-fashioned tangcong rolls.
公傳下來的，有黃金比例。」現代人的吃法則是
加入熱咖啡、熱茶，以替代砂糖，或滷豬腳時加
入，增添的肉的光澤。
原本做小本生意的卓創慶，曾開過麵店、服飾 爐火、蔗糖、水，糖蔥的製作材料看似簡
店，30年前因岳家無人願意承襲拉糖蔥的技藝，他 單，卻處處是功夫；使用的白糖先煮成糖水，
半推半就地跟著岳父學習，一年後獨當一面，接著 再以慢火熬煮，過程中必須不斷地攪動，直到
繞著全台跑廟會、夜市，因為純熟的拉糖技藝，17 水分蒸發變成糖漿，糖漿起鍋後再隔水冷卻，
年前獲宜蘭傳藝中心邀請，成為長駐的拉糖藝師。 並用手翻動至凝結成糖膏，才能拉製糖蔥。整
個煮糖的過程，必須掌握溫、濕度與火候，才
不致煮焦。
卓家自製潤餅皮，麵團是由麵粉、水和的，有「黃金比例」， 而煮糖的過程看似輕鬆，夏天卻悶熱難耐，
餅皮口感軟中帶Q，很有嚼勁。 糖膏的溫度更高達170度，翻動至可以手拉的程
The dough that the Zhuo family uses to make their own popiah
is made from wheat flour and water. One has to get the ratio of 度時也有70度的餘溫，熬煮過程中若有不慎，糖
water to flour just right—what Zhuo Weitong calls the “golden
ratio”—to give the popiah its proper soft and chewy texture. 漿、糖膏沾黏在手上難甩掉，皮膚就會被燙傷，
因此，這項純手工的行業，高溫就先嚇退不少有
心學習之人。目前全台的糖蔥師傅屈指可數，卓
創慶的兩個兒子因耳濡目染，現也接手這項古早
技藝，譜出傳承三代的佳話。
卓創慶曾使用進口的甜菜糖拉糖蔥，但不好
拉，他說，台產的白糖拉起來較有韌度，手感較
好，至於口味，則很難分辨，「因為都很甜。」
我們試吃一口糖蔥，甜的滋味在嘴裡化開，卓
創慶說，糖蔥就是要甜才好吃，有嗜糖的年輕人

70
 Making tangcong candy
There’s not much old-fashioned handmade candy around
anymore. In the Tangcong Culture Hall at the National
Center for Traditional Arts in Yilan County, master candy
maker Zhuo Chuangqing is making traditional tangcong
(“candy scallion”), attracting many visitors to gather round
and watch. He deftly wraps a mass of amber-colored candy
dough around a wooden peg and repeatedly stretches and
folds it with rhythmic movements. In less than a minute,
the amber dough is stretched out into a long skein of hollow
candy. It is named tangcong because its shape resembles a
scallion, and its pearly luster gives it a great deal of elegance.
Next, Zhuo loops the skein of tangcong over a wooden
rod to let it cool and set, and then works with his son Zhuo
Weitong to rapidly cut it into sections, which are quickly
packaged to avoid them absorbing moisture. The congtou
(“scallion bulb”)—the end that was hung on the wooden
peg as the candy was pulled—is firm and chewy, while
the segments of hollow congbai (“scallion white”) that have
been cut from the skein are brittle and crispy. Each type of
tangcong has its adherents. An elderly visitor tells the Zhuos:
“You’ve taken me back to my childhood!”
The way people consume tangcong nowadays is to add it
to hot coffee or tea in place of granulated sugar, or to add
it to braised pork knuckle to make the meat more glossy.
Thirty years ago Zhuo Chuangqing learned how to
make tangcong from his father-in-law, and a year later he
went into business for himself, making tangcong at temple
festivals and night markets. Thanks to his solid mastery of
the technique, he was invited 17 years ago by the National
Center for Traditional Arts to become their resident master
candy maker.
Although the ingredients of tangcong—sugar and
water—look simple enough, great skill is required to make
it. First white sugar must be mixed with water to make a
syrup, and simmered over a low flame until most of the
water evaporates and the clear syrup is transformed into
amber-colored “liquid caramel.” The caramel is then poured
into a wok floating in water to cool the liquid while turn-
ing it over by hand, until it congeals into a pliable dough-
like mass that is firm enough to be pulled into tangcong.
Throughout the heating process it is essential to carefully
control the temperature and moisture content of the syrup
as well as the heat of the flame, to avoid burning the sugar.
71
卓創慶的拉糖蔥技藝承襲自岳父，現在有兒子、兒媳接棒，一家人同心，傳遞古早的「糖金記憶」。
Zhuo Chuangqing learned to make tangcong from his father-in-law. Now his sons and daughters-in-law have
taken on the family business, keeping the tradition alive.

覺得「夠甜」，糖蔥捲吃了一捲又一捲。「糖蔥 本四大會社掌握，戰後由台糖公司接收。
真的喔，不甜不好吃，我講真的。」 製糖產業需求高密度的務農勞動力，也帶動
說起糖蔥的故事，曾品滄說，約在清末或日 地方的發展，雲林虎尾鎮更是先有虎尾糖廠，吸
治初期的古老歌譜《識丁歌》就記載了糖蔥這項 引勞動人口聚集，後有虎尾鎮的發展，而得「糖
食物。卓創慶則告訴我們從老一輩那裡聽來的版 都」之名。台灣糖業在1950年至1965年是最叱咤
本：台灣於戰後最多人投入製作，當時日本人撤 風雲的年代，此後因受國際糖價大幅波動，加上
離台灣，堆放在農會倉庫的糖無人看管，遇雨潮 國內社會經濟結構轉為「以農業扶植工業」，製
濕流出糖膏，老一輩的人就拿回去熬煮，「拉拉 糖產業逐漸式微。
拉就變成這樣了。」 日治時期的43座新式製糖廠，現僅雲林虎尾
糖廠及台南善化糖廠仍運作製糖，每年12月至翌
糖廠，帶動「糖都」發展
年3月開工製糖，糖味飄香，兩糖廠年產約五萬
台灣的甘蔗主要種植在中南部，製糖廠結合 公噸供內銷，而國人砂糖年消費逾61萬噸，基於
了田地種蔗與製糖工廠的性質，文化部文資局調 生產成本，台糖在高雄小港設立一座現代化的精
查，滿清政府領台以後，台灣各地蔗農成立的糖 煉糖廠，以進口原糖（raw sugar）煉製成特砂白
廍林立，日人治台後發展台灣糖業現代化工作， 糖，供應國內之所需，其餘為民間進口糖。
改良舊式糖廍、成立新式製糖廠，引進資本成立 停產的廠區也逐步轉型為多角化經營，分別發
製糖株式會社，至日治末期，全台共有43座新式 展養豬、蝴蝶蘭、旅館、觀光休閒、生物科技等
製糖廠，資本由包括明治製糖株式會社在內的日 產業。

72
 甘蔗製 糖流程
Making sugar from cane
In summer the cooking process gets intensely hot, for the
syrup has to be heated to 170°C, and even after the candy dough
has been turned by hand and is ready to be pulled into tangcong, it
still has a residual temperature of 70°C. Tangcong makers are thus
1.
at high risk of skin burns, and the oppressively hot working en­
vironment has scared off many folks who had thought of learning
this craft. The number of tangcong masters in Taiwan today can be
counted on the fingers of two hands. But Zhuo Chuangqing’s two
sons have both learned this skill from their father, making them
五分車從蔗園將切斷的甘蔗運回糖廠。
the third generation in the family to have mastered it. Narrow-gauge trains have long carried
In the past Zhuo has tried making tangcong from imported sugarcane from the fields to sugar refineries.

beet sugar, but he found that it was not easy to handle. He says
that candy dough made from the white cane sugar produced in
Taiwan is more pliable and strong, and handles well. As for the
taste, “It’s hard to tell them apart—they’re both very sweet.”
We try some of the tangcong, and the sweet flavor explodes
2.
in our mouths. Zhuo says that tangcong has to be sweet to taste
good. The sweetness has to be at a level such that young people
who have developed a taste for candy find it “sweet enough”
and will eat one tangcong roll after another. Tangcong rolls are
甘蔗經輸送帶送進廠，將壓榨成甘蔗汁。
made by wrapping the candy in popiah skins (thin pancakes). After arriving at the refinery, the sugarcane is
Refinery creates Sugar City pressed to squeeze out the juice.

3.
In Taiwan, the sugarcane varieties used for making sugar
have mainly been grown in the center and south of the island.
According to research by the Bureau of Cultural Heritage of
the Ministry of Culture, during the Qing Dynasty there were a
great many sugarcane mills in Taiwan. The Japanese developed
a modern sugar industry, upgrading the old cane mills and
setting up modern sugar refineries by attracting investment
to establish sugar manufacturing corporations. By the end of
Japanese rule, there were 43 modern refineries across Taiwan,
甘蔗汁經沉澱及蒸發，會濃縮成糖漿。
owned by four major corporations including the Meiji Sugar The cane juice is clarified by precipitation and
Manufacturing Company. After World War II these operations then concentrated into a syrup by evaporation.

4.
were taken over by the Taiwan Sugar Corporation (Taisugar).
The sugar industry required an enormous amount of farm
labor and drove local development. The town of Huwei in
Yunlin County grew up from nothing after a sugar refinery
was set up there, and came to be known as “Sugar City.” Tai­
wan’s sugar industry was at its most robust from 1950 through
1965, but thereafter international sugar prices became highly
volatile, and the island’s economy was transitioning to “using
agriculture to support industry.” The sugar industry steadily
diversified, with the vast areas of land occupied by refineries 糖漿析出結晶粒，還須經過分蜜機，解析結
晶糖粒與糖蜜，才能製成砂糖。
and their attached sugarcane fields being used to develop Sugar crystals are precipitated out of the syrup
other economic activities such as pig farming, moth orchid cul­ (called “massecuite”), which is passed through
a centrifuge to separate the crystals from the
tivation, hotels, tourism, and biotechnology. molasses, producing granulated sugar.

73
 台糖說，現今產的蔗糖採用在地（自 的糖鐵國家綠道。短期規劃了彰化段及
營農場及契作）的甘蔗，製成 台南段；彰化段串連溪洲糖廠至溪湖
色澤金黃的本土二砂，散發 糖廠；台南段串連岸內糖廠連線
濃郁蔗香，口感與風味 新營、烏樹林糖廠，現正進行
有別於進口糖。目前台 自行車道優化工程。
糖種植的甘蔗及生產的 百年糖廠則具文資與觀光
糖品皆取得農委會農產 價值，橋頭糖廠是全台第一座
品產銷履歷標章，消費者 新式製糖場，廠區綠蔭扶疏，還
可以查詢生產、加工、分 有全台唯一的糖業博物館；蒜頭
裝等製程資料，享用本土 糖廠建於西元1906年，日治時期
蔗糖製的甜蜜滋味。 曾是全台第三大廠，廠內有古樸
的木造建築，廠內的五分車延駛
糖金歲月
至高鐵嘉義站，預計2023年再延
目前仍保留運蔗五分車 駛至故宮南院，提供民眾快與慢
的台糖廠區，有雲林虎尾 的軌道體驗，值得一睹其經歷的
糖廠、彰化溪湖糖廠、嘉 「糖代盛世」。而許多糖廠也開
義蒜頭糖廠、台南新營糖 發並販售知名的古早味台糖枝仔
廠、柳營區的烏樹林糖廠 冰，值得一嚐。
及高雄橋頭糖廠等六座， 台灣因產糖而初登世界史舞
除了虎尾糖廠仍做為運送 台，賺取的外匯曾經撐起台灣
甘蔗之用，其餘已轉為觀 經濟的半邊天，並扶植國內工
光休憩用途。 業升級與產業發展。如今，糖
為了記錄台灣糖業發 已是隨手可得的日常消費品，
展史，國家發展委員會在 但古早味的糖蔥、百年糖廠、
既有的糖鐵網絡路廊，結 飄散的糖香、慢版的五分車，
合自行車與運蔗糖的五分 皆令後人回味百年前蔗糖所創
車，擘劃適合旅遊與體驗 造的「台灣糖金歲月」。 l

日治時期共有43座新式糖廠，至今僅
剩虎尾糖廠及善化糖產仍在運作製糖。
At the end of the era of Japanese rule
there were 43 modern sugar refineries in
Taiwan, but of these only those at Huwei
and Shanhua still produce sugar today.

74
 運蔗五分車現已轉型為觀光用途。
The narrow-gauge trains that once transported sugarcane are now tourist attractions.
Of the 43 modern sugar refineries that existed at the end
of Japanese rule, today only those at Huwei in Yunlin and
Shanhua in Tainan are still making sugar. The others closed
down mainly due to high labor costs. The two refineries pro-
duce sugar from December through March each year, making
around 50,000 metric tons for the domestic market. Taiwan
consumes some 610,000 metric tons of granulated sugar per
year. To reduce production costs, in the 1990s Taisugar built a
new refinery at Xiaogang in Kaohsiung, which uses imported
raw sugar to make white granulated sugar for domestic con-
sumption. Sugar is also imported by private enterprises.
Taisugar states that at present its domestically produced
cane sugar is made from local sugarcane grown in its own
fields and under contract. The finished granulated sugar is
golden yellow in color and has a rich fragrance of sugarcane,
and a different texture and flavor from imported sugar. In
2012 Taisugar joined the Traceable Agricultural Products
program of the Council of Agriculture, which enables end
users to access information about the producers, processors,
and packagers of sugar sold to the public, so that consumers
can be sure of buying authentic local cane sugar.
The golden age of sugar
The two-foot-six-inch-guage trains that were once used
to transport sugarcane to refineries are still in operation at
six current and former refinery sites: Huwei in Yunlin, Xihu
in Changhua, Suantou in Chiayi, Xinying and Wushulin in
Tainan, and Qiaotou in Kaohsiung. Huwei is still a working
refinery and the trains haul cane there to be processed. At
the other sites, the trains today serve as tourist attractions.
To document the history of Taiwan’s sugar industry,
the National Development Council has adopted a plan
to create a “Sugar Industry Railway Trail” as part of the
“National Greenway” system. The trail will link together
former sugar refinery sites with walking and cycling
trails along the routes of some of the narrow-gauge sugar
railways. Thus far construction has begun on sections of
the trail in Changhua County and Tainan City.
The old sugar refineries are valuable both as heri-
tage sites and as tourism resources. Built a century ago,
Qiaotou was the first modern sugar refinery in all Tai-
wan, and it now houses Taiwan’s only sugar industry
museum, the Exhibition Hall of Sugar Industry History.
Many of the old refineries still sell their own delectable
variations on Taisugar’s well-known retro popsicles.
The tracks of the sugar railway at the Suantou Refin-
ery have been restored to allow the trains to run as far as
the Chiayi high-speed rail station, and in 2023 they are
expected to be extended into the campus of the Southern
Branch of the National Palace Museum.
It was thanks to sugar production that Taiwan first
made its appearance on the world stage, and the foreign
currency that sugar earned was a mainstay of the is-
land’s economy, and supported the upgrading and devel-
opment of domestic industry. Today sugar is a common
consumer product. However, old-fashioned tangcong, old
sugar refineries, the sweet fragrance of sugar refining,
and the slow-moving narrow-gauge trains all still serve
to remind us of the golden age of Taiwanese sugar that
was built a century ago on sugarcane. l
(Mei Kuo/photos by Kent Chuang/tr. by Phil Newell)
75
島嶼行旅　AROUND TAIWAN

歷久彌新的美濃客庄
鄉情濃醇，人情堅毅
Meinong:
An Old Hakka Town Renewed
文•蘇俐穎　圖•林旻萱　版面設計•蕭郢岑

1980年《光華》曾報導台灣地方刊物的先驅——《今日美濃》週刊。其創辦人黃森松，是美濃第一
批「返鄉青年」，也因為他的促成，林懷民後來率領雲門舞集到美濃「下鄉」演出，轟動一時。
說來，美濃小鎮始終是個不乏話題的地方。早在1970年代，美食家唐魯孫、當時任行政院長的蔣經
國屢次南下，聞香下馬，擦亮了美濃粄條、豬腳等在地小吃的招牌。
1980年李行導演的電影《原鄉人》，讓昔時居住在美濃的客家小說家鍾理和一舉成名。
以及1983年紅極一時的連續劇《星星知我心》，因著故事背景之一在「廣進勝油紙傘」拍攝，播出
後，美濃油紙傘的名號不脛而走，甚至遠傳海外。
即便在近年，還有源起於美濃的水蓮產業，以及來自這裡的客語樂團「生祥樂隊」，同樣聲名遠播。
究竟為什麼，美濃有這麼多迷人的故事？

76
 冬季造訪美濃，溫暖的南台灣氣候宜人，恰是日正中
午的用餐時段，我們隨著人潮，踏入了當地尋常可見的
I n 1980 Taiwan Panorama reported on
the pioneering local magazine Today’s
Meinung . Its founde r Huang Se n- sung
粄條小吃店。
numbered among the first wave of young
餐桌上的掌故 returnees to Meinong in Kaohsiung from the
big cities. At Huang’s urging, Lin Hwai-min
這一趟的引路人，是美濃的文史工作者邱國源。作為 led his renowned Cloud Gate Theater dance
美濃第一代「返鄉青年」的他，如今年過七旬，因積極 company “to go down country” and perform
參與故鄉事務，讓他擁有各種斜槓身分，除了曾任旗美 in Meinong. It was a big deal at the time.
商工的教師，也是環境議題的倡議者，更是腳踏實地的 Meinong has long been a place that gar-
ners attention. In the 1960s, the author and
文史工作者。
gourmand Tang Lu-sun and then-premier
邱國源臆想當年往事，自大學畢業後，不適應外地生
Chiang Ching-kuo visited Meinong repeat-
活的他，加上家人的殷殷期盼，才決定返鄉。年輕時的
edly to enjoy its food scene. They brought
他，為了融入在地生活，餘暇時便盡可能地與在地耆老 attention to local delicacies such as pig’s
相處，學習故鄉事之餘，也累積下了超過40年的大量田 knuckle and Meinong rice noodles.
野資料。 More recently, Meinong became the first
因家族中頗多人從事餐飲行業，好口福的他自言「食 place to cultivate white water snowflake,
歷」豐富，即便是一頓便飯，信手拈來都是故事。好比 and the town is the home base of the Hakka-
language music group Sheng-Xiang & Band.
這一餐，乾粄條、豬頭皮、花生豆腐、牙齦肉湯，均是
How come Meinong has so much going on,
在地人日常的吃食，邱國源一一為我們說菜。
and so many captivating stories to tell?

With its warm weather, Kaohsiung’s Mei-

nong District is well suited to visits during
winter. Right at noon, we join the crowds go-
ing to its many local rice noodle shops.
Chiu Kuo-yuan, a cultural historian from
Meinong, is leading the way. A member of the
first generation of returnees from the big cities,
he is now in his seventies and has worn many
hats in Meinong over the years. Apart from
teaching at Chi Mei Vocational High School,
he has also thrown himself into environmental
activism and the study of local cultural history.

客家飲食多粄食，圖為最經典的粄條，閩南人稱
「粿仔」，當地人稱「面帕粄」，有湯有乾。
Hakka cuisine includes many foods made from rice flour.
Pictured here are classic bantiao rice noodles, which
may be served dry or in soup. They are known in Hakka
as mienpabàn and in Taiwanese Hokkien as kué-á.

77
 牙齦肉湯
Pig’s gum soup

然小，但皮薄、口感甜脆，不僅可供生食，更
是醃漬的上選。
在邱國源的安排下，我們一行人前往「水圳
粄條」，拜訪店家的負責人鍾仁振，他的另一
個身分，是客家醃蘿蔔的研究者與推廣者。
老屋旁的空地上，正擺滿了曝曬中的蘿
蔔，醃漬工序尚未完成，皺縮的褐色蘿蔔已經
散發出誘人的香氣。但鍾仁振堅定地表示，這樣
的半成品，尚不能與他的老祖母醃漬的「臭風蘿
蔔」相提並論：「那種甘甜，一口就可以配一碗
稀飯。」
醃蘿蔔固然非客家人才有的獨門技術，閩南飲
食中亦頗常見，但百姓人家自製的醃蘿蔔，強調
他要我們在粄條
天然無人工添加物，美濃當地，更講究採用當地
裡頭加上桌上擺放的白兔牌烏醋與金松辣椒醬，
盛產的白玉蘿蔔。
這兩款在地人愛用的調料，「加入後滋味絕對不
鍾仁振嘗試從家傳古法中改良，收穫後的蘿
同。」邱國源信誓旦旦地表示。
蔔，刻意留下頂部的蘿蔔苗與尾端的根鬚，先以
一碟豬頭皮，不是閩南麵攤常見的「黑白
一斤蘿蔔二兩鹽的比例輕抓；再把蘿蔔放入桶
切」，僅以汆燙後淋上酸鹹調和的蒜油醋醬，他
子，以重石壓上一個禮拜；取出後，再日曬約半
表示：「客家人過去都要做工，日常很少端出費
個月；在蘿蔔仍保持柔軟，但結出細細鹽霜的時
工的滷味，都是水煮。」
候，收藏封存。然而，此時完成的醃蘿蔔仍不算
另一道牙齦肉湯，同樣是牙齦肉分開汆燙，再
擱入大骨湯享用，這是熟門熟路的饕客才懂得點的
私房菜，數量有限，晚到只能向隅。邱國源解釋，
這道湯品，是昔日美濃的老廚官（在婚喪喜慶場合
主事烹飪，並諳曉禮儀規矩的人）在宴會上，運用
剩餘食材煮來犒賞自己與其他廚工的菜餚。
最後一道花生豆腐，雖說是「豆腐」，
但沒有黃豆成分，其本質更近客家常見的
「粄食」，閩南人所謂的「粿」。這道
菜起源於日治大正年間，當地齋堂在打
醮期間製作的齋菜，以花生連同米漿研
磨炊製，吃起來帶有恬淡的花生香。

順時封存的客家老蘿蔔

冬日的蔬菜生長緩慢，風味卻最是甘
甜。走在小鎮上，隨處可見民家把握陽
光，曝曬封存當令的美味。此時也是美
濃著名的白玉蘿蔔產季。此一品種，據聞
是近百年前由日本人所帶來，蘿蔔個頭雖

花生豆腐 Peanut tofu

78
以客家醃漬文化自豪的鍾仁振。
Chung Jen-chen is proud of the Hakka people’s pickling culture.
Hakka radishes, properly pickled
In winter vegetables grow slowly, but they are at their
sweetest. Walking through the streets of this old town,
you see the residents drying vegetables in the sun.
It is the ‘White Jade’ radish harvesting season. This
variety of miniature daikon radishes was first brought
here nearly 100 years ago by the Japanese. Although the
radishes are small, they are sweet and crunchy and re-
quire no peeling. They can be consumed raw and are a
top choice for pickling.
Our group marches off to Shuizun Rice Noodles,
where we call on its proprietor, Chung Jen-chen, a re-
searcher and promoter of Hakka pickled radishes.
Spaces around the old house are filled with radishes
drying under the sun. The pickling process is not yet
complete, but the brown, wrinkled, shrunken radishes
are already giving off an enticing aroma. However,
Chung insists that this semi-finished product does not
compare with the “stinky fermented radish” that his
grandmother used to make. “With its sweetness, a single
spoonful was enough for a whole bowl of rice porridge.”
Through trial and error, Chung has improved upon
the methods passed down in his family. After harvest-
ing, he doesn’t cut off the tops and the whiskery hairs at
the tip, but rather takes the whole radishes and gently
rubs them with salt, using 125 grams of salt for each
kilogram of radish. He then places the radishes in buck-
ets pressed down with stones for a week. Next, he takes
the radishes out of the buckets and sets them out in the
sun for half a month. When the radishes are still soft
79
白玉蘿蔔經過時間淬鍊，成為珍貴的黑金。
Given time to mature, pickled ‘White Jade’ radishes will turn into “black gold.”

鹽，是客家人的血液
經典的「老蘿蔔」，「必須陳放超過三年，才能
稱作老蘿蔔。」鍾仁振強調。 客家菜向來以重鹹、下飯聞名，對於大眾來
蘿蔔營養豐富，有著地下人蔘的美名，客家人 說，渾厚鹹香的食物不無魅力，但邱國源指出，
視滋味溫厚的老蘿蔔為養生聖品，拿來燉排骨、 這樣的飲食特性，與客家族群的生存史，是一體
雞湯，風味一流；曬好的蘿蔔纓（蘿蔔頂端的葉 兩面的表現。
子，美濃人也稱「蘿蔔苗」）可用來料理，拿來 美濃舊稱「瀰濃」，自1736年清乾隆年間開
泡茶，是治療咳嗽、喉嚨痛的民間偏方。鍾仁振 庄，至今已近300年歷史。據豎立在「開基伯
說，美濃鎮上，甚至有封藏超過20年以上的老蘿 公」旁的「瀰濃庄開基碑文」所述，先民「將斧
蔔。 闢遐荒，剷除蔓莖，承先德澤，就殘山剩水為
邱國源則強調，近年坊間受到台式泡菜、日 宗」；描寫著客家人來台的〈渡台悲歌〉也說：
本淺漬文化的影響，流行以醋、糖醃漬的淺漬蘿 「台灣蕃薯食一月，多過唐山食一年，頭餐食了
蔔，但昔時農業社會糖、醋取得並不容易，加上 不肯捨，又想留來第二餐。火油炒菜喊享福，想
帶有甜味、爽口的淺漬蘿蔔，口感似零嘴，一次 食鹹魚等過年，總有臭餿脯鹹菜，每日三餐兩大
可吃掉一大碟，消耗速度尤快。淺漬蘿蔔固然討 盤。」昔時常民生活之艱困，可想而知。
喜，但他強調，唯有老蘿蔔，才能充分體現客家 「重鹹」以外，客家菜也以豐富的醃漬文化著
飲食的傳統精神。 稱，這樣的飲食特徵，是命運顛沛、戎馬倥傯的

80
but are covered in a fine frosting of salt, he places them
in sealed jars. At this point, the radishes are not yet
“aged radishes,” he explains. “To become aged radishes,
they’ve got to sit in storage for at least three years.”
The rich nutritional content of daikon radishes has
earned them the nick name “poor man’s ginseng.”
Hakkas consider tasty “aged radishes” as an unrivaled
preventive medicine. Pork chops and chicken soups
made with them taste great. Sun-dried radish tops can
also be used to make teas and can be found in herbalist
prescriptions to treat coughs and sore throats.
Salt runs in Hakka blood
Hakka cuisine has always tended to be salty and rice
centric. For most people, its rich, salty and aromatic
foods hit the spot. Chiu emphasizes that these special
qualities are connected to the Hakka people’s history
of struggling to make ends meet.
Meinong was first settled by the Hakka in 1736,
during Emperor Qianlong’s reign in the Qing Dynasty.
A tablet beside the town’s first Earth God temple com-
memorates the settlement’s founding: “The ancestors
cleared the land, hacked away the vines, and passed
美濃第一代返鄉青年
邱國源，年過七旬的
他，投入文史工作已
超過40年。
Chiu Kuo-yuan, the first
of the “educated youth”
to return to Meinong after
working in the big city, is
now in his seventies. He
has been active as a local
historian for 40 years.
down their virtues, settling on land that others had
passed over.” The hardships of the early settlers are
clear to see.
Apart from its characteristic saltiness, Hakka cui-
sine also has a rich tradition of pickles. For the Hakka,
with their history of turmoil and migrations, pickling
is an important component of their gastronomic DNA.
For fear of going short, older generations of Hakkas of-
ten went to great lengths to preserve surplus food. And
going heavy on salt slows down consumption.
“Salt is like the lifeblood of the Hakka,” Chiu ex-
plains. He lists some of the pickles he has seen in Mei-
nong homes: black beans, radish, cabbage, pineapple,
bamboo shoots, winter melon, taro, Indian cherry,
ginger…. For older generations of Hakka, these pickles
provided a sense of food security.
All the rage: White water snowflake
Even in the face of challenging material circum-
stances, Hakkas possess the virtue of tenacity. When
they came to Meinong, which sits next to water at the
foot of the mountains, it spurred them to make the
most of their environment to survive. They discovered
81
野蓮爺爺鍾華振，站在當年最早開始種植野蓮的田邊。
Chung Hua-chen, the “water snowflake granddaddy,” stands by
the wet field where he first cultivated the previously wild plant.

（右圖）野蓮紅遍全台，衍伸出涼拌、油炸各種吃法，但在
美濃當地，人們最常用客家豆醬拌炒，風味樸實又直接。
(right) White water snowflake has become popular throughout
Taiwan, used in salads and all manner of stir-fried dishes. In
Meinong it is most commonly used in Hakka bean paste stir fries.
It makes for simple, unpretentious food.

客家人，在食物裡編寫的基因密碼。因為惟恐三 俗輕快，唱出了野蓮從美濃供貨到全台的景象：
餐不繼，老一輩的客家人往往費盡千方百計，把 「野蓮出庄╱野蓮出庄╱從粄條店紅到海產攤╱
多餘的食物保存下來，也藉重鹹的調味，撙節食 炒嫩薑╱脆又爽……」
物的消耗速度。 原生於美濃湖（舊名中正湖）中的「野蓮」，
「鹽，是客家人的血液。」邱國源如此說。 本名為「龍骨瓣莕菜」，台灣坊間慣稱「水
他細數著走訪過的民家所見過的漬菜：豆豉、蘿 蓮」。口感爽脆，滋味清新的野蓮，不僅是台灣
蔔、高麗菜、鳳梨、竹筍、冬瓜、芋荷、破布子 各地老街餐廳、山產店裡頭的必備食材，就連全
（對面烏）、薑……。鍾仁振毫不誇飾地補充， 聯、Costco等超市通路，常有上架販售，顯然已
有些儉省到極致的長輩，「連一粒豆豉，都要切 深入民間家常餐桌。讓人難以想像，對昔日的美
一半來食用。」對於老一輩的美濃人來說，這些 濃人來說，野蓮是貧苦人家才吃的野味。
醃漬蔬菜，是生存的保障，也是安全感的象徵。 第一位開始種植野蓮的農民，是「野蓮爺爺」
鍾華振，經歷過早年生活的艱辛，年過八旬的
紅遍全台的野蓮
他，是至今碩果僅存，能把客家山歌的蒼涼演繹
即便外在生活條件不佳，但幸好客家人生命力堅 得淋漓盡致的民間好手。他歷歷如繪地講起，兒時
韌，來到依山傍水的美濃，更秉持昔時靠山吃山的 為了幫家裡餐桌「加菜」，年幼的他，在脖子下綁
本能，發掘了不少賴以活命的在地野味，好比福菜 著竹筒，藉著竹筒的浮力，強行冒險潛水到湖中深
（學菜）、尖瓣花，以及如今早已紅遍全台的野蓮。 處拔野蓮，當時的野蓮不似今日以人工種植，規格
生祥樂隊推出過一張以客家食物為主題的專 不過一公尺長，野生的野蓮依照水深，可長到長達
輯《野蓮出庄》，主打歌〈野蓮出庄〉，曲調俚 8∼10公尺，直徑甚至可與免洗竹筷同粗。

82
how to use many wild plants here in their cooking, in-
cluding heartshape false pickerelweed (Monochoria vagi-
nalis), wedgewort (Sphenoclea zeylanica), and white water
snowflake (Nymphoides hydrophylla), which has recently
become popular throughout Taiwan.
Native to Meinong Lake, white water snowflake has
a crispy mouthfeel and a fresh, clean taste. Not only is
it a staple of “mountain produce” stores and restaurants
offering Taiwanese cuisine in old streets throughout Tai-
wan, it can often be found in major supermarkets such as
PX Mart and Costco—a demonstration of just how much
it has become a standard part of home cooking in Taiwan.
It may be hard to imagine these days, but Meinong people
used to regard the wild plant as poor people’s food.
美濃人不僅視油紙傘為民生用品，更融入傳統禮俗文化，成為當地重要的工藝代表。
Oilpaper umbrellas have come to be the handicraft most representative of Meinong’s traditional culture.
The first person to farm the plant was Chung Hua-chen,
the “water snowflake granddaddy.” Now in his eighties,
the hardships of his former life sound like the stuff of for-
lorn Hakka folk songs. He vividly recalls picking wild wa-
ter snowflake in his youth to supplement his family’s diet.
He’d swim out to the deeper areas of the lake with a length
of bamboo tied around his neck to help keep him afloat,
and dive to cut the plant. Unlike the stringy cultivated wa-
ter snowflake sold today, which doesn’t grow more than
a meter long, those wild plants could grow to eight or
ten meters and were as thick as chopsticks.
Yet when pig farming runoff polluted Meinong Lake,
the water snowflake there disappeared. It wasn’t until
an adult Chung stumbled across a few shoots on the
83
 然而，美濃湖水一度受到養豬廢水汙染，野 拉到在水面上翻甩，整理成束，上岸再次清
蓮消聲匿跡，長大後的鍾華振，意外在湖邊看到 洗，挑去葉子、爛莖，才能包裝出貨。鍾華振
野蓮的幼苗，才帶到自己的田裡信手播下，「誰 說，野蓮易種，但採收費工，至今仍難以用機
知道這個野蓮，就很賤咩！」鍾華振說。「野 器代勞。
蓮」就此變成了「水蓮」，開枝散葉，因為爽脆
扎根原鄉的硬頸堅持
鮮美，不僅流行在當地，居然不少外地人慕名前
來，指定食用，如此一傳十、十傳百，居然發展 美濃的文化符碼，隨著時代演進不斷遞變。從
成菸葉以後，美濃最重要的物產。 建於清代的東門樓、敬字亭等古蹟景點；到後來，
野蓮生產無分季節，一年四季皆能有出產， 客家粄條、美濃油紙傘等客庄形象；晚近則有文學
如今的美濃，每到清晨，便可見身著青蛙裝的 家鍾理和、鍾鐵民、生祥樂隊等藝文代表。
農民，有效率地組織成採收、清洗、包裝的行 可見得美濃小鎮，不僅文化魅力獨具，更有
伍。瀲灩金光的水塘裡，農民俯身水中，從水 著蓬勃的生命力。有人說，是因著地理交通的封
中拔出整株野蓮，他們身手俐落地將整束野蓮 閉，茶頂山、月光山的屏障，以及荖濃溪的阻

日治時代建立的獅子頭水圳，除了灌溉農田，也是孩童
夏日的戲水池。
The Shizitou Irrigation System, built during the Japanese
era, both nourishes the area’s crops and offers children a
place to splash and play during the summer.

84
位於美濃山麓的鍾理和紀念館，
展示了鍾理和生前的文物、日記
與手稿。
Located in Meinong’s foothills, the
memorial hall to Chung Li-ho displays
diaries, manuscripts and other objects
that once belonged to the author.
banks of the lake that he casually transplanted them to
his own fields. “Who knew that the plant would turn
out to be so easy to grow!” The rest is history. Because
the plant is so delicious, its popularity quickly spread
beyond Meinong, and many people began to travel to
the area just to consume it. Its planting area snowballed,
and it soon overtook tobacco as the biggest local crop.
Hometown perseverance
With changing times, the image of Meinong has
constantly been evolving—from Qing-Dynasty archi-
tecture such as the East Gate Tower and the Jingziting
(a pagoda-like incinerator for respectfully disposing
of paper bearing written or printed words), to tradi-
tional Hakka rice noodles and oilpaper umbrellas, to
modern-day cultural ambassadors such as the authors
Chung Li-ho and Chung Tie-min and the musicians
Sheng-Xiang & Band.
Meinong is uniquely charming. People say that be-
cause Meinong is geographically cut off by the Laonong
River and mountains (Mt. Chading and Mt. Yueguang), its
traditional Hakka culture has been
better preserved than in Hakka
communities elsewhere. Yet, de-
spite giving the impression of
being a conservative Hakka com-
munity, for more than a decade
the town has been in the news
東門樓是美濃小鎮最知名的地標。
The East Gate Tower is Meinong’s
best-known landmark.
85
 不同世代的美濃返鄉青年，左起：溫仲良、邱國源、黃森松。
Different generations of Meinong returnees: (from left) Wen Chung-
liang, Chiu Kuo-yuan and Huang Sen-sung.

隔，讓這裡的文化留存得格外完整。然而，在這 在氣氛熱絡的席間，才稍加理解了，正如同鍾
保守的客庄，居然也是台灣原鄉意識、環境保護 理和發自肺腑的吶喊：「原鄉人的血，必須流返
運動、社區營造的先驅場域。 原鄉，才會停止沸騰！」正是這一份願意扎根故
因此，與其說是環境封閉使然，不如說是客家 鄉的渴望，以及對於家鄉的認同，持續催動著不
精神在當代的延續與另一重實踐吧。從過往，不 同世代的美濃人，寧願捨棄繁華的都會生活，返
管外在生活如何捉襟見肘，人們勤懇拚搏、奮力 鄉腳踏實地耕耘。
求存，到現代，則轉化對故鄉的強烈認同，以及 如邱國源，長年踏訪民間的考據，讓他對美濃
對理念不輕言放棄的硬頸堅持。 語言、音樂、政治、禮俗了解之深厚，被當地人
此行臨別之際，我們在伯公溝福德祠，當地人 尊稱為智庫的他，完成了《美濃客家語寶典》、
俗稱的「伯公廟」旁野宴。由邱國源作東，與會 《尋找阿嬤的味緒》等著作。也如黃森松，自
的，包括《今日美濃》創辦人黃森松、美濃農村 1974年創辦《今日美濃》，至今仍堅守崗位，以
田野學會理事長溫仲良等在地鄉親。 驚人的毅力持續發刊；歷史系畢業的他，堅持寫
儘管輩份有別，但都是有意識從外地返鄉的 史務必「真正走到田中下田」，他親自走訪千戶
他們，聚在一塊談起美濃事，喧騰熱鬧，各抒己 民家，完成鉅著《看見，美濃三百年》。
見。石桌上的，並非樣板的餐館菜，而是委託家 是這些人，讓美濃小鎮的底蘊持續累積，並保
廚整治的當地經典菜餚，如美濃雜菜、蘿蔔纓蒸 持歷久彌新的活力，如同客家老媽媽珍藏的老蘿
肉餅、瓠瓜粄等。 蔔，經過時間的風霜，仍能散發出鮮活的甘韻。l

86
as a pioneer in terms of local activism, environmental
conservation, and community building.
Thus it seems that the area’s character is not so much
the result of geographic isolation as another expression
of the Hakka spirit. No matter how resource strapped,
its people have striven their hardest to make ends meet.
The current era has brought a transformation, wherein
people strongly identify with their hometown and hold
a strong desire to hold on to their values.
Before we leave, we enjoy a picnic by Meinong’s
Bogonggou Earth God temple. Hosted by Chiu Kuo-
yuan, those in attendance include local luminaries such
as Huang Sen-sung, founder of Today’s Meinung, and
Wen Chung-liang, chair of the local association Rural
Meinung Field Learning. Despite generational differ-
ences, these natives all made a conscious decision to
依山傍水的美濃，孕育出許多精彩故事。
Nestled between mountains and water, Meinong has so many outstanding stories to tell.
return to their hometown. As they discuss issues related
to Meinong, their enthusiasm for the town is clear to see.
At the picnic, we begin to understand the meaning
of Chung Li-ho’s heartfelt cry: “The blood of the natives
must return home if it is to stop boiling!” Identification
with their hometown is continuing to push successive
generations of Meinong natives to forsake urban pros-
perity and return home to plant their feet firmly in the
local soil.
These activist returnees have brought even more
allure to the town. As with the “aged radishes” that the
Hakka grandmothers hereabout cherish however salty
a frosting they may acquire, these Meinongers offer
fresh and sweet charms of their own. l
(Lynn Su/photos by Lin Min-hsuan/
tr. by Jonathan Barnard)
87
藝文脈絡　CULTURAL TRENDS

抓住永恆的氣韻
台灣雕塑拓荒者蒲添生
Molding the Spirit of His Times:
蒲添生觀察敏銳，創作時總
Sculptor Pu Tian-sheng
能抓住人的神韻。
（蒲添生雕塑紀念館提供）
The keenly observant Pu 文•謝宜婷　圖•林旻萱　版面設計•蕭郢岑
Tian-sheng was adept at
capturing the personalities of
his subjects. (courtesy of PTS
Sculpture Memorial Museum)

88
 「我把我的一生奉獻給雕塑，雕塑也給了我
生命。」──蒲添生
蒲添生60多年的創作生涯，經歷傳統、近
代、現代的演變，他的作品不僅有古希臘雕塑
的 精 神 ， 如 : 「 三 美 神 」 ── 《 陽 光 》 、 《 懷
念》、《亭亭玉立》，為政商名流製作的胸像，
則充滿寫實精神，寫下台灣近代史的重要一頁。
家裡經營裱畫店的蒲添生，幼時經常主動臨
摹名畫，與當時的畫家林玉山亦為好友。年輕的
他，按捺不住心中精進創作的熱情，瞞著父母
親，搭船到了日本。蒲添生花了一年的時間，考
上日本帝國大學的膠彩畫科，但是，有天他看見
雕塑科的教室裡，一道陽光灑在裸女的雕像上，
人體線條的美麗震懾住他。此後，蒲添生毅然
決然轉往雕塑創作，到日本雕塑大師朝倉文夫門
下，拜師學藝。
師承朝倉文夫的柔美風格
提到蒲添生偷跑到日本求學的這段歷程，他的
兒子、蒲添生紀念館館長蒲浩志說：「爸爸當時
語言不通，只知道要去日本的『高砂寮』，那裡
是台灣人的宿舍，會有人幫助他。」
蒲添生一心一意想學雕塑，前三年當學徒時，
掃地、劈材各種雜事都做，也從中磨練了心性。
朝倉文夫形容：「這個台灣人比我們日本人還像
武士。」為人正直的性格，反映在創作嚴謹的態
度。1941年回到台灣，當他被邀請製作蔣中正的
銅像時，官方要求他為雕像加上軍帽，但他認為
不戴軍帽更能凸顯蔣中正的個人特質，因此冒著
被槍斃的風險拒絕這項要求，幸好，後來雙方經
溝通後達成共識，維持創作原型。
朝倉文夫的創作風格是柔美的，展現古典主
義均衡、和諧的元素，蒲添生亦師承了這樣的風
格。1957年，朝倉文夫寫信給身在台灣的蒲添
生，表達自己因身體每下愈況，想將所有技巧傳
授給他。之後，蒲添生創作出《春之光》，女
子微側身體，一手放在頭部，展現出人體線條的
美麗。這項作品後來也入選日本美術展覽會，成
為蒲添生代表作之一。台灣美術史專家蕭瓊瑞分
享，當這件作品從日本被運回台灣時，那班航線
“I have dedicated my life to sculpture, and sculp-
ture, in turn, has given me my life.”
—Pu Tian-sheng
In the course of more than 60 years as a sculptor,
Pu Tian-sheng (1912–1996) experienced a series of
stylistic transformations, moving from the tradi-
tional to the contemporary. While some of his stat-
ues, such as his group of Three Graces—Sunshine,
Reminiscence, and Slim and Graceful—evoke a Greek
spirit, the busts he made of influential politicians and
businesspeople are realist works that chronicle an
important chapter of Taiwan’s modern history.
Pu Tian-sheng’s family ran a picture framing shop. As
a child, Pu taught himself art by imitating famous paint-
ings, and he later befriended the painter Lin Yu-shan.
Eager to develop his skills, he traveled to Japan to study
art, without his parents’ permission. There, after a year’s
preparation, he passed the entrance exam to study Japa-
nese painting at Teikoku Art School (now Musashino Art
University). One day, however, in the school’s department
of sculpture, he came across a statue of a nude female
illuminated by a beam of sunlight, and was utterly be-
witched by her beautiful contours. That encounter led Pu
to change his course. Eventually he was taken under the
wing of the Japanese sculptor Fumio Asakura.
Asakura’s disciple
Pu was unwavering in his new pursuit. During his
first three years at Asakura’s studio, he took on all sorts
of chores, from sweeping the floor to chopping firewood.
Physical exertion served to strengthen Pu’s mind. Asakura
thus described him: “This Taiwanese is more like a samu-
rai than we Japanese are.” Pu’s personal integrity was
reflected in his uncompromising attitude towards art. Pu
returned to Taiwan in 1941. In 1946 he was commissioned
to make a bronze statue of Chiang Kai-shek. Although he
was specifically instructed to include a peaked cap, Pu
felt that this would obscure his subject’s character. In that
authoritarian era, rejecting official requirements like this
could mean death. Fortunately the two sides reached a
consensus, and Pu was allowed to have his way.
Asakura is known for his soft and graceful sculptural
style. His attention to balance and harmony reveals the
influence of Western classicism. Pu inherited this style.
In 1957 Asakura sent a letter to Taiwan, explaining that
his health was failing, and he wanted to pass on all of his
89
的機長還特別廣播，告訴 是台灣曾經的首富林商號
乘客很幸運能與日展入選 創辦人林歡邦、光復初期
作品搭乘同班飛機。 監察院長于右任、行政院
長孫科、台灣民族運動先
創作台灣近代名人雕像
驅楊肇嘉等等。
二戰爆發初期，蒲添 蕭瓊瑞認為，蒲添生的
生決定回家鄉台灣，離別 名人雕像，不僅記錄了台
前，朝倉文夫將珍藏的一 灣近代歷史，也承襲了西
疊孫中山照片交給他，告 方雕塑大師羅丹的理念，
訴他將來必定有用處。後 從作品中可以看出人類學
來，蒲添生在岳父畫家陳 的概念。羅丹有些作品具
澄波的推薦下，製作孫中 有「人名」，針對某位人
蒲添生投入雕塑講習會教育十多年，讓許多學生在創作
山的雕像，台灣第一座國 時，有了「立體」的概念。（蒲添生雕塑紀念館提供） 物創作，背後反映其種
For more than ten years Pu gave sculpture workshops,
父銅像便出於蒲添生之 teaching his students how to capture three-dimensional 族、文化，而蒲添生的名
form. (courtesy of PTS Sculpture Memorial Museum)
手，現在放置於中山堂廣 人雕像也是，從半身像雕
場上。 塑的衣服款式、配件，可
蒲添生與陳澄波的女兒陳紫薇結婚後，生下五 以看出其社會階層。
個孩子，為了養家，他為許多名人製作雕像。像 有些人認為這些名人雕像，不過是歌頌政治人
物，但是，在蒲添生眼裡，那都是藝術品，蒲浩
志轉述父親的話：「過了一百年，政治會演變，
作品《回憶》刻劃人體變換 但是，藝術會留下。」為仕紳名人做雕像時，蒲
姿勢時，身體起伏的線條。
添生依然堅守原則。為捕捉人的神韻，他與兒子
（蒲添生雕塑紀念館提供）
Pu’s Reminiscence shows 蒲浩明到孫科位於陽明山的宅第，觀察他的生
the undulating contours of
a delicately poised human 活、各種表情下肌肉的變化。
body which is ready to move at
any moment. (courtesy of PTS 蒲浩明謹記父親製作胸像時的教導，要先製
Sculpture Memorial Museum)
作裸身的樣子，再疊加上服裝，而非一開始就用
泥土捏出服裝的樣式，如此才會自然。像是作品
《詩人》，是穿著長袍的中國作家魯迅，其長袍
上的皺褶是作品的亮點，不僅運用手法呈現泥土
軟的性質，也有評論認為皺褶代表著作家內心的
思路。每個細節都是蒲添生的巧思。

晚年風格：由靜轉動

蒲添生70歲之後，作品風格有很大的轉變，
也許是因為不再需要負擔家中經濟，也可能是
因為人生的體悟，他的作品從過去內斂、柔和的
東方風格，走向西方開放、動態的樣貌。中年的
《春之光》與晚年的《亭亭玉立》、《陽
光》、《運動系列》對比，蕭瓊瑞表
示，前者雕塑是東方女性的身體比例，
後者則是西方女性。1980年代，開始有西

90
skills to Pu. Subsequently, Pu created Light of Spring, a fe- and softness that had characterized his earlier works gave
male nude whose torso is subtly twisted, with one hand way to Western vibrancy and forthrightness. Comparing
touching the head. Celebrating the beauty of the human Pu’s 1958 sculpture Light of Spring with later works such as
body, this sculpture was selected for the Japan Fine Arts Slim and Graceful (1981), Sunshine (1981), and the Sports series
Exhibition and became one of Pu’s representative works. (1988–1991), Hsiao observes that Light of Spring shows the
Statues of public figures proportions of an East Asian female body, while the later
At the recommendation of his father-in-law, the re- sculptures are modeled on Western women. Students from
nowned painter Chen Cheng-po, Pu was commissioned Western countries began to come to Taiwan in the 1980s,
to make Taiwan’s first bronze statue of Sun Yat-sen, which and Pu invited some of them to pose for him.
is now on the plaza outside Taipei’s Zhongshan Hall. Pu was inspired to create his Sports series when watch-
Pu and his wife, Chen Tzu-wei, had five children. In ing the gymnastics competitions of the 1988 Seoul Olym-
order to feed his family, Pu made busts and statues of pics on TV. His mind captured memorable moments from
many famous people, such as Lin Huanbang (founder of the gymnasts’ performances, enabling him to delineate the
Lin Shang Hao Plywood, reputedly the wealthiest per- contours of human bodies stretched to the limit.
son in Taiwan at one time), Yu Youren (president of the Hsiao thinks that Pu found his own path late in life,
Control Yuan), Sun Ke (president of the Executive Yuan), gradually distancing himself from Asakura’s gentle and
and Yang Zhaojia (a pioneer of Taiwanese nationalism). introspective style. Pu’s Reminiscence depicts a woman sitting
Art historian Hsiao Chong-ray says that
these statues of Taiwan’s public figures not only
serve to document the island’s modern history
but also reflect Auguste Rodin’s approach, as
they embody anthropological insights. Some
of Rodin’s statues are also named after their
subjects, but while portraying the particulari-
ties of the human figures, they yield access to
larger ethnic and cultural contexts. Pu’s busts
perform the same functions: their particular
sartorial styles and accessories tell us about the
social classes to which the subjects belong.
Some may think that the main purpose of
Pu’s statues was to flatter the rich and power-
ful. In Pu’s eyes, however, these were all art-
works. Pu’s son Hao-chih recalls his words: “In
a hundred years’ time, the political world will
be different, but art will remain.”
Increasing vibrancy
Pu’s style underwent significant changes
when he was in his 70s: the Oriental restraint

蒲添生的兒子蒲浩明（左）也成為雕塑藝術
家，兒子蒲浩志則擔任蒲添生紀念館館長，蒐
集父親從求學到返台，各階段的經歷與故事。
Pu’s son Hao-ming (left) is also a sculptor. Another
son, Hao-chih (right), directs the PTS Sculpture
Memorial Museum, collecting stories and historical
records related to every stage of his father’s
life, especially from his time in Japan and his
subsequent career in Taiwan.

91
 蒲添生最後一項作品《林靖娟老師紀念
像》，受到前總統李登輝邀請創作，紀念為搶
救孩子在大火中犧牲自己性命的老師林靖娟。
創作歷程總共四年，蒲添生在第三年被診斷出
癌症，但為了留存體力創作，拒絕接受治療。
作品完成後約兩星期，蒲添生離世。為了讓世人
感受到林靖娟的大愛精神，蒲添生也奉獻了自己
的生命。

奠定台灣雕塑教育

台灣大專院校設立雕塑系前，蒲添生是首位投
入雕塑教育的藝術家。1949年，當時政府成立暑
期雕塑講習會，邀請蒲添生擔任老師，教導全國
的美術老師與青年藝術家。畫家吳榮隆也是當時
的學生，他在訪談中提到：「在蒲添生先生十幾
年的努力下，讓台灣的美術教育，從平面擴展為
立體，這是很重要的里程碑。」
談到蒲添生的教育，蒲浩明認為父親在精神層
面，不斷強調「道」的概念，與西方美學思想家
溫克爾曼的觀念相似，認為希臘羅馬雕塑的精髓
在於：高貴的單純與靜穆的偉大，心性會反映在
《春之光》展現古希臘雕像柔美的線條，入選日本美術展
覽會。 作品中，而培養一顆敏銳的心，是創作最重要的
Reminiscent of the soft contours of classical Greek sculpture, 基底，「要觀察到人體每個部位的質感不同，嘴
Light of Spring was selected for the Japan Fine Arts Exhibition.
唇、嘴角、顴骨軟的程度不同，人在不同季節的
狀態也不同。」蒲浩明說。
方留學生來台，蒲添生便邀請他們擔任模特兒。 在技法層面，蒲添生創作時，觀察模特兒後，
《運動系列》是蒲添生在電視上觀看漢城奧運 會180度轉身捏泥土雕像，而非像素描一樣，畫
的體操比賽後，腦中記下選手瞬間動作的作品， 布與模特在同一方向。「轉身那一剎那，會有瞬
展現人體極限運動的線條。《藝真氣壯蒲添生雕 間記憶，記住當下最深刻的地方。」
塑集》一書分析，蒲添生晚年的作品中，因模特 蒲添生也是首位開設人像鑄銅廠的台灣藝術
的文化背景，在動作上有些差異，《亭亭玉立》 家，過去鑄銅僅限於機器鑄銅，但他引進人像鑄
與《懷念》刻劃英籍模特拘謹的性格，《運動系 銅的技術，在戰後將一批日本鑄銅技師留下，為
列》則展現法籍浪漫的一面。 台灣奠定翻銅技術。而翻銅指的是，雕塑家先用
蕭瓊瑞認為蒲添生晚年逐漸走出自己的風格， 泥土完成作品，再交由技師將作品經過多道程序
有別於朝倉文夫內斂、柔美的路線。作品《回 製模、火燒，轉換為青銅雕塑。
憶》刻劃一位剛洗好澡的女子，坐在地上的動 回顧蒲添生一生的作品，從為家人創作的雕
作，雖然雕塑是靜止的，但是，那位女性的雙手 像，在老師陶冶下創作出的《春之光》、《三美
與雙腳各自形成支點，進行不同的動作，彷彿下 神》，在大環境下創作的名人雕像，到晚年突破
一秒就要變換姿勢。而雕塑肩上的秀髮，也是值 自我的《運動系列》等，都看出蒲添生一生致力
得觀察之處，頭髮沐浴後濕透，垂掛在胸前，髮 創作的熱情與態度，也讓西方古典藝術在台灣本
絲仍清楚可見，這處細節呈現出雕塑的巧妙。 土有了延續與轉化。 l

92
 《運動系列》紀錄體操選手瞬間動作的肌肉線條變化。
The Sports series records the muscular beauty of performing gymnasts,
capturing memorable moments for eternity.
on the ground, having just taken a bath. Even though the
sculpture is static, it seems as if the figure’s delicately poised
hands and legs—which hold the body in graceful balance—
are about to move at any moment. The hair is worth notic-
ing, too: apparently still wet, it hangs down over her right
shoulder, covering part of her chest. The individual strands
of hair demonstrate Pu’s subtle attention to detail.
Pu’s contributions
Pu was among the first sculptors to devote themselves to
educating future artists, even before sculpture departments
were established at universities across Taiwan.
Pu’s eldest son, Hao-ming, says that at an abstract level,
his father’s teaching philosophy is akin to the ideas of the
German art critic Johann Winckelmann: Pu thought that
Greek and Roman sculpture essentially came down to
noble simplicity and solemn grandeur, and that an artist’s
personal character could be discerned in his work. Culti-
vating acute observational skills was the most fundamen-
tal task for every sculptor: “One must be able to observe
how one part of the human body differs from another in
its texture, and how the lips differ in their softness from
the corners of the mouth and the cheeks; our physical con-
dition also shows seasonal differences,” Pu Hao-ming says.
Whereas a painter usually faces his model and his
canvas at the same time, Pu would first observe his model
and then swivel around 180 degrees to shape his clay.
“While he was turning around, the image of the model
would instantly flash upon his mind, allowing the most
striking parts to come into focus.”
Pu was also the first Taiwanese artist to set up a bronze
foundry. While bronze casting had been confined to me-
chanical engineering, Pu introduced the techniques for
casting statuary and was able to retain a group of Japanese
bronzeworkers after the Republic of China took over Tai-
wan from Japan in 1945. Pu thus helped establish the skills
of turning clay sculptures into bronze in Taiwan.
From sculptures made for his family to those influenced
by Fumio Asakura, such as Light of Spring and The Three
Graces, and from statues of influential public figures, which
bear witness to their historical contexts, to the new stylistic
departures of his later works such as the Sports series, Pu’s
sculptural projects testify to his unswerving dedication
to art. They have also contributed to the continuation and
transformation of Western classical art in Taiwan. l
(Tina Xie/photos by Lin Min-hsuan/
tr. by Brandon Yen)
93
藝文脈絡　CULTURAL TRENDS

聽它們眾聲喧嘩
台 式 招 牌 街 景
文•鄧慧純　圖•林格立　版面設計•蕭郢岑

94
 Signs of the Times:
Shop Signs’ Place in Taiwan’s Streetscapes

1930年，郭雪湖畫筆下的〈南街殷賑〉，
「繪聲繪影」呈現了大稻埕街景的熱鬧與活 I n 1930, Kuo Hsueh-hu painted Festival on
South Street, which depicts the vitality and
clamor of a street scene—including countless
力，細膩的筆觸、鮮豔的色澤，讓人彷彿能
shop signs—in Taipei’s Dadaocheng area, and
聽見商家的叫賣聲，像置身在那摩肩接踵的
makes viewers feel as if they are right there rub-
人群裡。2017年，日本雜誌《Brutus》推出 bing shoulders in the crowd. In 2017, the Japanese
的台灣特集，台南的國華街景當上了封面， magazine Brutus put out a special issue on Tai-
形形色色的招牌，透露隨適的生活感，讓許 wan, with a picture of Tainan’s Guohua Street
多日本朋友一眼就識得，「啊，那就是台 as its cover. On seeing the streetscape with its
灣！」 multifarious colorful shop signs and sense of a
comfortable and laid-back lifestyle, many Japa-
nese immediately recognized it as Taiwanese.
台灣的街景並非井然有序，色彩也非調和
一致，加上形式繁雜、訊息紛陳，卻饒富特
Taiwanese streetscapes are by no means orderly or
色，讓人容易親近，林立的漢字招牌永遠像 color-coordinated. But they are approachable and char-
在搶著說「選我、選我」，那麼用力，活力 acterful. The huge numbers of shop signs written in
滿滿，是許多外國朋友對台灣深刻的記憶。 Chinese make the observer feel as if the signs are vying
for attention: “Choose me! Choose me!” The energy and
街頭層層疊疊的風景 vitality of such scenes leave lasting memories in the
喜愛邊走邊讀的社會學家、探照文化執行 minds of many international visitors.
Layered streetscapes
長李明璁，用「Palimpsest」解釋他對台灣街
Dr. Lee Ming-tsung, CEO of Searchlight Culture Lab
景招牌的看法。Palimpsest譯作羊皮紙或是複
and a sociologist who loves to read as he walks along,
寫紙，是西方中古世紀獨特的書寫材質。以
uses the word “palimpsest” to describe his view of shop
前人寫字在羊皮紙上，需要再書寫時，要先 signs on Taiwan’s streets. A palimpsest is a piece of writ-
刮除之前寫下的，才能夠反覆利用；但是先 ing material such as parchment that has been reused
前的痕跡無法完全刮除，總會殘留下來。 after erasing the original text. During the Middle Ages,
以如此過程來譬喻台灣的街景變化，台 it was common practice in the West to scrape parchment

灣現代化的歷史不算長，剛好可以看到舊時 clean so it could be reused. However, the previous writ-

ing could never be completely effaced: some traces of
代的東西不斷地被試圖刮除，但又不完全消
the past always remained. In a wider sense, particularly
失，新的東西再疊上來，卻也不是截然的取
in architecture and archaeology, the word can refer to
代。「這現象在街上能夠看到最具體而微的 anything that has been altered and repurposed.

95
 漢字招牌以字體呈現個性與
氣勢，是街頭欣賞的重點。
Shop signs written in Chinese
characters display personality
and vigor and are a major
component of Taiwan’s
streetscapes.

攤販的招牌以吸睛為目的，
混融了不同風格與創意。
The signs of street vendors aim
to capture maximum attention
by blending different styles and
creative ideas.

表現，大概就是招牌了。」 洲人都要特地去見識，是世界數一數二。
台灣的街景招牌呈現了時間、空間的多元，面 「但是最具有影響力，或會讓設計師迷戀的地
積雖小，卻收容了多元的文化樣態，他娓娓細數： 方，若以東方亞洲來講，應該是香港和東京了，
「首先，不可否認的是華語漢字文化，再來是日 因為他們消化了大量的東西方文明元素。」香港
本殖民的文化，最後當然與全球化有關，尤其來自 曾受英國殖民，西化的腳步先進且快速；而日本
美國的影響，更晚近一些，甚至會發現屬於在地的 一直是把西方當作參照，「當然日本又透過殖
原住民，和來自鄰近的東南亞國家，都被加總進 民，影響了台灣。」李明璁補上一句。翻看台灣
來。」可以說，「招牌是文化的一種縮影。」 日治時期的資料，台灣的招牌設計幾乎與日本同
以招牌文化來講，李明璁指出，歐洲老城鎮的 步，在華人社會算走得很前面。
街景招牌總是典雅而古色古香，這與當地的職人
木刻招牌：街頭的美術館
工匠傳統有關。而提到近代的招牌，當然與資本
主義發展歷程緊密交織，美國是資本主義發達的 台灣的招牌文化源自日治時期，招牌也因工商
國家，像紐約時代廣場可見的巨大霓虹燈，連歐 社會的建立而發展。早期的招牌材質，除了鐵皮

96
 Lee applies this metaphor to changes in Taiwan’s
street scapes: Taiwan does not have a very long history,
and we can see how people have continually tried to erase
things from earlier times, but these have never completely
disappeared. New things are layered over the old without
entirely replacing them. “The most visible embodiment of
this phenomenon on our streets is probably shop signs.”
Taiwan’s shop signs incorporate multicultural ele-
ments, as Lee elaborates: “Foremost is undeniably the cul-
ture of Chinese characters, then comes Japanese colonial
culture, and finally the impact of globalization and espe-
cially American influence. More recently, the cultures of
Taiwan’s indigenous peoples and of Southeast Asia have
been added into the mix.” One could say that “shop signs
are a microcosm of culture.”
Carved wooden shop signs
Taiwan’s shop sign culture can be traced back to the era
of Japanese colonial rule (1895–1945) and signs have fur-
ther developed with the rise of an industrialized society.
Sheet metal was used for shop signs from the beginning,
but many signs took the form of carved wooden plaques.
“Chen’s Wood” is a venerable wood carving shop lo-
早期手寫招牌，筆觸自由，較為感性，
有另一番魅力。
Early handwritten shop signs had freer
calligraphic brushwork and a greater emotional
impact. They have a charm all their own.
cated in Taichung, and it has produced countless wooden
shop plaques. Chen Wen-tsai, the business’s second-
generation owner, talks about the glory days of the past:
As Taiwan’s economy began to take off in the 1970s, all
kinds of new social, commercial, and industrial organiza-
tions were established. There was frequent gift-giving in
the interactions within and between the public and private
sectors, and demand for wooden plaques continually grew.
“In the past there were calligraphers who specialized
in writing the characters for wooden plaques, and they
could handle all the major calligraphic styles. But mer-
chants mainly asked for ‘regular script’ because it looked
more dignified.” Shop signs were businesses’ outward face,
and special care was taken even in their delivery: “After a
plaque was carved, it would be decorated with a red sash,
and a band playing traditional Chinese instruments would
accompany it on its journey when it was delivered.”
“All kinds of businesses ordered custom-made wooden
shop signs, but they were most often used by firms like
Chinese herbal pharmacies, medical clinics, and incense
stores.” Chen Wen-tsai’s son Chen Hsi-yen flips through
photographs, showing us some of the signs that his family’s
97
陳文才一身的技藝，
在當代有了新的揮灑
空間。
Chen Wen-tsai has
found new opportunities
to employ the skills he
has accumulated over
a lifetime.

「這些行業更看重商譽，透過招牌的材質、書法、
彫工，能呈現店家的信用與正派。」而我們常聽到
「金字招牌」，陳文才解釋這在行業裡有個不成文
的共識，一定是黑色的底漆加上金箔貼字，這樣的
搭配，展現店家的信用與品質保證。
製外，木刻的招牌匾額是另一大宗。 木刻招牌是集合書法、木刻各式技藝的作品，
位在台中的陳彫刻處，是一間木彫刻的老店， 幾乎可說是一件藝術品。台灣街區多是閩南式建
刻過的招牌匾額不計其數，像是台南孔廟的「全 築，設有騎樓供路人行走，昔日木製招牌掛在門
台首學」，日月潭「玄奘寺」的招牌匾額都是出 楣處，陳文才形容，走過一家一家，就像是戶外
自第二代處長陳文才之手。陳文才聊起當年的盛 的美術館，可以一間間品賞，「有的店家招牌字
況，1970年以降的台灣，經濟起飛，各式社團成 真的很耐看，越看越想看。」
立，工廠新建，公私部門往來餽贈頻繁，招牌匾
漢字國度：奔放的創意
額的需求量逐日成長起來。
「以前還有專門在寫字的人，人稱作『賣墨 同是來自日本的觀察，日本的字形設計師藤本
的』，他們隸篆行草四種字體都會寫，但是商家 健太郎，出版了《字形散步 走在台灣：路上的
的招牌多以正楷為主，看起來比較端莊。」招牌 文字觀察》，大書特書他走訪台北、台南、嘉義
是商家的門面，連運送都慎重其事，「刻好後要 和高雄四座城市的觀察。台灣與日本同為漢字圈
紅綾裝飾，再插上兩隻金花，與鑼鼓八音的樂團 的國度，但從藤本的眼睛，看到了許多台灣人習
合作，一路奏樂打鼓地把招牌送去。」這陣仗說 以為常卻不自知的趣味。像時尚的服裝業招牌文
得我們嘖嘖稱奇。 字一定有看頭，有華麗的歌德風，或是受日本昭
「訂製木刻招牌的店家，各行各業都有，但是 和風情，展現摩登感，又或是夜市的果汁攤販愛
以蔘藥行、醫院、香鋪等居多。」第三代陳希彥翻 用圓體字，在他看來宛如「一部近未來的賽博朋
著照片，秀出陳彫刻處刻過的招牌，一邊解釋， 客（Cyberpunk）風的科幻電影」。他再舉寺廟

98
business has carved. He explains, “These kinds of firms de-
pend more on their reputations, and they could demonstrate
their trustworthiness and respectability through the quality
of the materials, calligraphy, and carving of their signs.”
Combining the skills of calligraphy and wood carving,
wooden shop plaques can be said to be works of art. The
streets of Taiwan formerly had mostly Southern-Fujianese-
style architecture, with arcaded frontages providing cov-
ered walkways for pedestrians. In the old days wooden
陳彫刻處的陳文才（中）、兒子陳希彥（右）與媳婦韓惠菁（左），致力翻
轉傳統的招牌雕刻，另闢新出路。
Chen Wen-tsai (center), owner of Chen’s Wood, is shown here with his son Chen
Hsi-yen (right) and daughter-in-law Hang Hui-ching (left). They have worked hard to
reinvent traditional woodcarving to seek a path for the future.
signs were hung out above the doorway, and Chen Wen-
tsai describes how walking past one shop after another
was like strolling through a fine arts museum. “The calli­
graphy on some shop signs really was worth savoring,
and it grew on you more the more often you saw it.”
Free rein for creativity
Japanese typographer Kentaro Fujimoto has written
a book about strolling through the streets of Taiwan-
ese cities and observing the signage, just as he did in
Japan. Chinese characters are used in both
Taiwan and Japan, but Fujimoto spotted
many interesting things about Taiwan that
Taiwanese do not notice because they are
so familiar. For example, the shop signs of
fashion boutiques are well worth looking at
because some use ornate Gothic style writ-
ing while others convey a modern feel with
Japanese Showa style characters. He also
mentions the lanterns often seen in temples
with characters stretched out wide in a way
that made his “heart skip a beat” when he
saw them. He also remarks in the book that
many shop signs in Taiwan are created with
handwritten calligraphy, sometimes with a
degree of freedom beyond his imagination,
even reducing the number of brushstrokes,
in stark contrast to shop signs in Japan.
Taiwanese typography researcher But
Ko wrote a section in Fujimoto’s book in
which he introduces the background to the
use of the written word in Taiwan. He says
that seriously explaining the history of lan-
guage in Taiwan is no easy task, and that
the island’s linguistic diversity has pene-
trated into our shop signs, for example in
the use of the Japanese hiragana syllable の
(no), the letter ê as used in Romanization of
Chinese, or the Mandarin phonetic symbol
ㄟ (ei or ê), in place of the Chinese character
的, meaning “of” (pronounced de in Man-
darin and ê in Taiwanese Hokkien); and the
use of the Japanese word bentō (便當, “boxed
meal”, pronounced biandang in Mandarin).
In Taiwan languages are mixed in complex
and lively ways.
99
裡常見的燈籠，字體做了扁平的變形處理，讓他 有諧音梗、多語混用、k u s o（惡搞）、甚至是
一眼看到就「怦然心動」。藤本使用了諸多形容 culture jamming（文化反堵），讓1+1不只等於
詞，讓我們發現街頭的招牌是如此眾聲喧嘩。書 2，甚或大於2，非常有趣。」這也是我們想分享
中他也提到，台灣招牌諸多的手寫創意，文字減 給老外朋友的地方，街上的招牌暗藏了諸多中文
省筆畫的自由度超乎想像，與日本截然不同。 詼諧有趣的創意，請朋友們到訪台灣，務必找個
台灣的文字研究家柯志杰在書中以專欄的形 好嚮導，幫你「說文解字」一番。
式，介紹台灣的文字狀況，他稱光是服飾店「緣投
曾經狂放的80年代
阿尚」這品牌，結合了台語和日語（「尚」是日語
さん的借字），「就已經隱含太多這片土地語言的 雖說是自由、個性的招牌街景，但整體來看卻
歷史脈絡」，想要認真解釋還真不簡單。語言的多 使得街頭景觀雜亂失控。日積月累下，社會開始有
樣性也融入在我們的招牌中，像用日文的「の」、 另一種聲音討論台灣街景，招牌成為眾矢之的，主
羅馬拼音的「ê」、注音符號的「ㄟ」、日文的 張需加以管制，街區的改造要求管制大小或統一形
「便當」等等，在台灣混用得複雜而生動。 式，但是，這些實驗在台灣都未曾真正成功過。
他也稱台灣的漢字設計，較重視每個漢字的個 「我們先不要急著覺得它是一個必須被消滅
性，以及筆畫造型的氣勢，設計較為感性。這樣 的醜陋，而是應該要去理解，它為什麼會長成這
想想，這些個性的招牌字體，設計匠心獨具的曲 樣？」李明璁提醒我們，不要單看事情的表象，
線和變形，紛陳在街頭，當中訊息量爆表，確實 而該去探究事件的成因。「你可能會發現很多東
可能讓人頭昏眼花呀！ 西在1980年代後變得俗豔，直覺地認為是那個時
李明璁則提起台灣住商混合的街區，招牌的 候『長歪掉了』。可是事情總有兩面，如果你從
複雜度高，再加上非正式經濟的部門（攤販）蓬 另一個角度看，經歷了長時期的壓抑，1980年代
勃，商區競爭激烈，如何吸引目光，招牌是店 是台灣社會正經歷解嚴，是正在追求自由解放的
家發揮創意的重點，「不同風格的混融、交雜， 時期。」還有材料科技的因素在裡頭，壓克力塑

100
 Ko also says of the design of Chinese characters in Taiwan
that more emphasis is placed on their emotional impact and
the vigor of the brushstrokes than in Japanese typography.
Lee Ming-tsung, meanwhile, draws attention to streets in
urban neighborhoods with mixed-use zoning, where resi-
dential and commercial premises are mixed and signage is
complex. When you also consider the flourishing number of
street vendors, competition in commercial areas is intense,
and signs become the focal point for businesses to display
their creativity and capture the public’s eye. “The blending
and mingling of different graphic styles, along with the cre-
ative use of homophones, language mixing, kuso, and even
culture jamming, means that one plus one no longer always
equals two, but may be more than two. It’s really fascinat-
ing.” (In Taiwan the word kuso, derived from the Japanese
term kusogē—short for kuso gēmu, literally “crappy [video]
games”—nowadays refers to anything funny or outrageous,
especially parody based in popular culture.) This is some-
thing that we also want to share with our foreign friends:
Taiwanese shop signs contain many whimsically creative
uses of language. Therefore, when foreigners come to Tai-
wan they should find a good guide to explain them.
The freewheeling 1980s
In response to the growing diversity of shop signs,
李明璁稱台灣的招牌街景可以看到不同時代的痕跡，多元
voices began to appear in society discussing their impact 文化的縮影。
on the streetscape. People called for signs to be regulated For Lee Ming-tsung, Taiwanese shop signs preserve vestiges of
different eras and are a microcosm of Taiwan’s cultural diversity.
as part of urban redesign, and advocated limiting their size
or requiring uniformity. However, such experiments have
never really succeeded in Taiwan.
“We should not rush to conclude that this is a form of to revamp street aesthetics and signage, or even that the
ugliness that must be eliminated. Instead we should try to government should step in. But Lee believes that any-
understand how our present streetscapes came about.” Lee thing that doesn’t grow organically in a locality can be
reminds us that we shouldn’t look only at the surface of a dangerous. “The real solution would start with aesthetic
problem, but must look for its origins. “After a long period education, aesthetic experience, and public understand-
of repression in Taiwan, the 1980s were an era when Tai- ing of beauty. This will take a very long time.”
wanese society was undergoing liberation and people were Moreover, he says, “Taiwan need not try to take any
seeking freedom.” Materials technology also played a part, shortcuts.” When more people in Taiwan are discussing
as acrylic plastic was becoming the dominant material for this issue, and there are more guides on the streets to help
signs back then, making large-scale replication possible. At people to “see” and “discuss” it, gradually the new will
that juncture, businesses sought high visibility, and pre- replace the old and localities will find their own style.
ferred their signs to be eyecatching or even obtrusive. They In fact, in recent years some businesses have been
gave no thought to harmonizing them with the surround- redesigning their shop signs, and thus quietly changing
ing environment. our streetscapes. They are no longer seeking merely to
Finding one’s own style compete for attention, but are considering what they
Some people believe that a major effort should be made want their own image to be.

101
 其實，近年來，些許商家的招牌設
計已悄悄地改變了街區的風貌，你是
否已有發現？不再以搶鋒頭為目的，
而是思考自己想變成的樣子。
已近百年的陳彫刻處，面臨產業
蕭條，陳文才一身的手藝卻沒有伸展
的舞台，他一度想退休，收了店舖。
陳希彥也說：「匾額是從我小時候就
一直接觸的東西，我們一直想要從匾
額招牌做轉型，但是一直想不出來該
怎麼轉型？」直到透過美好關係團隊
的引薦，陳彫刻處開始跨域與業界設
計師合作，為許多設計師工作室或新
創品牌刻製招牌，如究方社、光屋工
藝、青鳥書店、勇氣雜貨商行等，揉
和設計與工藝，這些木刻的招牌成為
街上別緻的風景。
每一塊招牌也都有自己的故事，
像鹿港的「喜悅餅行」，字體是父
親親手書寫，把家族傳承的心願刻
陳彫刻處的手刻招牌揉合了設計與工藝，成為街上的美麗風景。
（陳雕刻處提供）
進招牌裡。台南的「無名米糕」，
Hand-carved shop signs from Chen’s Wood combine design with craftsmanship and 舊款的鐵皮招牌因為年代久遠不堪
have become beautiful additions to Taiwan’s streetscapes. (courtesy of Chen’s Wood)
用了，找了陳彫刻處復刻新版，保
膠成為招牌的重要材質，大量複製變成可能，致 留舊式的字體、排版及特色，讓老店的味道延
使整個街道上都是壓克力燈箱。在那個當口，商 續。台中去年新開幕的咖啡店「1035 collab」，
家追求的是被看見，招牌當然越張狂越好，而無 是1910年代的老屋改建而成，品牌源自日治時期
心去思考與環境的協調性。 的電話番號，陳文才彫刻1035的手勢成了建築的
門面，十足吸睛。
找到自己的樣子
「你好紋身」是陳文才再次提筆揮毫，以立
「大家常認為歐式或日式的街景是優雅的， 體文字招牌的形式再現昔日的招牌風景。台北
值得學習；但是我們又不是他們。」李明璁說地 寧夏夜市的「圓環邊蚵仔煎」，是獲「米其林
義正辭嚴。有人認為台灣的街景招牌需要大力整 餐盤」推薦的台灣街頭小吃，老商家委請設計
治，或藉由政府之力來輔導，但他認為，若不是 師設計，交由陳彫刻處手工製作，以浮彫技法
從在地自己長出來的東西，都是危險的。「這本 刻製，刷舊飛白的方式透露歲月感，招牌上的
來就是要從美學教育、美感經驗、大眾對美的認 蚵仔顯得鮮嫩好吃，是台灣小吃與傳統工藝的
知去著手，要花很多時間的。」 美好加乘。
而且「台灣也不用抄近路」，當社會上有更多 從都市計畫到工匠技藝，招牌能論及的層面，
人來討論，有更多街頭走讀的導覽，帶領大家去 既深且廣，難僅用千字言說，「沒有多元文化，
「看見」、「討論」，慢慢地新陳代謝，就會找 就沒有有趣的招牌。」李明璁的這句話，就當作
到自己的樣子。 此回的暫結語吧！ l

102
 Chen’s Wood, which is nearly a century old, has been Taipei’s Ningxia Night Market, the owner commissioned a
hit by the decline of its industry, and Chen Wen-tsai, fac- designer, who then turned his design over to Chen’s Wood
ing a dearth of opportunities to practice his craft, once to carve by hand. They used relief carving techniques as
thought of retiring and closing the shop. However, with well as artificial aging and feibai calligraphy, mimicking
help from the Beautiful Touch design team, Chen’s Wood the strokes of a half-dry brush, to bring out a sense of the
began working with designers from other business com- passage of time, yet the oysters on the sign look fresh and
munities, and has made signs for many designer work- delicious. It is a beautiful combination of a Taiwanese-
shops and start-up brands, including Joe Fang Studio, style snack-food eatery and traditional craftsmanship.
Light House, Bleu & Book, and Fufu Grocery Store. Com- From urban planning to craftsmanship, the topic
bining design and craftsmanship, these carved wooden of shop signs involves many aspects and is difficult to
shop signs have made a distinctive addition to their local summarize in just one article. For now, let’s adopt these
streetscapes. words of Lee Ming-tsung’s as our provisional conclusion:
Every shop sign also has its own story. For example, “Without cultural diversity, we would not have interest-
at Lukang Xi Yue, which produces traditional Chinese ing shop signs!” l
bridal cakes, the calligraphy was done by the father of (Cathy Teng/photos by Jimmy Lin/tr. by Phil Newell)
the family, and the family’s hopes and
dreams were carved into the sign. Tai-
nan’s Wuming Rice Cakes asked Chen’s
Wood to reproduce its old metal sign in
carved wood, preserving its typography,
layout, and style, in order to maintain the
ambience of the old shop. Meanwhile,
1035 collab, a coffee shop in Taichung
that opened last year in a refurbished
house from the 1910s, takes its name
from the premises’ four-digit telephone
number from the era of Japanese rule,
and Chen Wen-tsai carved hand signs
for the numbers one, zero, three and five
into the sign that now hangs on the fa-
cade; it’s very intriguing.
For Hello Tattoo Studio, Chen Wen-
tsai again took up his writing brush and
used three-dimensional characters to
recreate the old-fashioned look of the
signs of yesteryear. For the Michelin-
recommended Yuan Huan Pien Oyster
Egg Omelette restaurant (Oystera) in

台灣的街景招牌，逐漸找到自己的樣
子。圖為台中老屋改建的咖啡店「1035
collab」的門面。
Taiwan’s shop signage, a critical element in our
streetscapes, is gradually finding its own style.
Shown here is the facade of 1035 collab, a
coffee shop located in a refurbished old house.

103
藝文脈絡　CULTURAL TRENDS

漢 陽 北 管 劇 團 + 梨 春 園
台
In Tune with Beiguan:
Hanyang Beiguan Troupe and
Li Chuen Yuan Beiguan Club
灣 調

文•曾蘭淑　圖•林格立　版面設計•蕭郢岑

104
 每一個時代都有其音樂。北管，曾經是台灣的流行樂音，現今或許沒落，但職業的漢陽北管劇團仍
年年演出；歷史最悠久的業餘北管館閣彰化梨春園亦日日團練，傳唱屬於台灣道地的傳統戲曲。

E very era has its music. Beiguan music was once Taiwan’s main popular music. Today, although Beiguan
has fallen into decline, the Li Chuen Yuan Beiguan club of Changhua—the oldest amateur Beiguan orga-
nization in Taiwan—still rehearses almost every day. Meanwhile, the professional Hanyang Beiguan Troupe
continues to perform year in and year out, acting out traditional dramas that are authentically Taiwanese.

105
 漢陽北管劇團

「哎！我夫雖然命喪西涼，女兒與他守節立
漢陽劇團團長陳玉環，亦負責後場頭手弦，
志。」苦守寒窯的王寶釧，用北管「西皮原板」唱
圖中樂器為殼子絃。
Chen Yu-hwan, director of the Hanyang 腔，聲聲慢地唱出被父親逼著改嫁的淒涼與心酸。
Beiguan Troupe, also plays first fiddle in
musical performances. She is shown here with 18年的等待，無負青春，終於等到丈夫薛平
a kezaixian (a two-stringed spike fiddle with a
sound box made from a coconut shell). 貴回來，緊板的曲調中，接連奸臣相害、兵變謀
反，最終，迎來皆大歡喜的團圓結局，這是在宜
蘭縣二結王公廟一年一度的「過火節」，所演出
的北管戲《大登殿》。

民俗樂音，酬神娛人

負責演出的漢陽北管劇團，在祭典的高潮「過
火」儀式後，為信眾扮仙祈福，祈求「天官賜福、
加倌晉祿」，接著演出家喻戶曉的《大登殿》，台
下觀眾自在的吃著廟口前的烤香腸與花生捲冰淇
淋，看到好笑的橋段，不時傳來笑聲與掌聲。
目前是台灣唯一職業的北管劇團，創辦人莊進
才老師依秉前縣長游錫堃「文化立縣」的政策，
在1988年成立漢陽歌劇團（後改名為「漢陽北管
劇團」），漢陽北管劇團團長陳玉環從頭說起劇
團的歷史。
2021年逝世的莊進才，一生也是宜蘭北管的縮
影。他出自擁有百年歷史的北管社團──羅東福蘭
社，也參與「東龍」、「建龍」等劇團的經營，
「吹、拉、彈、打」的北管樂器樣樣精通，尤其是
吹奏鎖吶，音色飽滿渾厚，被尊稱為「吹虎」。
北管音樂在清朝隨著來台開墾的閩南人傳入台
灣，臺中教育大學台灣語文學系系主任林茂賢指
出，在中國各自獨立的京劇、崑曲、西秦戲傳入
台灣後，被在地社會融合成為包括音樂與戲劇的
表演藝術，統稱為「北管」，北管因而成為台灣
傳統音樂的獨特現象。
相較於精緻典雅，為文人雅士喜愛的南管；融
入常民生活、熱鬧喧騰的北管音樂在台生態極為
蓬勃。從清末民初開始，不僅專業北管劇團遍布
全台，連業餘的北管館閣也為數眾多。根據學者
呂錘寬統計，自1990年以來，台灣至少曾有或現
有794個北管管閣。北管戲曲與樂音出現在迎神賽
會的民俗活動，人生重要的婚喪喜慶，以及傳統
戲曲的藝術演出中，林茂賢稱北管為「台灣的重

106
 Hanyang Beiguan Troupe
“Alas! Although my husband died in the war with the Western Liang, I am deter-
mined to remain chaste and true to his memory.” Wang Baochuan, holding fast in her
broken-down home, sings in the Beiguan xipi yuanban style as she relates her desola-
tion and sadness after her father tries to force her to remarry.
After 18 years of waiting, sacrificing her youth, finally her husband Xue Pinggui,
whom she had believed to be dead, returns from captivity. In an aria performed in
the up-tempo jinban style, she sings a story of treacherous ministers, mutiny, and
rebellion, but one which ends with the happy reunion of husband and wife. This is
the Beiguan drama Dadengdian, which is performed at the annual firewalking ritual
held at Erjie Wanggong Temple in Yilan County, in which barefoot believers carry
statues of deities over hot coals.
漢陽劇團保存的大鑼，據創辦人莊進才說，日
The Hanyang Beiguan Troupe (then called the Hanyang Opera Troupe), which is 治時期，為了躲閉日軍搜索，將鑼埋在土裡藏
currently the only professional Beiguan drama company in Taiwan, was founded 起來，才避免大鑼被搜去做成軍需品的命運。
According to Chuang Jin-tsai, founder of the
by Chuang Jin-tsai back in 1988 in accordance with the policy of then Yilan County Hanyang Beiguan Troupe, in the Japanese era
magistrate You Si-kun to “use culture to develop the county.” Current troupe director this old gong was buried in the ground to hide
it from the Japanese army when they were
Chen Yu-hwan recounts the company’s history from the beginning. searching for metal to make armaments.

北管小辭典：北管擁有200年歷史的文化傳統，發展出許多專業術語。
A Beiguan glossary: Beiguan is a cultural tradition dating back more than 200 years that has developed its
own specialized vocabulary.
一、北管表演藝術，區分為職業與業餘
Beiguan performance art is divided into professional and amateur levels

北管藝術表演者 上台演出 職業北管劇團

Beiguan performers Stage performances Professional Beiguan troupes

職業 稱為「內行」 亂彈戲 內行班、亂彈班

Professional Called “insiders” Luantan Opera “Insiders” group, Luantan group

業餘 稱為「子弟」 子弟戲 曲館又稱「子弟館」

Amateur Called “younger brothers” “Younger brothers” opera Club hall is called
“younger brothers’ hall”

二、 三、北管樂器分為武場和文場 四、北管的演出
Beiguan instruments are divided into Beiguan performances
two categories: martial and civil
排場：在固定場所以一字形或半圓
形，坐著吹奏表演。
上棚：傳統戲曲粉墨登場的演出。
出陣：迎神賽會的駕前鼓吹。 武場：打擊樂器 前場：演出的樂隊
文場：絲竹樂器＋吹管樂器 後場：戲曲的演員
Paichang: Musical performance at a
fixed location, with performers sitting in Martial: Percussion instruments First part: Musicians
a straight line or semicircle Civil: “Silk and bamboo” instruments playing music
Shangpeng: Traditional opera (meaning strings and woodwind), Latter part: Actors
performance on stage with full makeup and other wind instruments performing an opera
Chuzhen: Mobile performance at the
head of a deity’s procession

107
 藝師李美娘（左）在後台為團員
梳妝。
Artist Lee Mei-nyan (left) helps
a performer with her hair and
makeup backstage.

金屬音樂」，也是民眾最耳熟能詳的傳統樂音。 調，老生的唱腔與口白重視「氣口」；花臉重在
宜蘭除了是歌仔戲的發源地，宜蘭的頭城與羅 眼神，這些技藝都需要經驗累積。
東亦是北管西皮、福路兩派的大本營。 隨著社會娛樂愈來愈多，藝師老成凋零，演員
由於兩派在曲調、主奏樂器有所區別，連祭祀 出現嚴重斷層，觀眾也減少，不論職業劇團或是
的戲神也依地區，分祭田都元帥或西秦王爺。據 業餘的北管館閣，均面臨滅社、散館或是倒閣的
傳曾有劇團在西皮的場子演出福路，導致音樂械 情況，團員的生計更是無以為繼。
鬥，一群人在旁邊的甘蔗園就打了起來。 八年前在戲神西秦王爺的神龕前，從莊進才
老師手中接下漢陽劇團團長的棒子，陳玉環說：
北管極盛期，相招看亂彈
「她接棒時，正是劇團的低谷。」此時有賴文
莊進才創立漢陽北管劇團時，正是北管極盛 化部將漢陽劇團列為「重要傳統表演藝術保存團
期，在台上演出的北管戲又稱「亂彈戲」。隨著 隊」，透過文資局的計畫培養藝生，讓北管傳承
台灣經濟起飛，民眾為了酬神、還願，甚至人際 有了支持的力道。
之間的道歉、打賭的輸贏，也會請劇團演出，戲 努力爭取演出機會的陳玉環，希望實踐「日演
約接不完，極盛期每年演出200多場。 北管，夜演歌仔」的使命，她解釋，北管大戲是做
漢陽又有李阿質、李美娘、王春美等當家花旦 給神明看的，晚上則可演給人看，民眾除了聽到
站台，為劇團撐起一片天。2022年被宜蘭縣認定 北管音樂聲勢奪人的熱鬧之外，亦可以從北管戲曲
為「北管劇曲類保存者」藝師李美娘，在後台邊 中，欣賞演員抑揚頓挫的唱腔與神韻，例如小旦用
梳妝邊說：「我自28歲踏入戲班，至今已40年， 小嗓唱曲的音質與音色；除了小戲（段仔戲）中，
當年，戲台上為了求取戲劇效果，還會吊鋼絲， 丑角可以跳tone，插科打諢說「白話」外，正戲的
演出好評時，戲迷還會打賞給賞金。」 演出都要使用「官話」，從戲語中可以聽到北管保
北管藝師除了要能演藝跌宕起伏的唱腔，「跳 留「官話」的珍貴傳統。而劇中貧賤不移的感動，
台」、「探台」的身段，還要強記不是北京話、 忠孝節義的教化，仍是現今社會無價的資產。
也不是地方話的「官話」為口白。 正如薛平貴最後大登殿，北管樂音齊下，薛平
「單單趙匡胤的台詞我就背了三天，唱詞實 貴唱出：「風調雨順黎民安，君賢臣忠安樂然，
在多，好在我記性好。」李美娘傳授給藝生時強 天下太平萬古傳。」也唱出庶民的心聲。

108
 Traditional folk music
Founder Chuang Jin-tsai, who passed away in 2021, was
a key figure in Beiguan circles in Yilan County. He trained
in the Luodong Fulan Club, which is over 100 years old,
and was involved in the operation of other troupes, includ-
ing the Donglong and Jianlong companies. He could play
any kind of Beiguan instrument well, but was especially
good at the suona (a horn-shaped double-reed woodwind
instrument), on which he attained a full and rich tone. He
was respectfully nicknamed “the suona tiger.”
Beiguan music arrived in Taiwan during the Qing
Dynasty in the wake of settlers from the southern part of
China’s Fujian Province. Professor Lin Mao-hsien, chair-
man of the Department of Taiwanese Languages and
Literature at National Taichung University of Education,
notes that after the separate art forms of Peking Opera,
Kunqu Opera, and Xiqin Opera came to Taiwan, they
were amalgamated by local society into a performance art
encompassing both music and theater which was called
“Beiguan” (literally “northern pipes”). Beiguan is thus a
uniquely Taiwanese phenomenon in traditional music.
In comparison to the more elegant Nanguan music
(“southern pipes”), which was preferred by people of
refined tastes, the boisterous, clamorous Beiguan be-
came embedded in the daily life of ordinary people, and
flourished in Taiwan’s environment. Lin Mao-hsien calls
Beiguan “Taiwan’s heavy metal music,” and it is the vari-
ety of traditional music with which ordinary people are
most familiar and comfortable.
漢陽北管劇團的景片與場圍，以及放置道具的錫籠、刀槍籠。
Shown here are pieces of stage scenery, metal cases for holding props, and
baskets for weapons, all belonging to the Hanyang Beiguan Troupe.
The golden age of Beiguan
Chuang Jin-tsai formed the Hanyang Beiguan Troupe
at the peak of popularity of Beiguan, which is also called
Luantan Opera when performed onstage by professionals.
Following Taiwan’s economic take-off in the 1970s, citizens
invited opera companies to perform when offering thanks
to deities, when redeeming vows made to gods, and even
when offering each other apologies and marking gambling
wins or losses. Opera companies were booked up solid, and
at their busiest could put on more than 200 shows a year.
Hanyang boasts three masters of female roles—Lee
A-ji, Lee Mei-nyan, and Wong Cheng-mei—who have won
admiration for the company. Lee Mei-nyan was designated
a “preservation artist” for Beiguan Opera by the Yilan
County Government in 2022. While applying her makeup
backstage, she relates: “I joined my first opera company
when I was 28, and I’ve been at it for 40 years now. For
dramatic effect onstage, I’ve even hung by wires. When we
did a good performance, opera fans would give money as
a reward.”
Besides the rising and falling melodic singing patterns
required of Beiguan artists, there are also distinctive
stage movements and postures, and they must memo-
rize the guanhua (“official language”) of Beiguan, an old-
fashioned form of Mandarin that is used for spoken parts
rather than modern Mandarin or Taiwanese Hokkien.
As a growing number of leisure and entertainment
options became available in society and Beiguan artists
aged and passed away, a serious generation gap appeared
109
 1970年代是北管在台灣的興盛時期，北管又區
彰化梨春園 分為職業與業餘，業餘的表演者稱為「子弟」，
走訪全台唯一的彰化縣南北管音樂戲曲館，歷史 幾乎彰化每個鄉鎮都有北管館閣，是全台密度最
最悠久的北管館閣──梨春園北管樂團（以下簡稱 高的縣市，一代傳一代。
「梨春園」）的團員們， 葉金泉說，他的父
一週有五天在此練習。 親葉阿木，除了出錢出
一踏入地下一樓的排 力，擔任負責館務的館
練室，震天價響、震耳 主，還是擅長細曲（指
欲聾的樂音鋪天蓋地而 樂曲類型）的藝師，他
來，團員們神情嚴肅而 掌理的黃金年代，不止
專注，鑼鼓喧天，這群 錄製許多唱片，葉金泉
北管團員「玩b a n d」的 回憶，父親葉阿木每每
歷史已經超過200年。 將曲譜寫在五色紙上，
每次團練時翻曲譜像在
輸人毋輸陣，
翻月曆一樣，單單曲書
輸陣歹看面
就有200多本。
這個至少出版過36張 台中、彰化縣的子弟
1960年代，梨春園支援大甲鳳霓園，在大甲媽祖進香
黑膠唱片的「實力派」 時演出隨駕戲。（梨春園提供） 館，以「軒」或「園」
In this picture from the 1960s, the Li Chuen Yuan
樂團，梨春園團長葉金 Beiguan club assists the Fengniyuan opera company of 來區分，86歲的藝師
Dajia, Taichung in staging a performance at a Dajia Mazu
泉說，梨春園究竟有多 procession. (courtesy of Li Chuen Yuan)
楊茂基回憶，第一屆民
老？有很多版本。1982 選的彰化縣長陳錫卿於
年曾有一塊慶祝梨春園創建280年的匾額，如此 1951年上任時，地方上的北管館閣接龍演出三天
算來，梨春園至今有300多年，但因日久毀損， 三夜，所謂「輸人毋輸陣」，當時彰化最大的梨
考證失據。根據音樂家許常惠教授的考究，目前 春園、集樂軒，拚場也拚館，為了拚面子，軒、
拿得出證據的，是一塊由彰化南瑤宮1930年送給 園各自「落人」（làu-lâng）增援，最後不相上
梨春園的牌匾「樂徵韶武」，內容是慶祝梨春園 下，由消防局出動消防車用水柱驅趕才喊停。
在清朝嘉慶辛未年間（1811年）創立120週年，依 楊茂基說：「你想想，單單連續演出三天需要
此推算，梨春園至少有212年歷史。 多少的樂手？」可見其盛況。

110
梨春園提供　courtesy of Li Chuen Yuan

in terms of performers willing to take on the art form,
while audiences also declined. Both professional troupes
and amateur Beiguan clubs faced extinction, and it grew
ever harder for troupe members to make a living.
Chen Yu-hwan took over the reins of the Hanyang
Beiguan Troupe from Chuang Jin-tsai eight years ago
in a ceremony at a shrine to Xiqin Wangye, the deity of
theater. Chen has continually sought out opportunities to
perform, applying the formula “Beiguan Opera by day,
Taiwanese Opera by night.” She explains that Beiguan
Opera is performed for the deities, while in the evenings
Taiwanese Opera is staged for people. But by watching
Beiguan Opera, not only can people get a chance to listen
to tumultuous Beiguan music, they can also appreciate
the performers’ cadences, melodies, and verve. The touch-
ing stories in these dramas, in which the characters have
lofty ideals, can inculcate timeless values such as loyalty,
filial piety, chastity, and righteousness in the audience,
and can be a valuable asset in contemporary society.
The Li Chuen Yuan club of Changhua
At the Changhua County Museum of Traditional Nan
Bei Music and Theatre, the only institution of its kind
in Taiwan, members of Taiwan’s oldest Beiguan club, Li
Chuen Yuan, rehearse five days a week.
As soon as you set foot in the rehearsal room in the
basement, you hear resounding music that blots out every-
thing else. With serious and attentive expressions on their
faces, the club members produce a thunderous clamor
with their instruments. The history of people “playing in a
band” at Li Chuen Yuan goes back over 200 years.
北鼓又稱板鼓，口語稱噠鼓，是
領奏樂器，又稱為頭手鼓。
This drum, known variously as
beigu, bangu, dagu, and toushougu,
is a lead instrument that starts all
operas or songs and sets the rhythm
for the other performers to follow.
Staying in the forefront
Ye Jin-cyuan, director of this talented musical group
which has put out over 36 vinyl albums, says that accord-
ing to research by Professor Hsu Tsang-houei, himself
a musician and composer, the only evidence now avail-
able of the club’s age is a plaque presented to it in 1930
by Nanyao Temple to mark the 120th anniversary of its
founding in 1811. On this basis, the history of Li Chuen
Yuan goes back at least 212 years.
The 1970s were a golden age of Beiguan in Taiwan. Per-
formers of this music have always been divided into “pro-
fessional” and “amateur” categories, with amateurs being
known as “younger brothers,” and back then almost every
township in Changhua had its own Beiguan club, and the
county had the highest concentration of Beiguan clubs in
all Taiwan.
Ye Jin-cyuan says that his father, Ye A-mu, not only
put up money and invested a lot of effort into the club by
heading it and managing its affairs, but was also an accom-
plished artist who was skilled at “refined songs.” During
the golden age under his leadership, when they recorded so
many disks, Ye Jin-cyuan remembers that his father wrote
out the music in songbooks, of which there were more than
200. The notebooks had colored pages, and every time the
pages were turned during club rehearsals, it was like flip-
ping through a colorful calendar.
Clamor and cultural identity
In 2009 Li Chuen Yuan was recognized as an import-
ant group preserving the intangible cultural heritage of
Beiguan music. However, only two years later Chen Zhulin,
111
 梨春園現任團長葉金泉計劃將梨春園曾錄製的唱片數位化，
將珍貴文化資產保存起來。
Li Chuen Yuan director Ye Jin-cyuan plans to have the albums previously
recorded by the club digitized, to preserve this precious cultural heritage.

熱烈喧鬧，文化認同

2009年梨春園被指定為重要無形文化資產北管音 梨春園的行政助理、現服務於彰師大的陳瑾
樂的保存團體，但亦因為陳助麟老師過世，面臨傳 毓，更是因為喜歡嗩吶，透過研習班成為團
承、差點停團的危機。完全沒有學過北管，忙著修 員。現今已會多種打擊樂與嗩 呐 ，並且擔任領
車廠業務的葉金泉，決定接下團務。葉金泉說， 奏的頭手鼓。他認為，參加北管，除了學習樂
黑白電視問市後，曲館人數驟減，也讓學習北管 器，成為自身的休閒娛樂，梨春園每年固定在彰
的「子弟」年齡出現斷層。他舉例，現今團員超過 化南街請媽祖，出陣時成為媽祖駕前的樂隊，農
80歲有3位，30歲年輕人有5位，就是沒有50歲的團 曆3月23日南遙宮、6月24日王爺誕辰時上演子弟
員，團員不是親友團，就是來做學術研究的。 戲，為王爺祝壽，信仰的凝聚力，亦是團員向心
南藝大民族音樂所的學生楊雅慧、陳柔樺便 力的所在。
是。他們戲稱自己從局外人變成局內人，因為寫論 團長葉金泉說到，「向心力」讓梨春園傳承
文、作研究而加入梨春園，到喜愛北管成為團員。 百年。不同於以往福路、西皮的結黨械鬥，軒、
每週有五次團練，聚在一起練習，有了向心力，產 園的拚館競爭，葉金泉在民俗專家林茂賢的建議
生了歸屬感，「玩北管樂團」成為生活的一部分。 下，七年前展開至全台的北管社團拜館、以樂會
主修笛子的陳柔樺說：「北管音樂或許不在現 友的聯誼，至今交流近30個館閣，除了刺激各地
在年輕人的生活脈絡裡，但當我接觸北管音樂 館閣認真練習，復振北管，也有大和解之意。
後，發現北管學不完，它的豐富在於，可以是純 原來，對北管的子弟來說，北管是生活娛樂，
音樂的欣賞，也可以是神明遶境時駕前的樂隊； 是社交情誼，也有習藝的成就感與守望鄉里的榮
絲竹樂器可以結合孔廟祭典，成為祭典的奏樂， 譽，更重要的是，北管子弟付出與奉獻的精神，
亦可以是粉墨登場的藝術展演。」 都沒有因為時代的更迭而改變。 l

112
who taught newcomers and was himself a performer,
passed away. The group faced a crisis: There was no one to
pass along the traditions, and the club nearly broke up. But
then Ye Jin-cyuan, who had never studied Beiguan music
at all and was busy running his auto repair shop, decided
to take on the task of managing the club’s affairs.
Yang Yahui and Bobo Chen, students in the Graduate In-
stitute of Ethnomusicology at Tainan National University of
the Arts, came to the group in a different way. They joined
Li Chuen Yuan in order to research their university theses,
but by practicing with the group five days a week they
gained a sense of attachment and belonging, and “playing
in the Beiguan band” has become part of their lives.
Chen, who majored in the dizi (bamboo flute), says:
“Beiguan music may not be an integral part of young
people’s lives today, but after I came in contact with it I
discovered that it offers endless possibilities. Its richness
lies in its versatility: It can be played in a purely musical
performance or by a band leading the procession of a deity,
while its ‘silk and bamboo’ instruments [i.e., strings and
woodwind] can accompany rituals at Confucian temples,
and it can also be part of opera performances.”
梨春園團員很有向心力。圖中以半圓形坐著吹奏演出，
稱為排場。
There is a real sense of cohesion among the members of Li
Chuen Yuan. In the photo they are shown performing music
seated in a semicircle; this is called paichang.
Li Chuen Yuan’s administrative assistant, Chen Chin-yu,
who works at National Changhua University of Education,
had a liking for the suona and joined the club after attend-
ing its training classes. He feels that the social cohesion
achieved through religious faith is also a force that draws
the club members together: Li Chuen Yuan leads the annual
Mazu procession from Changhua City’s Nanyao Temple
that visits the former “South Street” (part of today’s Minzu
Road), and the club also performs at Nanyao Temple on the
23rd day of the third lunar month, and for the birthday of
the deity Wangye on the 24th day of the sixth lunar month.
It is this cohesion among club members, says director Ye
Jin-cyuan, that has enabled Li Chuen Yuan to exist for such
a long time.
The fact is that for amateur performers, Beiguan is both
a form of entertainment and a medium for social inter-
action and friendship. It offers a feeling of accomplishment
throught learning an art form, and is a way of upholding
the honor of the locality. Even more importantly, the com-
mitment and dedication of amateur Beiguan performers
has never diminished over time. l
(Esther Tseng/photos by Jimmy Lin/tr. by Phil Newell)
113
多元族群　COMMUNITIES

北科大為菁英專班的學生，舉辦各式各樣體驗中華文化的課程。
National Taipei University of Technology organized various
participatory classes on Chinese culture for students in the New
Southbound Policy Elite Study Program.

帶著
「台灣」經驗返鄉
外交部新南向菁英培育專班
文•曾蘭淑　圖•林格立　版面設計•劉俊良

114
Taking the
“Taiwan Experience” Back Home
—The New Southbound Policy Elite Study Program

金門大學讓菁英專班學生體驗穿旗袍等活動。（金門大學
提供）
National Quemoy University arranged for Elite Study Program
students to experience wearing the qipao (traditional Chinese
women’s attire). (courtesy of NQU)

115
 外交部首次與臺北醫學大學、國立臺北科技大學、國立金門大學
合作，開辦首屆「連結新南向菁英培育專班」，一學期的課程讓學
生們收獲滿滿，除了專業課程獲益良多，他們還利用課餘，探索台
灣風情，品嚐美食，並且紛紛許願，有機會一定要再來台灣留學！

北科大菁英專班學生，體驗以禮奉茶、優雅靜心的茶道文化。
Elite Study Program students at NTUT attend a class on the tea ceremony, enjoying the elegance and tranquility of tea culture.

「用三指幅托著茶杯，象徵天地人，讓心與 連結新南向．培育人才
茶合一；茶杯與茶盤上圓下方，以茶結緣。」茶
這是外交部首次針對新南向目標國家的青年，
師許育仁奉茶時向學生鞠躬，學生也回禮感謝所
所籌辦的人才培訓計畫，經過合作的三所學校嚴
奉之茶。樂師黃鍊金現場吹奏著國樂，在宛轉悠
格審查，在超過250名、來自6國的申請學生中，
揚的簫聲中，品嚐手中產自南投白茶的清香與甘 擇優錄取50人，參加為期5個月的專班。
甜，心中頓時有著無比的安寧與靜美。 外交部次長田中光在一月七日的結業典禮指
這是國立臺北科技大學專門為外交部舉辦第一屆 出，時間過得很快，開學典禮彷彿昨天，台下
「連結新南向菁英培育專班」（以下簡稱「菁英專 學生紛紛點頭表示贊同。
班」）的學生，所舉辦的茶道課，為了讓他們了解中 田中光表示，人才培育是新南向政策中很重
華文化的美，臺北科技大學臺灣華語教育資源中心 要的元素，新南向國家的年輕人若只從課本、
還安排篆刻、鶯歌畫窯、九份放天燈、八段錦氣功 報章雜誌了解台灣絕對不夠。因此，外交部透
健身操等豐富多元的課外活動。 過專班邀請年輕學生來台學習，除了提供半導
更讓學生收獲最多的是華語與半導體課程，並且 體、生物醫學、區域研究課程，還有學習華
表示若有機會，一定要再來台灣攻讀碩士班。 語、台灣文化等相關課程，展現台灣軟實力。

116
T he Ministry of Foreign Affairs recently held
the first New Southbound Policy Elite Study
P rog ram , in coope rat ion w ith Taipe i Medical
University, National Taipei University of Tech-
nolog y, and National Quemoy Universit y. T he
one- semester curriculums provided students with
a rich variety of content. Besides informative spe-
cialist courses, they also used time outside of class
to explore Taiwan and try out Taiwanese cuisine.
They all expressed the desire to return and study in
Taiwan if they have the opportunity.
“You support the teacup with three fingers, which
symbolize heaven, earth, and mankind, and let your
mind be at one with the tea. The round teacup contrasts
with the square tea tray on which it stands, and the tea
forms ties of friendship between people.” Tea master
Xu Yuren bows to the students as he serves tea, and the
students reply by politely expressing their thanks for
the beverage. Musician Richard Huang plays traditional
Chinese music on the xiao, an end-blown vertical flute,
and amidst the melodious sounds, as those in atten-
dance appreciate the delicate fragrance and sweetness of
the Nantou-grown white tea in their cups, their minds
enjoy a moment of incomparable tranquility and peace.
This is a tea ceremony class held by National Taipei
榮獲部長獎的菁英班學生，從次長田中光手中接下獎狀與禮品。
Minister’s Prize winners receive certificates and gift packages from Deputy Minister Tien Chung-kwang.
University of Technology (NTUT) for students at-
tending the first New Southbound Policy Elite Study
Program, organized by Taiwan’s Ministry of Foreign
Affairs (MOFA). To help the students better understand
Chinese culture, the Taiwan Mandarin Educational
Resources Center at NTUT organized a series of extra-
curricular activities including seal carving, ceramics
painting at Yingge, releasing sky lanterns at Jiufen, and
Baduanjin qigong exercises.
But what the students at NTUT got the most out of
were the classes in Mandarin Chinese and semiconduc-
tors, and they said that if they have the chance, they
would like to return to Taiwan to study for their mas-
ter’s degrees.
Training elite talent
This is the first training program organized by
MOFA for young people from New Southbound Policy
partner countries. After rigorous review by the three
participating universities, a total of 50 people out of 250
applicants from six countries were selected to come to
Taiwan for the special five-month program.
Deputy foreign affairs minister Tien Chung-kwang
says that developing talent is an important element
in the New Southbound Policy. MOFA invited young
students to come to Taiwan for these special courses,
which included not only classes in semiconductors,
117
 金門大學安排菁英專班學生體驗畫窯。（金門大學提供）
National Quemoy University arranged for students in the Elite Study Program to try their hand at painting ceramics.
(courtesy of NQU)

冬至時期，金門大學菁英專班學生體驗台灣吃湯
圓的習俗。（金門大學提供）
At the Winter Solstice, Elite Study Program students at
National Quemoy University experience the traditional
custom of eating tangyuan (glutinous rice balls).
(courtesy of NQU)
北醫大安排菁英專班學生參觀強調全方位照顧的臺
北癌症中心。圖為設於兒童腫瘤中心的遊戲機。
Taipei Medical University arranged for Elite Study
Program participants to visit the TMU Taipei Cancer
Center, which emphasizes integrated multidisciplinary
treatment. The photo shows a game in the children’s
cancer ward.

118
承辦學校並根據各自的強項，提供深具特色的
課程，讓學生選修。
臺北醫學大學（以下簡稱「北醫大」）提供60
多種課程，供15位菁英專班學生選修，學生中除
了大學部的學生，還有來自越南、印尼等國的醫
生、護理人員與大學講師，他們修習的課程從應
用流行病學到國際公共衛生議題，從精神神經科
學到基礎程式語言。
已是越南胡志明市腫瘤醫院醫師的Chau Hoang
Minh Vu發現，台灣醫學院學生能學中醫藥，中
西醫合併的醫療與教育，是越南無法企及的。喜
歡爬山的Vu利用課餘，登了四獸山、陽明山，他
說：「在北醫大修習人工智慧與資料科學等課程
讓我受益良多。」
臺北科技大學則提供專業的半導體課程供菁
英專班學生選修，來自馬來西亞拉曼大學的華
僑生林道暄說，檳城是馬來西亞半導體廠的聚
落，他學的是化學工程，在北科大上的半導體
課程開拓他的視野，讓他十分受用，未來想投
入半導體行業。 來自印度的菁英專班學生，與印度駐台使節（左2）合影
也是來自馬來西亞拉曼大學機電系的學生張 留念。
Indian students in the Elite Study Program with a staff member
家競，比較在馬來西亞學的半導體課程說，此 (second from left) from the India–Taiwan Association, India’s
representative office in Taiwan.
次新南向南專班的課程更深入、詳細，讓他很
有收獲。
biomedical sciences, and regional studies, but also Man-
文化課程，多元豐富 darin Chinese and Taiwanese culture, demonstrating
Taiwan’s “soft power.”
國立金門大學（以下簡稱「金大」）開放全
Taipei Medical University (TMU) offered more than
校的課程供菁英專班學生選修，每人六學分，
60 elective courses for its 15 Elite Study Program stu-
可以選修三門課。國際長顏郁芳表示，因金門 dents. They included not only undergraduate students
特殊的地理位置與歷史背景，金大除安排菁英 but also doctors, nurses, and university teachers from
專班的學生修習華語與專業課程外，也讓學生 countries such as Vietnam and Indonesia. The courses
親身體驗金門獨有的閩南文化與風情；他們不 they took ran the gamut from applied epidemiology, psy-
僅是國際交換生，未來更是台灣在新南向國家 chiatric neuroscience, and international health issues, to
中的好朋友。 quality management and basic computer programming.
Chau Hoang Minh Vu, who is a doctor at Ho Chi
金大特地安排學生參觀八二三戰史館，登上
Minh City Oncology Hospital, was surprised to learn
古寧頭戰役前進指揮所所在的湖南高地，領略
that students in medical school in Taiwan can study
戰地風情的同時，還體驗B B彈生存戰，讓學生
Traditional Chinese Medicine and pharmacology and
們大呼刺激好玩之餘，對台灣的地理位置與國 learn combined Chinese and Western treatments. This
際情勢有更深入的感受與體驗。 is not something that is available to medical students in
金大華語文中心安排學生冬至吃湯圓、彩繪 Vietnam.

119
金門大學讓菁英專班學生，體驗穿旗袍等古著，並在古厝前留影。（金門大學提供）
Dressed in traditional Chinese clothing, Elite Study Program students at National Quemoy University gather for a group photograph
outside the historic Qing-Dynasty military headquarters on Kinmen. (courtesy of NQU)

燈籠、學習下象棋，每位學生離開台灣之前， 冬被與熱水瓶的募捐行動，讓學生課餘的在地
都有了自己的中文名字。「金門民眾很有人情 連結，能為校園帶來多元文化觀點與對社會的
味，總是很有耐心讓我們練習說中文，他們造 關懷。
訪金門名產刀具店，還用中文與老闆聊了20分
台灣經驗，打包回家
鐘。」印度學生唐嫣、潘娜、周新穎不約而同
地說，表情充滿了自信。 菁英專班的學生們亦不錯過品嚐道地台灣美
不同於其他學校輕鬆的校外教學，北醫大安 食的機會。來自菲律賓的同學王嘉羅、宋建興
排學生至福隆海灘淨攤，並且透過「新事社會 說，他們在北科大所上的華語課，下課馬上就
服務中心」一起拜訪東南亞籍的漁工，以母語 能在逛夜市時派上用場。他與同期的學生利用
關懷他們。 短短的一學期，相偕逛了約十個夜市，烤鳥
北醫大國際長蔡佩珊表示，透過菁英專班學 蛋、手搖飲是每個夜市必吃的，還吃了許多家
生的反映，發現移工們不習慣台灣冬天的寒 的牛肉麵。
冷，尤其需要熱水瓶，因此國際處發動冬衣、 印度學生唐嫣也說，在金門，他們除了遍嚐

120
 NTUT, meanwhile, offered courses in semiconduc-
tor engineering. Lim Dao Xuan, a student of Chinese
ancestry studying at Tunku Abdul Rahman Univer-
sity in Malaysia, notes that Malaysia’s semiconductor
manufacturing is centered on Penang, and says that
although he is studying chemical engineering, in the
future he wants to get into the semiconductor industry.
The course he took on this subject at NTUT expanded
his perspective and he benefited from it greatly.
Rich and diverse cultural courses
Kinmen-based National Quemoy University (NQU)
allowed students in the Elite Study Program to take
six credits (three classes) from among all the courses
offered at the school. Dr. Yvonne Yu-fang Yen, dean of
NQU’s Office of International and Cross-Strait Affairs,
states that in keeping with Kinmen’s unique geo-
graphic position and history, NQU not only arranged
for the students to study Mandarin but also to experi-
ence Kinmen’s distinctive Minnan (Southern Fujian-
ese) culture and customs .
The university also arranged for the students to
visit the August 23 Artillery Battle Museum. As they
ascended the Hunan Plateau, the location of a com-
mand post during the Battle of Guningtou, besides
being able to appreciate the battlefield, they also took
part in an airsoft-gun survival game. Even as the stu-
dents exclaimed about how fun and exciting the game
was, they also gained a deeper sense of Taiwan’s geo-
graphic position and inter national situation.
In contrast to the relaxed off-campus activities of-
fered by other schools, TMU arranged for the students
to take part in a beach cleanup at Fulong. Moreover,
through the Rerum Novarum Center the students vis-
ited Southeast-Asian fishing-boat crew members and
asked about their wellbeing in their own languages.
Tsai Pei-shan, dean of the Office of Global Engage-
ment (OGE) at TMU, reveals that thanks to comments
from the students in the Elite Study Program, the
菁英專班開學典禮，金門大學印尼籍的學生、老師，與次長
田中光（右3）合影。
Ministry of Foreign Affairs deputy minister Tien Chung-kwang
(third from right) with Indonesian students and teachers at the
opening ceremony of the Elite Study Program.
sc hool became aware t hat m igra nt workers from
Southeast Asia are unaccustomed to Taiwan’s cold
winters and especially needed thermos bottles. In
view of this, the OGE launched a campaign to donate
winter clothes, winter quilts, and thermos bottles. In
this way the local links the students made outside of
class introduced a multicultural perspective and con-
cern for society onto the campus.
Taking the Taiwan experience home
The st udent s i n t he El ite St udy Prog ra m a l so
enjoyed opportunities to appreciate authentic Tai-
wanese cuisine. Two students from the Philippines,
Soriano Ramirez Jarod and Jian Carlo L. Songco, said
they were able to immediately put to use what they
learned in the Mandarin class at NTUT while stroll-
ing through night markets after class. They and their
classmates visited about ten night markets together
during the program semester. At each night market
they invariably consumed roasted birds’ eggs and
custom-mixed soft drinks. They also ate beef noodle
soup at many eateries.
Tamiliniyaa Rangarajan, a student from India, re-
lated that in Kinmen they not only tried beef noodle
soup and dumplings at many places, they also learned
to love hotpot.
At the ceremony marking the end of the program,
Jonathan Axel Benaya, who attended NTUT and won a
Minister’s Prize, put his outstanding achievements in
Mandarin class on display by delivering his remarks
in Chinese. He said: “In the Elite Study Program I got
121
菁英專班學生來台求學期間，收獲滿滿，將帶著美好的「台灣經驗」返鄉。
Students in the Elite Study Program learned a great deal from the classes they attended in Taiwan, and returned home with pleasant
memories of their “Taiwan experience.”

牛肉麵、水餃，還愛上了吃火鍋。 to know friends from many countries, and my experi-

北醫大來自菲律賓的Christine Camille P. Chua ence of life in Taiwan has caused me to fall in love
with Taiwan. In the future I would like to return here
反映，台灣S t a r b u c k s的起司蛋糕、肯德基的麻
for further study. I hope that the Elite Study Program
油紙包雞，都比在菲律賓連鎖店的好吃。
continues into the future, and after I return home I
在結業典禮中，獲得部長獎的北科大學生
will recommend the program to my friends.”
J o n a t h a n A x e l B e n a y a展現優異的華語學習成 After the ceremony, Tien Chung-kwang stated that
果，他用中文致謝辭說：「在菁英專班認識來 the program will continue, and MOFA will consider
自各國的朋友，在台灣的生活經驗，讓他愛上 expanding it to increase the number of participating
台灣，未來還想再來台灣留學，希望專班繼續 universities and students, because these students will
舉辦，返國後也會將專班推薦給朋友。」 take their “Taiwan experience” back home with them.
Tien said that he believes that while studying in Tai-
政務次長田中光會後表示，這個專班會持續
wan the students gain a deeper understanding of Tai-
舉辦，並考慮擴大辦理，增加合作學校及參與
wan’s free, democratic, and open society, as well as its
人數，因為這些學員將帶著「台灣經驗」返 global economic and political position and its role in
鄉，相信在台學習的過程，學員更加認識台灣 maintaining regional stability. □
是自由民主開放社會，及我國在全球政經與維 (Esther Tseng/photos by Jimmy Lin/
繫區域穩定的角色。 □ tr. by Phil Newell)

122
 北美地區訂閱單
The Order Form for N.A. Area Only

(一)我訂閱台灣光華雜誌：
I want to subscribe to Taiwan Panorama:
□我是新訂戶　New subscriber　　
□我是續訂戶╱電腦編號　
Renewal/subscriber No.□□□□□□□□

□一年1 year╱US $45

□二年2 years╱US $80
我從_______年_______月起訂閱台灣光華
Subscription to begin with__________(month)__________(year)
姓名╱Name
地址╱Address

電話╱Tel.
□我為親友訂　As a gift for a friend
姓名╱Name
地址╱Address

電話╱Tel.

□我使用信用卡Charge my credit card

（不接受美國運通卡之所有卡種）
CARD TYPE:

信用卡號 Card No.：

_________-_________-_________-_________- □□□
（請加填信用卡背面簽名處的末三碼）
(Please include the final three numbers found on the back of your card, near the signature bar)

電話號碼 Tel No.：____________________________

有效期限 Expiry date：_____月(month) ______年(year)止
訂購日期 Subscription date：________________________
訂購總金額Total (including postage)：
_________________________________________________
持卡人簽名：Cardholder’s signature

_______________________________________________
（與信用卡簽名同一字樣）
□我購買光華叢書，已勾選如背面
I wish to purchase the book publications as checked overleaf.
（二）光華叢書售價（含郵資）Book Series (including postage)

訂購數量
書名 版本 售價
Quantity
Title Edition Price
Ordered

畫說成語
平裝 Paperback US$11 本
Chinese Sayings Told in Pictures

當西方遇見東方──國際漢學與漢學家
平裝 Paperback US$11 本
When West Meets East: International Sinology and Sinologists

中國草藥故事
平裝 Paperback US$11 本
Stories of Chinese Herbal Medicine

擁抱台灣──百張圖片看現代台灣
平裝 Paperback US$13 本
Embrace Taiwan 100 Images of Contemporary Taiwan

顯影台灣──百張圖片看現代台灣2
平裝 Paperback US$13 本
Taiwan Revealed 100 Images of Contemporary Taiwan (2)

弦歌不輟──台灣戲曲故事
平裝 Paperback US$13 本
Hold that Note!—Stories from Taiwan's Stage

築夢荒野──台灣自然映像
平裝 Paperback US$13 本
Call of the Wild—Taiwan's Natural World

台灣民俗筆記
平裝 Paperback US$16 本
Shindigs and Solemnity in Taiwan

台灣青春紀事
平裝 Paperback US$16 本
Days of Being Wild: Youth Culture in Taiwan

台灣好滋味
平裝 Paperback US$12 本
A Taste of Taiwan

心南向．一家人
平裝 Paperback US$15 本
Bonds of Friendship, Bonds of Love—Taiwan and Southeast Asia

台灣意象
平裝 Paperback US$20 本
Taiwan in the Mind's Eye: Stories and Images of Taiwan

美．台灣：人文攝像集
精裝 Hardback US$20 本
Ilha Formofa!—The Beautiful Isle!

天使傳愛：天主教在台灣
平裝 Paperback US$20 本
Angels of Love: Catholicism in Taiwan

合計
本
Total

●本訂單及訂費請裝入信封後惠寄本社 ●以上定價皆含郵寄處理費
Please enclose this form with your payment in an envelope and mail to Prices include postage and handling.
中華民國台灣台北復興橋郵政第8-398號信箱
P.O. Box 8-398 Taipei Fuxing Bridge Taipei City 10099, Taiwan, ROC

●訂閱單可拍照或掃描後，電郵至service@taiwan-panorama.com
You may also submit the order form attached as a scan or clear snapshot via Email to: service@taiwan-panorama.com

總計（含掛號郵資）
Total (including postage)