張雅雯

Chang, Ya-wen

工藝、默會知識、社會創新、工藝跨界、美學智慧

Craft, Tacit Knowledge, Social innovation, Cross-disciplinary crafts, Aesthetic wisdom

「工藝」隨時間的推移與歷史的演進，在時代的進程中從「以物為主」到「以人為本」的典範轉移（Paradigm shift）現象，逐漸促使工藝含納多面向的意義和觀照範疇，紛繁多元地在不同學科、領域中擔任角色，然卻也因為工藝「默會知識」且游離的特徵，無形中造成大眾對工藝的認知逐漸模糊、忽視甚或誤解。在 1990 年代，全球當代視覺藝術掀起論辯工藝的熱潮，這些論辯或主張皆有其發展的背景，涉及政治、經濟、社會、文化、藝術與歷史等面向，直接或間接對後繼工藝的論辯和發展具有關鍵性的影響。
面對 21 世紀氣候變遷、生態失衡、疫情蔓延、高齡化社會以及數位科技興起等，充滿複雜與不確定性的當代環境，工藝的概念、價值與角色更要順應趨勢，與時俱進地持續被討論，本文透過東西方有關工藝的論辯觀點，重新審視工藝的特質，提供臺灣當代工藝發展思辨討論，並回應當代脈動與社會需求。

Crafts have undergone a significant paradigm shift over time, evolving from a focus on mere objects to an emphasis on people-centered approaches. This shift has broadened the meanings and expanded the scopes of craft, leading to their diverse roles across various disciplines and fields. In the 1990s, the contemporary visual arts community had intense debates about crafts. These debates, rooted in nuanced contexts encompassing political, economic, social, cultural, artistic, and historical dimensions, have significantly influenced subsequent discussions and the evolution of crafts. These debates have been pivotal in shaping the modern understanding of crafts and their applications.
In the 21st century, characterized by complexities and uncertainties such as climate change, ecological imbalance, pandemics, aging populations, and the rise of digital technology, the concept, value, and role of crafts require continuous examination and discussion to remain relevant. By revisiting the discourse surrounding crafts in both Eastern and Western contexts, this paper examines their characteristics and engages in critical discussions on the development of contemporary crafts in Taiwan, ensuring their alignment with contemporary trends and social needs.