張詠淇

Chang, Yun-chi

謝振發、泥作工藝、剪黏、芝山巖惠濟宮

Hsieh, Cheng-fa, Clay sculpture, Jian Nian, Zhishan Yan Huiji Temple.

傳統建築裝飾中的泥作工藝包含了「剪黏」、「泥塑」與「交趾陶」等三種核心技巧。這些以「塑形」為原理的傳統工藝，其美感不僅體現在其立體造型上，同時也具備吉祥寓意的裝飾紋樣，滿足了民間信仰和日常生活的審美需求，不管在寺廟、宅第等建築，皆是不可或缺的民間藝術表現。
謝振發，新北市萬里人，2023 年 5 月 23 日登錄新北市「泥作工藝」保存者，師承洪坤福派下「五虎將」的姚自來。1960 年姚自來於萬里重威宮工作現場發覺謝振發的藝術天份，提拔謝振發習藝之路，一路至今。謝振發曾參與大龍峒保安宮、北投關渡宮、板橋接雲寺、芝山巖惠濟宮等屋頂剪黏修復工程。他的「泥作工藝」表現出色，技藝表現上以人物剪黏為一大特色，運用灰匙一筆一劃刻劃出人物的偶頭與神情，而非工廠燒製的淋搪偶頭，每尊人物的動態與神情表現生動，是至今為數不多施作剪黏人物的司阜之一。
本研究將謝振發個人學藝背景探討整理，從文獻回顧爬梳臺灣泥作工藝發展脈絡，到聚焦於謝振發在傳統工藝上的技藝表現。以 2019 年參與芝山巖惠濟宮的屋頂剪黏修復工程為例，其人物剪黏作品例如排頭戲齣、中脊八仙人物等，將謝振發施作過程拍攝記錄，並以作品中泥塑偶頭臉譜為主，分析其人物剪黏中的技藝特色，希望藉由本文的整理，讓謝振發作品被更廣泛認識，並為臺灣泥作工藝研究脈絡增添一筆，使臺灣傳統工藝有更多的紀錄得以傳承。

Traditional clay art in architectural decoration utilizes three principal techniques: "Jian Nian (cut and paste)", clay sculpture, and cochin pottery. These crafts are dedicated to shaping three-dimensional forms adorned with intricate patterns and motifs, often laden with auspicious meanings. Historically and mythically themed, these art forms meet aesthetic needs in temples and homes.
Hsieh, Cheng-fa, who trained under Yao, Chih-lai from Taiwan's renowned Hong, Kun-fu school of clay art, has been an active participant in the field for over six decades. Yao discovered Hsieh’s artistic talent in 1960 at the Chongwei Palace in Wanli and fostered Hsieh’s learning path. Hsieh has participated in roof restoration projects using the cut and paste technique at prominent sites such as Dalongdong Baoan Temple, Guandu Temple in Beitou, Jieyun Temple in Banquiao, and Zhishan Yan Huiji Temple. His clay art stands out for its character cut and paste technique. He carefully shapes each figure’s head and expressions with a spatula, unlike the factory-made heads, giving each figure a vivid and lifelike appearance. He remains one of the few masters still practicing this specialized form of cut and paste for figures today.
This research comprehensively organizes and discusses Hsieh’s personal learning background, from reviewing literature that traces the development of Taiwan’s clay art to focusing on his craftsmanship in traditional arts. The 2019 restoration project at Zhishan Yan Huiji Temple serves as a case study, highlighting his character cut and paste works, such as the lead figures in theatrical plays and the characters of the Eight Immortals along the roof's ridge. The study documents Hsieh’s crafting process, with a focus on the clay-sculpted faces of the figures, analyzing the distinctive features of his cut and paste technique. By compiling this article, it aims to bring greater public recognition to Hsieh’s works, contributing to the research lineage of Taiwan’s clay art and ensuring that more records of Taiwan’s traditional crafts are preserved and passed down.