對鶯歌瓷仔用語來探討台灣常民文化

Abstract

本研究是欲針對瓷仔用語來成做題材，尤其鶯歌的瓷仔是全國有名，甚且佇咧國際上仝款是名聲足響，毋過uì過去到現在，差不多有兩百外年的燒窯歷史，嘛留下足濟值得探討的常民文化現象，常民一般攏是「食飯皇帝大」，毋過鶯歌人卻是「燒瓷食缺」，到底這是為什麼呢？鶯歌大約佇咧60到80年代左右，拄著建築業的全盛時期，鶯歌差不多有二百外支的煙筒管，會使講是「點塗成金」的瓷仔工場，定定攏有建築業的頭家，手中是捾（kuānn）貯現金的007皮箱，徛佇咧磅空窯的門口排規排，咧等タイル（thài-luh）出窯，等到出窯的時陣，就一手交貨一手付現金，彼是因為建築業的厝起好了後，若是タイル抑袂貼好勢，這是無法度將厝交予客戶，建築業的頭家當然嘛無法度來收尾款，所來造成的一種文化現象啦。其實佇咧台灣鼓勵外銷的年代，鶯歌咧過程中扮演了𤆬(tshuā)路雞的角色，只是一个小小的鄉鎮，煞會當將世界上各種包羅萬象的瓷仔，攏集中佇咧鶯歌來生產發展，是一種予人感覺真不可思議的代誌；若是踮佇臺灣北部的鄉鎮，尤其是蹛佇台北地區附近，攏會聽著老一輩長期流傳著一句話，「鶯歌窟、有入無出，鶯歌的塗足黏人」的講法，閣有外鄉鎮的鄉親，看著鶯歌人遮爾仔好趁食，攏會用話共鶯歌人消遣講：「恁干焦塗攪水，一箍著欲趁人九角幾，趁錢是若趁水，講鶯歌人是敢若土匪」，毋過其中到底是有什麼製作過程佮辛苦呢？外鄉鎮的人是攏總毋知影，干焦看著結果是甜的；足濟類似這款的瓷仔用語佇咧民間流傳，所以筆者希望透過本研究，想欲進一步去探討鶯歌瓷仔的用語，到底是按怎來形成、變化，煞進一步融入去普羅大眾的潛意識內底呢？然後閣會當表現佇民間故事佮傳說當中，又閣是經歷了啥物款過程的瓷仔用語，以及啥物工具的瓷仔用語，會當產生這款常民的瓷仔用語呢？所進一步營造出來的台灣常民文化，也是本文欲討論的重點。佇咧研究瓷仔用語的同時，首先愛面對的是瓷仔工作者，也是這種自然流傳的民間用語、佮傳說的記錄者和傳播者，是攏按怎處理瓷仔用語，當然瓷仔的作品，才是逐个瓷仔工作者欲表現的領域，毋過大多數是攏無受過正規瓷仔學校教育的工作者，佇咧這款常民文化的背景之下，筆者進一步去共瓷仔工作者來收集、記錄、了解，然後來探討其中的文化意涵，是按怎會來傳播和流傳一寡台語的瓷仔用語呢？最後佇咧臺灣的常民文化當中，鶯歌的瓷仔用語，是用啥物款的角色佮詩歌模式自然呈現出來啦！This study intended to use porcelain wordings as material. Yingge is famous for its porcelain both in Taiwan and the world, and though there are only two hundred years of kilning history, this experience left lots of public culture to be explored. General public emphasize “the bread is the staff of life”, but for people of Yingge, they believe “penny saved is a penny earned”. What was the reason? From 1960 to 1980, Yingge was flourishing and supporting the building trade, and there were more than two hundred chimneys in Yingge where many “The Midas touch” factories were located. Many architectural bosses carried their money with a suitcase and lined up at the door of factories. They were waiting for the tiles sent out from the kilns and were ready for paying their money. They could not ceded houses to their clients if the tiles were not pasted on the wall. Consequently the bossed could not get the remnant funds from clients, and that was a unique culture during that time. In that time the nation encouraged enterprises to export their products and Yingge were playing a role of leading the way. Yingge was only a small town but could produce all sorts of porcelain commodities for the world and this was incredible. If you had visited the north of Taiwan, you would have heard this saying: “the kiln of Yingge can be in but can not out; the earth of Yingge will stick people”. Some people out of Yingge might say this to people of Yingge: “you only use earth mixed with water and earn 90% of this porcelain. Making money so easy like that, you are like robbers.” What were the producing procedure and hardship? People did not know that but only saw the good result. There were lots of these kinds of porcelain wording spread out in the public. The researcher wished to explore the porcelain wording of Yingger through this study, and knew how these wording were created and changed and the wording implication in people’s subconsciousness. These wordings represented in the public story and legend experienced what kind of society, and what tools of porcelain wordings would create such wordings? The public culture of Taiwan created further by citizens was also the main point of this study. Firstly, the researcher had to face the porcelain producers who were the recorders and communicators of natural spreading public wordings. How did they deal with those wordings, and certainly the works were the domain that every porcelain producer intended to express, but there were those producers who were not educated with a regular pottery education? With such background of public culture, the researcher and porcelain producers worked together to collect, record and realize the materials, and then explored the cultural implication. Furthermore, why were these porcelain wordings communicated and spread? Finally, in the public culture of Taiwan, what role and poetry did the wordings play naturally in the porcelain wordings of Yingge?