| Abstract: | 人偶藝術在世界各國文化活動上皆佔有一定的比例，尤以日本及歐洲為最。其發展的層面除了工藝、玩具、表演藝術、商業應用、政治宣導外，也是近代文化產業發展中的一項利器，從台灣隨處可見的小丸子、迪士尼卡通玩偶、芭比娃娃即是。隨著時代更迭，人們賦予人偶的意義及看法也不同，連帶使主題功能產生變革；也影響到人偶的外在形象呈現。人偶由原始社會的宗教功能，隨著歷史變遷、社會脈動，增加了實用功能，漸漸成為玩賞物品。 而自二十世紀初始，人偶已不再只是工藝品或擺飾，而是藝術創作的媒介。其中尤以德籍的超現實主義藝術家漢斯?貝墨（Hans Bellmer）他將傳統的木栓人偶發展製成球體關節人偶（Ball-Jointed doll，簡稱B.J.D.），以攝影方式，經由場景調度與裝置；使古老的人偶製作這門手工藝與現代藝術產生了奇異的相遇。之後漢斯?貝墨隨著超現實美術引薦至日本，對日本傳統人偶師造成了極大震撼，進而對傳統日本人偶的造型、製作工法與內在精神做一徹底的變革。日本人偶師內化了球體關節人偶基本形式之後；發展出的創作，不論是數量、品質、內涵都在水準之上。其中以土井典、四谷シモン、三輪輝子、秋山まほこ、天野可淡、戀月姬、三浦?子七位創作者最具代表性；並延伸出「人偶愛」、蘿莉塔、複雜情慾發洩等心理學、文化學上諸多議題。加上日本企業將球體關節人偶量產，塑造成買主可以參與創作的物品—S.D.。人偶由玩具的角色向上提升為工藝品，透過完整高明的行銷手法，與動畫、漫畫、線上遊戲軟體、同人誌、扮裝（Cosplay）融合，形成一銳不可擋的風潮，每年創造上億元的產值，並漫延至臨近各國，逐漸形成全球化的趨勢。筆者在見識過日本久遠的人偶工業與完善的行銷機制，造成龐大的經濟產值後。反觀台灣在人偶相關文化產業的現況，以目前已商業量產的人偶作品為樣本與創作者進行深度訪談。研究發現，在華人社會，由於人偶起源於「俑」；且大量使用於喪葬場合，使大多數人易將人偶與「明（冥）器」聯想在一起。不然就是停留在芭比娃娃的「玩具」印象，所以此項目的發展緩慢而停滯。台灣的「人偶」產業在漢文化活動的影響下亦是如此。在品質方面，筆者發現，台灣的人偶受歐、美、日影響頗深；造型雖多變，但缺乏辨識度高的特色風格。官方及民間雖有推出相關活動，由於欠缺深層文化涵養；且疏於整體統合，易流於商業導向或公式化的「嘉年華會」形式；無法延續精神及內涵，對文化產業也較難發揮倍增的長遠效果。本文為一新研究嘗試，希望藉本研究提供後續研究工作一基礎根基，並拋磚引玉吸引更多研究者關注於台灣人偶文化產業研究之領域。
The art of dollmaking plays an important role in most countries, especially in Japan and Europe. It is usually applied in crafts, toymaking, the performing arts, product marketing and government’s propagation.In recent years, it has even become an effective tool in the development of cultural industry. As times change, dolls take on different significance and functions. They have been used for everything from religious worship to entertainment.Since the 20th century, dolls have been recognized as objects of artistic creativity. In the art of dollmaking, the German surrealist artist Hans Bellmer deserves special mention. Why is he so important? He successfully blended an old craft with modern artistic perception by transforming the traditional doll of adolescent girls into the ball-jointed doll (BJD). As surrealism and Bellmer’s work spread to Japan, traditional Japanese dollmakers were deeply influenced by the ball-jointed dolls and their internal and external workmanship.Japanese doll craftsmen also combined the basic form of the BJD with traditional styles, and gradually began to produce large quantities of high-quality dolls. Among Japanese dollmakers, seven names in particular stand out: Doi Nori, Simon Yotsuya, Teruko Miwa, Mahoko Akiyama, Amano Katan, Koitsukihime, and Etsuko Miura. The characteristic structure of ball-jointed dolls means that people can get lots of pleasure from rearranging their parts to create their own “superdolls” (SD). Seizing upon this opportunity, Volks. Inc. of Japan has cooperated with animation companies, anime groups, comics publishers, on-line gaming companies and cosplay SD companies to tap the growing market and make more than ¥100 million a year. BJDs have become popular all over Asia, including Korea, China, Singapore, and Hong Kong, and have even spread to North America. Despite their popularity around the world, BJDs have yet to make a serious impact in Chinese society. In China, dolls were traditionally used as “yongs”（俑）, female or male figures made from wood or earth and buried with the dead. To the Chinese, then, dolls are seen as either toys or funeral accessories. As a result, people have been reluctant to develop an interest in dolls as an art form. |
