Taiwan Panorama 2021 Jul

JUL.
2021 中英文北美版
海島台灣
阮劇團
碟鼓工藝師
土、敘邊界台灣世界公民中心
打開海底的時空寶藏
‧歲成年禮
18
中華民國一一〇年七月　第四六卷第七期
──
潘子村
建議售價
NT$150
US$5 Vol. 46 No. 7 July 2021
HK$40 CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
¥600
犁田
Tilling the Soil

圖／文•林格立　版面設計•馬英凱
農
業機械化的現代，要再看到
牛隻耕種的畫面已經不容易 W ith today’s mechanized agriculture, the use
of oxen to plow the fields has become a rare
sight. But Chen Qingsong of Pingtung County’s
了。我在屏東恆春碰到的陳慶松阿
伯還養著幾頭台灣牛，協助他田間 Hengchun Township still keeps several head of cat-
的工作。 tle to help him work his farm.
這天阿伯牽著他的耕牛來到田間鬆 On this day Chen has brought out one of his
土整地，準備播種。小時候農村的 oxen to prepare the soil for seeding, in a scene that
畫面，好像經過時光隧道，重現在 reawakens distant memories of childhood.
眼前，令人回味。 (photo and text by Jimmy Lin/tr. by Phil Newell)
編人的
編者絮話語
海洋的子民
文．陳亮君
中華民國110年7月1日出版（月刊）／
中華民國65年1月1日創刊
四面被「海」包圍的台灣，不論是氣候、而《光華》持續追蹤土、敘邊界台灣世界
出版者光華畫報雜誌社環境、生物還是文化，都與海洋有著密不可公民中心的議題，讓該中心執行長裘振宇，
發行人／吳釗燮
Publisher: Jaushieh Joseph WU
社長／陳銘政分的關係。百萬年來，海洋精心雕琢出寶島和甫到任之我國駐土耳其代表處代表黃志
Director: Henry M.J. CHEN
總編輯／陳亮君
Editor-in-Chief: Ivan CHEN 台灣的面貌，今後，仍將深深影響著台灣的揚，談談目前進行之現況與困境，並希望藉
主編／曾蘭淑
Editor: Esther TSENG
文稿副主編／鄧慧純劉亭均
命運和未來。由縮短難民婦女及兒童的數位落差、引進國
Deputy Editors: Cathy TENG, Rina LIU
文字編輯／陳群芳蘇俐穎謝宜婷尤其台灣位在西太平洋群島的中央，亞洲際與台灣NGO等資源的方式，共同推動台灣
Writers: CHEN Chun-fang, Lynn SU, Tina XIE
美術編輯／蕭郢岑王敬勛馬英凱
Art Editors: HSIAO Ying-tsen, Henry WANG, 大陸的東緣，海洋環境受到黑潮、南海水氣中心的永續經營。
MA Ying-kai
攝影組召集人／莊坤儒
Photographic Coordinator: Kent CHUANG
和中國大陸沿岸流的交互影響，如此獨特的 * * *
攝影組長／林格立
Photographic Director: Jimmy LIN 地理條件，在人類文明及南島語族遷徙及向此外，本期亦有許多精采的人物報導，如
攝影編輯／林旻萱
Photojournalist: LIN Min-hsuan
英文編輯／陳瑩潔唐樂榕倪凱駿費儒伯外拓展的過程中，扮演著相當重要的關鍵角在國際上時興的手碟鼓製作，在台灣工藝師
English Editors: Audrey CHEN, Robert TAYLOR,
Phil NEWELL, Robert FOX
日文編輯／山口雪菜施家騏色。但問起一般民眾，台灣各地的臨海有何潘子村的巧手下，展現天籟一般的空靈音
Japanese Editors: Yukina YAMAGUCHI,
Shila SHIH
印尼文編輯／陳德銘
特色？水下世界的樣貌又是如何？恐怕很少色；鍾愛土地的琴師林宗範，手製台灣琴，
Indonesian Editor: Temmy WIRYAWAN
越南文編輯／武秋香人能說得出來，本期《光華》就帶您深入海傳承台灣宗教的民俗儀式；以及阮劇團成立
Vietnamese Editor: VU Thu Huong
18周年之紀念作，以台灣「五大奇案」為
泰文編輯／王玉雯
Thai Editor: WANG Yu-wen 洋，試圖讓您跨出那了解、珍惜與親近海的
資深行政編輯／段蜀華
Senior Administrative Editor: DUAN Shu-hwa
社群編輯／蕭淑憶
第一步。本，所製作之成年禮大戲《十殿》；還有台
Social Media Editor: Dawa HSIAO
* * * 中騎行的最新報導，持續記錄下台灣這塊土
總監／鍾宜蓉
Marketing Director: Carianne CHUNG
業務協理／陳俊偉 COVID-19疫情至今仍未平息，除造成全地上的人文故事。
Deputy Manager: CHEN Jyun-wei
資訊部主任／卓宏基
Director of Information Systems: CHO Hung-chi 球上百萬人死亡，多國經濟亦受到嚴重打台灣島由海底而生，一般人要親近海洋
綜合服務組／李淑慧
General Affairs: S.H. LEE
擊。在此嚴峻的時期，我國外交部及國合會是很容易的，我們相信只要樂於認識海
是如何秉持人道關懷精神，給予開發中國家洋，傾聽海的聲音，感受來自大海的喜怒
公衛醫療援助，並協助穩定其社會經濟的發哀樂，正如同《光華》數十年來記錄下台
展，讓台灣暖流源源不絕。本期特別專訪國灣各時期的生命脈動般，多一份了解，也
合會副秘書長史立軍，讓他娓娓道來台灣人就多一份關愛，在生生不息的萬物循環當
道援外工作的二三事。中，永續下去。 l
Children of the Sea EDITOR’S NOTE
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mately connected with the sea in many Taiwan’s overseas aid work. 中華民國95年1月改為台灣光華雜誌
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underwater world, few can respond. This Theatre, which is marking its 18th anniversary General Manager: YIN Yu-chi
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month we go down to the sea, to take some with a production of Palaces, based on the “Five
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wide, it has devastated many countries’ econ The island of Taiwan rose out of the sea Damaged or misbound copies returned to us will
be gladly replaced.
omies. In these hard times, Taiwan’s Ministry floor, and the ocean is close at hand. We be
of Foreign Affairs and the International lieve that if you are willing to get to know the
Cooperation and Development Foundation sea, hear its voice, and connect with the joys
(TaiwanICDF) continue their humanitarian and sorrows it encompasses, you will gain a
work, assisting developing countries in the greater understanding and appreciation of it.
fields of public health and medicine, and in With this, we can live sustainably in the end
stabilizing their social and economic devel less circle of life. l 本刊物印刷油墨使用環保認證大豆油墨
opment. In this issue, TaiwanICDF deputy (Ivan Chen/tr. by Phil Newell)

目次
CONTENTS 中華民國110年7月第46卷第7期 Vol. 46 No. 7 July 2021
20 封面故事 Cover Story
6 海島台灣
Island Taiwan
8 海在那裡，人生就在那裡
蘇達貞的海洋夢想
Life Is Where the Sea Is:
Su Tar-zen’s Ocean Dreams
文•鄧慧純　圖•林格立
30 20 為孩子留下那片湛藍
陳琦恩以「台灣潛水」為名
Saving the Ocean for Children:
Dylan Chen and the Taiwan Dive Center
文•鄧慧純　圖•台灣潛水提供
30 打開海底的時空寶藏
水下考古在台灣
Time Capsules Beneath the Sea:
Underwater Archaeology in Taiwan
文•蘇俐穎　圖•文化部文化資產局提供
40
40 恢復大海的顏色
對抗海洋垃圾的「湛」鬥機
Restoring the Ocean:
Azure Alliance’s “Marine Vacuum Cleaner”
文•謝宜婷　圖•莊坤儒
編者的話來自地方的明信片
Editor’s Note Postcards from Home
2 海洋的子民 1 犁田 52 月月好讀
Children of the Sea Tilling the Soil Variety Pages
文•陳亮君圖／文•林格立文•陳永興
影像對話 Photo Essay
封面說明： 58 《出神》
6月8日「世界海洋日」，我們向海致敬、向海學習，
異質化與民俗場域觀察
要成為與海共生的海洋島嶼。（莊坤儒攝）
Cover: On World Oceans Day, 8 June, we salute and learn Chang Shih-fei’s Spellbound:
from the oceans as we strive to become a maritime island Musings on Heterogeneity and Folk
that lives in harmony with the sea. (photo by Kent Chuang) Religion
圖•張士飛　文•陳伯義
全球視野 Global Outlook
68 與戰爭的距離
土、敘邊界台灣世界公民中心
Helping Refugees from the Syrian Civil War:
The Taiwan–Reyhanli Center for World
Citizens
文•曾蘭淑　圖•裘振宇提供
68
76 授人玫瑰•手有餘香
攜手友邦•共同抗疫
To Give Is to Receive
—Coming Together in the Fight Against Covid
（裘振宇提供 courtesy of Chiu Chen-yu）
文•蘇晨瑜　圖•國合會提供
島嶼行旅 Around Taiwan
84 台中單車文旅
達人領路•多元騎乘魅力
Taichung’s Cycling Culture
—Expert Guidance, Diverse Charms
文•劉亭均　圖•莊坤儒
96
藝文脈絡 Cultural Trends
96 金屬的空靈低喃
碟鼓工藝師──潘子村
Heady Metal:
Steel Drum Maker Pan Tzu-tsun
文•蘇俐穎　圖•林旻萱
104 手製台灣琴，傳唱牽亡歌
鍾愛土地的琴師林宗範
Lin Zongfan, Master Luthier and Lutenist
文•陳群芳　圖•林格立
114
114 阮劇團•18歲成年禮
用自己的樣子站上國家舞台
Holding Its Own on the National Stage:
Our Theatre at 18
文•鄧慧純　圖•林格立
6
S TO R Y
COV E R
封面故事
Island
Taiwan
划向
與那國島！
Paddle towards
Yonaguni Island!
我吃
海洋垃圾
I eat sea trash!
錘頭鯊來也
I'm a hammer-
head shark!
小心！
別踩到珊瑚礁
Look out!
Don’t damage
the corals.
千萬別碰我
DON’T TOUCH ME!
路過台灣～
Just passing
through...
案發現場
通通不許動！
Freeze! This is a
crime scene!
我們
是海底偵探隊
We are the sea
detectives!
7
封面故事　COVER STORY
蘇達貞的海洋夢想
Life Is Where the Sea Is:
Su Tar-zen’s Ocean Dreams
8
文•鄧慧純　圖•林格立　版面設計•王敬勛
四面環海的台灣，島國居民
坐享近1,600公里的海岸線，與
海的距離僅有一步之遙，但長
久以來的恐海教育，卻讓人民
懼海、退避三舍。
拖鞋教授蘇達貞用「認識、
親近、喜愛」的步驟循序打破
民眾的恐海藩籬，用行動實現
一次次遠揚的夢想，因為台灣
之子本該是海洋的子民，親海
本該如此。
S u r r o u n d e d o n all s i d e s b y
wat e r, Ta i wa n ’s r e s i d e nt s
enjoy nearly 1600 kilometers of
coastline, and few live more than
a short distance from the sea. But
Taiwanese people have long been
taught about the dangers of the
ocean , which makes them keep
their distance from it.
Professor Su Tar -zen breaks
down the barrier of fear between
t h e Ta i w a n e s e a n d t h e o c e a n
with a three-step process: “un-
d e r st a n d , ge t c los e , lo ve .” He
feels that the Taiwanese ought by
nature to be a people of the sea.
9
蘇達貞，人稱「拖鞋教授」，情，越有意義。」拖鞋教授的航動，而蘇達貞就是那個掀起浪潮
國立海洋大學退休後，安居在程，還未完待續。的人。
花蓮壽豐鹽寮海邊。勞工委員
拖鞋教授的最後一門課，被誤解的海洋
會（勞動部前身機關）的職業
獨木舟環島去！
潛水證照制度、職業潛水訓練掀起獨木舟浪潮的蘇達貞，本
班是他一手建置，他也是「蘇蘇達貞聊起他在海洋大學裡人就是海浪的專家。畢業於海洋
帆海洋文化藝術基金會」（簡稱開的最後一門課，「我們想要做大學，赴美國夏威夷研讀海洋工
「蘇帆海洋基金會」）創辦人，一件回味青春的事，學期開始程，再回母校任教。退休後，他
但蘇達貞更為人熟知的是帶領大家一起決定了，課程結束後選擇在花蓮落腳，想把鹽寮開墾
學生划獨木舟環島，帶「不老要用獨木舟環島，讓青春不留成台灣的夏威夷；此外，他更希
水手」勇闖太平洋清水斷崖，白。」2009年暑假，蘇達貞領著望發揮自己的專業，讓台灣人更
還挑戰「不殘水手」、「黑暗一群學生從海洋大學出發，划認識海洋。「台灣的海洋如此漂
水手」也能在海上優游划獨木過西岸，環行到東岸時，卻遇亮，但是從小到大的恐海教育，
舟。認識他的人說蘇達貞是個到八八水災，大夥兒於是棄槳讓大家對海洋一無所知，我們想
夢想家，更是個實踐家。他靠改救難，開著卡車到太麻里去把這樣根深蒂固的恐海文化翻轉
著熱情，堅持著心中的想望，要救災，環島未竟的旅程則到了過來。」「蘇帆海洋文化藝術基
讓島嶼的人民享受台灣美麗的海 2010年才完成。金會」因之成立，著力推廣親海
洋，而他自己的海洋夢想──划這是國內第一次由老師帶著教育。
著獨木舟跳島環遊世界，也還在學生獨木舟環島繞台灣一圈，自只是這個任務難度卻出奇的
途中，他樂觀地說：「沒有不可那時起，獨木舟環島成了學生間高。一開始，他想從年輕世代著
能，只有很困難。而越困難的事「現在不做，以後會後悔」的活手，卻常常被憂心的家長、校方
蘇達貞不僅是海浪專家，他也是
掀起獨木舟環島浪潮的人。
Ocean expert Su Tar-zen started
the trend of canoe trips around the
coast of Taiwan.
10
Su Tar-zen is the “professor in Nat ional Taiwa n Ocea n Un iver- 難忘年輕時在夏威夷求學的日子，蘇
達貞在花蓮鹽寮打造太平洋西岸的夏
sl ipp er s” who si ng le -h a nde d ly sity: “We wanted to do something
威夷，成立「蘇帆海洋基金會」。
created a system for professional memor able, so we dec ided t hat Having enjoyed studying in Hawaii
in his youth, Su Tar-zen has created
scuba diving licensing and training after the end of the class we would a new Hawaii on the western side of
under the Council of Labor Affairs go around the island by canoe, to the Pacific in Yanliao, Hualien County,
home to the Jonathan Su Foundation.
(now the Ministry of Labor). He is give those young people something
also the founder of the Jonathan Su exciting to remember.” Su and his
Foundation. But he is best known students started off from NTOU in
for leading students on a round- the summer of 2009, and paddled
the-island canoe trip and heading along the whole West Coast. But who feel, “If we don’t do it now, we
up ca noei ng act ivit ies t hat take when they got to the East Coast they will regret it later.” Su was the orig-
“young-at-heart ” elderly sailors encountered Typhoon Morakot, so inator of this trend.
past Hualien’s Qingshui Cliff. Those they gave up the trip and joined in The misunderstood ocean
who know him say he is a dreamer, the rescue operations. They com- Su is himself an expert on the
but even more he is someone who pleted the unfinished portion of ocean. After retiring from NTOU, he
makes dreams come true. Driven their voyage in 2010. decided to settle in Hualien County,
by passion, he is determined to help This was the first time in Tai- where he hoped to be able to bring
the island people of Taiwan enjoy wan that a teacher had led a group his expertise to bear to help Taiwan-
the beautiful ocean around them. of students on a round-the-island ese people better understand the
Canoeing around the island canoe trip. Since then, it has become sea. “The sea around Taiwan is so
Su talks about his last class at a popular activity among students beautiful, but people here are taught
11
「過度關心」。蘇達貞每回舉辦嘯等等。「會帶走人的是海流，蘇帆海洋基金會像是海邊的大家庭，
推動親海教育，讓台灣之子成為海洋
活動最常得到四個字「注意安不是海浪。」蘇達貞嚴正的解之子。
The Jonathan Su Foundation is like
全」。但是「注意安全」的內容釋，「海浪是一種能量震動， a big family living on the coast. They
是什麼？卻鮮有下文。「我們認不是移動，請不要再說被海浪捲 promote ocean-positive education
to enable the children of Taiwan to
為『安全』有三個主軸，其一是走了。」而且只要觀察海浪， become children of the sea.
人，其二是環境，其三是裝備。一定會發現海浪最終會跟海岸
了解人的專業能力，觀察當日的線平行，然後撲打上岸，「所
海況，並有適當的裝備，要了解以只有出不去的，沒有回不來
這三種情況，才能來制定『安全的。」蘇達貞隨口又一個順口的海灣地形容易讓海水湧進後
規範』。」「一名教練與初學者溜。倘若不小心落海，別白費力無法宣洩，而不斷聚集堆疊，
的安全規範是不一樣的」，蘇達氣游泳回來，穿著救生衣，只要致使海水位上升，引發海嘯。
貞強調，「不是浪高一米把海洋「隨波逐流」，海浪自然會把你台灣東岸是垂直的斷面，沒有
關閉，就代表安全了，否則衝浪帶回岸上。濱海帶、大陸棚、大陸斜坡等
的人玩什麼？」蘇達貞講得義憤 2011年日本311地震引發大海讓海浪累積推高的地形，因此
填膺，但台灣海岸線插滿「水深嘯，相關單位預測海嘯也會到「台灣發生海嘯的機會微乎其
危險」的立牌，相關單位就以為達台灣；但蘇達貞當時就站在花微」，蘇達貞篤定地說。
「安全」了，著實諷刺。蓮鹽寮海邊並拍攝影片，親眼見聽蘇達貞不厭其煩地逐一解
島上居民關於海洋諸多似是證東海岸「沒有」海嘯發生。他釋，才發現國人對海洋真是誤會
而非的觀念，譬如去海邊要注意從科學的角度分析，海嘯發生深了，讓「海洋本人」被誤解到
別被海浪捲走，在海邊要小心海的成因主要是地形所致，淺水跳到黃河都洗不清。
12
from a young age that it is danger- Only by understanding the capabil- to sea, not waves.” You only have
ous, with the result that they know ities of the people involved, observ- to observe waves and you will dis-
nothing about the ocean. We want ing sea conditions on the day, and cover t hat t hey ultimately move
to undo this deeply rooted culture having the right equipment can one parallel to the coast and end up on
of fearing the sea.” The Jonathan Su set ‘safety parameters.’” “The safety shore. If you fall into the ocean,
Foundation (JSF) was founded to parameters for a coach will differ and if you have on a life vest, don’t
promote ocean-positive education. from those for beginners,” Su em- waste energy trying to swim back,
Unfortunately, this has proven to phasizes. “It shouldn’t be a case of but just “go with the flow” and the
be an incredibly difficult task. Every simply keeping everyone out of the ocean waves will naturally carry
time he organizes an activity, the water whenever waves reach one you back to shore.
four words he hears most are “Pay meter in height. Otherwise what In 2011 there was an enormous
attention to safety.” But what does would surfers do?” earthquake and tsunami in Japan,
that mean? “The JSF believes there People living in Taiwan have a and the relevant agencies predicted
are three parts to safety. The first is lot of specious ideas about the sea. that a tsunami would also strike
people, the second is the environ- For example, Su solemnly explains, Taiwan. But Su, analyzing the issue
ment, and the third is equipment. “It is currents that carry people out from a scientific perspective, says
that the main reason for tsunamis
is topography. When ocean water
pours into shallow bays there is no
way for it to be discharged, and it
continually builds up, thereby rais-
ing the water level and leading to a
tsunami. But Taiwan’s East Coast is
a vertical cliff, and there is no topo
graphy of the type that allows waves
to build up, such as a littoral zone,
蘇帆的志工陪著小小水手們，用身體感
受浪潮，耐心化解心中對海的恐懼，慢
慢地等待他們張開雙手擁抱海洋。
Volunteers from the Jonathan Su
Foundation are shown here with “little
sailors” as the children experience
the waves with their bodies, gradually
overcoming their fear of the sea until they
finally open their arms and embrace the
ocean.
陳景怡（左）和林槐生（右）兩位不
老水手，從恐海到享受海洋，他們曾
一起划著獨木舟訪清水斷崖，也曾划
向日本沖繩的與那國島。（夢想海洋
生活工作室提供）
“Young-at-heart sailors” Jean Chen (left)
and Lin Huaisheng (right) feared the
sea in the past but now enjoy it. They
have paddled a canoe together past the
Qingshui Cliff in Hualien and navigated
to Yonaguni Island in Okinawa, Japan.
(courtesy of Ocean Life Dream Workshop)
13
偉大的航道出航。蘇達貞領軍，從花蓮
出海，成功划行到與那國島，證明台灣
是世界海洋文明重要的發源地之一。
（夢想海洋生活工作室提供）
With Su leading the way, a group of people
set out from Hualien and successfully
crossed to Yonaguni Island, demonstrating
that Taiwan could well have been one of
the important places of origin of world
maritime civilization. (courtesy of Ocean
Life Dream Workshop)
手之歌」：「風起雲湧浪先到，
風淡雲輕浪不死，吐盡白花給陸
地。」讓長者容易記誦海洋的規
律。「我現在很enjoy海洋。」
現已經74歲的林槐生一臉得意
地說。
擴展越來越大，到最後整個大而曾是台視記者主播的陳景
觀海、知海、親海
自然都是你的探索圈了，蘇達怡，她同時也是航向沖繩與那國
因為「無知、害怕、禁忌」，貞解釋。島紀錄片《南風再起》的導演。
國人對海洋全然無知，而心生恐她憶起划著獨木舟從海面上看清
帶不老水手享受海洋
懼，更衍生諸多民間禁忌，也水斷崖，「那是參加蘇帆活動最
對海洋避而遠之。而諸多的海蘇帆基金會最成功的推廣當是感動的一刻，第一次從海上看台
洋意外起因也都是不識海況，不老水手的培訓。當時不老騎士灣的海岸線，發現台灣真的那麼
貿然下海。的旋風在台灣風起雲湧，蘇達貞美。」因為參與了蘇帆的活動，
身為識海的老水手，蘇達貞訓喜歡逢人就說划獨木舟比騎腳踏改變了她的生活，她開始頻繁的
練他的教練群，「還沒下水前就車安全，朋友鼓動他辦一個不老參與戶外活動，爬山、騎腳踏
要先判斷海洋的狀況，看海浪就水手看看。他開始招募志願者，車，不是只在家「種馬鈴薯」
知道海的深度，看波形的變化就如今不老水手已經編號到200多了。行動力旺盛如她，分享在海
知道海面下的地形，有沒有離岸號了，更多長者透過蘇帆基金會上看日出，賞月光海，發現藍眼
流。觀察久了，可以算出今天的親近海洋，年齡從來不是阻礙。淚的美景與感動。她興高采烈地
浪況，幾個小浪後會有大浪，來採訪當天，剛好不老水手林槐揪團，發起不老水手划小琉球、
判斷獨木舟出海的時機。這些資生、陳景怡來訪，大家聊起當不基隆嶼，不老水手們真是跨出舒
訊都可以藉由觀察海象得知。」老水手的心得。64歲來到蘇帆適圈的典範。
「唯一看不出來只有水母，基金會的林槐生，儘管曾經在
南風再起，偉大的航道出航
所以只好先派教練下去，聽到唉海軍服役，但是「不踏實，踩
呀唉呀的慘叫聲，就知道不能下不到底就是怕」，他誠實地說出 2017年，蘇達貞發起「南風再
水。」蘇達貞玩笑地說。心中的恐懼。但是在教練們一步起」計畫，規劃從花蓮划竹筏到
蘇帆基金會的海洋體驗鼓勵學步的引導，穿著救生衣在海中漂日本沖繩的與那國島。乍聽之下
員跳出舒適圈進到探索圈，「冒浮海泳，學習自己翻舟復位，有點無厘頭的狂想，卻是蘇達貞
一點險你會有更大的收穫」，在培養水性，學習觀察海浪，認想用科學實驗證明，台灣是世界
探索圈不斷的行動能讓舒適圈識海洋。蘇達貞還創作「不老水海洋文明的發源地之一。
14
continental shelf, or continental suc h a s how ma ny sma l l waves to the JSF’s “get close to the sea”
slope. As a result, “The chances of a there will be between big waves, activities.
tsunami occurring in Taiwan are in and from that you will be able to On the day of our visit, young-at-
finitesimal,” Su says with confidence. judge when to take the canoes out to heart sailors Lin Huaisheng and Jean
Observe, know, get close sea. You can get all this information Chen stop by. Although Lin, who
Few people in Taiwan are know by observing the ocean.” first made contact with the JSF at age
ledge able about the ocean. And in In its marine experience activities 64, served in the Navy, he frankly
fact many marine accidents happen the JSF encourages students to go admits that he was afraid of the
because people don’t understand beyond their comfort zones to their ocean. But guided by his coaches, he
sea conditions and just plunge right “exploration zones.” Su explains: “If started out by just floating in the sea
into the water. you take a little risk you will get a wearing a life vest, and progressed
As a veteran sailor, Su tells his better experience.” By continually to learning how to swim and how
trainee coaches: “Before going into taking actions in your exploration to right himself in a canoe after cap
the water you have to first judge zone, your comfort zone will ex sizing. “These days I really enjoy the
t he sea conditions. If you watch pand until you find that the natural sea,” says Lin, now 74, proudly.
the waves you will know the depth world is your oyster. Jea n Chen was for merly a re
of the water, and if you watch the Young-at-heart sailors porter and anchorwoman at Taiwan
changes in the waveforms you will The most successful JSF activity Television and also the director of
know the topography under the sur has been the training of “young-at- Nanfeng Zaiqi (“The Sout h Wind
face and if there are any rip currents. heart” elderly sailors. Already more R i s e s Ag a i n”), a do c u m e nt a r y
Adequate observation will help you than 200 people have taken part, about a voyage f rom Ta iwa n to
calculate the day’s wave conditions, as age has proven to be no barrier the Japanese island of Yonaguni
15
多年前他讀到日本人類學者曉可借助星星、地景、羅盤或土最早的歷史證據。我要證明，
海部陽介的論文，他從沖繩各島 GPS導航的航海技術外，其實還人類的海洋文明極可能是從台灣
嶼考古挖掘到的人類化石，推論有「五官航海」。先民用看、這裡出發的，台灣是世界海洋文
出沖繩人源自台灣，而且是三萬聽、聞、嚐、摸等知覺就能在海明重要的發源地之一。」
年前移民過去的。但日本學者質中航行。舉例說，久住海邊的居
因為，海就在那裡
疑，三萬年前是否已有高度的航民每天觀察天象，發現遠方的天
海技術能橫渡海洋？空始終有一塊雲，看久了就知道「因為海就在那裡呀！」蘇
蘇達貞說：「可能。我做給那塊雲的下方應該有陸地（濕空達貞說，「沒有特別喜歡它，它
你看。」攤開地圖看，從台北到氣遇到地形上升凝結成雲）；被就是你生活的環境。」雖然海洋
與那國島的距離才150公里，比海浪推上去的地方就是陸地，所吞沒了他的獨子（蘇達貞的兒子
台北往綠島170公里還近。為了以只要保持海浪在船尾的位置航因潛水意外過世），他仍續力推
重現當年的實況，他連船都自己行，就一定會碰到陸地。他舉海廣親海教育，藉由「認識、親
DIY，棄獨木舟改划竹筏，因為龜、鮭魚的本能，成年後會洄游近、喜愛」，告訴國人正確的海
三萬年前連金屬工具都沒有，不到出生地，是一種天賦的本能，洋知識；他出版小說《綠血》，
可能有工具可以挖空樹幹。他讓三萬年前的台灣先民也保有這樣寫台灣職業潛水員的故事，他寫
學生用石頭敲擊竹子，收集竹的本能，只是人類文明降低了我道：「在潛水這個行業裡，很多
管；再利用花蓮在地的月桃葉搓們的感官知覺與大自然的連結與知識都來自經驗的累積，而最可
揉成繩，綑綁竹筏，不斷的實驗互動。貴的知識，來自最嚴重的錯誤經
到第四艘竹筏才成功。 2017年，蘇達貞率領不老水手驗。」希望破除似是而非的觀
而如何在茫茫大海中不迷途，及年輕團隊一行從花蓮出海，成念，讓經驗傳承，並為海中工作
航向陸地，這其中的關鍵是航海功划行到與那國島。「三萬年前者爭取更多的重視。
技術。蘇達貞解釋，除了大眾知跨過太平洋的航海紀錄是當今出所幸蘇達貞的夢想已經慢慢
五官航海：先民用看、聽、聞、嚐、摸等知覺就能在海中航行。
Navigating by the senses: In ages past people could navigate at sea
using the senses of sight, hearing, smell, taste, and touch.
透過星星來導航。
Navigating by the stars.
保持海浪在船
觀察天象，發現遠方始終有一
尾的位置航行，
朵雲，雲的下方就有陸地（濕
就會遇到陸地。
空氣遇到地形上升凝結成雲）。
If you keep the
waves to the Observing the weather: If you
aft of the boat discover a cloud continually hovering
as you sail, you over a distant place, you will know
will eventually that there is land beneath the cloud,
encounter land. because humid air rises and forms
clouds when meeting land.
16
蘇達貞的夢想已經慢慢在生根發
芽，他培訓的年輕團隊，樂於幫助
任何想親近海洋的人，走進海洋，
享受海洋的洗禮。
Su Tar-zen’s dreams are gradually
coming true. The young coaches he
has trained are happy to help anyone
who wants to learn to love the sea to
experience it for the first time.
in Okinawa. She remembers going

on a JSF activity during which she
paddled a canoe and looked at the
Qingshui Cliff from the ocean. “That
was my most moving moment with
the JSF. It was the first time I saw
Taiwan’s coast from the sea and I
discovered just how beautiful the
island is.” Participating in JSF activ-
ities changed her life, and she began
to do a lot of outdoor recreation in-
cluding hiking and cycling.
The south wind rises
In 2017, Su Tar-zen launched the
“Sout h Wind Rises Again” proj-
ect, which involved traveling from
Taiwan to the Japanese island of
Yonaguni by bamboo raft. This may
sound like a bizarre idea, but Su
wanted to prove scientifically that
Taiwan was one of the fountain-
heads of world maritime culture.
Many years ago Su read an article
by the Japanese anthropologist Yo- what it was like 30,000 years ago, he Besides widely known navigation
suke Kaifu, who, based on human made a bamboo raft, because back methods such as using the stars,
fossils that he unearthed on vari- then there were no metal tools that the landscape, a compass, or GPS,
ous Okinawan islands, proposed would allow people to hollow out a there is also “navigation by the five
that ancient Okinawans migrated tree trunk to make a canoe. He got senses.” Our ancestors knew how to
from Taiwan 30,000 years ago. But students to cut bamboo poles us- navigate at sea by using the senses
other Japanese scholars wondered ing stones and then make rope out of sight, hearing, smell, taste, and
whether there was sufficiently ad- of twisted leaves of shell ginger, a touch. For example, if you observe
vanced sailing technology 30,000 plant native to Hualien, to bind the a cloud remaining stationary in the
years ago that would have enabled bamboo raft together. distance for a long time, you will
people to cross the ocean. But how could they sail without know that there is land underneath
Su decided: “It’s possible. I will getting lost on the vast open sea? t he c loud ( hu m id a i r r i s e s a nd
show you.” In order to replicate The key was in the art of navigation. forms clouds when meeting land).
17
在生根發芽，當年一起築夢的伴在孩子身邊，慢慢地等待他油」，「你真的有心的話，我們
志工范祐齊在花蓮落腳，成立們張開雙手擁抱海洋。很願意告訴你如何去親近海洋。
「夢想海洋生活工作室」，幫蘇達貞也慢慢交棒給多年來有甚麼樣的方式，認識裝備、器
助任何想親近海洋的人，走進海培訓的志工群，大家都傳承蘇材，認識運用個人的身體。」陳
洋，享受海洋的洗禮，並告訴他帆基金會的理念，「我們想做冠榮說。
們海洋不可怕，但要保持敬畏的事情是讓學員可以平安下海，在蘇帆的園地，看著每一張
之心。黃聲薇則利用自己幼教讓你熟悉海洋，知道怎麼可以安迎向海洋的笑臉，我們期待有朝
的專長籌辦「太平洋小小水手全快樂的玩。」基金會祕書長陳一日，台灣能成為與海共生的島
營隊」，協助孩子用身體感受冠榮說。要體驗蘇帆基金會的活嶼，能真正地、好好地享受海
浪潮，耐心化解心中對海的恐動，最少要是兩天的行程，團洋，因為，拒絕了70%的世界，
懼，學習觀察海浪的變化，陪隊們不希望大家只是來「搵豆豈不可惜？ l
18
海的寧靜、海的張狂、海的夢
幻，置身其中，方能感受。
（夢想海洋生活工作室提供）
You can only enjoy the quiet,
wildness and dreamlike nature
of the sea by putting yourself
in it. (courtesy of Ocean Life
Dream Workshop)
cially fond of it, but you can’t deny

that it is part of your living environ-
ment.” Although the ocean took the
life of Su’s only son, who died in a
diving accident, he still works to
promote ocean-positive education
and inform citizens about the sea.
Su’s dreams are already coming
to fruition. Volunteer Van Fan has
settled in Hualien and founded the
Ocean Life Dream Workshop to give
help to anyone who wants to get
on good terms with the sea. Mean-
while, Ng Shengwei has brought to
bear her expertise in early child-
hood education to organize the JSF’s
“Pacific Little Sailors Camp,” pa-
tiently working to dispel children’s
fear of the sea.
Su is gradually turning over the
leadership baton to volunteer train-
ers. “What we want to do is to make
it possible for students to go into
the sea with peace of mind, and let
them know how to safely have fun
Also, so long as you keep waves at In 2017, Su led a team of young- in the water,” says JSF secretary-
the stern of the boat as you sail, you at-heart sailors and young people general Chen Kuan-jung.
will inevitably strike land. Su points on a successful voyage from Hua- Seeing all the smiling faces look-
to the examples of sea turtles and lien to Yonaguni. “I wanted to show ing out to sea at the JSF, we look for-
salmon which have the innate ability that human maritime culture could ward to the day when Taiwan will
to return to their birthplaces after have started here in Taiwan, and become an island where people live
growing to adulthood, and says that that Taiwan is at any rate one of the in harmony with the sea and a place
the people living on Taiwan 30,000 important places of origin of world where everyone can enjoy the ocean.
years ago had si m ilar i n st i ncts; maritime civilization.” After all, isn’t it a waste to turn your
unfortun ately, modern civilization Because the sea is there back on 70% of the world? l
has weakened the connection be- “It’s because the sea is there!” Su (Cathy Teng/photos by Jimmy Lin/
tween our intuitions and nature. says, “You don’t have to be espe- tr. by Phil Newell)
19
陳琦恩以「台灣潛水」為名
Saving the Ocean for Children:
Dylan Chen and the Taiwan Dive Center
何月攝　photo by Yue
20
文•鄧慧純　圖•台灣潛水提供　版面設計•王敬勛
「噗通」一聲，翻身入海，
你可曾親眼見過台灣海面下的
世界？在那透澈湛藍的世界
裡，有海龜優游、梭魚大軍成
群、珊瑚搖擺、親人小丑魚等
等，海面下的世界安靜、瑰麗
又神秘，讓人著迷。身為全台
最具規模的潛水教育機構「台
灣潛水公司」有一個掛在心上
的使命：Bring the ocean into your
life，讓每一位台灣人親身體驗
台灣海洋的美麗，讓見識過的
人都成為守護海洋的一份子。
T he Taiwan Dive Center, the

largest institution for div-
ing instruction in Taiwan, has a
mission: “To bring the ocean into
your life.” T hey want to enable
every Taiwanese person to expe-
rience this island’s beautiful sea
up close, and to make everyone
who has gotten to know it into a
protector of the ocean.
The Taiwan Dive Center (TDC),

founded in 1980, got its start by tak
ing on marine engineering projects.
Only later did it gradually transform
into a company devoted to recre
ational diving. From a very young
21
1980年成立的「台灣潛水」，作室，生意穩定，維持一人溫為孩子留下那片湛藍，陳琦恩要做一名
守護海洋的潛水人。（林旻萱攝）
早年以承接海事工程起家，後來飽。生涯的轉折是2009年的一 Dylan Chen wants to be a diver who
protects the ocean for the next generation.
逐漸轉型為休閒潛水。台灣潛通電話邀約，讓陳琦恩打包行李 (photo by Lin Min-hsuan)
水公司執行長陳琦恩從小跟著到澳洲凱恩斯打工度假，工作內
爸爸做工程潛水，小時候他認容是他最擅長的潛水，在那裡他
識的海洋是灰濛濛的，淒風苦見識了國外海洋旅遊產業一條龍
雨中，還冒著生命危險；當時的服務。扎實的人員訓練、完善有3位，陳琦恩是其中之一。
的他打從心裡不喜歡海洋，想的服務流程、教練生涯養成，甚 2012∼2015年間正逢中國大陸
要逃離，但從大學經濟系畢業的或對環境的保護，都開了他的眼旅客來台的尖峰期，公司曾經
他，沒有考到任何一張保險、金界，讓陳琦恩許願，回台灣也要在十一連假黃金週，十天內接
融證照，只考到一張潛水教練證把公司做大。「做大，第一才了1,000人次的潛水體驗。機緣
照。於是他從海洋創業，人生也有獲利的可能；第二才有話語加上準備好的實力，台灣潛水業
因為海洋連結到更廣大的世界。權，對外產生影響力，有可能跟績蒸蒸日上，陳琦恩遂在恆春後
常說自己一輩子只會潛水的陳琦政府、產業對話；第三最重要的壁湖打造「台灣潛水渡假村」，
恩，也花一輩子把這件事情做是才有機會照顧員工。」三層樓高的白色建築在藍天下，
好、做大。從澳洲回國，陳琦恩在2011 充滿南國風情，而且是一間友善
年考取PA D I課程總監，代表他環境的綠建築，任何細節都從
做大才有影響力
取得訓練潛水教練的資格，可「關心海洋」為出發點。「因
陳琦恩在2005年考取全球最以培養自己的團隊；2014年他為扛著『台灣潛水』的名號，
大潛水訓練機構PA D I的潛水教再進階成白金級課程總監，當當然不能讓台灣的潛水產業被
練執照，經營著一人的潛水工時全球只有66位，會講中文只看扁。」陳琦恩說。
22
age, compa ny CEO Dyla n Chen is that this was the only way to get opportunity to build the TDC Resort
accompanied his father working on a place at the table and have enough at Houbihu in Hengchun Township,
marine engineering contracts. At influence to engage in dialogue with Pingtung County. This is an environ-
the time he disliked the ocean and the govern ment and stakeholders; ment ally friendly green building,
wanted to escape that career path. and the third and most important with “caring about the ocean” as the
However, after graduating from uni- reason is that this was the only way starting point for every detail of its
versity with a degree in economics, to look after my employees.” design. “Because it carries the name
he didn’t pass the license exams to After returning from Australia, ‘Taiwan Dive,’ naturally we have to
work in the insurance or financial in 2011 Chen gained certification do things properly so that people
industries, but only succeeded in f rom PADI as a course director, won’t look down on Taiwan’s diving
getting certified as a diving instruc- wh ic h mea nt t hat he was quali- industry,” says Chen.
tor. As a result he founded a sea- fied to train diving instructors and Saving the ocean for children
based business, and through the could build his own team. In 2014 Starting in 2016, a deterioration
ocean his life has linked up with the he took the next step to become a in cross-strait relations caused the
wider world. Chen, who often says “plat inum” course director. The number of Chinese tourists visiting
that the only thing he has mastered years 2012 to 2015 saw vast numbers Taiwan to plummet, and Chen, un-
in life is diving, has dedicated his of travelers coming to Taiwan from willing to cut his prices to stay com-
life to doing this one thing well and mainland China, and during the petitive, had to think about how to
on the largest possible scale. ten-day “Golden Week” holidays restructure his business. He started
Gaining influence with scale around China’s October 1 National with branding and states frankly
In 2005 Chen got certification as Day, the TDC took up to 1000 cus- that when he first began to create
a diving instructor from the Pro- tomers on dives. Thanks to these a “green” image for the firm, he
fessiona l Assoc iat ion of Div i ng favorable circum stances and their wasn’t really acting from the heart.
Instructors (PADI), the world’s larg- own diligent preparation, the TDC’s “The real transformation came when
est dive training organization, and revenues surged, and Chen took the my child was born.”
began to operate a one-man diving
workshop. His business was stable
enough for him to make a living at
台灣潛水渡假村是從「關心海洋」出發的綠建築。（林旻萱攝）
it, but he changed direction in 2009. The TDC Resort is a green building, with “caring about the ocean” as the starting point
for its design. (photo by Lin Min-hsuan)
That year, as a result of an invita-
tion he got over the telephone, Chen
pac ked h i s bags a nd went for a
working holiday in Cairns, Australia,
where he saw the complete line of
services offered by the local ocean
holiday industry. He was impressed
by the solid training of personnel, the
impeccable service procedures, the
career development opportunities for
instructors, and even the concern for
environmental protection. Chen con-
sequently hoped that after returning
to Taiwan he could turn his company
into a large-scale operation. “The first
reason is that this was the only way
to make a profit; the second reason
23
恆春，雙峰藍洞。（阿飄攝）恆春，梭魚。（林旻萱攝）
Twin Peaks Blue Caves, Hengchun. (photo by Yuhan Ghost) Barracuda off Hengchun. (photo by Lin Min-hsuan)
們可以留一筆錢、留一棟房子、不是『人』，對海好的事情我們
為孩子留一片美麗海洋
留一份工作給孩子，但是我們可就做，對海不好的事情我們就不
2016年起因兩岸氛圍，來台以留下這片海給他嗎？」「十年做。」他不放任遊客做出傷害海
中國大陸訪客數量銳減，陳琦恩後我的孩子還能不能看到這麼漂洋的事情，譬如塑膠的管控，禁
不願削價競爭，開始思索企業轉亮的海洋呢？」想到這裡，陳琦用對海洋有害的防曬乳等。台灣
型；這時期也是他的充電期，向恩跟妻子抱頭嚎啕大哭。潛水每年捐出潛水旅遊營業額的
外伸展觸角，學習經營管理、品有了動機，改變的行動即鳴槍 1%，回饋給海洋；將獲利20%
牌經營等新知。陳琦恩先從品起跑。陳琦恩規定同仁任何一次成立藍色基金，以此投入海洋環
牌著手，他誠實的表示，一開性物品都不能帶進公司，但同步保活動，包括淨灘、淨海、海洋
始做綠色包裝，是為了品牌轉提供配套措施，如提供環保餐具巴士的巡迴演講；以及環台潛旅
型升級，並非打從心裡真正想供學員使用等等。陳琦恩也努力或是海底畢業典禮等海洋計畫；
做，「真正的轉變是小朋友出生轉型，讓台灣潛水成為亞洲第一和支持海洋相關非營利組織，成
了。」間通過B型企業認證的潛水教育為永續海洋的推手。
曾經陳琦恩也覺得「永續」慢中心，所謂B型企業，是相信企陳琦恩每次演講都會先以「海
慢來就好，十年還很長，不急，業不僅只在乎營利，更有善盡社洋謝謝你」開場，因為他所擁有
但是朋友的一席話驚醒了他。會責任的義務，要成為對世界最的一切─事業、妻子、兒子─都
「小朋友幾歲可以學潛水？」好的企業。是海洋給他的，他會用「海洋對
「十歲。」「那一刻起，十年和為此，他重新定調，「台灣不起」結尾，因為知道再多的唇
十歲的孩子才有了連結。」「我潛水服務的對象是『海洋』，而舌可能都阻止不了大多數人對海
24
蘭嶼，八代灣沉船。（京太郎攝）恆春，雙峰藍洞。（阿飄攝）
A sunken vessel in Badai Bay, Orchid Island. (photo by Kyo Liu) Twin Peaks Blue Caves, Hengchun. (photo by Yuhan Ghost)
東北角，海蘋果。（京太郎攝）綠島大白沙，獨立礁。（京太郎攝）
Sea apple off the Northeast Coast. (photo by Kyo Liu) Independent Reef at Dabaisha, Green Island. (photo by Kyo Liu)
O r ig i n a l ly C h e n f e lt t h at h e any disposable products into the 台灣六大潛場，各有讓人流連之處。

Taiwan’s six major diving locations all offer
could proceed slowly to achieve company, while at the same time he features that keep divers coming back
“sustainability”; he thought that ten began to devise accompanying mea again and again.
years was a sufficiently long time sures, providing breakfast from the
and there was no need to hurry. But restaurant and offering self-catering
a question from a friend gave him students reusable utensils for din
a wakeup call: “At what age can ing out. Chen also dedicated him to the sea.” TDC donates 1% of its
children learn scuba diving?” “Ten self to transforming TDC into Asia’s diving tourism revenues each year
years old.” “From that moment on first diving instructional center to to do something positive for the
there was a connection between the be certified as a Benefit Corporation ocean. It has also set up a fund with
tenyear sustainability plan and a (B Corp). A socalled B Corp is an 20% of its profits to invest in ma
tenyearold child.” “We can leave enterprise that does not care only rine environ mental protection and
our children money, a house, and about profit, but also devotes atten support oceanrelated nonprofit
even a job, but can we leave them tion to fulfilling its social respon organizations, becoming a propo
this ocean?” “In ten years will my sibility in order to make a positive nent of a sustainable sea.
child be able to see such a beautiful impact on the world. Diving deeper
sea?” When their thoughts reached To this end, Chen set a new tone In 2019, through AVEDA Taiwan
this point, Chen and his wife just for the company: “The focal point founder Chu Ping, Chen invited the
hung their heads and cried. of TDC services is ‘the ocean’ rather internationally known diving travel
With this new motivation, Chen t han ‘people.’ We do everyt hing expert Simon Pridmore to come to
began taking action. He made a rule possible that is beneficial for the sea, Taiwan for a roundtheisland div
forbidding his employees to bring and we don’t do anything harmful ing tour and to write the book Dive
小琉球，綠蠵龜。（李昆弦攝） 25
澎湖，薰衣草森林。（京太郎攝）
Green sea turtle off Xiaoliuqiu. (photo by Jason Lee) Penghu’s undersea Lavender Forest. (photo by Kyo Liu)
洋的不重視。「我不期許自己成北角、恆春、蘭嶼、澎湖、小琉了。」台灣的潛水有十足潛力。
為一間最賺錢的潛水店，但我期球、綠島，下海潛探。陳琦恩但是，一路的探訪也讓陳琦恩
許自己成為一間讓小孩引以為傲一一細數台灣六大潛點的特色，重新思索「海洋旅遊」的範疇，
的潛水店。」東北角海岸適合短期停留台灣的「我們必須用世界的角度來思
商務客，當日往返最方便。恆春考。」當初東北角行程原本不在
環台「潛」旅，
算是當中旅遊元素最豐富的地名單內，但Simon解釋，台灣的
潛出產業深度廣度
點，可以看生態，走古蹟，一家國際旅客以商務客居多，停留在
當年在澳洲打工度假，陳琦大小都有得玩，都不無聊。「小台北洽公，僅有一兩天的空檔，
恩的年薪將近台幣150萬，業主琉球的標題就用海龜能見度90% 這時候東北角是體驗台灣潛水的
也願意提供長期工作簽證，「在好了」他說。蘭嶼的海底能見度最佳選項。而介紹給國外潛客的
澳洲雖然薪水很好，生活也很舒深達40米，當地的文化豐富又能不該僅止於海洋，台灣的風土文
服，但是老實說，我沒有付出什讓你遇見不一樣的台灣。澎湖的化更該在海洋旅遊中呈現出來。
麼。」「在台灣我有機會付出，珊瑚覆蓋率極高，且有許多沉船 Simon還指出，目前台灣僅適
有機會改變，讓台灣的海變得更潛點，絕對值得一潛再潛。綠島合背包客旅行，缺少整體的統籌
好，才是我真正想做的事情。」曾是世界十大潛點之一，更是不規劃。高階的潛水旅程應該從交
2019年，透過肯夢AVEDA創可不訪。通接駁、住宿、餐旅、潛水、海
辦人朱平牽線，陳琦恩邀請了而因為疫情之故，海洋得以洋導覽都被妥善關照。陳琦恩更
國際潛旅達人Simon Pridmore來休養生息，這期間居然在台灣海見識到Simon的妻子Sofie Hostyn
台環島潛旅，並撰寫《Dive into 域通報看到錘頭鯊和大翅鯨，讓的專業姿態。她曾在峇厘島服務
Taiwan》一書（中譯本預計六月陳琦恩大為振奮，「這些在國外高階潛水客，對於海洋生態的博
由城邦出版）。一行人一路從東想看到的夢幻神獸都在台灣出現學多聞，幾乎可稱是海裡的活字
台灣潛水服務的對象是「海
洋」，他們發起藍色任務，從淨
灘到海底畢業典禮等行動，只做
對海好的事情。（謝維攝）
The focal point of the services
provided by the Taiwan Dive Center
is “the ocean.” Their mission is to
only do things that have a positive
impact on the sea, from beach
cleanups to seafloor graduation
ceremonies. (photo by Willy Hsieh)
26
暖化與人為汙染是珊瑚白化的主因。
Global warming and manmade pollution
are the main reasons for coral bleaching.
into Taiwan. The group traveled to

t he Nort heast Coast, Hengchun,
Orchid Island (Lanyu), the Penghu
Islands, Xiaoliuqiu, and Green Is
land (Lüdao). Chen describes the
special features of these six major
divi ng locat ions i n Taiwa n: The
Northeast Coast is ideal for short
term business visitors to Taipei, as
it is easy to get there and back in
a day. Hengchun is the place with
the greatest abundance of tourism 阿飄攝 photo by Yuhan Ghost
resources, as visitors can see nature
and visit historic sites, and there is
fun for both young and old. “The of free time, so the Northeast Coast These ideas for upgrading his
headline at Xiaoliuqiu is that there is their best option for trying out business have encouraged Chen to
is a 90% chance of seeing sea tur diving in Taiwan. Moreover, foreign think beyond diving to broaden
tles,” he says. Meanwhile at Orchid divers should not only be intro ing and deepening services for the
Island there is visibility of 40 meters duced to Taiwan’s sea, but Taiwan’s larger field of marine tourism. Chen
to the ocean floor, and there is a rich customs and culture should also be is proud of having dived in various
local indigenous culture that will incorporated into marine tourism. countries and seen things like the
give travelers a new perspective on Pridmore also pointed out that astonishing barracuda “tornados”
Taiwan. The Penghu Islands have at present Taiwan is only suited in the waters near Sipadan Island
extremely high coral reef coverage, to backpack travelers, as there is a in Malaysia. But these days what
and there are many sunken vessels lack of overall planning. Highend he enjoys most is playing in t he
to dive down to, so that these is diving itineraries should include sea with his son. “I hope that Tai
lands are suited to multiple dives. arrangements for transportation, wan will become a destination for
Fi n a l ly, Gr e e n I sla nd wa s onc e accom modat ion s, fo od, d iv i ng , international divers, so that more
ranked as one of the world’s top ten and marine guide services. Chen foreigners can get to know Taiwan
diving sites, so it is also a can’tmiss also took note of the professional through diving. At the same time
destination. attitude of Pridmore’s wife Sofie this will keep more young people
Th i s jou r ney cau s ed Chen to Hostyn. She has provided services here, and like me they can live and
reassess the scope of “marine tour to highend diving tourists in Bali, work with peace of mind.” This is
ism.” He concluded, “We have to Indonesia, and has an encyclopedic what Chen most wants to achieve.
package Taiwan from a global point knowledge of marine ecology. Cus The world rediscovers Taiwan
of view.” Originally the Northeast tomers can get immediate answers With the Covid19 pandemic last
Coast was not part of the itinerary, from her to their questions about ing from 2020 through the present
but Pridmore explained that the ocean life forms, satis fying their day, people have not been able to go
majority of visitors to Taiwan are curiosity. Only by providing such abroad, so there has been a boom
business travelers who stop over in expert services can one differentiate in domestic travel. “We have been
Taipei. They only have a day or two oneself in the market. beneficiaries of this trend. In 2020
27
典了，客人對於海中生物的疑惑這些產業升級的概念，讓陳琦一，讓更多的外國人可以藉由潛
都能夠馬上得到解答，滿足潛客恩想到之前城邦集團何飛鵬社長水認識台灣。同時讓更多的年輕
的好奇，提供如此專業的服務，對他的期勉：「開創台灣潛水產人願意留在這裡，像我一樣在這
才能與市場區隔。業鏈」，不僅止於潛水，而是更邊安居樂業。」這是他最想做的
大的「海洋旅遊」，陳琦恩決心事情。
把服務做廣、做深。
讓台灣再次被世界看見
曾經到各國潛水，見識如西
台灣潛水的教練群不只把關水下活動的
安全，Bring the ocean into your life，巴丹島的魚群風暴或是陣容壯大疫情從去年延續至今，國
是他們更想帶給每位體驗者的經驗。
的梭魚，是陳琦恩引以為傲的經門出不去，國內旅遊熱門且搶
（林旻萱攝）
The instructors at the Taiwan Dive Center 歷；但如今他最享受的是和兒子手。「我們是受惠者，2020年
not only ensure the safety of underwater
activities, they want to give everyone the 一起在海裡戲水的時光，「我希我們的業務成長30%，今年也蠻
experience of “bringing the ocean into your
life.” (photo by Lin Min-Hsuan) 望台灣可以成為世界潛水選項之看好的。」
才聊著潛水機構經營、趨勢的
現況，陳琦恩話題一轉，突然講
起歷史，「你知道1624年是什麼
年？」「那是荷蘭人占領台灣的
一年，也是台灣被世界發現的那
一年。」「那2024年呢？」「那
是台灣被世界發現的400年。」
陳琦恩引用了近期魏德聖導演
提出的台灣發現400年和晶華國
際酒店集團董事長潘思亮所提出
的「台灣文藝復興」觀點。因為
疫情之故，長年流散在海外的人
才、資金和資源都匯集回台灣，
目前台灣人文薈萃、海內外精英
群聚，條件就像當年歐洲的文藝
復興。
旅遊業評估，全球國境直到
2024年才有可能全面開放，「如
果這三年台灣能創造改變，那旅
遊業有可能從海嘯第一排，變成
海景第一排。」三年的時間，陳
琦恩打算努力投資自己，投入產
業的革新，從潛水學院、餐廳、
渡假村各面向，把軟硬體準備
好，「等到2024年國境再開的時
候，那一年就是我們被國際看見
的400年，台灣有機會再被世界
看見。」 l
28
our revenues grew by 30%, and this and resources that had long been 陳琦恩守護著這片湛藍，希望有一天，
台灣可以成為世界潛水的選項之一，年
year also looks quite good. These scattered abroad have all concen-
輕人願意留在家鄉，安居樂業。
three years should all be good ones trated in Taiwan. There has been a （林旻萱攝）
Dylan Chen protects Taiwan’s oceans and
for the domestic travel industry.” cultural gathering in Taiwan that hopes that one day Taiwan will become
Fr o m c h at t i n g a b o ut d iv i n g i ncludes domest ic a nd overseas one of the world’s top diving destinations,
enabling more young people to stay and
organ ization management and cur- elites, so that conditions are similar work in their local communities.
(photo by Lin Min-hsuan)
rent trends, Chen suddenly changes to those at the time of the European
the subject and starts talking about Renaissance.
history. “Do you know what hap- The tourism industry estimates
pened in the year 1624?” “That was that Taiwan’s borders will not be
when the Dutch occupied Taiwan, completely opened for t he next facilities that will make him ready
and when Taiwan was discovered three years (through 2023). “If Tai- to meet the challenges of 2024. “We
by the world.” “Then what about wan is able to change over these have three years to make ourselves
2024?” “It will mark the 400th anni- three years, then the travel business ready as we wait for the reopening
versary of the discovery of Taiwan can perhaps shift from being a vic- of the nation’s borders in 2024. That
by the world.” tim of the pandemic to seeing its year will be the 400th anniversary
Chen refers to the ideas recently finest hour.” During this three-year of Taiwan being discovered by the
proposed by film director Wei Te- period, Dylan Chen plans to devote international community, and will
sheng about this 400th anniversary, effort to investing in himself, invest- offer an opportunity for Taiwan to
as well as Silks Hotel Group chair- ing in reform of the industry, and be discovered again.” l
man Steven Pan’s notion of a “Tai- acting on several fronts (a diving (Cathy Teng/photos courtesy
wan Renaissance.” Because of the school, a restaurant, and the TDC of Taiwan Dive Center/
pandemic, talented people, capital, Resort) to prepare the systems and tr. by Phil Newell)
29
水下考古在台灣
Time Capsules Beneath the Sea:
Underwater Archaeology in Taiwan
30
文•蘇俐穎　圖•文化部文化資產局提供　版面設計•王敬勛
1995年，澎湖人口中的「潛
水第一將軍」漁民黃加進，在
澎湖將軍嶼海域潛水時，意外
發現海底的沉船與古文物，經
通報後，政府相關單位啟動調
查，就此開啟台灣水下考古發
展。走過人力、設備，甚至法
律制度尚不完備的年代，今日
的台灣擁有一支迷你精悍的水
下考古隊，彷彿遙然呼應著歷
史，其工作基地就設立在澎湖
馬公港旁。
I n 1995, fisherman Huang Jia-

jin, who was hailed by Penghu
residents as a master scuba diver,
happened upon a forgotten sunken
ship and ancient treasures on the
ocean f loor while diving in the
waters off Penghu’s Jiangjun’ao
Islet. After the authorities were
infor med, they began an inves-
tigation of the wreck , and this
marked the start of under water
archaeology in Taiwan.
With the cold winter behind us,

we pay a visit to the Penghu Under-
water Archaeology Work Station.
Inside the unassuming premises, a
31
酷寒的冬季剛過，我們來到水下考古，不過十餘年。事在人期到漁家收購打撈到的文物；甚
澎湖拜訪水下考古工作站。踏入為，促成台灣開始發展水下考古至有漁民不以捕魚為業，改撈海
這個低調的空間，空氣裡飄散著的關鍵人物，不可不提考古學家底的沉船廢鐵，雖然經濟價值更
微微的海水鹹味，放眼望去，地臧振華。高，卻也因此造成文資的流失與
上大量的塑膠箱裡浸泡著各式古「海底就像一個巨大博物破壞。
物，置物架上除了基本的潛水裝館。」「比起陸地，這些人類臧振華是在美國哈佛攻讀考古
備，另有電子錶、潛水剪刀、防文化的遺存與文化景觀的重要性學時接觸到水下考古學，「當時
水的寫字板，甚至佈方、浮球，毫不遜色，在某些方面，可能還就覺得很有趣，台灣也應該要發
以及高規格的聲納等工具。在辦有過之。」臧振華表示。包括了展這個領域。」他進一步指出，
公室的白板上，則密密麻麻地寫沉沒水中的船隻、飛機、文明遺台灣周邊廣闊的海域，包括在1
滿了今年度的工作排程。址、化石遺跡等，因著長年封存萬2,000年前曾是連結台灣與大
「『JG1』是『將軍一號』，在水中，有如時空膠囊，往往蘊陸之間的陸地，冰河時代結束以
『SBL』是『蘇布倫號』，藏造船、貿易、工藝、重大事件後，海面上升被淹沒，後來則成
『G B』是『廣丙艦』……」水等豐富的歷史訊息，是屬於所有為古代海上絲路與大航海時代的
下考古隊隊長黃漢彰教我看懂這人的珍貴文化資產。重要的航道，但另一方面，有
些代碼，「這些都是我們的成在過去，許多沿海、離島的「黑水溝」之稱的台灣海峽洋流
果。」他自豪地說。漁家，多少都有在捕魚時，同時湍急，暗礁密佈，行船不易，可
撈捕到陶瓷錢幣等古物的經驗，想而知，海面下必然有許多值得
台灣水下考古急先鋒：臧振華
加上在2016年以前，因未明文保探究的文物。從美返台以後，臧
台灣正式以國家名義開始推動護，故許多懂門路的古董商會定振華便開始積極地呼籲國內發展
水下考古的重要性。
直到聯合國教科文組織在2001
年制定《水下文化遺產保護公
約》（U C H公約），明確定義
水下文化資產的範疇、價值，並
予以保護；2004年，台灣政府也
與之呼應，行政院正式頒定「國
家海洋政策綱領」，2006年8月
擬定「水下文化資產保存維護計
畫」，水下文資終於受到國家重
視，臧振華也受文建會（今文化
部）委託，著手組織專業的考古
團隊。
中研院院士臧振華在美國接觸到水
下考古，回台後積極呼籲國內發展
水下考古的重要性，是台灣水下考
古的先驅。（林旻萱攝）
Academician Tsang Cheng-hwa of
Academia Sinica first encountered
underwater archaeology when he was
in the US, and has been a pioneer
in championing its development in
Taiwan. (photo by Lin Min-hsuan)
32
訓練有素的團隊，集結考古、海洋科技、文資修復等各方專業人才。
The well-trained team has experts in fields such as archaeology, marine technology and artifact conservation.
faint briny smell wafts through the tural landscapes they span are not the Age of Discovery. This, combined
air. Artifacts of all kinds are soaking inferior to what can be found on with difficult passage through the
in plastic bins strewn across the floor. land, and are perhaps even superior Taiwan Strait due to rapid ocean cur-
Shelves contain an assortment of in some ways.” Since these sunken rents and numerous submerged reefs,
tools such as basic diving equipment, ships, airplanes, ruins, and fossil re- makes it easy to imagine that there are
dive computers, diving shears, water- mains have been sealed off for many many underwater artifacts waiting
proof whiteboards and even seafloor years, they often contain rich histor- to be discovered here. Since return-
grid markers, buoys, and high-spec ical information about shipbuilding, ing to Taiwan from the States, Tsang
sonar equipment. Hanging on the commercial trade, crafts, and signif- has championed the importance of
wall is an office whiteboard display- icant events, and thus are valuable developing underwater archaeology
ing a jam-packed work schedule. cultural assets for all humankind. in Taiwan.
Underwater archaeology pioneer Tsang first encountered the field of In 2001, UNESCO adopted the
Little more than a decade has underwater archaeology while study- Convention on the Protection of the
passed since Taiwan began devoting ing archaeology at Harvard. “I found Underwater Cultural Heritage (UCH
national resources to underwater it intriguing at the time, and I felt that Convention), clearly defining the types
archaeology. Archaeologist Tsang Taiwan should have it, too.” Tsang of underwater archaeological assets,
Cheng-hwa, an academician of Aca- adds that the vast areas of sea around their value, and how they are to be pro-
demia Sinica, has been a key figure Taiwan—some of which were land tected. In harmony with this mission,
behind the development of the field. 12,000 years ago, linking Taiwan with Taiwan’s Executive Yuan published the
“The seabed is like a giant mu- the Eurasian mainland—later became National Ocean Policy Guidelines in
seum,” Tsang says. “The importance important waterways along the an- 2004. The same year, Tsang was com-
of these cultural relics and the cul- cient Silk Road sea routes and during missioned by the Council for Cultural
33
最後，將所有資料交叉比對，僅有寶貴的30分鐘。
把考古工作從陸地搬到海底
規劃出最有可能發現目標物的即便前置作業如此曠日廢時，
20世紀中葉以來，因著水「調查敏感區」，接著以人力目當我們訪談團隊八個大男生考古
肺發明，人們終於有能力長時視，或者運用側掃聲納、多音束工作的甘苦，他們卻一致地露出
間在水下活動，許多因地殼變測深儀、底層剖面儀、磁力儀，對外人難以言傳的笑。「考古工
動、海面提升的古代建築或聚甚至無人潛航機等儀器設備進行作一點都不無聊。永遠都在探索
落，以及因船難及海戰所沉沒系統性搜索。未知，找尋新的發現。還沒發現
的船隻，甚至因人為丟棄而在以前，需要集中精力去規劃與準
海底名偵探：水下考古隊
海底，不見天日的文物，逐一備，有了發現以後，當然會有很
被發現或打撈上岸。與陸地考古不同，水下考古大的成就感。」作為領導者的臧
被電影《鐵達尼號》影響的人格外受天候、海象的限制，以澎振華傳神地形容。
們，對於海底古物往往賦予了無湖為例，受強烈的東北季風限
限的遐想，但是「海底撈寶」與制，真正能出海的時間通常只
「水下考古」，可是有著天壤之有四到十月之間，動輒一天半日考古學家在海底放上佈方，
別。「水下考古，是專業的技術，的航程，但受限於水壓，每名為區域進行精準定位。
Archaeologists lay out a grid pattern on
也是一門學問，同時格外需要毅力潛水人員在水中作業的時間， the seabed to precisely locate finds.
與耐心。」臧振華正色地說。
水下考古結合考古學、潛水技
術與海洋探測技術，另外也要有
航海、歷史、文物維護與修復等
多種專業人員參與，是一門跨領
域的學問，人才也涵蓋了水下考
古、海洋科技、潛水以及出水文
物維護等不同領域的專家。
至於面對茫茫大海，該從何下
手？經過訓練的專業團隊，有著
明確的作業步驟。他們先從史料
文獻中蒐集線索，包括港口、貿
易航線、海戰，再加上水域的地
形與環境資料；由於民間也有不
少船長、潛水人，就像黃加進一
樣是隱藏的水下考古專家，他們
也有可能從捕魚的經驗中知悉沉
船的地點，團隊藉由鍥而不捨地
搏情感，取得可靠的消息來源。
不少海底古物都具有高經濟價值，
台灣亦已頒布法律予以保護。
Many artifacts on the sea floor have a
high economic value. Taiwan has already
passed laws to protect them.
34
Affairs (now the Ministry of Culture) that embraces expertise in areas like all collected data points and draws
to organize a specialized underwater marine technology, diving, and con- up a map of areas where they are
archaeology team. servation of recovered artifacts. most likely to discover archaeological
Archaeology, from land to sea When facing the vastness of the sites. They then comb the ocean floor
Thanks to the influence of the ocean, where does one even begin? visually, or using sidescan sonar,
movie Titanic, people have boundless The trained professional team has a multibeam echosounders, subbottom
flights of imagination when it comes clear method of operation. They first profilers, magnetometers, and even
to underwater artifacts. However, look through historical documents unmanned underwater vehicles.
there is a world of difference between for clues on ports, trade routes, and Education and enjoyment
underwater “treasure hunting” and naval warfare, t hen add i n data “No one move!” In a police crime
underwater archaeology. Tsang ex- about seafloor topography and the drama, the clever, sharpeyed de-
plains that “underwater archaeology local marine environment. There tectives focus all their attention on
is a specialized skill and field of are also many boat captains and the chaotic crime scene before them.
study which requires an abundance divers around Taiwan like Huang They attempt to piece together a
of perseverance and patience.” Jiaji n who a re k nowledgeable plausible sequence of events from
In addition to combining tech- about hidden under water artifacts the scattered clues. In this aspect, the
n iques fou nd i n convent iona l and may learn of the locations of
archaeology, diving, and marine sunken ships through their fishing
surveying, underwater archaeology activities. Thanks to the team’s un
is also a mixture of various special- remitting efforts to learn from these 出水後的文物必須經過清潔、脫鹽等程
序，動輒需要數年，甚至數十年時間。
izations such as navigation, history, industry insiders, they have gained Artifacts that have been recovered from
and artifact conservation and resto- reliable sources of information. the sea must undergo a process of
cleaning and desalination, which can take
ration. It is an interdisciplinary field Lastly, the team crossreferences many years or even decades.
35
乍看單純的器物，背後卻載記著貿易、
航海技術、工藝、常民生活習慣等豐富
的歷史訊息。（林旻萱攝）
Simple objects at first glance, these
artifacts carry a wealth of information
about trade, navigation techniques, crafts,
and daily life. (photo by Lin Min-hsuan)
work of an archaeologist is remark-

ably similar to that of a crime scene
investigator.
In archaeology, it takes a con-
siderable amount of elbow grease
to ma ke a discover y, but t hat is
when the real show begins. Experts
出人意料的是，雖然科技已意涵，並且建立出脈絡。到2020
進步不少，「水下考古仍舊很危年12月為止，團隊已在台南安
險。」臧振華相當嚴肅地表示。平、澎湖、綠島等地區，發現97
即便海面上看起來風平浪靜，但處具體目標物，經過確認後，其
海底下卻是變幻莫測，尤其沉船中的20處正是歷史沉船，更有六
的地點，常不外乎是暗流洶湧或處因高度文資價值，被主管機關
者礁岩遍布的地方，加上海底能依法列冊保護。
見度不佳，還有廢棄漁網隨處漂台灣正式啟動水下考古，至今
流，都提高水下考古的危險性。是第13年，臧振華除了受委託組
為此臧振華隨時叮囑團隊務必謹建及領導團隊，現在進一步關切
守紀律，除了出發前確實檢查，水下文資在教育推廣和產業推廣
下海後也須小心謹慎、遵守規上的發展。正如世界知名的瑞典
範，同時還得兩兩一組，相互支「瓦薩沉船博物館」、英國「瑪
援，彼此關照。麗羅斯號博物館」，除了文資保
存，還能發揮教育功能，促進在
文物適度出水，民眾寓教於樂
地觀光產業的發展。
「通通不准動！」刑偵劇裡，雖說水下文物從出水到後續
機敏的警探站在凌亂的案發現處理相當不易，包括清潔、脫鹽受影視娛樂的影響，水下
考古往往喚起人們的好奇
場，他們屏氣凝神，從散落四處等，時間動輒數年，甚至數十心，近年國內多場水下考
的蛛絲馬跡裡，嘗試拼湊出合乎年，耗資甚鉅，U C H公約也建古展覽，也大受民眾歡
迎。（林旻萱攝）
邏輯的來龍去脈──考古工作，議水下文資以「現地保存」為原 Movies have roused
the curiosity of many
與辦案破案若有神似。則，但團隊正按計畫將指標性的 viewers about underwater
archaeology, and many
在費盡一番千辛萬苦，終於有文物適度出水，為的是籌備一處 related exhibits in Taiwan
have proved popular with
所發現，「考古」的重頭戲才真屬於台灣人的水下文物博物館， the public. (photo by Lin
Min-Hsuan)
正開始。專家必須從現場的線索希望這份深藏在海底的寶藏，能
中去判定、推斷目標物的內容與有機會與全民共饗。 l
36
must make judgements and extra- was formally initiated in Taiwan. can come at considerable monetary
polat ion s about t he deta i ls a nd Tsang also advocates for the pro- cost. The UCH Convention recom-
significance of an object based on mot ion of u nder wat er c u lt u ra l mends t hat underwater cult ural
the clues uncovered at the site while resources for educational and com- heritage be preserved in situ and
also constructing its histor ical con- mercial development. In doing so, he not removed from its original site.
text. As of December 2020, the team hopes to help conserve cultural heri- However, Tsang’s team is imple-
had already discovered 97 objects tage while also educating the public menting a plan to properly recover
of interest in the waters off Tainan’s and creating profit through tourism, certain artifacts from the seabed,
Anping District, the Penghu Islands, just like the world-renowned Vasa with the aim of creating Taiwan’s
and Green Island. Of these objects, Museum in Sweden and the Mary very own museum of underwater
20 are confirmed shipwrecks, with Rose Museum in England. cultural relics, where these deep-sea
six of those being classified as ob- The recover y a nd subsequent treasures can be enjoyed by all. l
jects of high cultural value. management of underwater artifacts (Lynn Su/photos courtesy of the
2021 marks 13 years since a pro- is no small task. The process can Bureau of Cultural Heritage,
gram of underwater archaeology span many years, even decades, and Ministry of Culture/tr. by JR Lee)
37
認識列冊沉船
Famous Shipwrecks
墨西哥鷹洋幣
Mexican eagle coins
圓窗
Porthole
英國商輪博卡喇
SS Bokhara
英籍船博卡喇1892年
10月由上海出發，預計
返回香港，因遇颱風在掛勾
澎湖姑婆嶼觸礁沉沒。 Clothes hook
船上除了郵件，還載著
一批到香港參加比賽的銅鎖
英國板球選手，沉船事 Brass lock
件轟動，包括當時的美
國《紐約時報》及多家
英媒均有報導，事後英
國等國捐款在姑婆嶼上
興建「英輪遇難紀念
碑」。
The British liner SS

Bokhara set sail from
Shanghai for Hong Kong
in October 1892. The ship
sank after striking a reef off
Penghu’s Gupo Island in 出水測深儀
a typhoon. Its passengers Depth gauge
included a team of cricket
players who were to com-
pete in Hong Kong. It also
文物
carried mail and other
cargo. News of the loss
caused a great stir and was
covered by the New York
Times and many British
news outlets. Donations
were later raised in the
UK and other countries to
erect a monument for the
disaster on Gupo Island.
38
甲午戰船廣丙艦
Guang Bing
建於清代的廣丙艦，有
o ve r ed 別於中國傳統倚賴風力
Rec ifacts
的帆船，是一艘配有新
甲板稜鏡
Art
式武器與動力系統的
Deck prism 鐵甲船。曾參與甲午戰
爭的廣丙艦，在清戰敗
後，來到山東威海地區
鑰匙串避險，卻被日軍俘獲，
Keys 後日人將其改成日本軍
艦，1895年作為訓練艦
來台時，在澎湖海域觸
礁沉沒。
Launched in 1891, the

torpedo cruiser Guang
Bing (Kwang Ping) was a
steam-powered armored
ship with modern weap-
ons, very different from
traditional Chinese sailing
羅經 ships. After Qing China’s
Compass defeat in the First Sino‒
Japanese War, it fled to
Weihaiwei (now Weihai)
in Shandong, but was cap-
tured by Japanese forces
and incorporated into the
Japanese navy. In 1895,
the Guang Bing came to
Taiwan as a training ship,
but sank after striking a
reef off Penghu.
銅條
Copper ingot
寬永通寶
Japanese mon coins
圖．文化部文化資產局提供
photos courtesy of the Bureau of Cultural Heritage, Ministry of Culture
39
對抗海洋垃圾的「湛」鬥機
Restoring the Ocean:
Azure Alliance’s “Marine Vacuum Cleaner”
40
文•謝宜婷　圖•莊坤儒　版面設計•王敬勛
2020年10月，湛．A z u r e團
隊以「為湛而戰，海洋垃圾移
除計畫」為號召，推出募資計
畫，總共吸引5,000多人贊助，
獲得超過1,500萬元台幣，團
隊正依照承諾，一步步完成目
標。雖然海洋環境持續惡化，
但是終於有人願意為海洋挺身
而出，不再漠視。
I n October 2020, when Taiwan’s

Azure Alliance launched a
fundraising campaign aimed at re
moving trash from the ocean, the
public responded. With more than
5000 people donating in excess of
N T$15 million to the endeavor,
the alliance vowed to go ever y
step of the way to achieving the
campaign’s goal. For all that the
marine environment is worsening,
at least there are people acknow
ledging the problem and attempt
ing to do something about it.
湛團隊提供　
courtesy of Team Azure
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湛鬥機的全台港灣大調查，深度訪談港
口附近居民對垃圾的看法。
When the Azure Alliance surveyed Taiwan’s
harbors, it made sure to ask the people
living nearby for their views on trash.
喜與欣慰。但為了嚴謹起見，他
們決定詢問船員，以獲得更全面
的資訊。
個性開朗的陳思穎，從漁獲
的種類，逐漸聊到垃圾在港口的
季節變化：「大哥，你知道這裡
什麼時候垃圾比較多嗎？」外表
黝黑壯碩的中年男子，似乎感受
到問題有些敏感，因此停頓了一
下。「你們捕魚的時候，會捕到
垃圾嗎？」「這附近好像沒有垃
圾桶，那你們垃圾丟哪裡？」船
員笑著說：「沒有捕到垃圾啦！
垃圾放在地上，就會有人來掃了
啊！」看似玩笑話的回答，卻透
露出有些漁民尚未有海洋垃圾的
危機意識。
湛．Azure將整個漁港細分成
多個區域，仔細地找尋是否有能
提供湛鬥機發動的岸電、事後清
洗的岸水、有利機器下水的曳船
道與遠端遙控的訊號。除了環境
調查，也透過訪談，了解在不同
2021年2月27日，湛．Azure團魚上岸、正在盤點漁獲的漁民。漁港生活的人，對垃圾有什麼看
隊的三個女孩，以烏石漁港為起手持筆記與相機的湛．Azure團法與處理方式。「因為我們團隊
點，開始為期一個月的全台漁港隊：執行長陳思穎、秘書長曾鈺不是收垃圾的，而是要去分析垃
調查，了解每個港口的硬體條件婷與營運長顏湘霖，在這個環境圾！」陳思穎強調。
與垃圾處理方式，預測「海洋吸中格外顯眼。
大海成為追尋的理想
塵器」湛鬥機下水時，可能會遇「你們注意這個風！」陳思
到的問題，也從根本去探討各地穎指著遠方飄揚的旗子，提醒團環台港灣大調查前，陳思穎已
海洋垃圾產生的原因。員風向會影響垃圾堆積的位置，經辭掉在科技部海洋資料庫的工
接著再仔細觀察水面上垃圾的作，決定專心投入團隊經營。待
全台漁港大調查
種類。「你們看，這裡有垃圾在學術單位八年，長期的海洋觀
早上九點的烏石漁港，只有桶！」曾鈺婷看到一處倉庫，裡測讓她發現「海洋環境真的在惡
零星的釣客、觀光客，以及剛捕面整齊擺放各類回收物，感到驚化」，對於現況，她感到有些憤
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O n F e b r u a r y 27, 2021, t h r e e secretary-general Tseng Yu-ting, and middle-aged man, the fisherman
women from the Azure Alliance be- head of operations Yen Hsiang-lin pauses, seemingly finding this to be
gan a one-month survey of Taiwan’s look a bit out of place here with their a sensitive subject. “Do you catch
fishing harbors, starting at Wushi notebooks and cameras. trash in your nets?” “I don’t see any
Harbor in Yilan County. Their goal “Note the wind,” Chen tells her trashcans around here. Where do
was to develop an understanding teammates, pointing to a flapping you throw your trash?” The fisher-
of the physical infrastructure of the flag and reminding them of the wind man laughs, “No, we don’t catch
harbors and the methods they used direction’s influence on where trash trash. We throw our trash away on
to manage trash. This data would accumulates. She then observes the land and someone sweeps it up.” His
then be used to forecast problems kinds of trash floating on the water’s tongue-in-cheek response suggests
that the alliance’s “marine vacuum surface. Tseng spots a trashcan, and that some local fishermen remain
cleaner”—more formally known as a is thrilled to see a warehouse with unaware of the ocean trash crisis.
“trash skimmer”—might encounter recyclables arranged neatly inside. In When conduc t i ng it s su r vey,
when deployed. The team was also addition to noting what they see for A z u r e d iv ide s t h e h a r b or i nt o
interested in uncovering the origins themselves, team members fill out several zones, and then carefully
of the ocean trash in each location. their picture by interviewing work- s ea r c h e s for t h i ng s t h e i r t ra s h
A Taiwan-wide survey ers on some of the fishing boats.
Wushi Harbor is relatively de- The upbeat Chen slowly guides
serted at 9 a.m., with only a speck- her conversation with a fishermen
ling of tourists and anglers, as well from the composition of his catch to
團隊確認港口是否有「岸電」的設備，
a s a few com merc ia l f i sher men seasonal variations in harbor trash. 讓湛鬥機有動力可以運轉。
sorting through their catch. Azure “Is there more trash during any par- Team members confirm that a harbor has
the onshore electrical connections that
A l l i a n c e C E O C h e n S z u -y i n g , ticular period?” A sturdy and tanned they need to power their “ocean vacuum.”
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怒：「海洋實在太可憐了，那些節。陳思穎回想另一位夥伴加入湛鬥機的營運長顏湘霖（右一）、執行
長陳思穎（右二）與秘書長曾鈺婷（左
生物不會說話，就這樣默默地承的過程，笑著說：「我有個朋友二）到現場找尋垃圾入海的各種原因。
Azure Alliance operations director Yen
受。珊瑚礁每年幫我們消耗多少之前去宜蘭牛奶海玩，看到水面 Hsiang-lin (far right), CEO Chen Szu-ying
二氧化碳，卻因為塑膠碎片，造上的垃圾，才理解我們正在做很 (second from right) and secretary-general
Tseng Yu-ting (second from left) visited
成共生蟲死掉！」不願束手旁觀有意義的事，後來她決定用自己 harbors in person looking for sources of
ocean trash.
的她，開始了一項瘋狂的計畫，的商管專業來協助團隊，成為我
打造「海洋吸塵器」。們的財務長。」
計畫初期，她白天上班，晚湛．Azure不斷尋找營運的可
不斷進化的湛鬥機
上與夥伴開會，有時候還要拜訪能性，也參加過創業競賽。雖然
客戶。緊湊的生活步調，加上計在比賽過程中，因目標客戶不清湛鬥機依據結構與功能，共
劃的不確定性，父母與友人常勸楚而遭淘汰，但是競賽主持人台分為四代。
她打消念頭，但是她告訴自己：大教授李吉仁鼓勵他們，只要將第一代：沉水幫浦加上輸送帶，
「一定要為自己的理想勇敢一自己準備好，當環境需要這個東水面上的垃圾被吸起後，會掉進
次。」西時，很多人自然會支持。各行後方籃子。缺點是機器只放在港
這份信念吸引了同樣想為海各業的前輩也建議團隊，在找尋口角落，無法清理整個港面。
洋努力的夥伴，營運長顏湘霖曾市場時，可以先釋出產品規格，第二代：遙控式湛鬥機，以解
在社企流工作，熟悉募資計畫推吸引有興趣的人來投資，同時在決空間的限制。
廣，加入團隊後負責相關的文案這段時間精進規格。對於不熟悉第三代：自動式巡港湛鬥機，
撰寫，以及對贊助的民眾溝通。市場運作的湛．Azure而言，這根據第二代蒐集的資料，歸納出
即使過去不熟悉海洋，但在耳濡個建議成了突破的關鍵，團隊開垃圾在不同季節因風向、水流，
目染下，顏湘霖現在到了漁港，始列計畫，以募資形式吸引同樣會出現的位置，並在船上安裝
已經能發現有利湛鬥機下水的細理念的大眾支持。 GPS自動巡港。
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skimmer needs to operate: a power
source, water to hose off the device
once its work is done, a boat ramp
to get the device into the ocean, and
a strong WiFi signal so that it can be
remotely controlled. In addition to
conducting an environmental sur-
vey, team members ask locals living
near the harbor how they feel about
and dispose of trash. “Our team
isn’t pick ing up trash,” explains
Chen. “We’re trying to analyze it.”
Pursuing a dream
Chen used to work with the Min-
istry of Science and Tech nology’s
O c ea n Dat a Ba n k . She q u it her
job there prior to undertaking the
fishing harbor survey because she
wanted to devote more time to the
alliance. Her long-term scholarly
observations of the ocean had con-
fronted her with stark evidence of
the marine environ ment’s deteri
oration. Unwilling to stand by as
that process continued, she started
development on a “crazy” project:
creating a harbor trash skimmer. 陳思穎與團隊系
Her determination to work on 統工程師正在安
裝湛鬥機電池。
behalf of the oceans attracted like-
Chen Szu-ying and
minded partners. Yen, the alliance’s the team’s systems
engineer install a
operations manager, was previously battery pack in a
with the social enterprise infor- trash skimmer.
mation platform Social Enterprise

Insights. Well versed in fundraising,
Yen took charge of communicating possibilities for new projects and their product specifications when
with backers when she joined the even participated in a startup con- they were ready to go to market as
team. A smiling Chen recalls how test. While Azure didn’t win, NTU a means of attracting investment.
their colleague Lin Chia-yin came to professor Lee Jiren, who hosted the Largely unfamiliar with how mar-
join the group: “A friend of mine no- competition, told the team that so kets work, the Azure team found
ticed some trash on the water while long as they were well prepared the advice valuable and began to
visiting the Milk Sea off Yilan’s Gui they would find plenty of support make plans to raise funds from peo-
shan Island, and realized we were when the world was ready for their ple who shared their vision.
doing something important. She of- device. Several other people from Continuous improvement
fered us her management expertise, a variety of backgrounds recom- A z u r e h a s m ap p e d o ut f o u r
and is now our head of finance.” mended that they continue to refine generations of development for its
Azure is constantly exploring the their device, and that they release “ocean vacuum.”
45
第四代：船聯網，利用物聯目前湛鬥機正從第二代進化成證據。」不過，有些政府單位了
網的技術，在電腦後台操作湛鬥第三代，團隊將會改進船體，更解湛．Azure的理念後，便主動
機，如此一來，一個人就可以管加符合流體力學；增加動力與通聯繫提供協助，例如港務局事先
理兩三個港口。訊，遠端遙控機器；在機器前方通知相關港口，讓團隊到現場調
湛．Azure在募資計畫的網頁加裝鏡頭，做影像記錄，以便後查時，不受限於管制，可以進入
上，清楚列下四個階段的目標，續分析。調查。
除了硬體設備的建構，還包含在港口做田野調查時，漁民見
無法被阻擋的熱情
「發展不同漁港的清掃解決方到這些年輕人在海浪裡打滾，努
案」與「設立示範港與增設實驗陳思穎面對的不只是高深莫測力讓湛鬥機穩住，忍不住跟他們
港」。計畫推出後，果然如李吉的海洋，還有難解的人心。四年說：「太辛苦了啦，垃圾清不
仁教授所說，吸引許多相同理念來，有些團員因為理念不合，因完啦！」但有些漁民看到他們願
的人支持，一些企業老闆如「能此離開。「有些人會一直想著，意改變環境的心，也會提醒彼
元科技」，後來更成為研發過程機器做出來要怎麼賺錢，但這不此：「以後不要再丟了！」甚至
的重要夥伴。是我的初衷。」有次在南方澳港口時，他們聽見
短時間內達到募資金額，彷除了內部壓力，外在的挑戰了一個船長兒子的心聲，「我
彿成功來的迅速，其實團隊過去也不少，台灣的海洋保育觀念剛爸爸那一輩的漁民，叫他們不
三年多，已經改良過無數次基本起步，海洋保育署於2018年4月要把垃圾丟到海裡，還是一直
結構，從「攔截網」、「吸塵才成立，2017年就創立的湛．丟！長輩講不聽，我就來把海
器」、「馬桶」等不同原理的構 Azure，與政府談合作時，常常清乾淨。」他非常期待湛鬥機有
造，進化成現在的輸送帶加上沉要花時間說明理念，她提及此問天能駛進他的家鄉，讓海洋再次
水幫浦。每個階段的調整，都讓題時，拍了一下桌子說：「政府大口呼吸。
團隊更認識這片海洋，海洋的潮都以為我們是撿垃圾的！我們面對不同的評價，陳思穎坦然
汐、波浪的力量與速度，這些絕其實是要分析垃圾，想辦法讓垃地說：「當我走在對的路上，誰
非紙上談兵就可以量測出來。圾變數字，數字變數據，數據變都沒有辦法阻止我！」
第一代第二代
沉水幫浦加上輸送帶。遙控式湛鬥機。
The first generation trash skimmer was little The second generation added
more than a pump and a conveyor belt. a remote control system.
湛團隊提供　
courtesy of Team Azure
46
The first consisted of an underwater Azure’s fundraising page simi- Alliance, which was founded in 2017,
pump and a conveyor belt that sucked larly breaks their project down into talks to the government about co-
up surface trash and deposited it in a four stages, ranging from hardware operation, it often has to spend time
basket. Its weakness was that its opera- construction and “the development explaining its goals. Chen slaps the
tions were limited to a corner of a har- of clean-up programs for different table in frustration, telling us: “The
bor; it couldn’t clean the whole harbor. harbors” to “establishing demonstra- government thinks that we’re collect-
For the second generation, Azure tion harbors and adding testing har- ing trash. What we’re really doing is
introduced a remote control system bors.” Just as Professor Lee said, the analyzing the trash, figuring out how
that enables the device to operate over project has attracted many support- to turn trash into numbers, numbers
a larger area. ers since it got underway, including into data, and data into evidence.”
It sees the third generation as E-One Moli Energy Corp., which has Happily, a number of agencies have
patrolling harbors automatically. become an important R&D partner. come to understand Azure’s goals
Data from the second generation has The alliance’s device is currently and provided support. For example,
shown where wind and currents evolving from the second generation the Maritime and Port Bureau gave
cause trash to accumulate in different to the third, with the group working harbors advance notice of Azure’s
seasons. The third generation will use on modifying the hull to perform survey, ensuring that the alliance
this information and an onboard GPS better in terms of fluid mechanics; faced no obstacles while onsite.
system to position itself in the right adding motive power, communica- Faced with both positive and neg-
part of a harbor. tions and remote control; and put- ative responses to her efforts, Chen
The fourth generation will take ting a camera in the bow to capture says, “Nobody is going to slow me
advantage of the “Internet of Ves- images for analysis. down when I’m certain that I’m on
sels,” drawing on Internet of Things Unstoppable passion the right path.”
(IoT) technology and computers oper- Taiwan’s awareness of ocean con- Communication is the goal
ating in the background to enable servation is a recent phenomenon: Azure’s focus in 2021 is to con-
a single operator to simultaneously our Ocean Conservation Adminis- tinue the development of its trash
manage cleaning operations in two tration was only established in April skimmer. In 2022, it plans to establish
or three harbors. 2018. Even now, when t he Azure demonstration programs in the Bitou
第三代第四代
GPS自動式巡港湛鬥機。加上物聯網技術。
The third generation will feature The fourth generation will employ
automated GPS-based navigation. networking technology.
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率的利用。「不只是清垃圾，我訊落差。之前團隊在烏石漁港調
最終目標是溝通
們還會告訴大家『為什麼』要清查時，恰巧遇到一群坐在港邊飲
湛．Azure今（2021）年目標垃圾。當海洋充斥大量垃圾，漁酒的老漁夫，雖然他們對這群女
是專心投入湛鬥機的研發，明民可能因為補不到魚而失業。」孩在努力的事情感到陌生，卻認
年會在鼻頭港與永安港建立示範從源頭阻止垃圾進入海洋，同海洋保育必須深植下一代。原
港，教導合作單位如何操作湛鬥也是湛．Azure的訴求之一，團本也抱持「垃圾放地上，就會有
機，之後會更進一步，向港口漁隊發現外籍漁工夏天不能出海，人掃」想法的他們，聽完湛．
民與政府單位溝通。陳思穎表也無法離開港口，加上港口缺乏 A z u r e的理念之後，也開始改
示，透過「綠色和平」與「荒野飲水機與垃圾桶，他們喝完礦泉變，當團隊回程經過原地點時，
保護協會」合作的海廢快篩，發水就隨意丟棄，產生垃圾。從這地上沒有留下任何垃圾，連花生
現台灣50%的海廢，集中在10% 個觀察，團隊建議所屬單位在港殼都收拾乾淨。
的海岸線，如果政府知道這樣的口增設基礎設備，也計畫與移工 3月底，湛．Azure的三位女孩
訊息，就能將有限的資源做有效展開對話：「我們之後會跟One 結束了環台港灣大調查，他們發
F o r t y合作，找同國籍而且有環現許多垃圾其實都是不經意地流
境意識的翻譯，用溫和的方式與入海洋，透過這次田野調查，才
家鄉的人對話。」知道哪些環節出了問題，他們也
放置在台大工科海洋水槽的湛鬥機，
「對話而非教育」一直都是期許自己「成為最懂港口環境的
是正在提升功能中的2.5代。
This trash skimmer, housed at NTU’s 湛．Azure的理念，不透過嚴肅人」，才有機會為環境的未來，
l
Ocean Engineering Lab, is generation
2.5, with upgraded functionality. 的說教，而是分享訊息，彌補資找出適切的可行性方案。
48
and Yong’an Fishing Harbors, and to out of the ocean by stopping it at its 湛鬥機於2020年8月在桃園永安漁港下
水測試。(湛團隊提供)
train the agencies it is working with source. The group discovered that in Testing a trash skimmer at Yong’an Fishing
to operate its device. Azure will then the summer foreign-national fishing Harbor in August 2020.
(courtesy of Team Azure)
hold further talks with fishermen boat workers are unable either to go
and government agencies. Chen says to sea or to leave their harbors. Since
that a study by Greenpeace Taiwan harbors lack drinking fountains and
and the Society of Wilderness found garbage cans, these workers often Azure finished its harbor sur
that 50% of Taiwan’s marine debris throw away water bottles wherever vey in late March having learned
was concentrated along 10% of its they happen to be when they fin that much of the trash in Taiwan’s
shoreline. She believes that making ish with them, creating litter. This harbors washes in inadvertently.
the government aware of this kind observation led the group to recom The survey also helped it identify
of information would enable it to mend t hat t he relevant agencies factors contributing to the trash
make more effective use of limited upgrade harbor facilities and open a problem. The group hopes that its
resources. “It isn’t just about clean dialogue with foreign workers. “We expertise on harbor environments
ing up trash. We also want to explain will be working with One Forty [an will enable it to generate appro
why we need to clean up trash. If the NGO supporting migrant workers] priate and feasible solutions to the
ocean becomes full of trash, fisher to find environmentally minded environ mental issues facing fish
men could become unable to catch interpreters who can approach their ing harbors. l
fish and be driven out of business.” compatriots about t he issue in a (Tina Xie/photos by Kent Chuang/
Azure is also trying to keep trash non-confrontational manner.” tr. by Scott Williams)
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我感
謝《
這片光華
土地》，
Th 上許
ank 因為
hav you
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許多這道
e sh Taiw 多光，
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r th
光片
り美は台
n d for e lig 羽。
しく湾 so ht
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我從北しての美 ear
s.
朱哲くれ
ますしい瞬
光著輝/
閱著腳ㄚ Jull
《光子到 ian
Ch 。間
為華華踩著 u, N
》，異國 ew
麗的因為土地 Tai
pei
I’ve 永恆它記翻 Cit
been 。錄剎 y）
from readi 那
m ng T 成
my t y ba aiwa
ime refo n Pa
ot yo noram
abro uth
mom
ent a a d , beca a ll the a for yea
nd m use i way rs,
裸足 akes t cap thro
ugh
の頃 it be ture
華』をから autif s the
読み異国 ully
eter
つを訪 nal.
華』は一づけるまれ
つのてきで『光
にと素晴まし
どめらした。
『光
てくい瞬
れま間を
（挪
威E す。永遠
ll isa
Yao
/ Ell
isaY
ao, No
rway
）
我在
海外
擁有 40年
《國的歲
法，家地月裡
以及理特別
雜誌喜愛
As s 《財》的《光
ome 富》雜內涵華》
fond one 、《
ness who 誌的，因
fo has
lived 編時代為它
Geog r Taiw
abro
排形》雜
raphic a n 式誌的
, wri Pano
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ad fo 。寫
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beca
r 40
に暮 like
Time use i
year
s, I h
んでらして , and t offer ave a
きま 40年 a lay s con part
フィした、いつ out li tent icula
r
ック。
『光も『
ke F
ortune
like
Natio
我的『フ』誌に華』の内光華 . nal
記憶ォー匹敵容』を楽
中有チュし、文は『しみ
章は『ナショナ
在美一片ン』誌に読
好的
更有年代裡
《光に匹タイルジ
著「華》敵しム』誌オグ
光華
除了，因ます、レイラ
Taiw
an P 」
美好為。アウ
an 的的記ト
mem
ori
o rama 輝煌。
憶，（美
國王は
es be ha
s its 福權
not cau own / Ke
only nt W
but my o se then spac
e in ang
, US
Taiw wn m I get my A）
an P emo to h
私の anora ries old o
m o f n to
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time
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出。美し光華 ll.
ととい時』の世
もに
常に『代の、美界が
（台
光華』がしい思い
北徐あり
志蓮
/ Xu ます
Zhil
ia
。
n, T
aipe
i）
我喜閱《
光華》，
閱讀台灣因為它讓
的風土民我透過其
情與歷史他語言來
I love Tai 風采。
wan Panor
Taiwanes am a because
e trends, cu it lets me
oms, and st out read ab
外国語で history in
台湾の風 other lan
とができ土や民俗、 guages.
る『光華』歴史など
が大好きを読むこ
です。
（桃園
廖文安/
Daniel Li
ao, Taoy
uan）
感謝您陪同
《光華》四十年之久的故事旅行，
這些發自內心的真誠書寫，是《光
華》勇敢邁向新興階段的鼓舞與激
勵，在光陰韶華與世代變遷裡，我
們繼續一起迎風前行。
Thank you for accompanying us on

Taiwan Panorama ’s 40-year journalistic
odyssey. The heartfelt letters we have
received have encouraged us to be bold
in launching the magazine onto the next
leg of its journey, and we look forward
to traveling with you for years to come....
40年にわたる『光華』の物語ととも
に歩んでくださり、ありがとうござ
います。ここに寄せられた皆様の言
葉は、これから新しい時代に向けて
歩もうとする『光華』の大きな力に
なるものです。時代が変わっていく
中、これからも一緒に前進していき
たいと考えています。
請利用雜誌所附訂閱單或信用卡專用單訂閱。
To subscribe, please use the form in the back of the magazine.
お申込みには、本誌についている専用お申込書をご利用ください。
廣告
台灣醫界人物百人傳
好讀
月
醫療傳道與人道醫療他祈禱：「父啊！赦免他們，因
上帝的編織，愛你的仇敵為他們所作的，他們不曉得。」
井上伊之助 1882-1966 井上伊之助從神學院畢業後，經
由中田先生介紹在伊豆田寶血堂
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，
在全台灣觀賞電影《賽德克• 醫院學習醫術，俾能用於台灣的
巴萊》，回憶起「霧社事件」原住山地，他也開始學習台灣原住民
民與日本軍警衝突的歷史時，讀井的母語，經過了幾年終於得到教
上伊之助一生的故事，讓我們對人會的協助，於 1911年10月踏上前
性有更深沉的反省。往台灣的旅程。等到12 月 2 0 日接
井上伊之助，18 8 2 年生於日本到台灣第一張山地醫師的服務派
高知縣，其父親井上彌之助服務於令「囑託原住民醫療所勤務」。
樟腦公司，在日治時期被派遣來這張派令讓他喜出望外、充滿期
台，在東部花蓮的山區開採樟腦，待，雖然知道等著他的是充滿危
卻不幸於19 0 6 年被台灣原住民出險的路途。
草砍頭而橫死。當年井上伊之助當時，台灣的原住民仍不斷反
就讀於東京的聖經學院，接到父抗日本人的統治，所以經常有日
親死訊，雙手發抖，眼淚不停的湧本人被殺害，可以想像要在原住
出，躲在松林裡哀悼父親的死亡，民的部落中從事醫療傳道工作有
腦海裡不斷思考耶穌基督的話語：多麼危險，此外山地醫療環境的
「要愛你的仇敵」。公共衛生不佳、營養不良、醫藥不
作者／陳永興
足、傳染病流行，不只原住民的健
康得不到保障，就連醫師和家屬
本身的健康也毫無保障，井上伊書名：台灣醫界人物百人傳
作者：陳永興　
之助的3個孩子都因傳染病不治
頁數：352頁　
身亡，他的妻子也因重病差點命定價：399元
出版時間：2020年3月
喪山區，而他自己更曾因眼疾、瘧
出版：玉山社
疾、十二指腸病症嚴重而需停止工
作，返回日本住院才撿回一命。但
他仍無怨無悔重返台灣，賣命照
顧原住民健康。最令人感動的是
當台灣爆發「霧社事件」，原住民「上帝在編織」。這句話說明了他身體，每日不間斷做體操、洗冷水
與日本軍警爆發武裝衝突，造成的一生，如今台灣原住民大多接受澡，保持強健體魄；醫學校期間杜
大量人員傷亡，井上伊之助仍強忍了上帝的福音，回應了井上伊之助聰明與同學蔣渭水等關心中國的
內心的悲傷與憂慮，志願前往事信仰的愛。革命，經常商討聲援孫文的革命
件後原住民婦孺被強迫遷村的川大業，曾密謀以細菌毒害袁世凱，
中島，為感染瘧疾流行所苦的30 0 醫學教育與研究與翁俊明共赴北京卻無法下手。
多名原住民病患進行治療，延續台灣人第一位醫學博士 19 14 年以第一名畢業，放棄開業
原住民族的命脈。杜聰明 1893 -1986 行醫而留校從事細菌學研究，深
井上伊之助在台灣行醫前後長獲崛內次雄校長鼓勵，而於 1915
達 3 0 年以上，他的足跡遍佈各地杜聰明，18 9 3 年出生於台北縣年赴日本京都帝國大學深造，先在
的原住民部落，對原住民的健康淡水北新庄。他自小聰慧，入私塾賀屋教授門下修習內科學，次年改
照顧做出最大的奉獻。19 6 6 年井習漢文，1 9 0 3 年入淡水公學校，投藥理學大師森島庫太教授門下，
上伊之助逝世，享壽8 4歲，他的墓 19 0 9 年以第一名畢業並考取台灣歷時5年，於1922年獲得醫學博士
碑只刻著「愛」字，下面有一行他總督府醫學校，雖以學科第一名通學位，為日本國內首次授予外籍
最愛的仇敵、台灣原住民泰雅族過，但體格檢查被評為丙下，差點人士，也是台籍人士第一位得到醫
的話「TO M I N U N U TO F」意思是無法入學，杜聰明從此發奮鍛鍊學博士者，在當時轟動了整個台灣
53
社會，被認為是台灣人子弟最高榮學研究所所長。他以「樂學至上、研究第一」鼓勵
譽。 19 4 6 年，杜聰明主持百廢待舉南部學子，從北部延聘各科優秀
杜聰明返台升任總督府醫學校的台大醫學院和醫院院務，一方師資，重視身教言教所以親自講
教授，兼任中央研究院技師，創建面要照顧留任的日籍教授員工之授醫學史、藥理學，甚至帶領師生
本土研究的藥理學教室，從事中財產移交及遣返，另一方面要尋至西子灣游泳健身，當時校園雖
藥、台灣蛇毒及鴉片的研究，這個找適合交接的本島醫學界人才或小，但師生共同生活合力打拚的歲
藥理學教室後來為台灣培養了超迎接來自中國大陸的官員，其間月是高醫創校時期師生美好的回
過40位博士，發表了超過400篇的經歷不少的波折與衝突；同年他憶，而高雄醫學院更是全台灣第
學術論文，其影響之深遠和貢獻的被推選為台灣醫學會會長、台灣一所重視原住民偏遠地區醫療的
巨大是前所未有的；他對鴉片的省科學會理事長、國民參政會參學校，經杜聰明倡議於 19 5 8 年開
研究聞名國際，曾應邀前往美國政員並兼任政府各項委員會委員設「山地醫師醫學專修科」招收原
及歐洲發表論文，1930年「台灣總十數要職，可見戰後初期杜聰明住民學生，給予公費待遇，畢業後
督府更生院」成立，杜聰明出任院的活躍與影響力並不亞於日治時返鄉照顧原住民健康。
長領導台灣的戒毒醫療；對於中期。然而1947年爆發的「二二八事 1 9 6 6 年，杜聰明退休，雖然已
藥和本土草藥的研究也是他一生件」對杜聰明和當時的台灣醫界有 7 3 歲，仍受教育部所託，出國
的興趣，他在醫學院藥理學課堂人士來說，都是一場災難，不僅台考察日本及歐美醫學教育；同年
上不但親自講授中醫藥史，鼓勵中灣人民遭受了莫大的損失，當時被推選為第六屆亞細亞及大洋洲
醫藥的科學化，更著有《中醫藥評台灣社會菁英幾乎難逃被逮捕、醫師會聯合會總會長；同年成立
論》、《中西藥學史略》等書。屠殺的命運；杜聰明亦被通知走「杜聰明獎學金委員會」。1 9 6 8
杜聰明可以說是日治時期台灣避，躲藏期間台大醫學院院長職年75 歲的他仍出席台灣醫學會第
人在學術界的代表，19 3 0 年他聯務也被免除。及至白崇禧來台調查六十一屆總會，發表「中西醫學
絡了台灣留日的理工、醫學人士成「二二八事件」後，4月 3 0 日台灣一元化、中醫藥科學化之具體方
立了「台灣理工學會」，19 37年他省行政長官公署廢止，陳儀下台，案」；1972年80歲時出版回憶錄；
被任命為台北帝大醫學部教授，魏道明奉派來台成立台灣省政 1 9 8 3 年《杜聰明言論集》5 集出
193 9年他被選為日本藥理學會第府，杜聰明被任命為省府委員，終版，1 9 8 6 年杜聰明去逝，享耆壽
十三屆會長，以日本殖民地統治下能再公開出面活動。 9 4 歲。這位台灣醫學史上的小巨
的台灣人，能被選為日本國內學術 19 4 8 年7月杜聰明再受聘為台人，對台灣醫學發展的影響長留迄
界的學會領導者，可說是為當時的大醫學院院長，同年 12 月曾代理今。
台灣人揚眉吐氣。19 4 5 年二次大台灣大學校長至次年 1月。1 9 5 0
戰結束，杜聰明身為唯一一位台籍年獲聯合國世界衛生組織獎學醫師從政與社會運動

教授，自然是國民政府派令參加金，再度前往歐美考察醫學教醫界女傑政壇英雌
日本受降儀式的代表之一，並成為育。19 5 3 年卸任台大醫學院院長許世賢 1908 -2006
接收台大醫學院的當然人選，同年職務，開始籌設「私立高雄醫學
12月他獲聘為台大醫學院首任院院」，7月創辦高雄醫學院出任院許世賢，19 0 8 年出生於台南書
長，兼台大附屬醫院院長、熱帶醫長，這是台灣第一所私立醫學院，香世家，小學畢業後考入台南州立
54
第二高等女學校，成績名列前茅。時省議員，她精彩的質詢、問政，
畢業後，許世賢東渡日本，進入東使得她和李萬居、郭國基、郭新醫療行政與公共衛生

京女子醫專。醫專時代，許世賢便雨、吳三連、李源棧合稱「五龍一台灣社區精神醫學先驅
經常參加學校的辯論會。1930年3 鳳」。19 6 0 年許世賢三度連任省葉英堃 1924-2018
月醫專畢業後，返回台南行醫，首議員，並參與「在野黨及無黨無派
先在台南醫院服務，接著獨自開人士本屆地方選舉檢討會」，並決葉英堃，19 2 4 年出生於台南望

設德泰醫院、世賢醫院。議籌組一個新黨，是17 名召集委族，19 4 3 年就讀台灣總督府台北
19 3 3 年，許世賢和同年齡的嘉員之一。預定於1960年9月底籌組高等學校，19 4 5 年進入台灣大學
義醫師張進通結婚，婚後兩人同新黨「中國民主黨」，因 9 月初雷醫學院，大四時參與於台南安平
入九州帝大深造。19 3 8 年張進通震被捕，而一再拖延，最後不得不地區的精神疾病流行病學研究調
取得醫學博士學位，隔一年，許世無限期暫緩進行。查，並以其為畢業論文主題獲林
賢也通過論文，獲得醫學博士。夫 19 6 3 年許世賢四度連任省議宗義教授勉勵。19 4 9 年畢業後進
婦兩人同獲博士，聲震全台。1941 員，19 68年1月許世賢參加第六屆入台大精神科成為戰後第一批的
年同返台灣，於嘉義市創立順天嘉義市長選舉，成為全台第一位台灣精神科醫師，在林宗義教授
堂醫院。民選女性縣轄市長。3 個月後，她帶頭下展開台灣精神醫療事業，
大戰結束後，許世賢順著台灣再度挑戰嘉義縣長，以 8 萬 6 千多在台大期間多次出國進修，奠定了
政治潮流的演變，成為時代最前票落選。「精神醫療和社會復健不可分」
進的女性。19 4 5 年11月台灣行政 1972 年已 6 5 歲的許世賢，參加的信念，並於台大醫院建立照會
長官公署任命許世賢為第一任嘉增額立委第三選區的選舉。許世精神醫學。
義女中校長。隔年（19 4 6 年）3月賢以破紀錄的 1 9 萬多票，高居全 19 6 9年葉教授被借調至台北市
舉行縣市參議員選舉，許世賢為首台第一名，當選立法委員，1 9 7 5 立療養院擔任創院院長，乃現在
次當選市參議員3位女性之一。年許世賢再度連任立法委員。的台北市立聯合醫院松德院區。
19 47年「二二八事件」時，嘉義 1980年修訂的《選舉罷免法》，當時的療養院位置偏僻、房舍簡
市參議會許多議員遭到殺害，迫取消公職人員的年齡限制，促使陋，沒有公車可到，旁邊就是寧波
得許世賢攜帶幼女張博雅連夜避 75 歲的許世賢決心再度出馬角逐同鄉會的墓園，三張犁靶場還在
難外地，才逃過一劫。第九屆嘉義市長。使用中，盡是騎機車在田間小路
19 51年許世賢以全台第一位 19 8 2 年的選舉，讓她成為台灣穿梭上班的景況。葉院長在荒僻
女性縣長候選人，出馬競爭嘉義地方自治史上最年長的民選市長。的山坡地上，從水電、工程的規劃
縣長，以 2 萬多票光榮落選。再許世賢在市長任期，經常日夜加做起，歷時20年，秉持以人為本的
參加第一屆臨時省議員，也因堅班，為嘉義市建設藍圖作最長遠的信念，主張精神醫療不該脫離社
持不賄選、不作弊而落選。3 年後考慮。19 83年 6月3 0日，許世賢因會，開創醫院、衛生所與社區密切
（19 5 4 年），許世賢捲土重來，當長久積勞的肝硬化症，病逝於台北合作的精神醫療模式，促成許多
選第二屆臨時省議員。在省議會中華開放醫院，享壽76歲。同年12 衛生所與台北市療合作成立社區
裏，經常為提昇女權而呼籲。月，舉行市長補選，四女張博雅繼心理衛生中心，讓醫院、衛生所與
19 57年許世賢連任第二屆臨承遺志，當選嘉義市長。社區三者密切合作，開創新的精神
55
醫療模式，備受國際醫療界推崇，與典範讓後輩學習。希望他在天練的助產士相當缺乏，乃創設「產
被譽為「台北模式」之精神醫療。之靈仍然守護台灣守護精神病患婆講習所」（助產士訓練所），利
他也培養了不少年輕醫師，日後都的人權。用清信醫院設備，讓學員們有學
對台灣各公私立醫院精神科作出以致用的實習機會，培訓不少助產
重要貢獻，而台北醫學大學的精神基層醫療與社會公益士，造福全島不少孕婦。
科教學也由他負責，當時市療醫師不讓鬚眉台灣首位女醫師彭華英後來因為與台灣民眾黨
也要參與其中。蔡阿信 1899 -1990 部分同志，意見有所分歧，於民眾
19 8 0年台灣發生轟動社會的台黨第七次中央常務委員會上提出
北螢橋國小潑酸案，一名精神病人蔡阿信，18 9 9 年12月13日生於辭呈，1933年遠赴中國，兩人之婚
潑灑硫酸傷害學童的事件。在輿台北市，15歲畢業於「台灣北部長姻關係終告中止。
論震驚同時，葉教授和筆者進行了老教會女學堂」。其母以她聰穎 19 3 8 年，蔡阿信經由日本前往
台灣精神醫療設施和人力調查，過人，有意栽培，於是送她去日本美國遊學，曾在哈佛大學等著名學
並首次探討台灣地區精神醫療實唸私立立教高等女學校，1916年3 府的醫學院研究；19 41年接受加
況，發現許多病人未能得到良好品月畢業，考入東京女子醫學專門學拿大基督教長老會婦女傳教協會
質的醫療照顧，政府預算、法令不校，是台灣女性就讀西洋醫學的的邀請，前往加拿大訪問，當她結
足，精神醫療專業人力欠缺。第一人。束行程，欲搭船返台之際，因太平
為了提高精神醫療人權和照顧 19 2 0 年11月，蔡阿信從東京女洋戰爭爆發，不能成行，就職於當
弱勢權益及提升醫療服務品質，子醫專畢業，領到的該校畢業證地聖文生醫院，也因她具有日僑身
經過不斷呼籲、建言和努力，政府書是第二十五號，成了台灣第一分，加拿大政府委派前往史羅肯日
終於在19 8 5 年開始辦理「台灣地位女醫師。返台先後服務於台北僑集中營擔任駐營醫師。
區精神醫療院所評鑑」，並於1986 醫院、日本紅十字社支部醫院。在 19 4 6 年，蔡阿信回到久違的台
年開始實施專科醫師制度，同年台北工作時，遇見在日本相識，日灣，然而戰後國民政府治理下的
並開始規劃「全國精神醫療網」，本明治大學政治經濟科畢業的彭台灣，政治不上軌道，社會秩序
19 8 8 年開始推展「社區精神復建華英，他是南投國姓鄉柑子林人，混亂，加以翌年又發生「二二八事
計畫」，1989年開始補助公私立醫在日本求學時即投效民族運動，件」的慘劇，她所認識的一些抗日
院於社區中設置社區復健中心，庇曾擔任「台灣青年會」會長，也是友人遭遇劫難令她心寒意冷，決
護性工作場所及康復之家。「台灣文化協會」的成員，為著名心移居海外。後來，在偶然機會中
葉教授退休後還擔任多所大型的民族運動人士；19 2 4 年兩人結結識了英裔加籍的吉卜生牧師，互
醫院顧問、美國精神醫學會國際婚，育有一女一子，女彭惠美、男生仰慕之情，乃於 19 4 9 年在英國
院士、衛生署精神防治委員會委彭俊雄。駐台副領事館締結良緣。
員，持續研究著作，獲褒獎無數， 19 2 4 年，蔡阿信在台北市日新 19 5 3 年，蔡阿信醫師終於離台
備受國際推崇，列名M a r q u i s 世町自宅開設婦產科醫院；19 2 6 年赴歐與吉卜生牧師會合後，共赴加
界醫學、醫療名人錄。2018年底， 6月，蔡阿信決定在台中市大正町拿大定居，兩人在溫哥華過著恬
這位精神醫學界備受敬仰的前輩開業醫院，名曰：「清信醫院」。靜安適的退休生活，1967年，她的
過世，享耆壽 9 4歲，留下很多榜樣 19 2 8 年，她有感於台灣受正式訓老伴蒙主召歸，年屆 7 0 的蔡阿信
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繼續做其社會公益服務工作。人文關懷的學長組成「醫學人文論文一篇又一篇的發表，在19 8 0
1982年，蔡阿信返台探望親友，社」編織著青年學生的美夢，他對年代他寫了《近代醫學在中國》、
她有感於年老寡婦無依無助的苦「課堂老師所講授的醫學那樣的《中國傳統醫學史》、《中國疾病
境，遂與她的同學林黃彩霞醫師及唯物論或機械論，絲毫沒有人性與史》……等書，讓人對他的潛力及
實業家陳伴瀛等一群熱心人士公人情」深感失望，他覺得「這樣的其對台灣科技史的研究寄予厚望。
同成立「財團法人至誠社會服務教員，……無法以人類健康、幸福然而令人震驚的是正當他醫療工
基金會」，希望能照顧孤苦無依失為理想，而只注意於某些病症的臨作和史學研究的結合正要步上人
偶的婦女。蔡阿信捐出了畢生大部床表現與實驗數據，或許他們心目生高峰的時刻，1989年正值英年，
分的儲蓄，並以創辦人身分，擔任中，一位病人與一隻實驗的天竺鼠才39歲的他罹患了憂鬱症，竟然從
名譽董事長。沒有兩樣吧！」為此他曾掙扎想要高處躍下，英年早逝，留給台灣醫
1 9 8 7 年，她因年邁體衰，而住退學重考歷史系，在人文科學與醫界和歷史學界無盡的惋惜。我們由
進加拿大聖文生醫院做長期療學的矛盾中掙扎，直到閱讀了歷史他的《近代醫學在中國》〈自序〉
養，終於 19 9 0 年 3月 5 日，蒙主寵學家李約翰的巨著《中國之科學中片段，可以了解他的人文社會關
召。與文明》深受感動之後，才找到醫懷的情操：「近代醫學」與「古代醫
蔡阿信在封閉的年代，寫下女學結合歷史的方向，立志要研究科學」不同的地方，精神方面他努力
性傳奇一生，雖然她的部分歲月，學史與醫學史，又認識了中央研究以客觀、實證為出發，脫離主觀的
不在鄉梓，但她的台灣意識未嘗院近代史研究所的郭正昭先生，開玄想，而以物理、化學、生理、解剖
一日稍減，熱愛鄉土之心，永遠存啟了他研究科技史大門，從此陳勝為基礎，建立「眼見為真」的科學
在。東方白所寫的15 0萬字台灣大崑醫師廢寢忘食的進入「近代中國醫學。在制度方面，他以嚴密的層
河小說《浪淘沙》（前衛出版），即醫學史」的研究領域。層負責及輪流訓練制度著稱，這又
是以她為藍本。陳勝崑醫師北醫畢業後在台北與「古代醫學」的以「秘方」、「偏
市立仁愛醫院接受了皮膚科和小方」著稱完全不同，當然這精神與
醫師與藝文創作兒科的住院醫師訓練，後來在板制度很容易流為機械論，而與一向
英年早逝的醫學史研究者橋江翠地區自行開業，他是一個以主張天人合一的我國傳統思想不
陳勝崑 1951-1989 「病人為朋友」的醫師，他不只關合，所幸近代精神醫學的發達已漸
心病人的症狀和肉體病痛，也關可挽回這偏向，「身心醫學」、「泛
陳勝崑，19 51年出生於雲林北心病人的家庭和心靈生活，他非常文化精神醫學」的興起，將更著重
港，其父陳瑞郎醫師二次大戰末敬業，體貼病人，經常夜間應診，本土文化色彩與疾病的關連，而與
期在日本學醫，後被祖父召回北即使半夜也不推辭，他認為「醫學社會學家、人類學家、心理學家、
港懸壺濟世，頗為鄉人敬重。自小是藝術而非商品，是使命而非生民俗學家更加密切合作。
父親即期望他長大能學醫繼承父意」，充分實踐他的醫學人文關懷從陳勝崑醫師的文章中，不難
志，他對父親的描述是「一位傑出精神。更難能可貴的是他沒有放發現他對近代中國醫學史的關心
的鄉土醫師與人道主義者」。棄醫學結合歷史的初衷，在行醫的和重視，可惜在台灣醫界中難得再
之後，陳勝崑如願進入台北醫學同時又考進了師大歷史研究所，繼找到像他這樣用心的醫學史研究
院就讀，在學期間與北醫一些具有續他科學史與醫學史的探索，他的者，令人不勝惋惜！
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《
《
影像對話　PHOTO ESSAY
異
質
化
與
民
》
俗
》
圖說圖說圖說圖說圖說圖說圖說圖說圖說。
Audience applause is TPO’s greatest motivator.
場
域
Chang Shih-fei’s
觀
Spellbound:
察
Musings on Heterogeneity
and Folk Religion
無論在多麼現代化的社會裡所進行的宗教活動，
必然有一刻是回歸本初，那無限接近（不論是神或
鬼或人）原始渾沌的一體性。
N o matter how modernized a society is, there is in

its religious activities an impulse to return to the
primordial and cleave to a vision of primitive unity, be
it with reference to deities, to specters, or to humans.
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圖•張士飛　文•陳伯義　版面設計•蕭郢岑
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認識張士飛是在2018年台南國際攝影節，關 I first came across Chang Shih-fei’s work at the 2018
於麻豆番子寮老家的系列影像《廍地五號》，在 Tainan International Foto Festival, which featured his
Sugar Mill No. 5, a series of photographs portraying Chang’s
濃郁的親情視角裡，透著對於家鄉地景的超現實
hometown, Fanziliao in Tainan City’s Madou District.
化，在情感厚重的家族群像與荒誕疏離的原鄉地
Chang combined a loving treatment of family ties with a
景之間擺盪著。
surreal take on the landscapes of his old home. The result-
這次《出神》的作品是他對自身信仰的思考，從 ing images occupied a liminal space between affectionate
原鄉母體《廍地五號》延伸至信仰主體的創作。這 family portraits and landscapes of absurdity and alienation.
幾年因為拍攝廟會，讓我有更多機會可以近距離觀 Chang’s new series, Spellbound, reflects on his own reli-
察他的拍攝的狀態與過程：他會在事件的外圍悠轉 gious beliefs, progressing from the theme of home in Sugar
且等待出手的時機，啟動他快門的時間，並不是當 Mill No. 5 to the subject of religion. In the past few years,
photographing temple fairs has given me the opportunity
下多數攝影者在等待的高潮時刻，而是當被攝對象
to observe Chang’s creative process at close quarters. He
顯露出曖昧未明的狀態。他並不是關注傳統廟會紀
tends to move around the fringes of these religious events,
實的科儀和陣頭，而是探尋諸神信仰的玄秘本質。 waiting for the right moment to take a shot. Unlike many
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前景對比後景的氛圍錯置。超現實化也在於《出
探索玄秘的狩獵者
神》的表現上，如歌仔戲布景與燈光讓人分不清扭
《廍地五號》擅長運用「異質物」來折轉場曲館閣的真假；普渡場牆上的影子究竟是何種盛
所，如影子所產生的虛空間，隱身在尋常環境中無筵；光明燈後的神像是佛陀還是耶穌。氛圍錯置如
以名狀的物體，透過鏡面反射的虛實交雜，抑或是冷色調的鮮花，對比暖色調的普渡場，宴會裡包藏
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other photographers, however, Chang is less interested in
climactic moments than in the ambiguities and indetermin-
acies of his subjects. Rather than merely presenting faithful
records of the rituals and performances at traditional temple
fairs, he delves into the mythic nature of religion itself.
In pursuit of mysticism
In Sugar Mill No. 5, Chang adeptly plays with heterogene-
ity in order to give physical places a twist, using shadows that
engender illusory spaces, indefinable objects that lurk within
ordinary environments, reflected images that blur the bound-
aries between the real and the unreal, and unconventional
contrasts between foregrounds and backgrounds that create
a sense of incongruity. A comparable surrealist treatment
also appears in Spellbound. For example, Chang’s photograph
of the décor and lighting of a Taiwanese Opera performance
makes us wonder whether the warped architectural images
in it are real or not. Similarly, the shadows of food on the wall
at a Ghost Festival feast whet our curiosity, and we cannot
be certain whether the sculpture behind an array of votive
lamps is of Buddha or Christ. To achieve an atmospheric
twist, Chang contrasts cool-colored flowers with the warm
tones of a Ghost Festival feast, thus smuggling a hint of death
into the festive occasion. The juxtaposition of an actress and
a real bridge summons up the image of an uncanny night-
time opera suspended in mid-air. There are also objects that
are hardly describable, such as the heads of burning incense
sticks blending with road markings, which suggests a sense
of accident; in the picture that shows a human figure in front
of a window and a strange flame, does the shadow on the
wall hint at an out-of-body experience? And then there is a
person in a raincoat shrouded in a mysterious red light.
Theatricality is another feature of Spellbound. Chang cre-
ates unique visual spaces by carefully framing scenes. A stone
lion facing a wall, a person sleeping, plates and cups scattered
about on a table, and entangled electrical cables, constitute a
remarkable portrait of a temple. At a temple feast, a chef looks
mesmerized while savoring one of her culinary creations
amidst haphazard gas cylinders. People participating in a
religious procession take a rest in a dinosaur park. Scenes
like these turn familiar temple fairs into absurd dramas that
make us smile. Chang also captures those “spellbound”
死亡氣息；歌仔戲花旦與橋梁地景，弔詭
moments of apotheotic longings during spirit- channeling
的懸空夜戲。無以名狀之物如線香的火點 rituals. For example, he intriguingly brings together a female
交雜交通標線，暗示著意外；窗欄前的人 spirit medium gazing skyward, another medium channeling
與不知名的火光，牆上人影是否為魂體出 the Queen Mother of the West, and an acolyte standing by
竅？還有神秘紅光中的雨衣人。 observing. Both the spatial framing and the timing of this
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《出神》的戲劇性是這作品的另一個特 picture demonstrate Chang’s remarkable composure
色。他透過景框的選擇，創造出獨特的視覺 and precision as a photographer.
Physical vs. metaphysical
空間：面壁的石獅、沉睡的人、杯盤狼藉的
The metaphysical theatricality of Spellbound does
桌面和電線交雜纏繞構成廟的奇觀一隅；平
not merely lie in the atmospheres Chang has created.
安宴後台的總鋪師在錯落的瓦斯桶裡陶醉的
As Chang himself states, Spellbound considers issues
試味道；遶境的儀仗隊在恐龍公園裡的小 raised by traditional temple fairs, such as the nature
憩，都使得習以為常的廟會變成令人莞爾一 of the real and the unreal, of birth and death, and of
笑的荒謬劇。他亦捕捉乩身信仰儀式過程中 living beings and specters. Rather than offering defi-
的出神時刻，把人想變成神的瞬間給凍結， nite answers, Chang seeks to elicit questions. The peo-
如凝視蒼天的仙姑、交談中的王母娘娘和在 ple of Taiwan are descended from successive waves of
immigration down the centuries, and Han people’s re-
一旁見習的神職人員的奇妙組合，都讓此作
ligious customs on this island have imbibed elements
品在空間的框取與快門時間的掌握上，凸顯
of other ethnic or foreign cultures, while their spiri-
其冷靜且精確的拍攝功力。 tual outlook embodies certain conventions and ideas
of Confucianism and feudalism. As these customs are
虛實之間／人神之間
part of the fabric of everyday life, it is sometimes dif-
然而超現實的劇場並不只是他創造的氛 ficult for us to perceive their ideological makeup. But
圍而已，如他的自述《出神》是關於廟會 Chang’s work enables us to contemplate temple fairs
信仰的真假虛實與生死鬼魂的思辨，不是 and folk beliefs in a fresh way.
Chang focuses his gaze on the demeanor of people
給出答案而是導引出問題。台灣是移民社
who gather together for religious purposes, captur-
會，漢人的祭祀信仰融合了各族群與外來
ing a mixture of contradictory things that make up
文化，在其隱含的精神層面有儒學禮教與
this richly varied world: clamor and reticence, reality
封建思想的意識形態。這些在日常生活中 and fiction, life and death. Like the human figures in
的慣習，我們自身並不容易覺察，但透過 his photographs, he feels the sensory impact of the
張士飛的眼睛，讓我們在另一個頻道上思 religious festivities and then experiences a sense of
考廟會與信仰這件事。 forlornness when he returns to everyday reality. This
他觀察了一群人為了祭儀而集結的各種姿 process of passing from habitual reality to carnival-

esque ecstasies, and then back to the mundane, is
態。姿態裡混合著喧囂與靜默、真與假、生
condensed in Chang’s tributes to those theatrical
與死，矛盾的混合物充滿在這人間百態中。
occasions where humans and gods come together to
他與人們一起感受著各自眼裡的五感衝擊， enjoy themselves.
也一起經歷回復日常狀態的落寞。那些種 As Chang states, “For me, whatever happens on
種，從無到有，再到無，都濃縮在這一場場 these occasions originates in a connection between
的人神同歡的舞台中。 humans and their religions; it bespeaks the pull of a
如同張士飛在自述裡寫道：「對我來說， mystical power.” Chang finds it impossible to shake
off the allure of this primordial mysticism, which is
在這個舞台上所發生的一切，緣起於人與
why he keeps returning to these religious sites to take
宗教的連結，且是一種具有神祕力量的牽引
photographs. Repeatedly undertaking these journeys,
關係。」他不斷被這種原始的神祕特質給吸 he wants his photographs to furnish evidence of his
引著，這也是他不斷往返這類場域拍攝的動 being spellbound by metaphysical forces. l
機，想藉由一次次的攝影，讓這些作品成為 (photos by Chang Shih-fei/text by Chen Po-i/
他是如何被祂們吸引的存在與證明。 l tr. by Brandon Yen)
67
全球視野　GLOBAL OUTLOOK
與戰爭的距離
Helping Refugees
from the Syrian Civil War:
土、敘邊界
台灣世界公民中心
The Taiwan–Reyhanli Center for World Citizens
文•曾蘭淑　圖•裘振宇提供　版面設計•蕭郢岑
68
2010年突尼西亞爆發「茉莉花革命」以來，
掀起了「阿拉伯之春」的民主浪潮，卻對敘利
亞這個國家帶來了長達十年之久的內戰。連天
峰火中，由台灣政府支持興建，位處土耳其、
敘利亞邊界的「台灣─雷伊漢勒世界公民中
心」，為流離失所的難民，在轟炸、死亡的驚
悸中，帶來了盼望。
台灣─雷伊漢勒世界公民中心（The Taiwan-
Reyhanli Center for World Citizens，以下稱「台
灣中心」）執行長裘振宇今（2021）年初在台
灣，馬不停蹄地到各地高中、社團巡迴演講、
募款，傳遞這座難民中心的使命與需要。
宜蘭扶輪社一位企業主，聽完了裘振宇「挑
戰與更多的挑戰．瘋狂的台灣世界中心」演講
後，打開皮包，拿出5,000元現金，撂下一句
話：「這5,000你給我拿去，你台灣中心不要給
我倒了！」裘振宇頓時心裡填滿了感動：「原
來當乞丐還蠻幸福的！」
T he Jasmine Revolution that occurred in Tu

nisia at the end of 2010 sparked a wave of
democratic movements known as the Arab Spring,
but in Syria it marked the beginning of a civil
war that has thus far lasted a decade. During this
period of incessant warfare, the Taiwan –Reyhanli
Center for World Citizens, built with the support
of the government of Taiwan, has brought hope to
homeless refugees amidst the horrors of bombing
and death.
Dr. Chiu Chen-yu, founding director and principal

architect at the Taiwan–Reyhanli Center for World
Citizens (a.k.a. the Taiwan Center) was in Taiwan
敘利亞難民問題是第二次世界大戰結束以來最嚴重的
earlier this year (2021), where he did a whirlwind
人道危機之一。
The Syrian refugee problem is one of the worst tour of high schools and clubs giving lectures, raising
humanitarian crises since World War II.
funds, and conveying the mission of and the need for
this refugee center.
A f t e r o n e b u s i n e s s m a n at t h e Yi l a n Ro t a r y
Club heard Chiu’s speech “Challenges and More
69
台灣中心執行長裘振宇，四處奔走，為
台灣中心籌募資金，希望幫助到難民。
（林格立攝）
Chiu Chen-yu, founding director of the
Taiwan Center, is constantly active in
raising funds for the center in hopes of
providing help to refugees.
(photo by Jimmy Lin)
建築形式回應當地民眾的伊
斯蘭信仰，座朝麥加，10米高、
6.3米寬、8米深的拱圈屋頂，呼
應阿勒坡大清真寺拱形迴廊的尺
度，這個具有宗教意涵與歷史情
感的拱圈，是一個象徵希望的文
化符號。
難民的根本問題是沒有工作
機會，台灣中心的52個拱圈屋頂
下，用原本隔開土、敘兩國的邊
界圍牆，分隔出52個空間單元，
目前正進行二期工程，讓當地非
政府組織（NGO）進駐，規劃成
為辦公室、教室、商店，尤其是
手工工作坊，一個單元可以提供
50個工作機會，解決難民謀生的
問題。
戰後的建築：我要活下去
2016年裘振宇接下台灣中心
的建築設計案時，很多人認為背
後有那麼複雜的地方勢力與政治派系，一定蓋不
建築的形式：撫慰人心
成。四年下來遇到很多的危機與難題，但現在看
雷伊漢勒市位處土耳其哈塔省（H a t a y），來，危機都化為奇蹟。
毗鄰敘利亞。2011年開始，受到敘利亞內戰、例如四年內換了三任市長，每任市長期待的
恐怖組織伊斯蘭國戰火的波及，超過12萬名敘都不一樣，因而建築規劃圖直到第11次才被雷伊
利亞的民眾，逃到這個人口數不到十萬人的小漢勒市政府接受。手中只有我國外交部支持的人
城鎮。道援助經費，原本只夠蓋水泥屋頂，為了省錢，
「今年第11年了（指敘利亞內戰爆發至今），拱圈屋頂使用鍍鋅鋁合金板代替水泥，而且唯一
但台灣中心卻是在土耳其第一棟專門針對難民危找到的壓鋼板機器，還來自台灣台中。在有限經
機所設計建造的建築。」接二連三的演講，裘振費下，工廠預製的薄鋼板，降低了現場施工的難
宇以沙啞的嗓音指出，這棟建築設計的形式、目度，每平方公尺的造價只要600土耳其里拉，是
的與機能，均考慮到難民需要。隔壁水泥公寓造價的三分之一。
70
Challenges at the Taiwan Center,” he opened his roofs, which reach ten meters in height from the
wallet and took out the NT$5000 he had in cash, ground and are 6.3 meters wide and eight meters
declared, “You take this 5000 from me, and don’t deep, make spaces similar in size to the vaulted
you let the Taiwan Center close!” Chiu at once felt room in the Great Umayyad Mosque of Aleppo.
moved and thought, “It turns out that one can find These arches, with their religious and historical
happiness in being a beggar!” connotations, constitute a historical reference that
Consolation through architecture symbolizes hope.
Reyhanli is a town located in the Turkish prov- Post-war architecture
ince of Hatay and is very close to Syria. Starting in The core problem for refugees is unemployment.
2011, as a result of the Syrian civil war and atroci- Under the 52 arched roofs of the Taiwan Center,
ties by the terrorist group ISIS, more than 120,000 prefabricated concrete blocks originally intended to
Syrian people fled to this little city with a popula- be used for a border wall between Turkey and Syria
tion of fewer than 100,000. now separate 52 individual spaces. At present Phase
“This is the 11th year [since the outbreak of 2 of the project is underway, and local non-govern-
the Syrian civil war], but the Taiwan Center is the mental organizations are being allowed to move
first structure in Turkey to be designed and built in. The plan is for these spaces to become offices,
specifically to address the refugee crisis.” Having
given countless lectures, Chiu’s voice is raspy as
he points out that the form, objectives, and func-
tions of this building’s architectural design all
台灣中心義賣敘利亞婦女難民手做的澡袋與圍巾，
take the needs of refugees into account. 讓他們有工作就有生活的希望。（林格立攝）
The buildings, which face toward Mecca, echo The Taiwan Center helps market pouches and scarves
made by Syrian women refugees, so that they can find
the Islamic faith of the local residents. The arched hope through employment. (photo by Jimmy Lin)
71
這也是裘振宇生平設計的第一棟建築，在土耳為戰後為求快速重建，用施工最快的鋼筋混凝
其首都安卡拉畢爾肯特大學任教的他，興建前，土，去除所有歷史的裝飾，以解決都市裡面人們
帶著學生去了雷伊漢勒35趟，進行田野調查，卻生活的問題。台灣中心這棟建築，與一百年前的
也因此贏得了市長與國會議員的信任。灌地基命題是接近的，也是為無家可歸的人，用有限的
時，意外地超過基地界線二公尺，市長大方地資源，作最大的發揮，台灣中心名副其實是一棟
說，「沒有關係」；進行地基的夯實工程時，土「戰後的現代建築」。
方不夠用，市長熱心地要求軍方開放邊界，親自
嚴峻的挑戰：永續經營
帶著怪手與卡車去挖取。裘振宇與市長搏感情，
他也大力的支持。今年已在雷伊漢勒租房子的裘振宇，帶著七個
分隔成52個單元的混凝土牆基座，原本是用助理直接駐地服務。他指出，敘利亞的難民不繳
在軍事檢查哨的材料，這種強度等級C30的混凝稅，卻與當地土耳其市民搶工作與資源分配，造
土，為了防火箭的轟炸，既防震又防爆，強度最成雙方關係的緊張。接下營運的任務，他希望台
強，卻也最便宜好用，一座才500美金。既有的灣中心不只服務土耳其居民，也能為敘利亞難民
軍事設施變成人道設施，他說：「我們就是要告創造生機。
訴全世界，我們在邊界旁邊，我們在打仗，但很難想像邀請當地非政府組織加入的困難。因為
是，我們會活下去。」受助的成員大多是婦女，但這些穿著布卡，全身上
教授建築史的裘振宇認為，現代建築（modern 下只剩眼睛露出來的敘利亞籍婦女極端保守，身處
architecture）自第一次世界大戰以後開始出現，異鄉，戒心十分強。裘振宇採取「死纏爛打」策
真正在全球流行是第二次世界大戰以後，就是因略，勤於拜訪，後來混熟了，「我成為第一個進
72
為了省錢，台灣中心的拱
圈屋頂使用鍍鋅鋁合金板
代替水泥，卻也達到降低
現場施工難度的好處。
To save money, the arched
roofs at the Taiwan Center
are made of galvanized
aluminum alloy rather than
concrete; they also have
the advantage of making
on-site construction easier.
classrooms, shops, and especially craft workshops. Each Most of the participants in NGOs are women, but Syrian
unit can create 50 job opportunities, thereby mitigating women, dressed in burqas that cover the entire body
the problem of unemployment faced by the refugees. and leave only the eyes exposed, are very conservative,
Chiu, who teaches architectural history, relates and, being in a foreign land, are extremely wary. Chiu
that modern architecture only began to appear after adopted a strategy of “dogged determination” and dili-
World War I, and it only became common worldwide gently visited the NGOs, eventually getting quite famil-
after World War II. This is because there was a need for iar with them. “I became the first male to participate in
rapid reconstruction following these wars, so that steel- the NGOs, and each week I lead volunteers to offer these
reinforced concrete (the fastest construction technique) women classes.” The volunteers offer skills training
was used, with all historical adornment eliminated, in classes, while Chiu teaches a fine arts course for children.
order to tackle the lack of housing for people living in Chiu got to know the stories of the refugees, most of
cities. The buildings at the Taiwan Center are faced with whose husbands have been injured or disabled if not
the same task as after the world wars: using limited re- killed in the war. What they are seeking in bringing their
sources for maximum impact for the benefit of homeless young children from Syria to Turkey is simply “to sur-
people. This means the Taiwan Center is an authentic vive.” The greatest hope of these women, among whom
example of “postwar modern architecture.” unemployment runs at 75%, is to have a job and help de-
Sustainable operations the tough challenge fray family expenses.
Chiu, who now rents an apartment in Reyhanli, has In order to help refugees “survive” and to give them
brought seven assistants with him to provide on-site ser- hope through jobs, the Taiwan Center assists in marketing
vices. He points out that Syrian refugees don’t pay taxes, the “Woof Woof Scarves” and “Meow Meow Pouches”
but still compete with local Turkish residents for jobs and (with dog and cat designs) currently being made by 150
allocation of resources, creating tension between the two women. Inside the pouches there is soap made by hand
groups. Chiu’s hope is that the Taiwan Center will not using the olive oil and laurel berry oil produced in abun-
only provide services to Turkish residents, but will also dance in nearby Aleppo. Because it takes ten days to
be able to help Syrian refugees find a new lease on life. hand-knit one scarf, supply currently can’t keep up with
It’s hard to imagine the difficulties involved in invit- demand for fundraising sales in Taiwan, and the problem
ing local non-governmental organizations to participate. of how to operate sustainably will be a tough one.
73
（林格立攝　photo by Jimmy Lin）
入NGO的男性，每週帶著志工幫她們上課。」但接下來能永續營運的目標則更為嚴峻。
其中NGO的組成份子不乏有恐怖份子的背景，
台灣正在幫忙：帶來改變
由於雷伊漢勒市2013∼2014年間，曾遭受汽車自
殺炸彈的攻擊；加上敘利亞反叛軍、伊斯蘭國與我國駐土耳其代表處代表黃志揚三月底履任新
蓋達組織的聖戰士傷患都送至雷伊漢勒市的醫院職，四月即前往台灣中心視察。黃志揚指出，台
救治，各方勢力擁入，導致戰事方歇之後，不論灣中心是我國與雷伊漢勒市政府合作的人道援助
是恐怖分子或是反叛軍，就地合法化成立NGO，計畫，本案已捐贈給雷伊漢勒市政府負責後續完
各方勢力錯綜複雜。工以及營運事宜，但市政府在耗費原有市政預算
「縱使NGO有恐怖份子，也要合作。」裘振宇後，表示已無資源投入，在新冠肺炎疫情嚴峻之
一派認真地說：「因為真的恐怖攻擊要炸時，才際，更使難民生計問題雪上加霜。
不會炸到我們。要活大家一起活，要死大家一起「台灣政府援助敘利亞難民人道危機，已貢
死。」獻許多，在此危難時刻亦不會缺席，仍要發揮
也因為混熟了，裘振宇更了解難民們的故事，『台灣能幫忙』（Taiwan can help）的精神，以
有人的先生不是被打傷、打殘，就是戰死；帶著一年為期，繼續支持台灣中心初期運作，建構敘
年幼的孩子逃離敘利亞來到土耳其，所求的就是利亞難民婦女手工藝職訓等計畫。」黃志揚認
「活著」。75％失業的婦女們，最希望的是有工為，具有數位優勢的台灣，未來會協助縮短難民
作能夠貼補家用。婦女及兒童的數位落差，藉由結合公私部門合作
有工作機會就有希望，為了支持難民們「活（PPP），以及引進國際與台灣NGO等利害關係
下去」，台灣中心協助銷售150位婦女所做的者的資源，共同推動台灣中心的永續經營。
喵喵、狗狗造型澡袋與圍巾，澡袋會放入阿勒裘振宇也相信，當難民不再顛沛流離，能夠
坡盛產的橄欖油與月桂菓油作成的手工肥皂。安身立命之時，台灣中心便可以功成身退，「但
由於一條手工編織的圍巾就要耗時十天，裘振台灣中心留下了許多故事，唯有故事可以改變人
宇在台灣募集的愛心認購單，雖已供不應求，心，唯有人心改變，世界才會改變。」 l
74
因為十分關注我國援外的任務，剛走馬上任的代表黃志揚 critical juncture. In the spirit of ‘Taiwan can help,’ the
即至台灣中心視察。（駐土耳其代表處提供）
Taiwan’s new representative to Ankara, Volkan C.Y. Huang, on a
government agreed to continue supporting the early-
visit to the Taiwan Center. (courtesy of the Taipei Economic and stage operations of the Taiwan Center for one year,
Cultural Mission in Ankara)
helping out with programs such as setting up craft
skills training for Syrian refugee women.” Huang
believes that Taiwan, given its advanced digital tech-
nology, can in the future assist in closing the digital
Taiwan is helping divide for refugee women and children. He adds that
Volkan C.Y. Huang, representative in the Taipei through public–private partnerships and bringing in
Economic and Cultural Mission in Ankara, Turkey, the resources of stakeholders like international and
took office in March and visited the Taiwan Center in Taiwanese NGOs, with everyone working together
April. Huang says that the center, which was built as it should be possible to enable the Taiwan Center to
a co operat ive humanitarian project between Taiwan operate sustainably.
and the Reyhanli city government, was donated to Chiu trusts that when the refugees are no lon-
Reyhanli to be completed and operated by the city ger living in misery, and can settle down and build
government. However, after Reyhanli expended its lives for themselves, the Taiwan Center will have
original budget, they said that they had no more re- completed its mission and will be able to shut up
sources to invest in the project. This, coming amidst shop. “But the Taiwan Center will leave behind many
the Covid-19 pandemic, was a further blow to the ref- stories. Only stories can change people’s hearts and
ugees and their attempts to find livelihoods. minds, and only by changing people’s hearts and
“The government of Taiwan had already contrib- minds can you change the world.” l
uted a great deal to assist with the Syrian refugee (Esther Tseng/photos courtesy of Chiu Chenyu/
crisis, and has also stepped up to the plate at this tr. by Phil Newell)
75
全球視野　GLOBAL OUTLOOK
授人玫瑰
To Give
Is to Receive
—Coming Together in
the Fight Against Covid
攜手友邦
•
手有餘香
文
•
共同抗疫
•
蘇晨瑜
　
圖 •
國合會提供版面設計 •
　
蕭郢岑
台灣向友邦展現溫情，
募資布口罩與醫療口罩捐贈史瓦帝尼。
Taiwan is always ready to help its friends, as
demonstrated by the generous donations of
funds to support the production of cloth masks
and medical masks for Eswatini.
76
77
國合會副秘書長史立軍很欣慰
台灣的駐外同仁仍然堅守崗
位，幫助友邦共同對抗疫情。
（林旻萱攝）
Alex Shyy, deputy secretary-
general of TaiwanICDF, is
pleased that colleagues
stationed abroad have remained
at their posts to help the nation’s
allies in the fight against
Covid-19. (photo by Lin Min-
hsuan)
COVID-19肆虐全球，疫情至今仍未平息，造都停駛，役男們回不了家，父母們急得如熱鍋上
成全球上百萬人死亡，多國經濟受到重創。在相的螞蟻，最後協調海巡署趁國際公海護漁護船的
當艱困的情況下，我外交部及國合會秉持人道特別巡邏任務，才把役男接回，過程千辛萬苦。
關懷精神，提供台灣自身經驗，展開「防疫外國合會副秘書長史立軍回想當時情況，仍舊心
交」，給予開發中國家公衛醫療援助，協助穩定有餘悸：「這次疫情全球封城，交通封鎖，造成
社會經濟發展，讓台灣暖流源源不斷，攜手友我們計畫執行上非常大的困擾。」像是中南美洲
邦，共同抗疫前行。沒有航班，役男無法回台，只能借道美國。「當
時美國已如驚弓之鳥，航班大亂，役男們得搭乘
誰也沒有想到，一顆肉眼看不見的病毒，會在美國撤僑專機，連轉好幾班飛機，才能平安到
全球掀起如此的驚濤駭浪。2020年疫情甫爆發，家。」
各國政府還在猶疑不決之際，有關疫情的資訊也
海外援助工作不停歇
相當混亂，當時在台灣緊盯各國疫情發展的，除
了我國中央流行疫情指揮中心專家，還有外交部疫情讓世界幾乎停擺，國合會原先安排好的各
與負責國際援外發展的財團法人國際合作發展基項海外公衛醫療、農業、教育及資通訊等援助計
金會（以下簡稱國合會）。畫，也都受到極大挑戰。國合會平時負責我國援
外工作，有大量技術團人員分散在世界各地，其
守護國人平安返台
中亦不乏許多年輕志工朋友，懷抱使命和滿腔熱
疫情初期交通封鎖，國際航班大亂，三月份疫血，自願留在當地。原本他們就已身處在生活條
情邁入高峰，當時外交部派駐在南太平洋邦交國件較為落後的開發中國家，有些國家甚至政局動
吐瓦魯的三位替代役男服役期限即將屆滿，然而蕩不安，疫情爆發後更是雪上加霜，面臨封城、
因吐瓦魯全面鎖國，禁止交通航班，全部船隻也斷糧與曝露染疫等風險，處境相當艱困。不過在
78
T he Covid-19 pandemic has raged across the planet,
causing millions of deaths and serious economic
harm to countries worldwide. In these difficult circum-
Protecting the people
At the beginning of the pandemic, transportation went
into lockdown, and international flights were in chaos. In
stances, the Ministry of Foreign Affairs and the Inter- March, as the pandemic took off, the young people doing
national Cooperation and Development Fund have em- their substitute military service with the Ministry of For-
barked on a campaign of “pandemic diplomacy,” making eign Affairs in the South Pacific nation of Tuvalu were set
use of Taiwan’s experience to provide humanitarian to complete their terms of service. However, as the coun-
care. Taiwan has thus provided public health assistance try closed its borders and halted all outbound travel, the
to developing countries, helping stabilize their social servicemen were left stranded and their parents in Taiwan
and economic development, and turning itself into a were worried stiff.
source of warmth as we all fight this pandemic together. Alex Shyy, deputy secretary-general of TaiwanICDF, still
feels nervous thinking back on the situation. “The US was
Few imagined that a virus, something invisible to the already in a state of alarm and flights were in chaos, so the
naked eye, could set off such shockwaves around the men who were stationed in Central and South America had
world. When the epidemic first broke out in 2020, experts to take US evacuation planes and change planes several
from Taiwan’s Central Epidemic Command Center were times before they could get home safely.” Meanwhile, in
quick to pay attention. In addition to them the Ministry Tuvalu, one of Taiwan’s diplomatic allies, three young men
of Foreign Affairs and the International Cooperation and found themselves stuck. In the end, they were able to coordi-
Development Foundation (TaiwanICDF), an association re- nate with the Coast Guard Administration, taking advantage
sponsible for international aid, were also closely monitor- of a special patrol mission in international waters protecting
ing the development of the pandemic around the world. fishing vessels to collect them. It was an arduous process.
與瑞士國際非政府組織Terre des
hommes（Tdh）舉辦「接觸追蹤
科技於COVID-19防疫之應用」線
上研討會上，各國代表前來學習
台灣防疫經驗。
TaiwanICDF, in collaboration with
Swiss NGO Terre des hommes,
held a webinar on the application
of contact-tracing technology
to Covid-19 outbreaks, with
representatives from various
countries taking part to learn from
Taiwan’s experience in epidemic
prevention and control.
79
台灣抗疫經驗分享
雖然疫情一波波襲來，國合會的
援助工作並未終止，反而持續履行
對友邦的承諾，做了更多暖心的援
助。例如在尼加拉瓜教導醫護人員
辨識COVID-19，遇到糖尿病、高
血壓及慢性腎臟病患等高風險族群
時，醫護人員更能掌握病況，給予
適切的醫療。
五月份疫情高峰時，台灣傑出亮
眼的防疫措施吸引歐美等國注意，
「台灣經驗」突然變成國際流行關
鍵詞。台灣到底是怎麼做到的？如
何有效控制疫情，如何進行精準的
疫調？國合會與瑞士國際非政府組
織Terre des hommes（Tdh）合作舉
辦的「接觸追蹤科技於COVID-19
防疫之應用」線上研討會，便由台
灣的防疫專家分享連結健保資料庫
等科技防疫的成功經驗，吸引歐美
及非洲等國專家「線上取經」。
技術團強化抗疫能量
國合會協助尼加拉瓜醫護人員進行衛教，強化該國應對COVID-19醫療問題。封城稍微緩解後，友邦的農民雖
TaiwanICDF assisted Nicaraguan healthcare workers with health education to
bolster the country’s response to Covid-19. 然可以到田間工作，卻缺少種子與肥
料等生產資具，駐史瓦帝尼技術團主
動接洽史國農業部，在紓困優先前提
下，選擇甘藍、番茄及青椒種苗進行
這樣的緊急時刻，他們沒有退縮，仍選擇留守當地，與友邦的緊急生產，穩定當地農業生產。
居民一起攜手對抗疫情。孤懸在南太平洋的吐瓦魯遭遇海
「疫情期間，各國為了自保，很多國家把援助工作都停掉空運輸封鎖打擊，技術團則協助當地
了，台灣可以很自豪地講，我們的同仁仍都在堅守崗位。」史居民改種耐儲放的糧食作物及蔬果種
立軍談到這段歷程，難掩動容。苗；在加勒比海亦輔導農民種植甘藷
選擇留守當地，攜手友邦共抗疫情，外交部與國合會在疫情初等耐儲久放的糧食，讓居民在進口補
始，便迅速利用數位科技，整合統計全球僅剩航班、人員調度與給中斷時，仍能夠就地生產，維持基
各駐在國疫情資訊，積極佈建起綿密的資訊網，並由外交部協助本的糧食供應。我國在疫情期間不只
緊急運送耳溫槍、口罩等基本防疫物資給海外技術團，讓團隊同提供醫療援助，也幫助友邦的經濟及
仁及家屬在第一時間有基本保障，抒解他們內心的恐懼。有了國社會穩定，「這也是台灣貢獻抗疫能
合會的防疫後盾，遙遠外派的技術團人員不會資訊脫節，所有計量的一種展現。」史立軍說明援外工
畫也都能快速因應調整，展現強大的應變能力。作的重要性。
80
No rest for overseas aid work Taiwan shares its experience
The pandemic has brought much of the world to a virtual Even as the pandemic has struck with wave after
standstill, and all of TaiwanICDF’s overseas public health, wave of infections, TaiwanICDF’s aid work has continued
agriculture, education, and information and communication unabated, such as helping healthcare providers in Nica-
assistance programs have faced tremendous challenges. De- ragua learn to identify Covid-19.
spite the dire times, though, they didn’t back down. Instead, In May of 2020, as the pandemic took off, Taiwan’s pre-
overseas TaiwanICDF workers stayed at their posts, joining ventive measures attracted the attention of the Western
forces with the locals to fight the pandemic together. world. TaiwanICDF worked with Swiss NGO Terre des
“Many countries stopped their aid work during the pan- hommes (Tdh) to stage a webinar on how to implement
demic to protect themselves, but we can proudly say that contact-tracing technology against Covid-19, with experts
Taiwan stood firm,” says Shyy, visibly moved. from the US, Europe and Africa logging on to learn from
Taiwan’s success.
As lockdowns began to ease, farmers in Taiwan’s
diplomatic partner countries found themselves lacking
seeds, fertilizer, and other necessary resources. The Tai-
國合會印尼「卡拉旺地區園藝發展計畫」，透過與地方政府
合作「公眾廚房」專案，資助材料與訓練農民，提供計畫輔 wanese technical team in Eswatini reached out to the
導生產高品質蔬菜，並交付與各村莊廚房烹調後，送至弱勢 country’s Ministry of Agriculture to provide assistance,
家戶手中。
Through the “Public Kitchen” project held in cooperation prioritizing crops like cabbage, tomatoes, and green pep-
with local governments, TaiwanICDF’s Karawang Regency pers to help stabilize local agricultural production.
Horticulture Development Project in Indonesia has provided
funding for materials and training for farmers, helping them In the Caribbean, farmers were given guidance on
produce high-quality vegetables that are cooked in local kitchens
and delivered to disadvantaged households. planting foods that can stand long periods of storage,
81
COVID-19全球大流行造成各國經濟衰退，歐美等援
疫情中逆轉創造商機
助國此時仍在力圖復甦，自顧不暇；而開發中國家因疫
與抗疫同樣迫切的，還包括後疫情時代情衝擊，各類需求更甚以往。台北醫學大學公共衛生學
各國的經濟復甦。去（2020）年七月份，院全球衛生暨發展碩士學位學程主任邱亞文觀察，這次
國合會透過募資計畫，邀請台灣民眾相挺 COVID-19對聯合國永續發展目標已經造成巨大衝擊，
史瓦帝尼的中小企業製作布口罩，由台灣原先希望在2030年達到的「全民健康覆蓋」、「消除貧
彰化伸仁紡織廠協力，緩窮」、「健康與福祉」等永續
解了史瓦帝尼的口罩荒；發展目標，都受到嚴重衝擊；
更幫助瓜地馬拉安地瓜但此同時，台灣長期在公衛醫
的咖啡小農，將其友善栽療的成功經驗取得舉世矚目的
種的「三座火山」品牌咖成果，或許可將此經驗典範轉
啡，透過贏得美國烘豆師大移，讓台灣的在地經驗為國
賽亞軍的王詩如親自烘焙等際醫療衛生發展做出貢獻。
行銷手法，在台募資銷售，邱亞文表示，「其實台灣早
獲得台灣民眾的熱烈支持。先在1945年也是受援國，聯
此外，國合會與中美洲經濟合國與美國曾派許多專家前
整合銀行（CABEI）合作，協助來，協助我國提升整體健康
幫助瓜地馬拉安地瓜咖啡小農，在台灣推出「咖啡
CABEI會員國政府提升公衛醫療故我在」三座火山咖啡募資活動，維護小農生計。醫療環境，現在的確是我們
體系疫情防控能力，並保護弱勢 To help protect the livelihoods of small coffee growers 回饋國際的時刻。」
in Guatemala and Antigua, Taiwan launched the “Where
族群；另協助當地微小中型企業 There is Coffee, There is Me” crowdfunding campaign 中華經濟研究院台灣東
for Café Volcanes coffee.
獲得借款資金，得以度過難關。協研究中心主任徐遵慈則
認為，應借重台灣在醫藥生技領域的研發實力，協
助開發中國家相關人才與系統的建立，甚至可考慮
台灣援外一甲子，藉由《國際開發援助現場季刊》平
台，真實傳遞我國援外工作紀錄，幫助國人了解台灣
在法規允許下，盤點我國學術界某些開發已久但尚
援外工作的重要性。（林旻萱攝）未技轉的技術，將之轉移給開發中國家的台商，讓
Through TaiwanICDF’s Development Focus Quarterly,
Taiwan’s decades-long history of foreign aid efforts is being 研發技術也能成為援外的資源。
communicated to help the public understand the importance
of their nation’s contributions. (photo by Lin Min-hsuan)
台灣援外工作耕耘60年
台灣援外工作經驗至今已默默累積一甲子，台灣
人的援助與愛心，幾乎遍佈世界上的每一個角落。
去年國合會九月份《國際開發援助現場季刊》創
刊，在面對疫情的艱難時刻，透過刊物真實傳遞我
國援外工作的系統性紀錄，也讓該刊物成為我國援
外研究領域的交流平台。
至今全球疫情未歇，各國從防疫控管進入到疫苗施
打的階段。「疾病無國界，不會因為哪些人是已開發國
家的政府高層，就不會染疫。」史立軍點出疫情期間堅
持援外工作的初衷。不管這次疫情將會如何落幕，這場
世紀瘟疫的確給每個人都上了寶貴的一堂課。人類唯有
彼此攜手團結，幫助別人，才能幫助自己。台灣的愛與
支持仍會源源不絕，散播到全世界。 l
82
駐馬紹爾技術團提供種子、種苗、自製堆肥，加強推廣家庭菜圃，
並提供豬仔，減輕當地生鮮蔬果與肉品不足的挑戰。
To help alleviate a shortage of local fresh fruit, vegetables, and meat,
the technical mission in the Marshall Islands distributed piglets, and
provided seeds, seedlings, and homemade compost to help promote
home vegetable gardens.
like sweet potatoes, to help ensure basic food supplies in Center at the Chung-Hua Institution for Economic Re-
case imports were disrupted. search, believes that Taiwan’s R&D strength in the fields
A change in fortunes of medicine and biotechnology should be leveraged by
Urgent though it was to fight the pandemic, economic taking stock of developed technologies that have not
recovery in the post-pandemic era demands equal atten- been taken up by industry, and where appropriate trans-
tion. In July of 2020, TaiwanICDF launched a fundraising ferring them to Taiwanese firms in developing countries,
effort asking the Taiwanese people to help small busi- so that such R&D can become a resource for foreign aid.
nesses in Eswatini produce cloth masks, with Sun Jen Six decades of overseas aid
Textile Company in Changhua joining in to help ease the Taiwan has been quietly accumulating experience
mask shortage in that country. Meanwhile, in Guatemala in overseas aid for many decades now. Last September,
and Antigua, fundraising helped small growers plant TaiwanICDF’s Development Focus Quarterly was launched,
“Café Volcanes” coffee to be sold in Taiwan, where it was with the inaugural issue setting out a record of Taiwan’s
well received. foreign aid work in the face of the challenges of the
TaiwanICDF has also worked with the Central Amer- pandemic.
ican Bank for Economic Integration to help CABEI mem- The global pandemic continues, but many countries
ber states improve their public health systems’ ability to are moving from prevention and control to vaccination.
fight the pandemic and protect the vulnerable. In addi- “Diseases know no borders, and just because someone is
tion, it has helped local microenterprises and SMEs to se- in a senior government position in a developed country
cure loans to tide them over during these difficult times. doesn’t mean they won’t catch it,” says Shyy, indicating
Dr. Chiu Ya-wen, chair of the master’s degree program the drive behind efforts to carry on with foreign aid work
in global health and development at Taipei Medical Uni- during the pandemic. Regardless of how this pandemic
versity’s College of Public Health, suggests that Taiwan’s will end, this era-defining plague has certainly taught us
longstanding success in public healthcare is world re- all a valuable lesson: only by coming together to help one
nowned, and perhaps this experience can be transferred another can we truly help ourselves. Taiwan stands ready
as a model so that the country can contribute to develop- to continue offering love and support to the world. l
ments in healthcare internationally. (Sharleen Su/photos courtesy of TaiwanICDF/
Kristy Hsu, director of the Taiwan ASEAN Studies tr. by Geof Aberhart)
83
島嶼行旅　AROUND TAIWAN
台中單車文旅
達人領路•多元騎乘魅力
Taichung’s Cycling Culture
—Expert Guidance, Diverse Charms
文•劉亭均　圖•莊坤儒　版面設計•蕭郢岑
今年是交通部觀光局籌畫的「自行車旅遊年」，在全台大力
推廣各種路線，適合不同愛好的人群，豐盛新自行車文化。這
次，我們計畫好要踩踏雙輪前去一探究竟的，是自行車的新文
化進程，以及在台中能得到什麼全新的騎乘體驗。
T aiwan’s Tourism Bureau has proclaimed 2021 the “Year of

Cycling Tourism,” promoting bike routes throughout Taiwan
tailored to a variety of interests, broadening and enriching the “new
cycling culture.” Today we’re hopping on our
two-wheelers and pedaling through
高美濕地 Taichung in Central Taiwan for a
Gaomei Wetlands
brand new riding experience and
a look at the new cycling culture.
潭雅神綠園道
Tanya Shen Green Bikeway
松鼠坡
Squirrel Hill
自行車文化探索館
Cycling Culture Museum
亨德紀念公園
（超級八車道入口）
Hengde Memorial Park
東東單車公園
Dondon Bike Park
(entrance to Super 8 route)
向上路五段草悟道
（老外林道入口） Calligraphy Greenway
Xiangshang Rd. Sec. 5
(entrance to Jungle Bunny Trail)
84
85
從慢到快，激發探險精神
悠閒地騎了一段潭雅神綠園道，享受過
晨光暖意和茄苳樹香後，我們沿著大里溪，
騎往大坑風景區，尋找二號登山步道的路
標。在抵達二號登山步道前，便會先看到一
塊牌子，順著它走，就能找到台中最神秘也
最適合越野車單圈鍛鍊和競賽的「土坡場」
──東東單車公園。越野車小學堂發起人劉
宏一，正在這裡用越野車練習著翻越土坡時
的特殊技巧「壓抬」。他因熱愛自行車而開
過出版社，翻譯並出版專業自行車書籍，做
過台灣電視台環法賽主播，並於2019年開始
從公路車轉玩越野車，這一玩，就玩出了名
堂。劉宏一辦起教學課程，讓孩子們也愛上
越野車。
曾經居住台北的劉宏一，因為受到台中
恰到好處的悠閒、城中有鄉的好環境吸引，
而帶著家人和事業一起移居台中，在這裡，
他有了更多時間思考如何推廣自行車文化。
「我發覺自行車文化非常豐沛有力，只
要找辦法把它推廣出去，我稱這辦法叫『印
象濃度』。」無論哪種自行車，只要有群體
喜歡，就有機會聚集成文化，劉宏一引進知
識，增加教學，提高體驗感，使得自行車文
化更完善，自然會吸引更多人加入。
「越野車是非常好的運動，能鍛鍊大腦
的判斷力和全身的協調性。」劉宏一示範了
綠意濃濃的潭雅神自行車道中，迎面而來的風裡，充滿著樹香和
一段土坡壓抬動作後，將車子借我們練習，花香。
體會其中所需要的能力。「台中大肚山裡， Cycling amid the lush, fragrant greenery of the Tanya Shen Green
Bikeway.
還有個地方更適合玩越野車，大部分人都不
知道，可是老外都知道而且喜歡去。」初嚐
越野車玩法便覺得十分過癮，一聽到還有更
酷且罕為人知的車道，加上劉宏一這樣的達度，騎自行車探索台中市中心，「環遊世界走過數不清的
人帶路教學，立刻就約好隔日午時再見。城市後，我發現台中的大小剛剛好，既有城市的便利，又
有鄉間的悠閒步調；市區綠地多，生活品質很好。」
自由樂活•我的選擇
江心靜提供的「都市藝術私房路線」從國美館開
下山後騎進市區，到處都有自行車專用始，經過審計新村、勤美誠品到科博館，沿途穿街走
道，讓人騎乘心安。我們與藝術家江心靜碰巷直到草悟道，她說：「這一區特別適合慢遊，常可
面，她曾跟朋友兩人用自行車花了922天出以看到美軍時代小洋房改建的特色小店，自行車停在
征32個國家，這次要帶我們用人文藝術的角門口，入門就像訪友。」
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藝術家江心靜最喜歡的藝文私房路線，包括曾
是美軍宿舍、後來紛紛變身成個性小店的小洋
樓群。
Artist Chiang Hsin-ching’s cultural bike tour through
Taichung includes Calligraphy Greenway, where
many shops are converted villas that once housed
American military officers.
深藏在大坑山區清水巷內的東東單車公園，車道
坡度、路線都經過精心設計，非常適合越野車愛
好者進行鍛鍊。
Located in the Dakeng Scenic Area, Dondon Bike
Park’s hilly terrain makes it an ideal training ground
for mountain bikers.
Sparking the spirit of adventure pression density.’” No matter the type of cycling, as long
After a leisurely ride on the Tanya Shen Green Bike as people are drawn to it, there’s an opportunity to form
way, basking in the warmth of the morning light and the a culture. Liu provides knowledge and education, en
fragrance of the bishop wood trees (Bischofia javanica), we hancing both the biking experience and bicycle culture
follow the Dali River, headed for the Dakeng Scenic Area. and attracting ever more biking enthusiasts.
Before reaching Dakeng Trail No. 2, a sign directs us to “There’s another place that’s even better on Taichung’s
Taichung’s mysterious Dondon Bike Park, where the hilly Dadu Plateau,” Liu tells us. “Few Taiwanese know about
terrain is perfect for mountain bike training and com it,butforeignridersloveit.”Hookedbyourfirsttasteof
petit ion.HerewefindMountainBikeAcademyfounder off-roadridingandtalesofevencoolerandlesser-known
Liu Hongi practicing “pumping,” a technique used to biking areas—not to mention the guidance of an expert
increase speed and traction. Liu took up mountain bik instructor—we arrange to meet Liu the next day.
ing in 2019, switching from road bikes and opening the Freedom and sustainability
academy to teach kids to ride and to love the sport. Riding down into the city, we meet artist Chiang
“Bicycle culture is vibrant and powerful,” says Liu. “I Hsinching. She and a friend once spent 992 days tour
just needed to find a way to promote it, what I call ‘im ing 32 countries by bicycle. Today she’ll lead us on a ride
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結束旅程至今過了20多年，仍舊熱愛騎車的江 through the heart of downtown Taichung, exploring the
心靜，認為自行車在精神層面上自成一種文明： city from a cultural and aesthetic perspective. Chiang’s
「自行車需要透過身體去感知世界，中間沒有任 “urban arts route” takes us first to the National Taiwan

Museum of Fine Arts. From there we pass through Shenji
何阻隔。我覺得對現代人來說，騎乘自行車是一
New Village and CMP Eslite Bookstore to the National
個重新省視自己，與世界真實連結的方法。」
Museum of Natural Science, riding along streets and
自行車讓江心靜在騎乘中累積了無數身體記 lanes until we come to Calligraphy Greenway. “It’s worth
憶，也是身為「現代水墨之父」劉國松關門弟子 spending time here,” Chiang says. “You can see many
的她，創作的靈感來源，「自行車對我來說代表 quaint shops converted from villas dating from the years
『自由』，可以掌控速度，到達任何地方，脫離 when the area was an American military base. Park your
現代生活的壓力，享受無計畫的悠閒。」 bikes and walk right in––it’s just like calling on friends.”
Chiang Hsin-ching says that cycling around the globe
探索自行車文化 instilled in her the courage to face challenges she would
once have avoided. As a disciple of Liu Kuo-sung, “the fa-
聽說許多中科人養成了一種習慣，就是趁著清
ther of modern Chinese ink-wash painting,” the bicycle has
晨氣溫涼爽，到中科園區附近頗具挑戰的著名車道 been a source of inspiration for her: “The bicycle represents
「松鼠坡」騎上幾輪，回家沖個熱水澡，上班更加 freedom. You’re in control of your speed and can go any-
精神抖擻。若是常碰面的車友會開始變得熟稔，停 where, relieving the pressures of modern life and enjoying
下來休息時聊個幾句，約下次一起騎車。在台中， unplanned leisure.”
晨騎逐漸形成了一種新自行車文化，不只是日常鍛 Exploring bicycle culture
We’ve heard that employees at the Central Taiwan Sci-
鍊或興趣，更變成了一種人際關係的延展。
ence Park take advantage of the cool early morning tem-
松鼠坡晨騎很值得體驗，於是隔日清晨六點
peratures to ride a few laps on the famously challenging
整，我們在松鼠坡起點熱身，遇到一身車裝的女
“Squirrel Hill” bike trail near the Science Park, then shower
車友王怡文。「我很習慣晨騎，這能帶給我一天 at home before heading off to work. They say it energizes
好的開始，也能認識志同道合的車友。」王怡文 them. Morning rides have gradually become part of Tai-
帶領我們體驗這條車道。松鼠坡路面平整，坡度 chung’s new bicycle culture, not only as exercise or a hobby
和彎道難度中等但路線順暢，跟著她騎了一圈， but also as a social activity.
便深刻感受到其中樂趣，果然爽快。 At six o’clock next morning, while warming up at the
starting point of the Squirrel Hill trail, we meet Wang
結束晨騎，我們接著拜訪座落在高大的巨大
Yiwen. Fully clad in cycling apparel, she leads us on the ride.
集團新總部旁那棟自行車文化探索館。來台中
The trail has a smooth surface, with moderate gradients and
前我們便獨訪過建築設計師潘冀，他表示： bends. The workout leaves us excited and refreshed.
「為了保有探索館內最大的展示空間，採用了 Following the morning ride, we visit the Cycling Cul-
薄殼構造，並將其屋頂設計成巨大集團形象 ture Museum, located next to bicycle maker Giant Group’s
LOGO。」潘冀的藝術建築從公共建築到企業大 towering new headquarters. Before coming to Taichung, we
樓，遍布台灣各地，「位於丹麥路易斯安那美 called on architect Joshua Jih Pan, the museum’s designer.
“To give the museum the largest possible exhibition space
術館外，著名英國雕塑家Henry Moore一高一低
we used a thin-shell structure, and we designed the roof
的雕塑品，是建築高矮對比的靈感來源；流動
in the image of Giant’s corporate logo. English sculptor
的環境設計則來自於自行車文化。它是一種自
Henry Moore’s Two Piece Reclining Figure No. 5 at Denmark’s
在的、流動的、靈活的心靈感受。」潘冀說： Louisiana Museum of Modern Art inspired the contrasting
「甚至外觀烤漆都精選了特殊亮銀色，讓結構 high-and-low design, and the surrounding bike-friendly
曲線如流水線條的建築，能折射不同時刻的陽 environs come from cycling culture.” Pan adds: “We chose
光，更顯出自行車的靈活感。」 a bright silver finish for the exterior so that the flowing lines
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平日上班前的晨騎，除了強身健體和提高專注力外，
也拓展了人際關係。
Early morning bike rides are a great way to get fit, raise
concentration and make friends.
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2.
3.
1.
4.
因此當我們看到晨光下那高矮相鄰兩棟銀色建式，自然就會形成文化，騎自行車這件事也是
築，將金色陽光變成動感十足的銀光線條；整區如此。大家從騎乘模式的變化和騎車過程中找
道路動線設計流暢，猶如建築被一條河流彎曲環到樂趣，造就不同的自行車族群，接著就成為
繞，而那些騎著自行車的人們，便是其中大大小了個別獨特的文化。」
小的魚群時，著實震撼。
愛上騎乘的各種理由
「巨大集團創辦人劉金標退休前，最想做的事
並不是推廣捷安特的車，而是能找塊場域，完整站在一輛藝術單車旁的老外格外引人注意。原
記錄世界自行車整體的文化演進。」自行車文化籍菲律賓的Michael Vincent Manalo，是館內藝術
探索館的營運總監汪家灝談起館區誕生緣起。單車的創作者，在歐洲多國工作生活後，最終選
自行車文化探索館裡的看點很多，從歷史演擇定居台中。「台灣是最棒的國家，我決定留在
進、功能變化、工藝技術、機械原理、材料發展這裡。」Michael的中文已經相當流利，「我去過
到藝術單車等，館內展現的自行車各種豐富面台北和高雄，每個人都活得太忙碌了。台中不一
向，重塑了人們對於自行車的文化認知。樣，剛剛好，我特別喜歡這裡的自行車道，就住
「開車太快，走路太慢，自行車速度介於中下來了。」
間；開車靠引擎，走路靠雙腿，自行車的移動 Michael從小就熱愛騎自行車，即使外國地廣路
是全身和大腦的合作。」汪家灝說：「當多數遙，仍然用自行車通勤，他說一踩上踏板，就能忘
人有一個共同的認知，重複著同一類行為模記任何煩惱。他有台灣的機車駕照，「騎摩托車很
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of the structure can reflect the sunlight at different times of in the middle. Cars rely on engines and walking depends
day and convey the streamlined feeling of a bicycle.” on two legs. With a bicycle, the body and the brain work to
“Before retiring, what Giant founder King Liu wanted gether,” Wang says. “When a majority of people think alike
most was not to promote Giant products but to record the and repeat the same behavior patterns, cultures naturally
cultural evolution of the world’s bicycles,” operations dir coalesce. The same is true when it comes to cycling.”
ector Howard Wang says of the museum’s origins. Reasons to love cycling
There’s lots to see in the Cycling Culture Museum, from Michael Vincent Manalo, originally from the Philip
bicycle evolution, functional changes, process technology, pines, is the museum’s resident creator of bicycle art. After
mechanical principles, and materials development to bicycle living and working in Europe, he’s chosen to settle in Tai
art. The rich and varied displays, covering nearly every as chung. “Taiwan’s a great country. That’s why I’m staying
pect of cycling, reshape our cultural perception of bicycles. here,” he says in fluent Mandarin. “I’ve been to Taipei and
“Driving is too fast; walking is too slow. Bicycle speed is Kaohsiung, but the pace of life is too fast in those cities.
Taichung is different, just right. I really like the bike trails
here, so I’ve decided to stay.”
Manalo has always loved bicycles. Even in countries
more spacious and less densely populated, he still prefers
（1.）巨大集團總部的建築與環境設計，有著如銀色河流
to commute by bike. The instant he puts his feet on the
般的動線。
The flowing lines of the Giant Group’s new headquarters evoke pedals, he says, his troubles are forgotten. “The Taiwanese
a streamlined feeling.
have made cycling even more fun, with different kinds of
（2.3.4.）走進自行車文化探索館，透過各種歷史、技術等 bike routes. Cycling here is a great experience, and there
層面，展開一場全球自行車探索之旅。 are a lot of fellow enthusiasts. We’ve formed a Line group.
A trip to the Cycling Culture Museum is an exploration of bicycle
history and technology. For me, it’s given cycling a new meaning.”
本身就熱愛自行車的藝術家M i c h a e l
Vincent Manalo，透過一系列的自行車
藝術品，述說著人們的故事。
Michael Vincent Manalo’s love of bicycles
is reflected in his artwork.
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（上圖）想知道騎在老外林道是什麼感覺，
看一下牌子就知道。
What does riding the “Foreigners’ Forest
Road” feel like? The sign says it all!
（下圖）只要雙腿還動得了，就會一直騎
下去，這就是越野車手魂！
As long as your legs can move, you can keep
riding. That’s the off-road biking spirit!
進入，樹林濃密，路線交錯，這條
車道在Google地圖上找不到，台灣
人大多不知道，反而是外國人會特
地騎車前來朝聖，甚至因為太愛這
裡，老外們群發主動以人工方式鋪
整出泥土車道，提高騎乘樂趣，故
而有了「老外林道」之稱。
不過這些老外早已在車道起點的大
樹上掛了塊牌子，為其起名「Jungle
Bunny」，藉以形容在道上的騎乘
感猶如兔子在叢林中跳躍。騎著劉
宏一特地帶來借給我們的越野車，
在他的指導下挑戰了幾個斜坡和
段差，刺激感及挑戰性帶給人的感
快，但是我會騎到睡著。」Michael說不靠雙腿輸覺，真的像變成「叢林野兔」，很難讓人不愛上。
出動力的移動方式讓他無聊，「我發現台灣人讓自
嘿，來競賽吧！
行車變得更好玩了，有各種路線。在台中，往北騎
到山坡上，還能看見海，在這裡騎自行車，能有 Jungle Bunny車道上高手雲集，其中包括鋪出
很棒的體驗，還會遇到很多熱情的車友，組成一個老外林道與年度國際性超級八登山車比賽車道的
Line群。自行車對我來說，有了新的意義。」 Mike Dutton（中文名「杜邁高」）。「我常來這
透過藝術讓自行車文化變得更豐富的Michael，裡查看維護車道狀態，」加拿大籍的杜邁高說：
用自行車在台中探險，並分享他的口袋路線，「大「但我最大的心力主要放在超級八的車道上。」
肚山北邊有個黑森林餐廳，附近有很多小道，我很超級八的賽道跟老外林道剛好分踞大肚山的兩
喜歡去找新的路線。台中很多人去吃那家餐廳，看側，自然景觀截然不同；老外林道上樹木極多，
海景，但去附近小路上騎車的大多是跟我一樣的老而超級八則是一片面對著高速公路，分布著零星
外。」揮別Michael前，他忽然想到：「對了，還灌木的泥土坡，因此維護它要付出更多的心力。
有一條『老外林道』，騎起來非常棒！」騎到向上路五段盡頭轉中60-1區道，見到圓形
Michael口中的老外林道，便是劉宏一與我們的亨德紀念公園，轉彎處的下坡小路便是超級八
相約前去的山林越野車道。由向上路五段的鐵門賽道的起點。「在比賽期間，經過申請的話，這
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Manalo’s art has enriched bicycle culture. He likes to Bunny Trail is heavily wooded; the Super 8 route is on
explore Taichung on his bike and share his favorite routes sparsely vegetated sloping shrubland facing a freeway,
with others. “There’s a Black Forest Restaurant on the so it requires a lot of maintenance.
north side of the Dadu Plateau with a lot of trails nearby. I Riding on to Xiangshang Road Section 6, we take a
like to find new routes. Many people in Taichung go there side road and soon come to the circular Hengde Memorial
to dine and enjoy the ocean view, but most riders on the Park. A downward-sloping path is the starting point of
trails are foreigners like me.” the Super 8 route. “During the competition, with permis-
We enter through a gate on Xiangshang Road Section sion from the authorities, this is indeed the track,” says
5. The area is thickly forested and crisscrossed with paths. Super 8 race organizer Bobby Chen. “But the land belongs
You won’t find this place on Google Maps. Most Taiwanese to the government, so normally it’s open to the public.
don’t know about it, but foreign cyclists living in Taiwan Anyone can come and ride here––it’s a barrel of fun!”
make pilgrimages here. Some loved it so much they took The Super 8 track is on the steeper side of the Dadu
the initiative to create a dirt trail, enhancing the joy of cyc- Plateau, where the soil is stickier. Consequently, ideal
ling. That’s why locals call it the “Foreigners’ Forest Road.” cambers and curves can be artificially built up to make
However, foreign cyclists have hung a sign on a big the track more exciting. “Competitions make mountain
tree at the beginning of the path, christening it “Jungle biking more interesting and give riders a sense of accom-
Bunny,” because that’s how they feel when they ride this plishment,” Chen says. “Ultimately, it’s about having a
route: like rabbits hopping through a jungle. good time.” He believes that the popularization of cyc-
Hey, let’s race! ling culture has inspired people. “Challenging yourself
Ace mountain bikers gather on the Jungle Bunny Trail. has nothing to do with age.” Mike Dutton and the other
One is Mike Dutton, who created both this trail and the riders all agree––no matter how old you are, as long as
route for the annual international Super 8 MTB Festival. your legs can move, you can keep riding.
The two courses are located on opposite sides of the Dadu Fast or slow, it’s all in the legs
Plateau, each amid entirely different terrain. The Jungle Next, riding on Taiwan Boulevard Section 6, we come
超級八賽道的挑戰度100%，是越野車
愛好者心目中必去征服之地。
The Super 8 trail is a super challenge that no
off-road biking enthusiast wants to miss.
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黃昏時漲潮的高美濕地，與白天相比彷彿換了一張臉，顯得
迷幻而動人。
High tide at dusk on the breathtakingly beautiful Gaomei
Wetlands.
裡的確是賽道。」超級八創辦人陳大軍說，「因
為土地是政府的，所以平時完全對外開放，任何
人都可以騎車來這裡練練，非常好玩喔！」
超級八賽道位處大肚山坡度較陡的那側，泥
土黏度較高，因此能用人工堆出理想的車道角
度和彎道形狀，讓騎乘的刺激感再往上提升。
自發性維護車道的杜邁高解釋：「當初就區分
了不同難度的路線，只要穿戴好護具，掌握好
保護自己的方式，都可以玩得很盡興。」
對於比賽名次，車手們紛紛表示並無執著，所有
人都是抱著享樂的心情在騎車，「比賽只是讓登山
車文化變得更有趣、更有成就感，最終的目的，仍
然是快樂就好。」陳大軍認為自行車文化的推展，
鼓舞著許多人。「自我挑戰跟年齡無關。」包括杜
邁高在內的所有車友都堅定回答，不管活到幾歲，
只要雙腿還能動，「就會一直騎下去。」
從快到慢，速度由雙腳決定
接著直騎台灣大道六段，遇到鹿寮大排水溝後
一路沿著水流向北，在黃昏時抵達高美濕地，這
裡沿岸聳立著13座超大型風力發電扇，是被國際
譽為「一生必遊一次」的世界級美景。我們騎上
2018年甫整合啟用的「高美海堤自行車道」，用
最接近大海的方式，在夕陽霞光的擁抱下，以清
閒的速度欣賞濕地生態。
最後我們將車子停在那條沿伸入海的「觀夕木
棧道」門前，迎著海風走上木棧道。隨著沒入海
平面後的餘暉和強勁的海風，棧道下的水波紋看
來宛如緩緩移動的彩色鱗片。
人們並沒有因為找到比較快的移動方式，就捨
棄了需要踩踏的自行車。相反地，隨著自行車性
to Luliao Drainage Ditch and head north along the water-
能與種類的擴增，逐漸形成不同的新文化，並讓
way, reaching the Gaomei Wetlands at dusk. Along the
這文化深入日常生活，融為一體，在不同騎乘模
shore stand 13 giant wind turbines. The marsh enjoys a
式中，有人摸索自我，有人結交朋友；有人思考 reputation as a world-class scenic spot that should be on
生活，有人尋到自由。自行車文化，讓人們在雙 everyone’s bucket list. We cruise along the Gaomei Wet-
輪轉動之間，各有所收穫。 l lands Bikeway, which was completed and opened in 2018.
94
Finally, we dismount at the entrance to a boardwalk a new and different culture is emerging, permeating our
that extends onto the ocean, the gusty sea breeze welcom- daily lives. Cyclists ride for different reasons: some for
ing us as we stroll onto the boards. As the sun sinks into self-exploration and others to make friends; some to pon-
the sea, in the last light of day, the ripples in the water der their lives and others to seek freedom. There’s some-
below us look like colorful, gently undulating fish scales. thing for everyone in the new cycling culture. l
With the development of bicycle types and performance, (Rina Liu/photos by Kent Chuang/tr. by Robert Fox)
95
藝文脈絡　CULTURAL TRENDS
96
碟鼓工藝師──潘子村
Heady Metal:
Steel Drum Maker Pan Tzu-tsun
文•蘇俐穎　圖•林旻萱　版面設計•馬英凱
鍾靈毓秀的宜蘭，傳來遼遠的鼓聲，天籟一
般的空靈音色，好似鄉野發出的溫柔召喚……。 I n the depths of the Yilan countryside, the sounds
of a steel tongue drum ring through the air, its
ethereal melody gently beckoning.
宜蘭員山，屹立田間的半廢老宅邸，傳來尖銳
Ha rsh sou nds of meta l bei ng c ut wa f t f rom a
的金屬削切聲響，一名頭戴著防護面罩的男子，
semi-derelict old house among fields in Yuanshan, Yilan
在刺眼的火光之中，屏氣凝神地焊接手中的金屬 County. There, amid the dazzling light of an electric
圓盤，分離的兩個半圓被相接、打磨、拋光，形 arc, a man wearing a face shield is carefully welding
塑成另一種造型，完工後的他脫去面罩，露出了 two metal shells together. He connects, grinds, and bur
一頭金褐色頭髮。 nishes them to produce a new shape. When he’s finished,
he takes off his face shield, revealing his young face and
串聯人生的各站 brown hair.
Connecting the dots
七年級的潘子村（阿丹），毫無音樂、工藝科
Pan Tzu-tsun, who is in his late 30s, has not received
班的養成背景，七年前，他憑著自學以金屬碟鼓
any formal training in music, nor in industrial crafts. An
樂器品牌「S i n e.」起家。這看似突兀的人生大 autodidact, he established his own brand, Sine., seven
轉彎，實際上卻像極了史蒂芬•賈伯斯所說過的 years ago to promote steel tongue drums, also known as
「Connect the dots」，過往的一步一腳印，如今 hank drums. This enterprise may look like an unaccount
都已被串聯起，被賦予了明確的意義。 ably abrupt change of direction in Pan’s life, but it actu
回顧職涯的上半場，一開始的他，就不願意 ally bears witness to the truth of Steve Jobs’s remark on
“connecting the dots”: all the dots of Pan’s life up to that
走約定俗成的路。這種反骨，從大學念哲學系就
point were joined up and given a clear meaning.
已埋下了種子，經過學院的訓練，「比較會去質
97
天鼓是仿效手碟，興起於
千禧年後的新世紀樂器，
綿遠療癒的音色讓這項獨
特的樂器名氣漸漸傳開。
The steel tongue drum is
a 21st-century musical
instrument modeled on
handpans. Owing to its
resonant and healing sounds,
this distinctive drum is
gradually gaining popularity.
疑，不輕易相信，也會去反思。」他說。比起多人公司，為了經營品牌，也運用到他擅長的多媒
數人趨之若鶩，步步攀升的社會位階，他嚮往的體影音工具。可說整合了過往人生沿途各站所鍛
是率真自在的生活，但想找到合適自己性格並能鍊的技能專長，也難得地合乎他的脾性，過往際
以此餬口的工作，卻經歷了重重挫折。遇，終非枉然。
一直愛好創作的他，稱得上多才多藝，從高中
讓人迷惑的圓
開始就與朋友組地下樂團，擔任鼓手，但光憑一項
樂器，仍無法滿足玩心，他將觸角擴大到數位配同樣誕生於千禧年以後的手碟（Handpan）與
樂、作詞作曲；大學除主修以外，也學習過電腦動天鼓（Hank Drum），在樂器中都屬以金屬為材
畫；畢業後的第一份工作，是3D動畫設計師。的碟鼓家族，雖然因天鼓發明時間稍晚，知名度
但穩定制式的日子，卻讓他難以適應，恰逢遠不如普及度更高的手碟，但純粹的音色與悠遠
金融海嘯的影響，國際上掀起對資本主義的反省的的延音，加上容易上手的特質，還有尺寸較
浪潮，當時長期面臨身心衝突的他，索性辭去工小、容易攜帶等優勢，讓它的名氣從小眾中漸漸
作，積極參與社會運動；緊接著，他毅然決然放傳開。
棄文明社會，開啟了一段回歸原始、自然、嬉皮物理學家的研究發現，世界是由振動所組成，
的生活，也在那時，他摒棄了過往擅用的數位創而自然界規律的雨聲、蟲鳴、海潮聲，均屬於正
作工具，重新拾回失落許久、純粹手製的純粹樂弦波。敲擊天鼓，能釋放出優美的正弦波，這讓
趣。但豈料，女友意外懷孕，兒子接踵誕生，再人恍若被自然環繞的音色，療癒感十足。
度將他拉回柴米油鹽，樣樣都需要錢的現實。第一次聽到天鼓樂聲的潘子村，「很驚喜，但
「那時的自己卻不知道，全盤否認、丟棄過又平靜。」不光如此，潘子村稱天鼓擁有著「讓人
去，其實是一件很危險的事。」回憶過往，潘子迷惑的圓」，扁圓的造型，像停泊在空間中的飛
村露出淺笑。如今的他，坐在偌大工作室裡，身碟，也像一只溫潤的懷爐，也像花器；看上去如靜
邊創作中的半成品、實驗品環繞。物，但卻又能發出聲音，能與人互動，但論造型，
而這份工作正結合了他素來喜愛的音樂，並保卻又大大有別於傳統樂器，這「難以被定義、讓人
有手作的內涵，以及創作的自由度；同時因是一迷惑的自由感」，是觸發他親自手作的關鍵。
98
潘子村以廢棄瓦斯桶為材，自行摸索、創
作出個人品牌。
Pan Tzu-tsun perfected his product line by
experimenting with scrap gas cylinders,
successfully forging his personal brand.
Right from the beginning of his working life, Pan and songwriting. At university, in addition to studying
was unwilling to follow welltrodden career paths. philosophy, he took computer animation courses. His
This refusal to conform to conventions can be traced first job after graduation was in 3D animation.
back to his university days. As he says, his academic However, he had difficulty settling into a secure but
training in philosophy accounts for his propensity “to unadventurous professional life. During the financial
challenge, to question, and to reflect.” Compared with crisis of 2007–2008, capitalism underwent critical scru
most other people, who scramble to climb the social tiny across the world. In that context, Pan, who had long
ladder, Pan longs for an unpretentious kind of life that been struggling to come to terms with his own way
allows him to be himself. However, in his search for a of life, decided to quit his job and throw himself into
job that would suit his personality and help him make social movements. Subsequently he turned his back on
ends meet, he experienced one setback after another. civilized society, retuning to nature to live a primitive,
Always passionate about creative activities, Pan has hippie-inspired life. At the same time he abandoned
many talents. At high school, he played drums and the digital creative tools he had been adept at using and
formed an indie band with his friends. But playing one started to re-explore the long-forgotten joys of manual
kind of instrument alone was not enough to sate his crafts. But fate would have it that his girlfriend should
creative appetite, and he diversified into digital music become pregnant. Their son was born, and once again
99
青澀時期的陳啟村，在「光華佛像店」作學徒，認真學習，
不怕艱苦。（陳啟村提供）
In his youth, Chen was an apprentice at the Guanghua Buddhist
Statuary Store in Tainan. A diligent student of the craft, he has
never been afraid of hard work. (courtesy of Chen Chi-tsun)
源源不絕的創意
天鼓結合了金屬與樂器工藝，工序複雜，加上潘子村個
性縝密，每一個販售的作品都經過無數步驟。
當七年前，潘子村因養家壓力，嘗試重回職
Making steel tongue drums involves metalwork and the craft
場，從事過保全警衛、黃金回收買賣等工作，最 of musical instrument making. These intricacies, coupled
with Pan’s meticulous nature, mean that each of his products
後無疾而終，窮途末路之下，攜家帶眷搬回宜蘭 has to undergo a complex set of procedures.
老家，一向對於國際思潮相當敏銳的他，也在此
時認識到了彼時興起的「自造者」（Maker，又
稱「創客」）風潮之下當紅的新世紀樂器──天
鼓。
他跟家人借了幾千塊，買下最基本的切割機、
砂輪機，在自家頂樓開工，取廢棄的瓦斯桶為材
料，參考網路上的資料、影片，將瓦斯桶去頭去
尾，切下桶身的兩端，再重新焊接，切割出音
舌，再經過調音，完成最粗糙的原型。
「所有靈感都來了。」潘子村這樣說。即使沒
有人從旁指導，全憑己力摸著石頭過河，但手作
所帶來的愉悅，依舊讓他感到躍躍欲試。尤其天
鼓製程繁瑣，變化性高，如何兼顧實用、美感與
品質，關乎到素材的選擇、外觀造型，還有舌片
100
Pan found himself having to grapple with the
harsh economic realities of daily life.
“Back then, I didn’t know that negating and
denying one’s past was actually a very danger
ous thing to do,” Pan says with a faint smile.
He has now put t he past into perspective.
Sitting in his capacious workroom, he’s sur
rounded by his projects in progress and other
experimental works.
His current work centers on the music he
has always loved, relies on craft skills, and
draws substantially on his creativity. As a sole
trader who manages his own brand, he also
finds opportunities to utilize the multimedia
tools he is already familiar with. The business
thus integrates the skills and specialisms Pan
has acquired at various stages of his life. At
long last, this is something that suits his in
clinations perfectly. It turns out that his past
experiences have not been pointless.
Boundless creativity
Seven years ago, in order to feed his fam
ily, Pan tried his hand at various jobs, such as
security guard and gold dealer. None of these
worked out. Driven to the last ditch, Pan and
his family moved back to his childhood home
in Yilan. It was at this point that Pan—always
attuned to intellectual and artistic trends in the
wider world—became aware of the steel tongue
drum, a new type of musical instrument that
was catching the wave of the emerging “maker
movement.”
Pan borrowed several thousand NT dollars
from relatives to buy a cutting machine and
grinder and set up a rooftop workshop. Having
consulted the Internet, he obtained an empty
gas cylinder, cut off its top and base, welded
the two parts together, and made slits in the
top of the instrument to produce the epony
mous “tongues,” whose vibrations bring out
melodies. He then tuned each tongue by vary
ing the lengths of the slits. This done, he had in
front of him an archetypal steel tongue drum.
“Ideas kept coming to me,” Pan recalls. Even
though he was essentially teaching himself
and learning through trial and error, Pan took
101
天鼓夜光漆的表面
貼上隨機變化的金
箔，典雅的外觀又
再添了幾分華麗。
This steel tongue
drum is coated with
luminous paint. Pan
decorates it with
random gold leaf
patterns, adding a
sumptuous aura to
the drum’s graceful
form.
的排列、音符的選擇等因素，雖然其中勢必經過月，但天鼓卻讓我不知不覺地投入，到今天已經
無數次的失敗與重來，但也提供了創作者許多寬滿七年。」潘子村說。
廣可供創意揮灑的空間。
不完美也是一種完美
從初期，他主要使用老舊瓦斯桶來加工創作，
但因表面鏽蝕嚴重，雖能呈顯出另類的美感，在因為草創初期經歷過物資極度缺乏的階段，必
品質上卻無法耐久。希望客人買回去就能「一勞須四處從廢棄物中尋找可用素材，這讓後來的潘
永逸」的潘子村，陸續試過黃銅、紅銅、青銅、子村對於強調原始、天然的侘寂（Wabi-sabi）美
304不鏽鋼等不同材料，最後拍板定案，採用最學一拍即合。「日本的侘寂美學，會在相互對比
高等級的醫療級不鏽鋼。的事物中達到另一種平衡。」他形容。
後來，為了與工廠量產的平價產品競爭，他就像超過卅年的不起眼老瓦斯桶，表面斑駁鏽
進一步從網路、原文書中搜索資料，自學源自蝕嚴重，但經過他的重新提煉，居然呈現出猶如
歐洲宮廷的「仿飾漆法」（Faux Paint），取壓隕石表面的沉靜蒼涼。如今的他屢屢在創作中融
克力漆來模擬各種礦石的紋理，冷硬的金屬煥合侘寂的美感，好比以夜光漆仿擬螢石的表面，
發出更融入居家空間的自然美感。「每一個作素雅的幽綠表面，貼上華斐的金箔，形成對比的
品都是真愛。」每每為了創作挖空心思的他感美感；又或是鼓面在上漆過程中不小心留下的缺
性地說著。陷，輔以金繼（金繕）的手法重新妝點，美感居
向來不喜束縛，甚至過去為此困擾的潘子村，然更勝原貌……。
終於在這份工作中找到安身立命之處──雖然現這其中，款款流露出對生命的體悟與禪機，其
在，因品牌茁壯，邁向與工廠合作量產半成品，實也呼應他一路的歷程：曾走得磕磕碰碰，也遭
每一顆天鼓仍有省不了的手工工序。在創作當遇過許多難以跨越的障礙，但過去以為的殘缺，
下，摒棄所有雜念的極致專注，為他帶來有如如今重新以不同脈絡重新審視，才發現到那其實
「動態靜心」的平靜與療癒，推動他持續不輟至是一種必經的磨練，為的是如今能流露出熠熠的
今，「過去從來沒有一個工作能夠持續做到五個生命華光。 l
102
so much pleasure in this pursuit that he was keen to he was very hard up and had to search for usable
do more experiments. Making steel tongue drums is material at rubbish dumps. This experience helps
a complex process that allows of many variations. In explain why Pan later found wabi-sabi—an aesthetic
striking a balance between practicality, aesthetics, that values the pristine and the natural—congenial
and quality, one has to achieve the optimal combi to him. “The Japanese concept of wabi-sabi sets out to
nation of material, design, tongue arrangement, and find a balance between contrarieties,” he says.
choice of musical notes. Makers will encounter count Pan’s alchemical imaginat ion is able to endow
less failures and false starts, but their creative imagi a rust y gas c ylinder more t han 30 years old wit h
nation will enjoy free rein. a sheen of tranquil solemnity, just like the surface
In order to compete with inexpensive factory-made texture of meteorites. This creative process yields a
products, Pan turned to the Internet and English- glimpse of Pan’s philosophy of life and epitomizes
language books to learn “faux painting” techniques his career so far. Pan has traveled on bumpy roads
that originated in European palace decor. He uses and encountered many seemingly insurmountable
acrylic paint to imitate various mineral textures, giv barriers. But when he adopts a new perspective to
ing cold hard metal a natural beauty that blends well reconsider things he used to think of as imperfect,
with domestic spaces. “Every piece is a labor of love,” he realizes that everything has a raison d’être. Only
says Pan, who often finds himself racking his own by passing through each trial and tribulation can life
brains to design new drums. truly blossom, as it does now for Pan. l
Perfect imperfection (Lynn Su/photos by Lin Min-hsuan/
In the early days of Pan’s drum-making vocation, tr. by Brandon Yen)
陳啟村以他小女兒為創作靈感，記錄她五到十歲間的生活點
滴，充滿童趣，表現純真。（陳啟村提供）
Chen Chi-tsun drew inspiration from his young daughter,
recording scenes in her life from five to ten years of age.
(courtesy of Chen Chi-tsun)
103
手製台灣琴，傳唱牽亡歌
鍾愛土地的琴師林宗範
Lin Zongfan,
Master Luthier and Lutenist
文•陳群芳　圖•林格立　版面設計•馬英凱
小學就製作出人生第一把殼仔弦，國中做月琴，高中唱
牽亡歌，今年30出頭的林宗範，鍾情台灣傳統樂器與曲調。
當同輩人在追星、嚮往出國打工度假之時，林宗範已製作超
過200把傳統樂器，還召集青年組牽亡歌團，將人生的大半
時光與琴為伍，並樂此不疲。經常出入喪葬場合的他，有著
超齡的成熟與豁達，他不害怕死亡，只心疼傳統文化凋零。
林宗範將製琴和牽亡視為志業，他想讓世人知道，這些看似
不起眼的民間藝術，彌足珍貴，值得台灣人引以為傲。
I n elementary school he made his first kezaixian (coconut-

shell fiddle), and in junior high school he sang in “Qianwang
Ge” shows, funereal song and dance performances intended to
comfort the deceased’s soul and guide it to the land of eternal
bliss. Now in his thirties, Lin Zongfan has handcrafted more
than 200 traditional musical instruments, and has even re-
cruited a troupe of youngsters to perform Qianwang Ge.
Broadminded and mature beyond his years, he does not fear
death, but he is pained by the fading of traditional culture and
is keen to let the world to know that these seemingly insignifi-
cant Taiwanese folk arts are precious and worthy of pride.
104
105
堅持用台灣柴做台灣琴，林宗範除了收集舊木料，
也到鄉間、山裡尋找合適的材料。
Insisting on Taiwanese timber for his instruments, Lin
collects old wood and goes to the countryside and
mountains in his quest for suitable raw materials.
「宗範細漢就會戴著佛珠，拿竹管當葫蘆，用靈又肯學，他仔細聆聽每把琴彈奏出的音色，向
報紙折成帽子，拿把葵扇搧啊搧，逗得大家很歡長輩們請教，不斷累積對傳統樂器的認識。不同
喜。」姑姑仍清楚記得幼小的林宗範扮濟公的模木材的特性，樂器結構尺寸對音色的影響等，老
樣，他對民間傳統文化的興趣，似乎從小就有跡人家們傾囊相授，提點各種眉角。他一邊摸索製
可循。琴，一邊學，小小年紀就已經做出殼仔弦、大廣
弦、三弦，國中時還做出了第一把月琴。
一見鍾「琴」
越做越有興趣的林宗範，退伍後不像農村的年
出生在台南後壁的林宗範，小時候會跟著阿公輕人只想去城市工作，而是選擇留在後壁，把自
到牛墟市集逛逛。一旁樹下，老人家們聚在一起家工寮改造成月琴工作室，彈琴、做琴成了他生
彈琴、拉弦、唱歌，勸世歌、乞丐調等一首首台活的全部。他蒐集老屋拆建的木材、老舊牛車來
語歌謠，唱進林宗範的心裡。小學三年級的他，製琴，林宗範表示，舊料水分乾燥，品質穩定；
萌生了想彈琴吟唱的念頭，可是一把琴近千元，就像歐洲製作提琴會使用當地的雲杉，用台灣的
懂事的林宗範沒想過跟父母伸手，倒是打算自己木材做台灣的琴，對他而言是再自然不過的事。
動手做。他跟鄰居伯公借了把大廣弦，自己摸索手工製琴費時費工，一把要價好幾萬元，難免
研究，用路邊蒐集來的材料，敲敲打打、又鋸又遇到只在乎價格，一見面就砍價的客人，但林宗
磨，幾周後真做出了一把殼仔弦。範從不接受。林宗範表示，人們只看到價格，卻
雖然音不準，但也有幾分樣，林宗範帶著自沒看到背後的付出。從找好木料開始，一批舊料
製的樂器，開始跟著老人家學彈唱。林宗範人機實際能用的部分十分有限，他還會去了解木頭背
106
His aunt still recalls how the little Lin Zongfan would kezaixian, daguangxian, and sanxian
play the role of the eccentric Buddhist monk Ji Gong. (a plucked three-string lute), and
“Wearing Buddhist prayer beads and a hat made of even made his first yueqin (“moon
folded newspaper, and holding a piece of bamboo in one lute”) in junior high.
hand to represent Ji Gong’s calabash of wine, while wav- As time went on, Lin’s fascination
ing his sunflower fan with the other, he had everyone in with traditional string instruments only
stitches.” It seems his fascination with traditional folk deepened. Once he’d completed his oblig-
culture manifested itself when he was just a young lad. atory military service, he converted his
Love at first pluck shed into a yueqin workshop. To make his
Born and raised in Houbi, then a rural township lutes, he collects wood from old oxcarts
of Tainan County, Lin Zongfan would accompany his and demolished wooden structures. These
grandfather to the periodic cattle market when he was old materials are well seasoned and their
a child. Oldsters gathered in the shade of trees playing quality is consistent, he says. Just as Euro-
string instruments, intoning one ballad after another peans used their local spruce wood to cre-
in Taiwanese that spoke to his heart. Then in the third ate violins, it’s perfectly natural for him to
grade the idea of doing the same suddenly appealed, make Taiwan lutes from Taiwan timber.
and Lin decided to make an instrument himself. From Handcrafting a lute is costly in both
an elderly neighbor he borrowed a daguangxian, a two- time and labor. An instrument
string fiddle played with a bow, and after a few weeks with an asking price in the tens
of trial and error, actually handcrafted a kezaixian out of of thousands of New Taiwan
materials he had gathered from the roadside. dollars inevitably attracts
Although somewhat out of key, his homemade kezai h ag g le r s, b ut L i n n e ve r
xian bore a passing resemblance to the real McCoy, and y ields. He seek s out t he
Lin took it and began to learn how to play and sing. He stories behind the wood he
was quick-witted and keen to learn, and the old-timers collects: The cypress planted
opened their hearts to pass on various tricks of the by an old man who had spent
trade. At a young age, he was already able to make his life watching over his family’s
林宗範自己摸索製作的
第一把月琴，雖然已
不能彈，但充滿紀念意
義。
Lin’s first lute—now
retired—is chock-full of
memories.
在一批舊料中，林宗範
會挑選品質良好的木
材，悉心製作有溫度的
樂器。
Built-in passion: Lin
selects fine-quality old
wood from which to
painstakingly handcraft
his instruments.
107
後的故事：用一生顧宗祠的阿伯所種的扁柏，在求更好、更卓越，一直做到自己死去為止。」林
阿伯死後也跟著枯萎；牛車主人、梁柱屋主的故宗範堅定地說。
事等，林宗範記下每塊木頭的故事，然後用心鑽
傳唱土地的聲音
研製琴的技術。他說這些木材都是別人悉心維護
的，如果隨便對待，他的良心過意不去。要仔細從國小開始，林宗範一周有四天會跟著白河的
構想如何運用，才能符合這塊木頭與種樹人的故老人家們到處跑攤彈唱，最遠還跑到高雄蚵寮，
事。每把琴都是他琢磨許久的作品，也難怪有時這樣的生活一直持續到他高中畢業去當兵。談起
客人想買琴，得等上兩三年才能買到一把有緣份跟長輩們一起彈琴的回憶，林宗範說，有時他們
的琴。彈琴，附近的婦女就在一旁挑菜切菜，興致一來
林宗範認為，做琴的人一定要會彈琴，總不能就跟著合唱。彈完琴，居民招待炒米粉，甚至特
做起來形狀是月琴，聲音卻像吉他，月琴各結構地殺雞請林宗範去作客，「阿婆用麻油、薑、鹽
的尺寸、規格都有眉角。聲音很抽象，唯有懂得巴調味，做成微微濕潤、帶有湯汁的雞肉，」味
彈琴才能辨識音色的好壞。「創作者就是無止盡道至今仍令他懷念。
的進步，不會有覺得最完美的作品，而是不斷追過幾年林宗範再去拜訪，那些一起彈琴的長輩
已相繼過世，這些從民間長出的傳統文化，也隨
著式微。長輩們分享的人生故事、鄉下的人情味
林家的客廳掛滿林宗範製作的樂器，每把琴都是他灌注生命滋養了林宗範，長輩彈出的曲調，是飽含生命歷
的結晶。練的樂音。難怪有時聽林宗範彈琴，同樣是傳統
Made-in-Taiwan lute museum: Each instrument hanging in the Lin
family’s living room is a crystallization of the master luthier’s life. 曲調，他的琴聲卻隱隱帶有一種溫柔的鄉愁。
108
ancestral shrine, that withered after his death, for ex-
ample. He records the story behind each piece of wood
while carefully considering how to use it to make an
instrument in a way that befits the stories of both the
wood itself and the person who planted the tree. Each
lute is the fruit of much contemplation, so it is no won-
der that a potential customer may have to wait two or
three years to obtain a felicitous original.
Passing down homegrown tunes
From his days in elementary school through to his
high school graduation and departure for military ser-
vice, for four days weekly Lin joined a group of elderly
musicians from Tainan’s Baihe, accompanying folk songs
on lutes as they did gigs at various venues. At times as
the band performed, women in the neighborhood would
gather, preparing vegetables for cooking and singing
along when it struck their fancy. Afterwards, the locals
wouldofferthemfriedricenoodles,andsomeevenin-
vited Lin to dine on a chicken they killed for the meal.
When Lin visited again a few years later, he learned
that the elders with whom he performed had by then
all passed away, and the traditional culture they had
sustained was also in decline. The tales they shared and
the sensitivity and warmth characteristic of these coun-
tryfolkhadnourishedLin,andtheirballadswerefilled
with experience honed by real life.
Despite years spent mastering traditional instru-
ments, Lin has never written tunes himself. There were
far too many old songs for him to learn them all, and
composing his own would be like trying to run before
he had learned to walk.
Each ancient ballad has its own historical roots. For ex-
ample, take the Hengchun folk song “Sixiangqi” (“Think-
ing of the Past”). Long ago male settlers from the Chinese
mainland arrived on Pingtung’s Hengchun Peninsula to
cultivate the land. The soil was not fertile, life was harsh
林宗範以職人精神製琴，不斷追求更卓越的作品。
and they were lonely. When the weather turned cold, Lin makes each instrument with the spirit of a
theiryearningfortheirhomelandintensified.InTaiwan professional, constantly striving to surpass earlier works.
they were virtual monks, but if they returned to China

they could probably take a pair of wives, so they sang
“Sishuangji” (“Dreaming of Two Consorts”). Although
the lyrics urged men not to take a concubine, since the
title of the song was not in line with official moral at-
titudes, some 50 years ago the government insisted on
substituting one that referred to feelings of “nostalgia.”
InLin’sopinion,tomasterfolksingingyoumustput
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學習傳統樂器多年，林宗範從不創作曲調，事。「農業社會鄰居彼此互助，辦喪事，大家會
他說古調就學不完了，還想要創作，無疑是不會主動幫忙，例如做木工的幫忙買棺材，避免被偷
走就想要飛。每首古調都有它孕育的歷史脈絡，尺寸；婆婆媽媽們幫忙張羅祭品等，讓家屬只要
以恆春民謠〈思想起〉為例，先民孤身從大陸來專心悲傷，很有人情味。」林爸爸解釋。林宗範
到台灣恆春開墾，砂質土地力不佳，只能種乾旱小時候就看過阿嬤帶著村子的婦女到喪家門前，
作物，生活清苦。當天氣轉寒，思鄉之情越加濃鋪張蓆子就坐下來幫忙縫製麻衫。對他而言，傳
厚，回到大陸或許能娶兩個老婆，自己在這裡卻統習俗的法事科儀，不是迷信，而是社區凝聚力
是羅漢腳一個，於是唱出了〈思雙姬〉。雖然歌的象徵。也因此，一般人鮮少接觸的牽亡歌，在
詞裡勸人不要娶細姨（閩南語：小老婆），但林宗範眼中卻充滿草根生命力。
因為歌名不合台灣的民情，被當時的政府硬是改他從後場樂師、前台法師、小旦等各角色循
成〈思想起〉。林宗範認為，學習民謠不是錄個序學起，越學越發現牽亡歌的魅力，裡頭深厚
音、做做田野採集就能體會，必須在當地蹲點，的文化意涵讓他學了就離不開。例如〈勸亡〉
仔細感受當地的生活，才可能真正奏出曲調裡的橋段裡的口白「……第三富貴石崇公，囤金積
精髓。玉好門風，閻王不收他人寶，一筆勾來也歸
空。……」看似勸亡者放下對人世的執念，實
生死有命，無所畏
則是讓聽者思考，再多的財富死了也帶不走，
除了地方民謠，林宗範也學習牽亡歌，會彈當生命尾聲要如何捨得，自己又要如何把握人
三弦的他，高中就被找去當後場樂師。自小住在生。人們普遍忌諱死亡，經過喪家時大人總習
墓仔埔附近，送葬隊伍從門前經過是稀鬆平常的慣掩住小孩的眼睛，勸他們別看，但人終究會
110
notations. For example, in Qianwang Ge one hears: “The
third case of grand wealth and rank was Lord Shichong,
/ A hoarder of gold and jade who sported an illustrious
family tradition. / But the God of Death does not pocket
another’s treasure, / And with a single brushstroke
struck him off the Ledger of Life and Death, / Con-
demning him to nullity.”
These lyrics appear to encourage the deceased to
abandon their attachment to the mortal world, but they
are actually intended to make the listener consider that
no matter how much wealth is acquired during life, it
cannot accompany you after death. As life’s conclusion
nears, how should one best grasp what is left of it, and
prepare to leave it behind?
Rich in the philosophy of life, the texts of Qianwang
林宗範召集青年組牽亡歌團，傳
承台灣文化。（吳碧惠提供）
Lin Zongfan has recruited young
people to form a Qianwang Ge
performance troupe, in order to
uphold this part of Taiwan’s cultural
heritage. (courtesy of Wu Bihui)
down your roots in a place and experience the local life

in its nitty-gritty detail before your interpretation will
capture a tune’s authentic spirit.
Fear not death for it is fated
In addition to local ballads, Lin also learned to per-
form for the dead (Qianwang Ge). Since he played the
three-stringed sanxian, while in senior high school he
was invited to serve as musical accompanist for Qian-
wang Ge performances at funeral rites. When young
he lived near a cemetery and it was not uncommon
for funeral processions to pass by. He saw his grand-
mother lead the village women to the grieving family’s
home, lay out their mats, seat themselves and help sew
mourning garments of coarse hempen cloth.
To him, traditional Daoist rites are not superstition,
but rather a symbol of community cohesion. For this
reason, Qianwang Ge—rarely encountered by the gen-
eral public—is full of grassroots vitality in Lin’s eyes.
He gradually learned about the roles of the musician,
Daoist priest and other perfomers, and the more he
learned the more he discovered their deep cultural con-
111
林宗範只要有空就會
到恆春，跟陳慶松
（左）學習民謠，他
認為，唯有浸潤在地
方的生活中，才能真
正感受民謠想傳達的
精神。
Lin visits Hengchun
whenever he can to
learn from his musical
mentor Chen Qingsong
(left). Lin believes that
the only way to capture
the spirit of folk ballads
is to immerse oneself
in local life.
死，如何對死亡作好準備，其實是每個人都要一個國家有客家戲曲也有河洛戲劇，有原住民的
面對的課題。牽亡歌的科儀文本，蘊含勸善盡八部合音，也有族群融合產生的音樂，「這些只
孝的故事，富含人生哲理，就是生命教育的絕有台灣有，我們應該更用心往本土的地方挖掘，
佳教材。小小島嶼有這麼多珍貴的東西，卻沒人重視，
做過無數牽亡場，甚至親自送自己的阿公阿嬤大家都散散的，這些寶藏一旦消失就找不回來
最後一程，死亡教會林宗範要把握時間。他到雲了。」林宗範憂心地說。
林科技大學開班授課，並召集青年組成「風中燈至今已賣出上百把月琴的林宗範，計畫在今
牽亡歌團」，從服裝、道具、身段、口白、伴奏年中秋舉辦月琴回娘家活動，地點就在自家的前
……，手把手的教學，希望這些儀式不要因為被院。打算邀請嫻熟恆春民謠的陳慶松、擅長唸歌
禮儀公司簡化而消逝，讓更多人明白台灣傳統文的羅士哲，還有牽亡歌、車鼓陣等台灣傳統地方
化的美。戲曲的演出，想讓參加者看到這些傳統藝術的美
麗，裡頭蘊含的文化內涵，是絕對有能量發光發
地方藝術的文化復興
熱的。提升民間藝術的地位，是林宗範一直在做
不論是牽亡歌或是地方傳統歌謠，對林宗範的努力。
而言，都消逝的太快。雖然這幾年逐漸有人重視黃昏時分，林宗範在樹下以月琴彈奏一曲歌仔
傳統文化的傳承，但學校鄉土教材裡一成不變的戲調〈艋舺雨〉，即便沒有歌詞，光是曲調和月
「四月望雨」，四季紅、月夜愁、望春風、雨夜琴溫潤飽滿的聲響，就足以令聽者鼻酸。林宗範
花，能認識的歌謠實在侷限。台灣各地的傳統說，這曲常在喪事場被彈奏，每每都讓感情豐富
曲調遠多於此，且那些以前在地方隨處可聽的歌的牽亡歌團阿姨們聽了忍不住掉淚。走在回家的
謠，已隨著長輩凋零而離人們的生活越來越遠。田間小路上，林宗範自然地哼起〈艋舺雨〉，在
林宗範表示，台灣這塊土地上有很多族群，每個夕陽的映照下，我們聽見美妙歌聲，更看見傳承
族群都有自己的音樂，是世界少有。要如何找到台灣在地文化的一絲曙光。 l
112
Ge contain stories of exhortation to goodness and filial At dusk, Lin Zongfan sits under a tree strumming
piety. They are superb material for teaching how to “Mengjiayu,” a Taiwanese Opera tune, on a moon lute.
come to terms with death. Even without the lyrics, the tune and the warm, full
Having participated in countless Qianwang Ge bodied sound of the lute are deeply poignant. This song
performances—including those for his paternal grand is often played at funerals, and each time the troupe’s
parents—death has taught Lin to seize the moment. emotional aunties cannot help but shed tears. As we
He has held classes at National Yunlin University walk home on a path between fields, Lin begins singing
of Science and Technology, and recruited a group of “Mengjiayu,” and as the sun sets we hear the beautiful
youths to form the Fleeting Life Qianwang Ge Troupe. sound and see a glimmer of hope that Taiwan’s local
Via handson teaching, he instructs students about the culture may be passed on to the next generation. l
related costumes, props, dance postures, lyrics, musical (Chen Chun-fang/photos by Jimmy Lin/
accompaniment and so forth. He hopes to help more tr. by Bruce Humes)
people understand the beauty of traditional Taiwanese
culture.
Renaissance of regional arts
Although some people are paying more attention to
preserving cultural legacy, when it comes to materials for
teaching about Taiwanese local culture it’s still the same
tired references to four old ballads with lyrics in Hokkien
dating from Japanese colonial rule in the 1930s: “Four
Seasons in Fuchsia,” “Melancholic Moonlight,” “Awaiting
the Spring Breeze,” and “Petals Drop Under the Rain.” So
the tunes taught to students are really quite limited.
There are more traditional tunes in Taiwan than that,
but songs once heard everywhere in local communities
are getting farther and farther away from people’s lives
as older generations fade away. There are many ethnic
groups in Taiwan, Lin points out, and each has its own
music, which is rare in the world. “We should be more
attentive to unearthing them at the local level,” he says
with concern. “Once gone, these treasures cannot be re
covered.”
Lin Zongfan, who has handcrafted and sold hun
dreds of yueqin, plans to hold an event celebrating the
“Homecoming of the Moon Lute” during this year’s
MidAutumn Festival. The venue will be his front court
yard. He intends to invite Chen Qingsong, who is well
versed in Hengchun folk songs, and Luo Shizhe, who
excels at chanting lyrics, and there will also be perform
ances of traditional Taiwanese operatic performing arts
such as Qianwang Ge and Chegu Zhen, a temple parade
formation combining folk music, dance and drama, in
order to showcase the beauty of these traditional arts 林宗範把傳統藝術的傳承視為己任，期盼讓人們看見民間
歌舞藝術的珍貴與美麗。
and their cultural connotations. It promises to be a dy
Lin has made it his mission to highlight the value and beauty of
namic spectacle. Attempting to raise the status of folk traditional folk music and dance.
arts has been a constant task for Lin.
113
阮劇團 18歲成年禮
用自己的樣子站上國家舞台
文•鄧慧純　圖•林格立　版面設計•馬英凱
114
Holding Its Own
on the National Stage:
Our Theatre at 18
「不顧天堂反對」、「本劇嘉義製造」，這些
字眼醒目招搖地出現在《十殿》的海報上，主視覺
用上螢光紅、螢光綠，充斥在地台味與草根生命
力；這是阮劇團18歲成年禮大戲《十殿》，以台灣
「五大奇案」為本，全長共330分鐘，分為〈奈何
橋〉與〈輪迴道〉，是台灣七年級生對傳統五大奇
案的新視角，站上舞台，說自己的故事。
“W ho Cares About Heave n? ” and “Made

i n C hiayi ”—th e s e p hras e s are boldly
displayed on the poster for Palaces against fluor
escent red and green colors. The design brims with a
distinctivelyTaiwaneseflavorandagrassrootsvibe.
Palaces is a comingofage production celebrating
Our Theatre’s 18th anniversary. Based on the “Five
Mysterious Cases” in Taiwanese folklore, Palaces is
composed of two parts: Palaces: Outside In and Pal-
aces: Inside Out. It demonstrates how artists born in
1980s Taiwan seek to tell their own stories through a
theatrical reinterpretation of traditional legends.
阮劇團以《十殿》登上國家表演藝術中心，在舞台上搬演
人間的愛恨嗔癡。
Digging into the infinite complexities of human nature, Our
Theatre’s Palaces has been performed in the National
Performing Arts Center’s theaters across the island.
115
四月中旬，《十殿》台北場上演前，阮劇團
的F B貼出一張團長汪兆謙隻身站在國家戲劇院
的舞台上，面對金碧輝煌的水晶吊燈與紅色絨布
觀眾席的照片，對一個來自偏鄉，曾經認為自己
一無所長的孩子，箇中滋味想是旁人難以理解。
汪兆謙在18歲那年與朋友們一同創立了落地嘉義
的「阮劇團」，如今他的生命來到第二個18年，
「阮劇團」也迎來了18歲的成年，一步步從深耕
地方到踏上國家級的殿堂。
18歲的成年禮
「18歲的阮劇團要站上這個舞台，不是偶然
《十殿》的主視覺請廖小子操刀，呈現在地台
的。在我的想像裡面已經計畫了很久。」汪兆謙味與草根生命力。（阮劇團提供）
Our Theatre invited Godkidlla to design posters
一派沉穩地說。他比喻像一個未成年的孩子，整 for Palaces, capturing a pungent Taiwanese flavor
and a grassroots vibe. (courtesy of Our Theatre)
天幻想著18歲那一天要去夜唱、考駕照，想著如
何幫自己慶生，阮劇團也是。《十殿》通過「國
家表演藝術中心場館共同製作計畫」甄選，駐團
編劇吳明倫以近兩年的時間慢慢琢磨產出劇本，
演員有近十個月的時間進排練場排練，終於2021
上半年正式在國家戲劇院、台中歌劇院及衛武營
國家藝術文化中心三館出演，「這是阮劇團給自
己的一個小小里程碑，亦是阮劇團要擴大影響力
一條必要的路徑，必要的credit。」汪兆謙表示。
回想慘綠少年歲月，15歲的汪兆謙誤打誤撞地
加入戲劇社，發現自此有一件事情可以讓他廢寢
忘食，「在90年代前期，沒有網路，缺少資訊的
管道，又是填鴨教育的末期，你想想看一個慘綠
青年能夠遇見戲劇，那真的有一點奇蹟的成分，
不是那麼容易的事情。」他自言是幸運的，十幾
歲就知道自己的位置在哪裡，而在偏鄉創立劇團
這旁人看來辛苦的事，他卻說：「各行各業哪一
個行業不辛苦？我是比較憨人憨膽。」選擇在嘉
義創團，是劣勢也是優勢，得到許多長輩的疼惜
與幫助，儘管經過多次倒團的風險，阮劇團終究
存活下來。
而一如許多鄉下孩子上到台北，都會經歷過一
段變色龍時期，會偽裝自己的衣著、口音，怕被笑
「台」，還在摸索「自己」是誰。這樣的歷程，阮汪兆謙18年前與朋友創立阮劇團，扎根嘉義，要實踐藝術公
共性的想望。
劇團也經歷過，「剛開始演戲，主要都是遵循著西 Wang Jhao-cian established Our Theatre with friends 18 years
方戲劇的學派理論，但這三五年我們慢慢化掉了一 ago. Rooted in Chiayi, the troupe embodies their desire to bring
art to the public.
些，也比較有自信、大膽的、不走傳統的路線。」
116
駐團編劇吳明倫以台灣
五大奇案為本，重新建
構十段故事，提出台灣
七年級生解讀的視角。
Our Theatre’s resident
playwright, Wu Ming-lun,
has borrowed elements
from Taiwan’s “Five
Mysterious Cases” to
create ten new stories,
reinterpreting folklore
through the perspective
of people born in 1980s
Taiwan.
In mid-April, just before Palaces premiered in Taipei, When Wa ng was 15, he i mpulsively joi ned h is
a photograph appeared on Our Theatre’s Facebook page, school’s drama club. There he discovered his lifelong
showing the troupe’s artistic director Wang Jhao-cian passion. Looking back on those days, he congratulates
standing alone on the stage in the National Theater. This himself on having found his vocation so early. We may
marked a significant moment for someone who comes from think that setting up a theatrical troupe in a cultural
a cultural backwater, and who once thought very little of backwater is a challenging task, but Wang puts his
himself—a moment that cannot be easily understood by decision down to his fearless nature. Choosing to base
people from more privileged backgrounds. Wang founded his troupe in Chiayi may appear unwise, but it also has
the Chiayi-based Our Theatre with friends when he was its own advantages: Chang has received a great deal of
18, and this year the troupe celebrates its 18th anniversary. support from senior cultural figures.
Coming of age Many people who come to Taipei from rural areas
“It’s no accident that the 18-year-old Our Theatre has will find themselves undergoing a period of transi-
made it to the national stage. I’ve been quietly making tion. While exploring their own identity, they will
plans for a long time,” says Wang with assurance. He com- revamp their wardrobe, adjust their accents, and try
pares Our Theatre to a child dreaming about coming of not to appear too parochially Taiwanese. Our Theatre
age—about the day he will be allowed to go for nighttime went through a similar process. “When we started, we
karaoke and get a driver’s license, about how to celebrate mainly followed established Western conventions, but
that momentous event. Our Theatre’s Palaces proposal was we have relinquished some of those in the past three
selected by the National Performing Arts Center for a co- to five years. We have become bolder and more confi-
production scheme. It took the playwright Wu Ming-lun dent in our attempts to break with tradition.” In order
nearly two years to write and refine the play, and the ac- to find its own place, Our Theatre began with the issue
tors spent almost ten months rehearsing it. The production of language, paying close attention to ordinary, down-
finally saw the light of day in the first half of 2021 and was to-earth people and moving away from adapting West-
performed at the National Theater, the National Taichung ern texts to focus instead on Taiwan ese culture and
Theater, and the National Kaohsiung Center for the Arts literature. Its recent production Palaces has drawn on
(Weiwuying). “This is a milestone for Our Theatre, a small elements of Taiwan’s “Five Mysterious Cases”—“The
but essential one, considering our ambition to gain more Apparition of Chen Shouniang,” “Adultery at the Shrine
influence,” Wang says. to Lü Dongbin,” “The Ghost of Sister Pandanus,” “Zhou
117
常見的住商混合大樓，這兒曾經風光亮麗、紙醉
金迷，卻因921大地震成了危樓，荒廢成為都市
的毒瘤，大樓裡的故事即是人世間貪、嗔、癡的
縮影。
五大奇案，這些發生在百年前的台灣，案件凸
顯真實人性，善惡有報的因果輪迴，勸世意味濃
重。吳明倫爬梳資料，辯證思索，提出疑問，在
今日已有律法制度，人們還會有信仰的需求嗎？
人世間的遭遇苦難是否有解答、有出口？以往看
五大奇案都是獵奇的角度，在當代可以用什麼角
度重新切入呢？吳明倫採用的策略並非延續原故
事，而是拆解事件、人物，分成〈樓起〉、〈孽
鏡〉、〈火床〉、〈回音〉、〈針雨〉、〈樓
崩〉、〈鈴〉、〈無神〉、〈鬼話〉、〈團圓〉
十個段落，重新架構故事，並提出新的視角。
比如，五大奇案中受害者清一色是女性，在
傳統社會，女性只有化為鬼才能復仇，女鬼是工
具，是功能性的存在，只為了張揚善惡有報的勸
世概念。但時至今日，已有律法制度的台灣，該
會如何？吳明倫在從「周成過台灣」改編的〈針
雨〉段落中，舞台上呈現周成離家後的場景，被
遺留下的年邁雙親和稚子，女性成為唯一的勞動
《十殿》舞台上，匯集了各世代表演歷練、人生閱歷都已到
位的演員，共同成就獨一無二的現場。
力、照顧者，吳明倫還把長照議題納進舞台，演
上圖為周浚鵬（左）、張千昱（中後）、鍾品喬（中）、林繹周成之妻如何復仇？這翻轉的視角引人好奇。
文尹（右）、余品潔（前）。
Palaces is performed by actors from different generations. Their 而周成留下的孩子，在編劇筆下成了繭居族，對
rich experiences both on stage and in the wider world have
enabled them to put on this unique production. Pictured here are 應著七年級生被笑是草莓族，成為22K的一代，
Chou Chun-peng (left), Chang Chien-yu (standing, in yellow),
Chung Pin-chiao (center, in blue), Lin Wen-yin (right), and Yu 人生前不著村，後不著店，找不到出口，是對當
Pen-chieh (front).
今七年級生很深刻的描繪。
汪兆謙的導演手法亦然，「其實〈奈何橋〉跟
〈輪迴道〉我是用兩個不同的邏輯來導」，〈奈
找到自己，阮劇團從語言出發，凝視貼近土地的市何橋〉是傳統的戲劇敘事，交代角色故事，有寫
井小民，他們搬演的劇本也從改編西方文本一路到實的情節推進，但到了〈輪迴道〉是「反戲劇」
台灣文學，近期推出的《十殿》，融合台灣五大的，汪兆謙打破戲劇的觀念，違背導演課所學的
奇案── 陳守娘顯聖、呂祖廟燒金、林投姐、周東西，把歌舞、魔術、模型都搬上舞台，讓人物
成過台灣及瘋女18年的故事元素，重新建構十段故跳出來跟觀眾對話，在〈團圓〉的章節中，製作
事，往原創又向前跨一大步。組還真的做了一組模型，運用即時投影技術重述
故事，提供另一種面對人生苦難解答的角度。
老故事，新視點
《十殿》受波蘭導演奇士勞斯基的《十誡》啟
突破同溫層，走自己的路
發，故事跨越1990年至今日，30年的跨度，是一幕落了，《十殿》場外的討論還延燒著。網路
齣史詩級的作品。故事設定在一棟台灣各城市都上爭論著導演創作手法，或是台英字幕中，台語
118
Cheng Travels to Taiwan,” and “The Incarcerated Mad- become ghosts, and female ghosts often serve a moral
woman”—to create ten new stories that have helped the function, reminding us that evildoers can never escape
troupe make a significant move towards originality. with impun ity. But how would these stories unfold if
New perspectives on old tales they were set in modern-day Taiwan, where the rule of
Palaces is inspired by Polish director Krzysztof law is established? In “The Rain of Needles”—an adap-
Kieślowski’s Dekalog. Spanning the three decades from tation of “Zhou Cheng Travels to Taiwan”—Wu depicts
1990 to the present, the plot of Palaces assumes epic what happens after Zhou has left his family. In present-
grandeur. It is set in a mixed-use building, of a type ing Zhou’s wife as the family’s sole breadwinner and the
that can be seen in every major city in Taiwan. Dam- carer of her elderly parents-in-law and little child, Wu
aged during the 1999 Jiji earthquake, the building, now introduces the issue of long-term care while dramatiz-
derelict, has degenerated into an evil place shunned by ing the way Zhou’s wife plots her revenge. The shift in
local residents. The stories that happen in it shed light perspective grabs the audience’s attention. In Wu’s ver-
on the dark side of the human mind. sion of the story, moreover, the child whom Zhou leaves
The “Five Mysterious Cases” in Taiwanese folklore behind shows symptoms of social withdrawal. This is
are moral tales that yield penetrating insights into a subtle portrayal of the much-maligned “Strawberry
human nature and elucidate the principle of karma, Generation” in Taiwan—people born from the 1980s
according to which our futures hinge on the morality onwards who are forced to accept low incomes and find
of our present deeds. The playwright Wu Ming-lun themselves in a perpetual quagmire, having little to look
raises the question of whether religion is still needed in forward to and nothing to fall back on.
a world built upon the rule of law. Rather than merely The way Wang Jhao-cian directs the production is also
extending the original tales, Wu’s strategies involve de- innovative. “Actually I’ve adopted two different lines of
constructing events and characters, weaving them into logic in directing Palaces: Outside In and Palaces: Inside
ten sections. In doing so, she gives the stories a differ- Out.” The former is a narrative that abides by dramatic
ent structure and a new perspective. conventions: it introduces the characters, allows the story
For example, in the “Five Mysterious Cases,” the to unfurl, and is propelled by a realist plot. By contrast,
victims are invariably women. In folkloric stories like the latter is “anti-dramatic.” There Wang challenges
these, women are able to take revenge only if they conventions and abandons everything he has learned
電影、戲劇經歷完整的
莊益增飾演劇中邱老
師，亦是一名算命者。
Chuang I-tseng playing
the role of a teacher and
fortune teller in Palaces.
119
用字也引發爭議，也有人說用台語演出，是語言有東西可以給你學，」除了跟國際學習交流之
霸權。汪兆謙說他樂見各式的困惑與討論，「亞外，「另外一面，我會抓土，抓得更緊。」探問
里斯多德時代的劇場不就是個論辯的場域嗎？」汪兆謙，作品是否會為了國際市場而稍事調整，
有爭論才有對話，「在創作上，我們面對觀眾，他還是不改本色的說：「我覺得最終還是釐清楚
但不避諱在能力範圍之內適度的挑釁觀眾，希望『你是誰？』這個作品如何更不保留地長成你自
去串起討論與互動。」製作台語戲劇，當然也可己的樣貌。到國外去，你越是你自己，你越能跟
以把每個字音都考究到極限，但這無助於台語走人家平起平坐。」
得更遠，而是要想辦法刺破同溫層，對話不同語
成年之後
種的人，才能把路越走越寬。《十殿》的角色
中，他邀請來自馬來西亞的演員鄧壹齡，讓她從「現階段我要開始學習減法了。」從三月籌辦
一句台語都不會，到粉墨登場能說一口流利的台草草戲劇節、四月搬演《十殿》，還尬了文博會一
語台詞，都引起話題。腳，把劇團操到人仰馬翻的汪兆謙喘口氣說。「18
一直以來，汪兆謙總是在接受挑戰。2017年，歲前就是血氣方剛，想證明自己可以做好很多事
他迎向日本導演流山兒祥的挑戰，合作了台語版情，希望被看見，所以我們東跑西跑，婚喪喜慶什
的《馬克白》，因緣際會的走到羅馬尼亞錫比烏麼做，因為沒有資源，缺少能見度，我恨不得把我
國際戲劇節；2018年站上愛丁堡藝穗節的國際舞的名片發給全台灣2,300萬人。」成年後，已經是
台；2020年，與香港劇場空間合作的《皇都電大人了，就想穩定下來，好好把一些事情做得更圓
姬》，探討台港兩地母語消失的議題，入圍第19 滿，比如讓《十殿》可以翻演更多輪，繼續修整，
屆台新藝術獎。今年的《十殿》更是阮劇團有史使其成為代表這個世代的傳世之作。
以來最大的編制，站上國家的表演舞台，但這不 18年來，劇團不只是演戲，早已更有系統的
是終點，「它的意義在於阮劇團可以面對更多的扎根在地。阮劇團有專屬的駐團編劇，還有劇本
觀眾，可以跟更多的朋友對話，可以連結到更多農場計畫，培育創作劇本人才。當初是拓荒來到
不同領域的資源。」嘉義，演員多是各地來的freelancer，但台北、嘉
曾經有機會與國際大導合作，汪兆謙不諱言義來回的地理距離長期來說亦是耗損，「我要嘗
說，「不是說外國的月亮就比較圓，我也覺得我試在台灣實現出一個劇場生態，這個生態系統底
把長照、移工、無差別殺
人、繭居族等議題納入戲
劇，《十殿》是一齣值得一
再細究的劇作。
Incorporating issues such as
long-term care, migrant labor,
indiscriminate killings, and
social withdrawal, Palaces
offers much food for thought.
120
about directing theatrical performances. He brings audiences, communicate with more friends, and access
song, dance, magic, and models onto the stage and lets resources from a greater variety of fields.”
the characters engage directly with the audience. The future
Breaking out of the echo chamber “At this stage I need to learn to do less,” says Wang.
The curtain has fallen. Outside the theater, discus- Having put his troupe through several major events
sion rages on. People are debating the director’s style this year—organizing the Grasstraw Festival in March,
and methods online, and there is a controversy over participating in Creative Expo Taiwan in April, and
the Taiwanese phrases used in the Taiwanese and performing Palaces from April to May—Wang can now
English subtitles. Someone even suggests that to use slow down and catch his breath. “Before turning 18,
Taiwanese in the performance is to impose linguistic we were bursting with raw energy, wanting to prove
hegemony. For Wang’s part, he is happy to see these that we could achieve many things and craving to be
queries and discussions. “Didn’t the theater provide noticed. So we were all over the place, doing this, that,
a space for debates in Aristotle’s age?” To avoid being and the other.” Having come of age, Our Theatre now
trapped in an echo chamber, we need to broaden our aims for stability. It wants to round off certain projects,
horizons by engaging with people who hold different such as presenting more new performances of Palaces
opinions and speak different languages. and continuing to refine it into a canonical masterpiece
Wang has always embraced challenges. In 2017 that speaks for the present generation.
he collaborated with Japanese theater director Show In the past 18 years, Our Theatre has not only put up
Ryuzanji on a Taiwanese version of Shakespeare’s new performances but also worked systematically to
Macbeth. Performed in Romania and Edinburgh, this put down roots. The troupe has its own resident play-
project brought him into the international spotlight. wright and presides over the “Farm of Plays,” a project
In collaboration with Hong Kong’s Theatre Space, that seeks to cultivate talented local scriptwriters. “I
Wang produced The State & Denki in 2020, a musical make these experiments in order to produce a theatri-
that explores the disappearance of native languages cal ecosystem in Taiwan. This system will prove to be
in Taiwan and Hong Kong. It has been shortlisted for an inexhaustible source of energetic new works. To this
the 19th Taishin Arts Award. This year’s Palaces is the end, we need practitioners who are skilled enough.”
largest- scale production that Our Theatre has ever Setting its sights on the future, Our Theatre started to
worked on. Although the play has already made it to focus on training local actors three years ago.
Taiwan’s national theaters, there’s more to come. “Pal- For example, Palaces is said to have enjoyed the most
aces means that Our Theatre can present itself to more “spectacular and luxurious” production process in the
121
汪兆謙在〈輪迴道〉的章節用上魔術、模型、即時投
影等手法，在舞台上呈現迥異於傳統的寫實敘事。
In Palaces: Inside Out, Wang makes use of magic,
models, and real-time projection, turning his back on
conventional realist drama.
下，可以源源不絕的生產出有能量的作品，就需 history of Taiwanese theater. The playwright was given

要有到位的人力。」阮劇團早三年前就著力在地 plenty of time to carry out field research and bring the
play to full fruition. The actors also received ample
演員的培訓，是為對未來的投資。
remuneration, so they were able to devote themselves
又如這次《十殿》的製作，有堪稱劇場史上最
fully to Palaces during the rehearsal period, without
「華麗奢侈」的製作期，編劇有充足的時間做田
having to take on other projects elsewhere.
野調查，孵育出劇本。劇團提供友善的酬勞，讓 Ever since its earliest days, Our Theatre has held
演員在排練期只專注在一齣戲上，不用到處尬工 firm to the idea that art has a social relevance. It has
作。對比許多戲劇演出，演員是登台前三天才知 enabled art and culture to percolate down to the daily
道舞台的模樣，這對演員的信心影響很大。 lives of people in underserved locations, introducing
阮劇團創團之初，即篤信藝術具有社會意 children in remote areas to the wonders of drama. “I’m
interested in the public impact of art,” Wang says. “This
義，在偏鄉鋪陳文化藝術近用，讓偏鄉的孩子
is not about one man charging ahead toward his goal.
能欣賞戲劇，讓藝術深入到生活；或是專屬於
It’s about many people coming together to take one step
青少年藝術教育扎根與視野開拓的「草草戲劇 forward”—a group of people joining forces in order
節」，「我對藝術的公共性，是有興趣的。」 to achieve something. “To give whatever energy you
汪兆謙說。「這不是一個人往前衝百步，而是 may possess without reservation is a very important
一百個人往前踏一步。」一群人一起完成一件 thing in life,” he observes, throwing light on the reason
事，「能毫無保留的把自己的能量給出去，是 why Our Theatre always goes to the greatest lengths to
人活著很重要的一件事情。」似乎道出阮劇團 bring each of its projects to fruition. l
那總是拚了生命做事的因子。 l (Cathy Teng/photos by Jimmy Lin/tr. by Brandon Yen)
122
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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
When West Meets East: International Sinology and Sinologists
中國草藥故事
Stories of Chinese Herbal Medicine
擁抱台灣──百張圖片看現代台灣
Embrace Taiwan 100 Images of Contemporary Taiwan
顯影台灣──百張圖片看現代台灣2
Taiwan Revealed 100 Images of Contemporary Taiwan (2)
弦歌不輟──台灣戲曲故事
Hold that Note!—Stories from Taiwan's Stage
築夢荒野──台灣自然映像
Call of the Wild—Taiwan's Natural World
台灣民俗筆記
Shindigs and Solemnity in Taiwan
台灣青春紀事
Days of Being Wild: Youth Culture in Taiwan
台灣好滋味
A Taste of Taiwan
心南向．一家人
Bonds of Friendship, Bonds of Love—Taiwan and Southeast Asia
台灣意象
Taiwan in the Mind's Eye: Stories and Images of Taiwan
美．台灣：人文攝像集
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Ilha Formofa!—The Beautiful Isle!
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JUL.

Tilling the Soil

opment. In this issue, TaiwanICDF deputy (Ivan Chen/tr. by Phil Newell)

20 封面故事 Cover Story

全球視野 Global Outlook

島嶼行旅 Around Taiwan

in Okinawa. She remembers going

cially fond of it, but you can’t deny

T he Taiwan Dive Center, the

The Taiwan Dive Center (TDC),

O r ig i n a l ly C h e n f e lt t h at h e any disposable products into the 台灣六大潛場，各有讓人流連之處。

into Taiwan. The group traveled to

I n 1995, fisherman Huang Jia-

With the cold winter behind us,

work of an archaeologist is remark-

The British liner SS

Launched in 1891, the

I n October 2020, when Taiwan’s

mation platform Social Enterprise

Thank you for accompanying us on

醫療傳道與人道醫療 他 祈 禱：「父 啊！赦 免 他 們，因

井上伊之助 1882-1966 井上伊之助從神學院畢業後，經

巴 萊 》，回 憶 起「霧 社 事 件」原 住 山 地，他 也 開 始 學 習 台 灣 原 住 民

民與日本軍警衝突的歷史時，讀井 的 母 語，經 過了幾 年 終 於 得 到 教

上伊之助一生的故事，讓我們對人 會 的 協 助，於 1911年10月 踏 上 前

性有更深沉的反省。 往台 灣 的 旅 程。等 到12 月 2 0 日接

井上伊之 助，18 8 2 年 生 於 日 本 到台灣第一張山地醫師的服務派

卻不幸於19 0 6 年被台灣原住 民出 險的路途。

親 死訊，雙手發抖，眼 淚 不停的湧 本人 被 殺 害，可 以 想 像 要 在 原 住

足、傳 染 病流行，不只 原住 民的健

當 台 灣 爆 發「霧 社事件」，原 住 民 「上帝在 編 織」。這句 話 說 明了他 身 體，每日不間斷做體 操、洗 冷水

與 日 本 軍 警 爆 發 武 裝 衝 突，造 成 的一生，如今台灣原住民大多接受 澡，保持強健 體魄；醫學校 期間杜

大量人 員傷亡，井上伊之助仍強忍 了上帝的福音，回應了井上伊之 助 聰明與同學蔣渭水等關心中國的

內 心 的 悲 傷 與 憂 慮，志 願 前 往 事 信仰的愛。 革 命，經 常 商 討 聲 援 孫 文 的 革 命

中島，為感染瘧疾 流行所苦的30 0 醫學教育與研究 與 翁 俊 明 共 赴 北 京 卻 無 法 下 手。

多 名 原 住 民 病 患 進 行 治 療，延 續 台灣人第一位醫學博士 19 14 年 以 第 一 名 畢 業，放 棄 開 業

原住民族的命脈。 杜聰明 1893 -1986 行 醫 而 留 校 從 事 細 菌 學 研 究，深

井上伊之 助 在台 灣 行 醫 前 後 長 獲 崛 內 次 雄 校 長 鼓 勵，而 於 1915

達 3 0 年 以 上，他 的足 跡 遍 佈 各地 杜 聰 明，18 9 3 年 出 生 於 台北 縣 年赴日本京都帝國大學深造，先在

的 原 住 民 部 落，對 原 住 民 的 健 康 淡水 北 新庄。他自小聰 慧，入私 塾 賀屋教授門下修習內科學，次年改

照 顧 做 出 最 大 的 奉 獻。19 6 6 年 井 習 漢 文，1 9 0 3 年 入 淡 水 公 學 校， 投藥理學大師森島庫太教授門下，

上伊之助逝 世，享壽8 4歲，他的墓 19 0 9 年以 第一名畢業並考取台灣 歷時5年，於1922年獲得醫學博士

碑只 刻 著「愛 」字，下 面 有 一 行 他 總督府醫學校，雖以學科第一名通 學 位，為 日 本 國 內 首 次 授 予 外 籍

最 愛 的 仇 敵、台 灣 原 住 民 泰 雅 族 過，但體格檢查被 評 為丙下，差 點 人士，也是台籍人士第一位得到醫

的話「TO M I N U N U TO F」意思是 無 法 入學，杜 聰 明 從 此 發 奮 鍛 鍊 學博士者，在當時轟動了整個台灣

杜聰明返台升任總督府醫學校 的 台 大 醫 學 院 和 醫 院 院 務，一方 師 資，重 視 身 教 言 教 所 以 親 自 講

教授，兼 任中央 研究院技師，創建 面 要 照 顧 留 任 的日 籍 教 授 員 工 之 授 醫學史、藥理學，甚至帶 領師生

本 土 研 究 的 藥 理 學 教 室，從 事 中 財 產 移 交 及 遣 返，另 一方 面 要 尋 至 西 子 灣 游 泳 健 身，當 時 校 園 雖

藥、台灣蛇毒及鴉 片的研 究，這個 找 適 合 交 接 的 本 島 醫 學 界人才 或 小，但師生共同生活合力打拚的歲

藥 理 學 教 室 後 來 為 台 灣 培 養 了超 迎 接 來 自 中 國 大 陸 的 官 員，其 間 月是高醫創校時期師生美 好的回

過40位博士，發表了超過400篇的 經 歷 不 少 的 波 折 與 衝 突；同 年 他 憶，而 高 雄 醫 學 院 更 是 全 台 灣 第

巨 大 是 前 所 未 有 的；他 對 鴉 片 的 省 科 學 會 理 事 長、國 民 參 政 會 參 學 校，經 杜 聰 明 倡 議 於 19 5 8 年 開

研 究 聞 名 國 際，曾 應 邀 前 往 美 國 政 員 並 兼 任 政 府各項 委 員會 委 員 設「山地醫師醫學專修 科」招收 原

及歐洲發表論文，1930年「台灣總 十 數 要 職，可 見 戰 後 初 期 杜 聰 明 住 民學 生，給予 公費 待遇，畢業後

督府更生院」成立，杜 聰明出任院 的 活 躍 與 影 響力 並不 亞 於 日 治 時 返鄉照顧原住民健康。

長 領 導 台 灣 的 戒 毒 醫 療；對 於 中 期。然而1947年爆發的「二二八事 1 9 6 6 年，杜 聰 明 退 休，雖 然 已

藥 和 本土 草 藥 的 研 究 也 是 他 一 生 件」對 杜 聰 明 和 當 時 的 台 灣 醫 界 有 7 3 歲，仍 受 教 育 部 所 託，出 國

的 興 趣，他 在 醫 學 院 藥 理 學 課 堂 人士來 說，都是一場災 難，不僅台 考 察 日 本 及 歐 美 醫 學 教 育；同 年

上不但親自講授中醫藥史，鼓勵中 灣 人 民 遭 受 了 莫 大 的 損 失，當 時 被推選 為第六屆亞 細亞及 大洋洲

醫藥的科學 化，更著有《中醫藥評 台 灣 社 會 菁 英 幾 乎 難 逃 被 逮 捕、 醫 師 會 聯 合 會 總 會 長；同 年 成 立

醫療傳道與人道醫療他祈禱：「父啊！赦免他們，因

巴萊》，回憶起「霧社事件」原住山地，他也開始學習台灣原住民

民與日本軍警衝突的歷史時，讀井的母語，經過了幾年終於得到教

上伊之助一生的故事，讓我們對人會的協助，於 1911年10月踏上前

性有更深沉的反省。往台灣的旅程。等到12 月 2 0 日接

井上伊之助，18 8 2 年生於日本到台灣第一張山地醫師的服務派

卻不幸於19 0 6 年被台灣原住民出險的路途。

親死訊，雙手發抖，眼淚不停的湧本人被殺害，可以想像要在原住

足、傳染病流行，不只原住民的健

當台灣爆發「霧社事件」，原住民「上帝在編織」。這句話說明了他身體，每日不間斷做體操、洗冷水

與日本軍警爆發武裝衝突，造成的一生，如今台灣原住民大多接受澡，保持強健體魄；醫學校期間杜

大量人員傷亡，井上伊之助仍強忍了上帝的福音，回應了井上伊之助聰明與同學蔣渭水等關心中國的

內心的悲傷與憂慮，志願前往事信仰的愛。革命，經常商討聲援孫文的革命

中島，為感染瘧疾流行所苦的30 0 醫學教育與研究與翁俊明共赴北京卻無法下手。

多名原住民病患進行治療，延續台灣人第一位醫學博士 19 14 年以第一名畢業，放棄開業

原住民族的命脈。杜聰明 1893 -1986 行醫而留校從事細菌學研究，深

井上伊之助在台灣行醫前後長獲崛內次雄校長鼓勵，而於 1915

達 3 0 年以上，他的足跡遍佈各地杜聰明，18 9 3 年出生於台北縣年赴日本京都帝國大學深造，先在

的原住民部落，對原住民的健康淡水北新庄。他自小聰慧，入私塾賀屋教授門下修習內科學，次年改

照顧做出最大的奉獻。19 6 6 年井習漢文，1 9 0 3 年入淡水公學校，投藥理學大師森島庫太教授門下，

上伊之助逝世，享壽8 4歲，他的墓 19 0 9 年以第一名畢業並考取台灣歷時5年，於1922年獲得醫學博士

碑只刻著「愛」字，下面有一行他總督府醫學校，雖以學科第一名通學位，為日本國內首次授予外籍

最愛的仇敵、台灣原住民泰雅族過，但體格檢查被評為丙下，差點人士，也是台籍人士第一位得到醫

的話「TO M I N U N U TO F」意思是無法入學，杜聰明從此發奮鍛鍊學博士者，在當時轟動了整個台灣

杜聰明返台升任總督府醫學校的台大醫學院和醫院院務，一方師資，重視身教言教所以親自講

教授，兼任中央研究院技師，創建面要照顧留任的日籍教授員工之授醫學史、藥理學，甚至帶領師生

本土研究的藥理學教室，從事中財產移交及遣返，另一方面要尋至西子灣游泳健身，當時校園雖

藥、台灣蛇毒及鴉片的研究，這個找適合交接的本島醫學界人才或小，但師生共同生活合力打拚的歲

藥理學教室後來為台灣培養了超迎接來自中國大陸的官員，其間月是高醫創校時期師生美好的回

過40位博士，發表了超過400篇的經歷不少的波折與衝突；同年他憶，而高雄醫學院更是全台灣第

巨大是前所未有的；他對鴉片的省科學會理事長、國民參政會參學校，經杜聰明倡議於 19 5 8 年開

研究聞名國際，曾應邀前往美國政員並兼任政府各項委員會委員設「山地醫師醫學專修科」招收原

及歐洲發表論文，1930年「台灣總十數要職，可見戰後初期杜聰明住民學生，給予公費待遇，畢業後

督府更生院」成立，杜聰明出任院的活躍與影響力並不亞於日治時返鄉照顧原住民健康。

長領導台灣的戒毒醫療；對於中期。然而1947年爆發的「二二八事 1 9 6 6 年，杜聰明退休，雖然已

藥和本土草藥的研究也是他一生件」對杜聰明和當時的台灣醫界有 7 3 歲，仍受教育部所託，出國

的興趣，他在醫學院藥理學課堂人士來說，都是一場災難，不僅台考察日本及歐美醫學教育；同年

上不但親自講授中醫藥史，鼓勵中灣人民遭受了莫大的損失，當時被推選為第六屆亞細亞及大洋洲

醫藥的科學化，更著有《中醫藥評台灣社會菁英幾乎難逃被逮捕、醫師會聯合會總會長；同年成立

論》、《中西藥學史略》等書。屠殺的命運；杜聰明亦被通知走「杜聰明獎學金委員會」。1 9 6 8

人在學術界的代表，19 3 0 年他聯務也被免除。及至白崇禧來台調查六十一屆總會，發表「中西醫學

絡了台灣留日的理工、醫學人士成「二二八事件」後，4月 3 0 日台灣一元化、中醫藥科學化之具體方

立了「台灣理工學會」，19 37年他省行政長官公署廢止，陳儀下台，案」；1972年80歲時出版回憶錄；

193 9年他被選為日本藥理學會第府，杜聰明被任命為省府委員，終版，1 9 8 6 年杜聰明去逝，享耆壽

十三屆會長，以日本殖民地統治下能再公開出面活動。 9 4 歲。這位台灣醫學史上的小巨

的台灣人，能被選為日本國內學術 19 4 8 年7月杜聰明再受聘為台人，對台灣醫學發展的影響長留迄

戰結束，杜聰明身為唯一一位台籍年獲聯合國世界衛生組織獎學醫師從政與社會運動

日本受降儀式的代表之一，並成為育。19 5 3 年卸任台大醫學院院長許世賢 1908 -2006

12月他獲聘為台大醫學院首任院院」，7月創辦高雄醫學院出任院許世賢，19 0 8 年出生於台南書

長，兼台大附屬醫院院長、熱帶醫長，這是台灣第一所私立醫學院，香世家，小學畢業後考入台南州立

畢業後，許世賢東渡日本，進入東使得她和李萬居、郭國基、郭新醫療行政與公共衛生

先在台南醫院服務，接著獨自開人士本屆地方選舉檢討會」，並決葉英堃，19 2 4 年出生於台南望

被譽為「台北模式」之精神醫療。之靈仍然守護台灣守護精神病患婆講習所」（助產士訓練所），利

他也培養了不少年輕醫師，日後都的人權。用清信醫院設備，讓學員們有學

重要貢獻，而台北醫學大學的精神基層醫療與社會公益士，造福全島不少孕婦。

科教學也由他負責，當時市療醫師不讓鬚眉台灣首位女醫師彭華英後來因為與台灣民眾黨

也要參與其中。蔡阿信 1899 -1990 部分同志，意見有所分歧，於民眾

19 8 0年台灣發生轟動社會的台黨第七次中央常務委員會上提出

北螢橋國小潑酸案，一名精神病人蔡阿信，18 9 9 年12月13日生於辭呈，1933年遠赴中國，兩人之婚

潑灑硫酸傷害學童的事件。在輿台北市，15歲畢業於「台灣北部長姻關係終告中止。

論震驚同時，葉教授和筆者進行了老教會女學堂」。其母以她聰穎 19 3 8 年，蔡阿信經由日本前往

台灣精神醫療設施和人力調查，過人，有意栽培，於是送她去日本美國遊學，曾在哈佛大學等著名學

並首次探討台灣地區精神醫療實唸私立立教高等女學校，1916年3 府的醫學院研究；19 41年接受加

質的醫療照顧，政府預算、法令不校，是台灣女性就讀西洋醫學的的邀請，前往加拿大訪問，當她結

足，精神醫療專業人力欠缺。第一人。束行程，欲搭船返台之際，因太平

為了提高精神醫療人權和照顧 19 2 0 年11月，蔡阿信從東京女洋戰爭爆發，不能成行，就職於當

經過不斷呼籲、建言和努力，政府書是第二十五號，成了台灣第一分，加拿大政府委派前往史羅肯日

終於在19 8 5 年開始辦理「台灣地位女醫師。返台先後服務於台北僑集中營擔任駐營醫師。

區精神醫療院所評鑑」，並於1986 醫院、日本紅十字社支部醫院。在 19 4 6 年，蔡阿信回到久違的台

年開始實施專科醫師制度，同年台北工作時，遇見在日本相識，日灣，然而戰後國民政府治理下的

並開始規劃「全國精神醫療網」，本明治大學政治經濟科畢業的彭台灣，政治不上軌道，社會秩序

19 8 8 年開始推展「社區精神復建華英，他是南投國姓鄉柑子林人，混亂，加以翌年又發生「二二八事

計畫」，1989年開始補助公私立醫在日本求學時即投效民族運動，件」的慘劇，她所認識的一些抗日

院於社區中設置社區復健中心，庇曾擔任「台灣青年會」會長，也是友人遭遇劫難令她心寒意冷，決

護性工作場所及康復之家。「台灣文化協會」的成員，為著名心移居海外。後來，在偶然機會中

醫院顧問、美國精神醫學會國際婚，育有一女一子，女彭惠美、男生仰慕之情，乃於 19 4 9 年在英國

院士、衛生署精神防治委員會委彭俊雄。駐台副領事館締結良緣。

員，持續研究著作，獲褒獎無數， 19 2 4 年，蔡阿信在台北市日新 19 5 3 年，蔡阿信醫師終於離台

備受國際推崇，列名M a r q u i s 世町自宅開設婦產科醫院；19 2 6 年赴歐與吉卜生牧師會合後，共赴加

界醫學、醫療名人錄。2018年底， 6月，蔡阿信決定在台中市大正町拿大定居，兩人在溫哥華過著恬