| Summary: | 碩士 === 國立臺東大學 === 美術產業碩士學位在職進修專班 === 97 === It is rush that has chosen this land, Taiwan, rooted here deeply from one generation to another, accompanying Taiwanese through the hard times. It provides Taiwanese with materials for eating, clothing, living and transporting during the early agricultural period, when there were deficient goods and materials. In addition, rush pleases the smell sense of people with its unique aroma. After a tiring day, people can fall into a sound sleep in its embrace, feeling like lying on the grassland in their dreams. With the progress of science and technology, plastics replace rush in modern society, and people almost forget its existence. I decided to choose rush weaving as my dissertation topic after actually engaging in it by myself, wondering why people neglect it rather than make good use of it. My dissertation focuses on three points below:
1. Record and report the practical functions of rush weaving in the life of Taiwanese and its contribution to the prosperity of Taiwan economy through the literature review and interviews.
2. Interview and record the course of thought developments of two rush weavers, who break through the traditions of rush weaving and change the practical functions of rush weaving into appreciated artwork, Lin, Huang-Chiao, and Cheng, Mei-Yu.
3. Most of the rush weaving skills are passed down orally from masters to their apprentices. Due to the gradual decrease of rush weaving masters, this kind of skill might become a lost art form. Therefore, I particularly collect rush weaving skills, and record them in great detail, hoping to provide a copy for reference to those who are or will be interested in rush weaving.
There are four results achieved after I finished this study.
1. Record the making situations of traditional rush weaving of Taiwanese women in the early period, many kinds of assistant tools, and the contribution of rush to Taiwan economy.
2. Record the changing process of rush weaving from traditional practical functions into artwork, and then analyze and compare the differences between them.
3. First record the learning process and thought developments of Lin, Huang-Chiao and the writer about rush weaving skills and artwork to make up the pity that there has always been no copy for reference book.
4. Collect the innovative artwork of rush weaving in recent years, and propose the ideas about the production and industry of rush weaving to preserve this traditional culture
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