| Summary: | 碩士 === 國立高雄應用科技大學 === 文化創意產業系 === 106 === This article aims at the most critical of the cultural and creative industries that have become popular in Taiwan in recent years and discusses the application of "cultural elements." Through the sharing of domestic and foreign cases, we can understand that it is not a matter of transferring, embossing, or inlaying "cultural elements" onto any commodity, and then it turns a "good" cultural and creative product. Instead, it needs to understand the origin, content, spirit, and the products to be applied to it. Especially when the elements of religious culture are used as the applied elements of cultural and creative commodities, it is necessary to consider the lofty nature of their beliefs, otherwise it would easily lead to the dislike of the believers and indirectly lead to the failure of the cultural and creative commodities. Therefore, the author chose to be approachable and has a wide variety of “Door Gods” as the object of inquiry in the “cultural element”. Because of the wide variety of Door Gods, this article begins with the origin of the door, and then comes to the emergence of the Door God. In the end it evolved into all kinds of Door Gods, especially different time and space will have different requirements and ways of use of the Door Gods. Therefore, this article will place the research area in the middle of the Neolithic Age in the prehistoric era as being inhabited. From the middle of the 17th century, the Ming and Zheng Dynasties were important Han settlements in the Kaohsiung area. The old administrative center of the Kaohsiung region, the old administrative center of Zuoying, is located in the area of Qijia. It then explores the relationship between the gatekeeper and the Lord God, and classifies the Door Gods into five types of Door Gods: "watch the guards," "demon demons," "request for happiness," "lucky welcome," and "exclusive Door God." In order to find out about the “cultural elements” of various styles, and make it possible for cultural and creative merchandisers to apply, and to learn about the development of merchandising products for a temple, it is not only the cultural element of the Lord God that can be used. It is only necessary to in-depth understand the temple. Correspondence between the origin story and the environment, in fact, the number of cultural elements that a temple can apply is beyond our imagination.
|
|---|
