东南亚闽南民间美术传播的多元族裔融合现象探讨

A Phenomenon Brief Analysis of the Multi-ethnic Integration of Minnan (Southern Fujian) Folk Art in Southeast Asia

明清以降,漳泉两郡乡民渡海移居南洋诸国,以原乡同邑为主体的移民聚落,在东南亚渐成闽南侨乡。因移神需要而建的宫庙祠宇,令随徙而来原乡工匠得以施展技艺的空间。随着落境多元杂义多族混居的南洋神祗本土化、宫庙建筑装饰艺术趋近南洋化的表征变的愈加显像,凸显多元族裔融合的特征。

After the Ming and Qing Dynasties,villagers of Zhangzhou County and Quanzhou County in China crossed the sea,migrated to the Southeast Asian countries and built up immigrant communities made of townsmen from the same counties. These communities gradually became the hometown of the overseas Minnan immigrants. The construction of temples and shrines for the purpose of moving the gods Minnan people worshiped from China to these immigrants＇ new hometown enabled the immigrant craftsmen the chance to display their abilities,and this has simultaneously helped to spread the Minnan fold art in Southeast Asia. Thus,this thesis will conduct a case study of the architectural ornament of Tian Fu Gong（ Palace of Heaven＇s Blessing） in Telok Ayer Bay to examine the multi-ethnic integration of the existent Minnan folk art in Southeast Asia as well as the Southeast Asianization trend of the Minnan folk art.