Taiwan Panorama 2020 Mar

全球．在地．人文
台灣光華雜誌
中華民國109年3月第45卷第3期
中英文北美版
Vol. 45 No. 3 March 2020
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
3
Taiwan Panorama
循環之島
Building the
Circular Economy
中華民國一〇九年三月
第四五卷第三期
建議售價
NT$150
US$5
HK$40
¥600
海漂垃圾的華麗變身
Treasures from Trash

圖／文‧莊坤儒　版面設計‧王敬勛
湖的O2L A B海漂實驗
澎室，來到花蓮的「海或
瘋市集」，透過志工們的創
V olunteers at O2LAB in Penghu turned marine
trash into beautiful decorative objects, which
they offered at the “Wild Market” event put on by
意，將一個個海漂垃圾改造成 Hualien’s Ocean Home homestay. They hope their
為漂亮的裝飾品。希望藉由這 creations can inspire people to reduce waste and
些行動，喚起人們垃圾減量與 protect the environment.
環保救地球的心。 (photo and text by Kent Chuang/tr. by Phil Newell)
編人的
編者絮話語
連結世界的窗口
文．陳亮君
中華民國109年3月1日出版（月刊）／
中華民國65年1月1日創刊
甫於今（2020）年1月出版的光華專書 AI學校的興起，到外交部數位外交的推動。
出版者光華畫報雜誌社
發行人／吳釗燮
《台灣意象》，內容除了橫跨北、中、南、還有國藝會「海外藝遊專案」中，用藝術與
Publisher: Jaushieh Joseph WU
社長／陳銘政東各地的地理、人文、環保、生態及產業世界各地文化結合的創意與啟發。這些來自
Director: Henry M.J. CHEN
總編輯／陳亮君
Editor-in-Chief: Ivan CHEN 外，亦包括「騎行台灣」等單元，並以「單台灣內部的創新能量，正一點一滴地推動著
文稿主編／曾蘭淑
Editor: Esther TSENG
文稿副主編／郭玉平車慢旅」、「人文風景」、「創生築夢」、台灣向前邁進。
Deputy Editor: Camille KUO
文字編輯／鄧慧純陳群芳蘇俐穎謝宜婷
Writers: Cathy TENG, CHEN Chun-fang,
「新舊交融」、「大塊奇觀」等面向，深刻此外，本期精彩內容還包括有台灣特有種
Lynn SU, Tina XIE
版面主編／胡如瑜刻劃出了台灣的整體意象。的愛玉子，野生愛玉子大多攀附於大樹生
Director of Layout: HU Ju-yu
美術編輯／蕭郢岑王敬勛
Art Editors: HSIAO Ying-tsen, Henry WANG 這本專書的問世，反映了寶島上人們努力長，其藤蔓爬得愈高，結「果」愈多，但也
攝影組召集人／莊坤儒
Photographic Coordinator: Kent CHUANG
攝影組長／林格立的身影，也透過多語的傳播，讓世界看見台增加採果人攀高採摘的危險性。看台灣農改
Photographic Director: Jimmy LIN
攝影編輯／林旻萱
Photojournalist: LIN Min-hsuan
灣的美好。誠如知名作家褚士瑩所說：「長技術人員，如何克服重重困難，開發出在平
英文編輯／陳瑩潔唐樂榕倪凱駿
English Editors: Audrey CHEN, Robert TAYLOR, 達400 多公里的『樟之細路』，⋯⋯我感受地就能有高產值且採摘便利的品種，經過生
Phil NEWELL
日文編輯／山口雪菜施家騏
Japanese Editors: Yukina YAMAGUCHI, 到心底燃起的熱情，我看著一幀幀美麗的照物科技的萃取，更可以作為淨白肌膚的面膜
Shila SHIH
印尼文編輯／陳德銘
Indonesian Editor: Temmy WIRYAWAN 片，渴望著自己的雙腳，能夠踏上這一條串或精華液，提高台灣農產品的附加價值。
越南文編輯／武秋香
Vietnamese Editor: VU Thu Huong
泰文編輯／王玉雯
連起古道、農路、登山步道的美麗路徑。」而堅持親手為家人蓋一棟與環境共生的家
Thai Editor: WANG Yu-wen
資深行政編輯／段蜀華本書另一推薦人吳鳳則是提及，「通常外的楊三二，在屏東枋寮正在為夢想努力著；
Senior Administrative Editor: DUAN Shu-hwa
總監／鍾宜蓉國人聽到台灣的第一印象就是高科技或腳踏還有跳脫以往客家戲劇的框架，在以華語為

Marketing Director: Carianne CHUNG
業務協理／陳俊偉
Deputy Manager: CHEN Jyun-wei 車，但跟我一樣真正來過台灣、看過風景、主的台灣戲劇中，帶來耳目一新感受的客家
綜合服務組長／陳淑英
Chief of General Affairs: CHEN Shu-ing
綜合服務組／李淑慧
體驗過人情味及各種民俗活動，才發現台灣電視台，看他們如何堅持理念，突破自己的
General Affairs: S.H. LEE
發行組／何世隆真的很特別。」而這也正是《光華》40多年侷限，展現出各自的精彩。《光華》的報
Circulation: HO Shih-lung
來一直努力堅持不懈的目標。導，既是本土能量的展現，也是連結世界的
與世界連結的腳步，台灣從不缺席，從再一扇窗，除了讓台灣的人事物走出世界，也
生材料的應用，到循環經濟的實踐；從台灣讓世界能「走進」台灣。 l
Windows on Taiwan EDITOR’S NOTE
for the World
T he Taiwan Panorama book Taiwan in the practice of digital diplomacy. And we also GPN: 2008000038 ISSN1991-525X
原刊名光華 Sinorama Magazine
Mind’s Eye, published in January 2020, have the creativity and inspiration derived 中華民國95年1月改為台灣光華雜誌
Taiwan Panorama
offers fascinating insights into Taiwan’s geo from contacts with other cultures through
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“When foreigners think of Taiwan, they usu be transformed into skinlightening masks
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All rights reserved. Photos and articles may not
who, like me, have spent a lot of time in Tai of local agricultural produce.
be reprinted without our permission.
If you wish to reprint any of our articles or
wan, viewed the scenery and experienced We also visit Pingtung County’s Fangliao
photographs, please contact our senior
administrative editor.
Damaged or misbound copies returned to us will
the warmth of the local people, as well as Township, where Yang San’er is pursuing his be gladly replaced.
attended all kinds of folk culture activities, dream of building his own environmentally
have realized that Taiwan is genuinely spe sustainable home. And we learn how public
cial.” This is precisely the goal toward which broadcaster Hakka TV is breaking the mold
Taiwan Panorama has persistently been work of Hakka drama series to bring a refresh
ing for over 40 years. ing new sensation into a media landscape
Taiwan has always been in step with the dominated by programming in Mandarin.
world, from the use of recycled materials to Our articles showcase this nation’s vibrancy,
the practice of the circular economy, from opening windows on Taiwan to the world. l 本刊物印刷油墨使用環保認證大豆油墨
the rise of the Taiwan AI Academy to the (Ivan Chen/tr. by Phil Newell)
目次
CONTENTS 中華民國109年3月第45卷第3期 Vol. 45 No. 3 March 2020
8 封面故事 Cover Story
6 循環之島
Building the Circular Economy
8 用「設計思考」減少垃圾
台灣循環經濟的龐大潛能
Waste Reduction by Design:
Building the Circular Economy in Taiwan
文‧謝宜婷　圖‧莊坤儒
30
18 廢棄物的點石成金術
「樂土」與「官田烏金」
Turning Trash into Treasure:
Lotos and Guantian’s “Black Gold”
文‧蘇俐穎　圖‧林格立
30 回歸減法生活
永續時尚‧疼惜大地
Less Is More:
Protecting Nature with
Sustainable Fashion
文‧蘇晨瑜　圖‧林旻萱
40
40 人人參與的循環模式
好盒器與電電租
All Aboard for the Circular Economy!
—Good to Go and Homeapp123
文‧陳群芳　圖‧莊坤儒
編者的話來自地方的明信片
Editor’s Note Postcards from Home
2 連結世界的窗口 1 海漂垃圾的華麗變身 52 月月好讀

Windows on Taiwan for the World Treasures from Trash Variety Pages
文‧陳亮君圖／文‧莊坤儒光華畫報雜誌社
影像對話 Photo Essay
56 世界屋脊下的故事
封面說明： ──雪巴人
如何讓資源永續是當代重要課題，全球皆不斷尋找解方， On the Roof of the World: The Sherpas
位於苗栗竹南外海的離岸風電即是一例。（莊坤儒攝）圖／文‧李安峰
Cover: Developing sustainable resources is an important
issue for our age. The offshore windfarms at Zhunan in Miaoli
County exemplify this worldwide trend. (photo by Kent Chuang) 全球視野 Global Outlook
66 數位外交，連結世界
讓人民感受外交的溫度
The Rise of Digital Diplomacy:
Making Diplomacy Accessible
to the People
文‧謝宜婷　圖‧莊坤儒
74 傳產拚轉型
台灣AI學校催生產業急行軍
66
Cultivating New AI Professionals:
The Taiwan AI Academy
文‧蘇俐穎　圖‧莊坤儒
島嶼行旅 Around Taiwan
84 給家人的一棟「情書」
一冊大木家屋
A Builder’s Love Letter to His Family
—The Story of a Timber-Frame House
文‧鄧慧純　圖‧一冊大木家屋童裕謙
藝文脈絡 Cultural Trends
96 跳出框架
84
客語劇的精彩與亮點
Thinking Outside the Box:
The Splendors of Hakka TV Drama
文‧陳群芳　圖‧客家電視台提供
106 在異域激盪藝術火花
海外藝遊‧圓夢計畫
Have Dreams, Will Travel:
NCAF Program Expands Young
Artists’ Horizons
文‧李珊瑋　圖‧莊坤儒
產業新創 Entrepreneurship
96
114 高山族變平地族的愛玉子
苗栗一號
Down from the Mountains:
Jelly Figs’ Journey to the Lowlands
客家電視台提供　photo courtesy of Hakka TV 文‧曾蘭淑　圖‧林格立
封面
故事
COVER
STORY
Building the
Circular Economy
圖‧林旻萱　版面設計‧胡如瑜
封面
故事
COVER
STORY
用「設計思考」
減少垃圾
台灣循環經濟的
龐大潛能
Waste Reduction
by Design:
Building the Circular
Economy in Taiwan
文•謝宜婷　圖•莊坤儒　版面設計•胡如瑜
2016年，台灣被《華爾街日報》讚許為「垃圾回收
的天才」；同年上任的新政府宣布台灣將進入「循環 I n 2016 The Wall Street Journal praised
the Taiwanese as “the world’s geniuses of
garbage disposal.” That same year the newly
經濟」的時代，並將這項目標列入「5+2產業創新計
elected government proclaimed that Taiwan
畫」。剎時，「循環經濟」成了熱門關鍵字，但許多人
was entering the era of the “circular econ
也誤將它與回收畫上等號。事實上，這是一個超越回
omy” as part of the nation’s “5+2” industrial
收、跨足不同產業，能夠引領台灣走出代工困境的轉型 innovation program. Instantly, the phrase be
策略。 came a buzzword. Nevertheless, many people
mistakenly equate the term with recycling. In
「循環經濟」，一言以蔽之，就是思考「如何不製 fact, it is a policy aimed at economic trans
造垃圾。」今日線性經濟的商業模式恰好相反：原料開 formation that transcends recycling or any one
採、商品製造、消費丟棄，原本有價值的資源淪為令人 industry as it pushes Taiwan beyond the limit
頭痛的垃圾，而且與日俱增。為了停止產品「從搖籃到 ations of “OEM” contract manufacturing.
8 台灣光華 Taiwan Panorama

REnato lab產品「一把膠椅」的
椅面是由車用安全帶編織而成。
The seat of REnato lab’s “Plastic
Chair” is woven from old car safety
belts.
環拓科技利用熱裂解技術，將廢
棄輪胎轉變為高價值的「碳黑」，
再次應用在工業產品上。
Enrestec uses pyrolysis technology
to turn scrap tires into high-value
“carbon black,” which can be reused
in industrial products.
( 流程圖由 EPEA 台灣分公司提供　

graphic below courtesy of EPEA Taiwan)
Simply put, a “circular economy” focuses

on how not to create waste. Today’s standard
linear economic and commercial model takes
quite the opposite approach: Natural resources
are discovered and exploited; products are
manufactured; and consumers throw them
away. Resources that had been of value be-
come ever-growing, headache-inducing piles
of garbage. But some people in Taiwan have
been working hard to change this “cradle-to-
grave” destiny of products and the produc-
tion and purchasing habits of businesses and
consumers that foster it. Through cooperation
9
南台彩藝印刷營運部
副理王淳健（左）、
德商美最時事業部經
理黃俊彰（右後）與
E P E A台灣分公司張
宇靖經理（右前）是
「台灣搖籃到搖籃策
略聯盟」的合作夥
伴。
Jeff Wang (left),
assistant manager
of operations at Nan
Tai Color Printing;
Steven Huang
(right, standing),
sales manager in
the printing and
graphic department at
Melchers Taiwan; and
Chang Yu-chin (right,
seated), manager at
EPEA Taiwan, are
partners in the Taiwan
Cradle to Cradle
Strategic Alliance.
墳墓」的宿命，並改變企業與消費者生產、購買的聯盟成員「南台彩藝印刷」與「德商美最時」
習慣，台灣民間已經開始了一股力量，透過與政就是成功的案例，同屬聯盟的印刷包材小組，對
府、企業的合作及向民眾的宣導，期盼台灣未來能健康印刷有著相同理念，於是開始了印刷的轉型
成為「循環之島」。計畫，以「繪博油墨」取代大豆油墨，致力達到
零廢棄的目標。
從搖籃到搖籃的產品設計
美最時印刷事業部經理黃俊彰表示，看似環保
國際上對循環經濟產品設計的討論，始於德國的大豆油，其實有一定比例是礦物油，不但不利
化學教授麥克布朗嘉（Michael Braungart）與美國於紙類回收利用，也會對印刷人員的健康產生影
建築師威廉麥唐諾（William McDonough）提出響，而公司所代理的德國繪博油墨是百分百的植
的「從搖籃到搖籃」（Cradle to Cradle，即C2C）物油墨，符合C2C的認證，沒有對環保與健康的
設計原則，認為「好的設計就像大自然，沒有浪疑慮。南台彩藝知道這項產品後，開始調整印刷
費這回事！」產品在設計前端就應該開始思考，技術，將繪博油墨利用在生產過程中。
最後該如何回到源頭再利用或直接在大自然分解「健康油墨成本雖然比較高，但是拼價格不
成為養分。是我們的目標，最終達到零廢棄才是。」南台彩
麥克布朗嘉於1987年以C2C的理念在德國藝印刷營運部副理王淳健表示，二代接班人以環
創辦了公司EPEA（Environmental Protection 保為理念起家，秉持「企業社會責任是從採購開
Encouragement Agency），之後還在荷蘭、瑞始」的態度，創業過程中一直在找尋理念相同的
士、土耳其、巴西成立了分公司，而台灣也在夥伴，也不斷向客戶宣導健康印刷的重要性，希
2010年成為EPEA在亞洲的第一個據點。望能帶起產業內的風氣。
2012年，「台灣搖籃到搖籃策略聯盟」成
Redeﬁne, Redesign：需求引導設計
立，就是由環保署與EPEA 台灣分公司推動，目
的要幫助聯盟業者了解C2C的概念，並合作推動「廢棄物資源化只是循環經濟的開始。」循
產業的C2C實行計畫。環台灣基金會董事長黃育徵堅定地說，以前講

3Rs: Reduce, Reuse, Recycle（減量、再利用、回「我們其實只需要冷風，不需要一直買冷氣
收），但現在要想2Rs: Redefine, Redesign（重新機。」黃育徵點出今日消費的迷思，也強調當消
定義、重新設計）。費者「重新定義需求」，業者會改變商業模式與
經常受邀出席循環經濟論壇的黃育徵，只用一產品設計。原本以汰舊為目的的商業模式，改為
個問題就切入觀念核心：「你是需要冷氣機？還「服務消費者」時，產品設計的使用年限會增
是冷風？」當下令人摸不著頭緒的提問，背後隱加，業者獲利來源則轉為定期維修，垃圾也會大
藏重要的觀念突破。當今的商業模式是計畫性汰量減少。
舊，產品設計每隔一段時間就需要更新，業者從「我賣服務給你，你會是我一輩子的顧
消費者淘汰換新的購買過程中獲取利益。消費者客。」未來產品服務化不只會減少垃圾量，也
買越多，業者賺越多，而環境汙染也越多。有助於鞏固消費者對品牌的需求。生活中，需
要「重新定義需求」的產品太多，黃育徵隨手
拾來一個例子。「你有在用刮鬍刀嗎？用完怎
環拓科技是全世界唯一成功商業營運處理廢輪胎的
麼回收？」材料複雜的產品往往因為難以分
化學裂解廠。
Enrestec is the world’s only commercial pyrolysis plant 解，面臨直接被丟棄的命運，但是，如果仔細
to successfully produce carbon black from old tires.
思考使用者的需求，再加上C2C工業循環的思
維，就會有新的設計靈感出現：紙製刮鬍刀！
「你有被紙割到過吧？紙製刮鬍刀用完可以直
接丟掉，回歸大自然。」黃育徵興奮地分享在
循環設計的思考中，生活會產生很多改變。
循環經濟的產品設計，聽起來有點夢幻，但
台灣其實已經有不少例子。循環台灣基金會蒐集
了國內66個案例集結成冊《邁向循環台灣：循環
經濟實踐案例》，書中介紹了不同機構如何透過
「系統性思考」，將別人的廢棄物轉為自己的原
料，讓資源留在循環內，不停地被使用。
「台灣其實有機會在這個領域（循環經濟）
成為領導者。」參加過許多國際論壇的黃育徵
認為，台灣過去的弱點其實是現在的優勢，多
年的代工經驗累積了堅強的生產實力，這是歐
洲國家無法超越的，事實上，已經有歐洲國家
想要借鏡台灣在循環經濟的方法。
「台灣必然會走上循環經濟這條路，只是時
間早晚的問題。」黃育徵表示，台灣產業以代
工為主，但是，原料幾乎都仰賴進口，這樣的
情況下，轉型以設計為主的循環經濟模式，才
是未來發展的目標。
REnato lab：循環經濟實驗室
循環經濟的觀念興起，協助企業採用循環經濟
的公司也應運而生。REnato lab在2014年成立，
是一間環保顧問公司，取名re加上nato（義大利

澎湖的沙灘上充斥海洋廢棄物。
Penghu’s beaches are strewn with marine debris.
“What we really need is cool air, not “In fact, Taiwan has an opportunity to
the recurring expense of purchasing air- become a leader in the circular economy.”
conditioners.” Huang exposes current Huang, who has participated in many
consumer myt hs and emphasizes t hat international forums, believes that one
when consumers “redefine their needs,” of the island’s weak points has become a
industry will change its operating models strength: Many years of operating as an
and redesign its products. The existing in- “OEM” contract manufacturing economy
dustry model of product replacement as a has blessed Taiwan with strong manu-
business goal will change to “serving con- facturing abilities as good as those of any
sumers.” As the longevity of products in- European nation. In fact, some European
creases, scheduled maintenance becomes a nations want to learn methods of the circu-
main source of profits, and waste shrinks. lar economy from Taiwan.
“If I sell services to you, then you’ll be “Taiwan will end up going the route of
my lifelong customer.” In addition to re- the circular economy,” Huang asserts. “The
ducing waste, product servicing can also only question is: Will it be sooner or later?”
boost consumers’ brand loyalty. Taiwan’s economy is based around its
In our daily lives, there are so many OEM work, but it relies on imports for its
products for which “the need for a product raw materials. Consequently, changing to
should be redefined.” Huang cites an ex- a circular economic model that leverages
ample: “Have you ever had a paper cut? If its design prowess should be a develop-
razors were made from paper, they could ment goal.
be composted after use.” Huang excitedly REnato: Lab for the circular economy
shares how circ ular desig n will bring As the concept of the circular economy
many changes to our lives. has taken off, firms that help companies
13
REnato lab創辦人王家祥，在客戶的工廠裡實驗廢棄物材料，以製造新的產品。
Aiming to create new manufactured goods, REnato lab’s founder Jackie Wang tests
recycled materials in clients’ factories.
文），分別代表重生與誕生，象徵公司透過循環之外，循環經濟商業模式的調整也是他們的服務
經濟的方法，讓所有看似無用的廢棄物再次產生之一，像是協助宏碁（Acer）電腦在全台7-11門
價值。市建立舊電池蒐集點，方便消費者回收。
創辦人王家祥過去任職於財團法人中技社，協轉型為顧問公司的REnato lab還是保有產品設
助政府擬定環保、能源等施政策略。他發現政策計的工作，甚至建立了一套材料庫，讓設計師可
雖然能影響產業，但是無法改變民眾購買環保產以清楚掌握材料性質，做出適合的產品。「我們
品的意願，於是他決定由下而上去改變。透過協的實驗室，就在別人的工廠。」王家祥說，他把
助企業盤點與教育民眾，王家祥希望大家能夠了 REnato lab定位為「循環經濟的實驗室」，會嘗
解概念，進而主動支持、行動。試用客戶的材料做產品，做出來之後，如果客戶
REnato lab前期，主要在將廢棄物做成產品，也接受，隔天就可以直接進生產線。爽快的口氣
例如將輪胎做成椅子，但後來王家祥發現廢棄物中，聽得出他對循環設計的熱情。過去有幾次，
的量實在太多，「台灣一年玻璃的回收量，如果 REnato lab因為案件成果規模做得比當初跟客戶
拿來做杯子，每個人可以得到76個！」與其在後約定的大，成本幾乎花光，「最後自己做得很高
端做成其他產品，不如幫助企業在前端就找出問興，但結果沒賺錢。」就算有時候會賠錢，為什
題，減少廢棄物產出，於是後來轉型為顧問公司。麼還堅持呢？王家祥微笑著說：「解決事情的效
除了協助單一企業盤點，找出產生廢棄物的主益，比賺錢還大，這樣想就比較好過了。」
要原因，REnato lab也連結不同企業，從廢棄物處 REnato lab想影響的不只有企業，還有民眾。
理、製成原料、做成產品到銷售，不同單位串聯王家祥談起循環經濟中每個角色的關係，用車子
起來，才能完成一個循環設計的產品。除了產品作了一個生動的比喻：「政策跟技術就像車子的

make the most of it have come into being. sultancy, REnato lab still handles product
Estab lished in 2014, REnato lab takes its design work. It has even established a library
name from the English “re” plus the Italian of materials that allows designers to get a
word for “born.” The name represents how true feel for materials so they can better pro-
the company is using circular economic duce suitable products. “Our laboratories are
methods to bring value to seemingly worth- other people’s factories.” Wang says that RE-
less waste products. nato lab defines itself as “a laboratory for the
Founder Jackie Wang used to be employed circular economy” that tries to make prod-
at China Technical Consultants, where he ucts out of customers’ materials. Afterwards,
worked with government to draw up en- if the customer is willing, it can get these
vironmental and energy policies. He dis- products rolling off the production line just a
covered that although those policies could few days later.
impact industry, they didn’t increase the But REnato lab wants to have an impact
willingness of consumers to purchase en- on the public too. At the “Future Is Now”
viron mental products. Hence, he decided he
needed to create comprehensive change from
the ground up. Early on, REnato lab mainly REnato lab的辦公室裡有各式各樣處理過的廢棄
focused on making products from waste, 物材料。
The office of REnato lab has samples of all manner
such as by turning old tires into chairs. But of processed waste materials.
later Wang realized that there was simply too
much waste. “If all of Taiwan’s recycled glass
was turned into drinking glasses, every per-
son on the island could have 76 of them each
year!” So he decided that instead of focusing
on helping industry turn its waste into prod-
ucts, it would be better to tackle the problem
at the front end, by reducing the amount of
waste created. He thus turned REnato into a
consulting firm.
Apart from helping individual companies
assess their production of waste, REnato lab
also fosters connections among companies,
bringing together those involved in waste
management and in transforming waste into
raw materials, with finished goods produc-
ers and sales channels. Only with these con-
nections is it possible to design products for
the circular economy. In addition to consult-
ing about products, another service it offers
is assisting companies to adjust their com-
mercial models to the circular economy. For
instance, it helped Acer establish collection
points for old electronic products and batter-
ies at 7-Elevens throughout Taiwan, making
recycling easy for consumers.
Although it has transformed into a con-
15
啟動器，企業與民眾就像是齒輪。車子要發動，持環保的產品。因為這樣的意識，所以國外循環
靠的是啟動器，但是要繼續前進，靠的就是不設計的商品是知名的品牌，售價甚至媲美精品，
同齒輪的配合了。」用理解取代說教，是王家祥例如瑞士回收再製帆布包FREITAG。
的信念，而這也反映在REnato lab的策展中，去不過近年來，台灣民眾對再生商品的接收度
（2019）年在華山文創的展覽──Future is now，有提高，像是愛迪達與耐吉分別利用海廢與寶特
讓民眾在不同情境去發現可以透過哪些資源與管瓶抽紗做成的鞋子，但是這些牌子並非台灣本
道，實行循環經濟的生活；並透過體驗破除大眾土品牌，「如果是國內品牌，就不一定有這個價
對循環設計產品的迷思：不美觀、不耐用。格。」王家祥認為台灣的設計在國際上是有知名
「環境教育應該要讓消費者藉著體驗去了解，度的，但是循環設計的品牌還需要更多曝光。
進而支持。」王家祥認為教條只能規定，但是體黃育徵表示，台灣要發展循環經濟，需要中小
驗才能帶來改變。企業帶動大企業。大企業規模龐大，只能做些微
調整，相反地，中小企業的彈性高，構思活潑，
台灣的挑戰：品牌與資源
比較有可能做整體的改變。王家祥表示如果政府
黃育徵與王家祥，兩位在循環經濟領域都有豐調配資源分配，讓中小企業有更多機會發展循環
富的經驗，不約而同地表示，「品牌」與「資源經濟，這樣在產業中發酵的速度會比較快。
分配」是台灣當前發展循環經濟的兩大挑戰。循環經濟是另一種商業模式，也是看待環境的
王家祥表示，國內民眾對於循環設計的商品，新眼光：讓資源生生不息，在循環內不停流動。
普遍都有「回收的為什麼還這麼貴？」的疑惑，當台灣陷入缺水、缺電、缺地的困境，循環經濟
但是國外的情況相反，民眾願意多花一些錢來支也許就是一帖解方。 l
「2019亞太循環經濟論壇」呈現了台灣推動循環經濟之階段性成果，
也樹立台灣為亞太循環經濟先行者角色。（循環台灣基金會提供）
Demonstrating the fruits of this stage of Taiwan’s push toward the circular economy, the 2019
Asia Pacific Circular Economy Roundtable established Taiwan’s pioneering role in creating a
circular economy for the Asia–Pacific region. (courtesy of Taiwan Circular Economy Network)

exhibition at the Huashan 1914 Creative Park
last year, REnato provided the public with
various ways to learn how life could play out
in a circular economy. The exhibition also
overturned some widely held myths about
products designed for the circular econ-
omy—namely that they aren’t beautiful or
durable.
“Environmental education ought to pro-
vide consumers with understanding based
on exper ience —u ndersta ndi ng t hat en-
genders support for environmentalism.”
Wang believes t hat dogma only leads to
rules, whereas real change comes from true
understanding.
Taiwan’s challenge: Brands and resources
Huang and Wang, who both have rich
experience in t he environ mental realm,
separately make the same point—that brand-
ing and resource allocation are the biggest
challenges facing Taiwan in developing the
circular economy.
Wang explains that consumers in Taiwan
typically raise the same question about prod-
ucts in the circular economy: “Why does re-
循環台灣基金會董事長黃育徵認為「重新設
cycled stuff have to be so expensive?” 計」產品與商業模式，是循環經濟的關鍵。
Yet Taiwan’s public has demonstrated Charles Huang, chairman of the Taiwan Circular
Economy Network, believes that “redesigning”
greater acceptance of recycled goods in re- products and business models is the key to
facilitating the circular economy.
cent years. For instance, Adidas has made
sneakers out of recycled ocean plastics, while
Nike has made them from PET bottles. But
those aren’t Taiwanese brands. “For a domes- lieves that if the government can allocate
tic brand, these products might not bear the resources that give SMEs more opportunities
same value.” Wang believes that Taiwan’s to develop within the circular economy, then
design prowess has achieved a certain level it will allow those concepts to mature more
of international recognition, but brands that quickly within industry as a whole.
market products designed for the circular As an alternative commercial model, the
economy still need more exposure. circular economy takes an environmental
If Taiwan wants to develop the circular perspective that puts resources in a new
economy, Huang believes, then small and light, allowing them to be continually re-
medium-sized enterprises must be the initi- newed as they circulate through the econ-
ators. Larger firms are too unwieldy to make omy. With Taiwan currently facing shortages
anything more than minor adjustments at of water, electricity and land, the circular
first, whereas SMEs are more flexible, more economy could indeed offer real solutions. l
nimble in their thinking, and more capable (Tina Xie/photos by Kent Chuang/
of making overarching changes. Wang be- tr. by Jonathan Barnard)
17
封面
故事
COVER
STORY
廢棄物的
點石成金術
「樂土」與「官田烏金」
Turning Trash into
Treasure:
Lotos and Guantian’s
“Black Gold”
文•蘇俐穎　圖•林格立　版面設計•胡如瑜
物質過剩的時代，習慣了喜新厭舊、用過即
丟，直到過量無法消化的大量垃圾，才讓人逐漸警 I n this age of excessive materialism, we tend
to prefer new to old and quickly dispose of
anything used. We’ve traveled this path for so
醒。一直以來，我們總是太習慣於從「生產」然後
long that we’ve stuffed Nature’s gullet with
「消費」，最終邁向汰舊換新，以「丟棄」作結的
trash. With the natural world now rebelling
線性思維，但換個方式思考，垃圾不垃圾？可是由
at last, humanity is slowly awakening to the
人定義。 problem. We have been far too comfortable
with the production–consumption cycle, with
踏入台南安平工業區，躋身在眾多廠家之中的成大 simply throwing away anything “old.” But
昶閎科技公司，門口停泊著一輛顏色灰樸的大車，車 can we change our attitudes? What if waste
殼板金刷上一層水泥塗料，帶有木紋的紋路，低調中 weren’t simply waste? After all, it is we hu-
卻有些不一樣。 mans who define the term.

以水庫淤泥為原料製成的商品，
翻轉「垃圾」的定義。
Products made from reservoir silt
are changing ideas about “waste”
materials.
（下列圖片泥泥木木工作室提供
photos below courtesy of Nini-Mumu）
（下列圖片泥泥木木工作室提供
photos below courtesy of Nini-Mumu）
TecHome Technology is wedged be-

tween factories in Tainan’s An Ping Indus-
trial Park. A gray truck stands outside the
company’s offices, its sheet-metal exterior
covered in a layer of cement paint. Lightly
patterned, the paint is subtly different from
the usual.
Kuo Wen-yi, TecHome’s owner, leads us
up the stairs to the second floor of the com-
pany’s offices, where he shows us a large
portrait of Che Guevara created using the
same paint. Kuo gives the portrait, which
19
建物外觀重新刷上加入「樂土」的授黃忠信受到經建會（今國發會）
水泥，美觀之餘同時兼具防水功能。
Applying a fresh layer of Lotos plaster 委託，進行水庫淤泥的應用研究，
to the outside of a structure improves its
appearance and helps waterproof it. 以消化這些無路可去的廢棄物。
團隊成功研發出「水庫淤泥改質
技術」，可以讓淤泥轉為可透氣、
防水的添加劑，具防水、防壁癌的效
果，可以廣泛應用在建築、裝潢上。畢業
公司負責人郭文毅領著我們一行人進入，後的郭文毅便以此基礎，成為成大的第一家衍
拾級上到公司的二樓，一幅尺寸有著成人高度、生公司，推出品牌「樂土」。
同樣以水泥繪製成的切‧格瓦拉肖像頓時躍入眼從研發到創業，郭文毅直言走得不容易，打
簾。郭文毅對自己親手的創作滿意地看了又看，市場，比研發技術還要困難。創業至今13年，
說道：「這幅畫，對我來說很重要，因為這是一苦熬七年以後，公司才由虧轉盈，但反問他為
場革命。」何當時不把技術轉移給其他廠商，坐享其成不
是更好？他卻毫不遲疑：「自己做，才可以保
爛泥變身，國產新建材
持品牌的精神理念，一般企業將本求利，要是
視線拉到遠方，位於高雄燕巢的阿公店水幾年沒有利潤，早早就退場。」拍拍牆面上的
庫，是郭文毅創業的起點。台灣地質年輕且破肖像，他咧嘴笑道：「所以我才說，這幅畫對
碎，大雨一來，上游寸草不生的月世界，造成我來說很重要。」
大量砂土隨著水流滾滾而下，流進水庫，影響絕大多數的台灣人，都有過家中牆壁長壁癌
正常蓄水功能。的遭遇，郭文毅解釋，壁癌不是「癌」，更像
這不是特例，台灣每年總計高達400萬噸淤是牆壁的「皮膚病」，由於現代建築運用大量
泥，一直是水利單位的心頭大患。十多年前，的水泥建材，但水泥易吸濕，卻不易排水，加
在成功大學攻讀土木博士的郭文毅，其指導教上台灣氣候潮溼，造成壁癌屢見不鮮，被認定
郭文毅與親手繪製的
切‧格瓦拉肖像，象徵了
一路走來的創新思維與
奮鬥精神。
Kuo Wen-yi stands next
to a portrait he made of
Che Guevara. He says it
symbolizes innovative ideas
and perseverance.

he painted himself, a satisfied look and tells
us, “This painting is very important to me
because it represents a revolution.”
Transforming silt
Kuo’s business has its roots in the Agong-
dian Reservoir in Kao hsiung’s Yan chao
District. Geologically speaking, Taiwan is a
young and fractured land. Heavy rainfall fre-
quently washes large amounts of earth and
gravel out of our fragile highlands and down
into reservoirs like Agongdian, where it ac-
cumulates and reduces their storage capacity.
The 4 million tons of silt that build up in
Taiwan’s reservoirs every year are an ongoing
headache for our water management agen-
cies. When Kuo was pursuing his PhD in civil
engineering at National Cheng Kung Univer-
sity more than a decade ago, the Council for
Economic Planning and Development (now
the National Development Council) asked
his advisor, Huang Jong-shin, to research ap-
plications for the difficult-to-dispose-of reser-
voir silt.
Huang’s team developed a method for
reforming reservoir silt, turning it into a
gas-permeable, water-resistant cement addi-
tive that also prevents efflorescence. These 水庫頭號殺手的淤泥廢棄物，經過改良，重啟另一段旅程。
properties make it very useful in construction Silt is a reservoir killer. Usually considered a waste material,
it can now be transformed into something useful.
and renovation. Once Kuo finished his de-
gree, he formed TecHome, NCKU’s first spin-
off company, to sell the additive under the
“Lotos” brand name. Most Taiwanese have seen efflorescence in
Kuo admits that transitioning from R&D a home at some point. The surface breakdown
to running a company has not been easy, that it can cause in cement walls is known as
noting that building a market is tougher than “wall cancer” in Taiwan. Modern construction
developing a technology. In fact, it took the uses a great deal of cement, which absorbs
13-year-old company seven years to turn its moisture more easily than it releases it. Tai-
first profit. Asked why he didn’t just transfer wan’s warm, humid climate makes efflores-
the technology to another company and enjoy cence common and has given rise to the belief
the fruits of his labor, he says: “I had to do that it cannot be treated. However, adding
it myself to maintain the brand’s spirit and Lotos to the cement plaster used to surface a
ideals. Most companies are profit seeking. If wall can completely resolve the problem.
they don’t make money on something within In the company’s early days, Kuo planned
a few years, they pull out of the market.” Pat- to begin by selling to construction com-
ting the portrait on the wall, he laughs, “That’s panies, not realizing that firms in traditional
why I say this image is so important.” industries were very conservative, and that
21
無法可解。不過，只要在塗抹牆面上 the larger the company, the less willing it would be to
try something new. Forced to change course, he built an
的水泥砂漿中加入樂土，就能釜底抽
online sales platform and set his sights on the general
薪解決問題。
public. He even ventured onto the front lines himself by
尤其市面常見的裝飾材料，大多都
filming educational videos and writing articles to an-
仰賴進口，好比可以代表日本的珪藻 swer consumers’ questions.
土，「但這些材料都沒有台灣的靈 Branching into the arts
魂，我們可以用台灣的材料，做自己 If you ask Kuo his secret to business success, he’ll
的東西。」郭文毅這樣想，樂土確實 tell you it’s really nothing special—he just insists on
不負期許，除了運用本土素材，也順 quality. He doesn’t like to stress that Lotos is a “circular
material” because there is a perception that materials
勢解決台灣住屋的長年沉痾。
labeled as “circular” lack durability, and he doesn’t be-
創業初期，郭文毅嘗試從金字塔頂
lieve that applies to his product. “If you want consum-
端的營造公司著手，但傳產生態保 ers to have confidence in your products, you have to
守，越大規模的公司，越不願意貿然 ensure their quality.”
嘗試新材料，他只好繞道而行，架設 TecHome has stuck to this philosophy, and developed
購物網站，瞄準一般民眾，親上火線
拍攝教學影片，並撰寫文章，解答消
費者的疑難雜症。
泥作文創，跨界玩藝
若問郭文毅創業成功的秘訣，講白了
實在沒有奇特之處，一切開誠布公的
他，唯一堅持的就是品質。郭文毅並不
喜歡強調樂土是「循環材料」，由於坊
間常見打著循環的口號卻不耐用的產
品，他不以為然，「一定是先把品質顧
好，消費者用了才會有信心。」
秉持這樣的理念，也因為品質優異，
逐漸吸引到一票死忠客戶，透過網路社
群的口碑行銷，一傳十、十傳百，漸漸
打開廣大的市場。
「泥泥木木」就是以水泥製作生活器
物的品牌，創辦人吳立偉因為投入栽
（左圖）刷上「樂土灰泥」的牆面，展現出當今
流行的工業風風格。
(facing page) Here, Lotos plaster creates a modern
industrial aesthetic.
自稱「鐵粉」的吳立偉，以樂土創作各種生活
器物。
Ray Wu, who calls himself a “hardcore fan” of
Lotos, uses Lotos products to create a variety of
everyday items.
23
位於大稻埕的「葉晉發商號」，清水模風格的牆面運用了樂土，老宅邸煥然一新。
Lotos plaster applied to the walls of this historical retail space in Taipei’s Dadaocheng
neighborhood contributes to the old building’s new look.
種多肉植物，逐漸延伸探索到與多肉相當匹配發的技法變化，產生不同的質地紋路，好比拓印
的水泥盆器，喜愛手作的他，開始親自動手實上木紋的茶盤，或者表面斑駁的花器，從水泥素
驗，試過各家，後來情定樂土。材變化出來的侘寂美感，令人驚艷。
「雖然市面上類似的品牌很多，但在使用樂土
農業廢材翻身，「菱殼」變「菱炭」
的過程，會感覺到材料給我們的回饋，穩定度高、
表面密度高、不會掉粉，讓我們操作起來更有信恰如樂土一例，推動循環經濟的起點，往往
心。」從一般消費者到協力的夥伴關係，自詡是樂是因為量大到令人束手無策的廢棄物。
土「鐵粉」的吳立偉給出高度評價。場景移到菱角的原鄉──台南官田，正是菱角
設在台南市區的共創基地，就是以樂土為核產季的尾聲，寂寥小鎮上，騎樓下，幾名長者
心，集結了許多支持樂土的藝術創作者，這個團團圍坐剝著菱角，手腳俐落的他們，沒多久
複合藝術家工作室、手作教室、商品零售的空身旁就堆出了一座菱殼小山。
間，讓人對硬派的水泥有了不一樣的認識。這幅遊客看來新奇的農家風景，卻不曉得接
其中一面抹上「樂土灰泥」的牆面，有著類似踵而來的，是當地人揮之不去的惡夢。由於廢
清水模、工業風的質感。陳列在商品區的泥泥木棄的菱角殼，形狀不規則，質地堅硬，帶有尖
木，則是運用「樂土模泥」製作花器、茶盤、皂角，丟到垃圾車裡，容易損毀車輛零件，就連
盤，灰、白、黑等基礎顏色，再搭配吳立偉獨門開清潔隊員也不樂見。

a loyal customer base through the excep- in the product area, and include gray, black
tional quality of its products. These custom- and white flower vases, tea trays, and soap
ers have in turn expanded TecHome’s market dishes. Decorated with interesting patterns
via positive word-of-mouth on social media. and textures using Wu’s own techniques,
Nini-Mumu is a brand of household items they imbue cement products with a surpris-
made from cement. Founder Ray Wu had got- ing wabi-sabi aesthetic.
ten involved with growing succulents, which Transforming agricultural waste
led to exploration of the cement containers of- As with TecHome, the impetus for a move
ten used to pot them. Wu, who enjoys making into the circular economy is almost always a
things by hand, began experi ment ing with volume of waste so large it instills a sense of
cement products from a number of companies helplessness.
before settling on Lotos. Tainan’s rural Guantian District grows
Downtown Tainan’s Lotos Inside is a gath- water caltrops. When we visit at the tail end
ering place for a number of artists that support of the production season, several senior citi-
Lotos. By serving as both an arts and crafts zens are sitting in a circle, peeling the aquatic
studio and a retail space, Lotos Inside is intro- vegetable. Adept at their task, each quickly
ducing people to a different side of cement. accumulates a hillock of water-caltrop skins
One of the walls inside the space is fin- at their side.
ished with Lotos plaster, giving it an indus- Vi s i t o r s a re d r a w n t o s u c h p a s t o r a l
trial aesthetic. Nini-Mumu products made scenes, but their charm belies a longstanding
from Lotos Mordel 3D cement are on display problem for locals.
佔全台菱角產量七成的官田，菱田隨處可見。
Tainan’s Guantian District is responsible for 70% of
Taiwan’s water caltrop production.
(左圖）投入開發「官田烏金」生物炭技術的
林弘萍，從學界跨足產業，滿懷熱忱。
(left) Lin Hong-ping, an academic who has branched
out into business, has thrown himself into the
development of “Guantian Gold” biochar.
25
然而根據統計，官田每年生產6,500噸的菱
角，其中就有500噸留在當地，這些菱角剝除後
的外殼，成了當地人棘手不已的大型垃圾。農民
要嘛丟進鄰近的埤塘，要嘛堆在田埂路旁，但時
間久了難免發臭、孳生蚊蟲，最常見的就是產季
過後，田間紛紛燃起白煙，燒掉了事，但焚燒垃
圾難免造成空污，一旦被究責，農民兩手一攤地
說：「不知道哪個猴死囝仔在這邊偷呷菸！」根
本無法可管。
取經創生，為社區找活路
五年前，來到地方任職的官田區公所區長顏能
每逢產季，騎樓下常見農村婦女團團圍坐，嫻熟
地為菱角剝殼。通，察覺到了社區長年累月的問題，由他率先發
The women of the community often gather under
arcades to peel water caltrops during the harvest
起，想將菱殼加工作為生物炭使用。
season. 踏入顏能通的區長辦公室，有些不一樣的發
現，成大機械系畢業的他，有著理工人實事求是
態度，平素就喜歡運用菱殼炭作各種實驗。
辦公桌後方的瓶瓶罐罐，是顏能通取各品牌
生物炭實驗的結果，點綴在各處空間的水耕植
物亦是。他滿心喜悅地拿起其中一株蒲葵，盤根
錯節的根鬚，在透明的玻璃瓶裡一覽無遺，盆栽
經過高溫淬鍊的菱殼，產生猶如石墨的化學結
構，散發出黝黑的金屬光。
底層鋪著淺淺一層的菱殼炭，由於菱炭具有吸附
Water caltrop skins are processed at high 雜質效果，水瓶裡已多年不換水，水質卻依舊透
temperatures to produce a biochar with a crystal
structure similar to graphite. 澈如新。
「我希望社區就像這株植物，能從『這裡』，
長到『這裡』。」顏能通先指了指底層的菱殼
炭，再指了指上方茂密的綠葉。
他說明，過往政府推動社區發展，好比社區總
體營造，偏向舉辦一次性的活動或計畫，但效益
終究無法長久，如今則嘗試由地方創生的路徑出
發，希望高附加價值的菱殼炭，能為社區經濟開
創出永續的一條路。
產、官、學、社區總動員
在顏能通的動員之下，一向沉寂的社區動員了
起來。菱角季一到，社區長者負責剝殼、曬殼，
再統一收集，送到窯場，這些年實行下來，菱殼
的回收率已達到六成。
至於製作菱炭的核心技術，負責研發的成功大
學化學系特聘教授林弘萍為我們進一步解釋，首
先，菱殼必須日曬到含水率僅剩10％，再放入鐵

Guantian produces about 6,500 tons of 菱殼炭帶動產、官、學、社區的生機鏈結，從生
water caltrops per year, some 500 tons of 產到銷售約有50人投入。
Walter-caltrop biochar has linked industry,
which remain in the community. These are government, academia and a local community
together into a production and sales chain that
the peeled skins, and they are a major trash involves roughly 50 people.
headache. In the past, farmers dumped them
into nearby ponds and piled them beside
roads and paddy-field embankments. But
over time, these dumping areas began to term problem, his first thought was to process
stink and breed mosquitoes. Farmers also the water-caltrop skins into biochar.
resorted to burning the peels in their fields When we enter Yen’s office, we notice that
after the harvest season was over, but this it isn’t quite what we expected. The bottles
created air pollution. When confronted about and cans on the back of a desk contain the re-
the burning, farmers often shrugged their sults of Yen’s experiments with various brands
shoulders and claimed ignorance about who of biochar. The hydroponic plants around the
was doing it. room are also part of his experiments.
Finding a way forward A graduate of the Mechanical Engineering
Yen Neng-teng arrived in Guantian five Department at NCKU, he has the factfinding
years ago to take over as head of the district orientation of someone trained in the sci-
administration. When he observed the long- ences and regularly conducts experiments on
27
由林弘萍研發的專利技術，火焰會浮在上方，將下方的菱殼「乾餾」燒製。
The patented technology Lin Hong-ping developed for producing water-caltrop biochar uses the heat
from the flames burning in the upper part of a furnace to carbonize the water-caltrop skins beneath.
桶中，以1,000℃的高溫燒製，30分鐘後灑水快速而作為地方創生的典範，由於菱殼炭，讓官
降溫，原本還帶有淡淡紅色的菱殼，經過淬鍊，田成為非典型的教學現場，鏈結多所台南地區
成為散發著黝黑光芒的烏金。的重點大專院校，成大以外，還有崑山科技大
林弘萍說明，菱殼炭燒製的過程處處都有講學、嘉南藥理大學等，師生紛紛進駐，將各自
究，包含菱殼的含水率、鐵桶上兩種進氣口的數的資源挹注，學生藉此學習參與社會服務與實
量、煙囪的寬度、燃燒的時間等，都需要精準的踐，也一併帶動社區發展。
設計，光是實驗各種變數，直到找到最佳結果，應用上，不僅只有居家生活，產業現場也有
就歷經一年半的時間。相當多應用方式，除了一如顏能通最早的構
他強調，菱殼木質素含量相當高，是製作生物想，可作為農業耕種的基肥，加在土壤中，增
炭相當好的原料，燒製後的菱殼炭「比表面積」加地力，亦有青年雞農採用，磨碎添加在飼料
（specific surface area，物質的單位體積的表面中，為雞隻增強抵抗力，甚至是紡織業者聞聲
積）相當高，才一公克的菱殼炭就有半個籃球場拜訪，有意將菱殼炭加在織品之中，藉此推出
大，因此吸附效果相當好，除了吸濕、除臭，還具有吸汗、消臭的產品。
可以用來改善土壤與水質，他也相當重視產品的因著發展的前瞻性，吸引青年創業，將產品
安全性，包含戴奧辛、多環芳香烴含量，送驗以作進一步的商業推廣，垃圾果能變黃金，由此
後均符合國際檢驗標準。印證。 l

water- caltrop charcoal. He picks up a Chi- water into the fur-
nese fan palm (Livistona chinensis), its twisted naces. This process
roots plainly visible in the clear glass con- turns the originally
tainer, and explains that the small layer of reddish skins to
water-caltrop-skin char at the bottom of the shiny black charcoal.
pot is highly adsorbent. That attribute of the Lin notes that producers
char has enabled the water in the container to of water-caltrop char have to pay atten-
remain unchanged for years while remaining tion to several factors, including
perfectly clear. the water content of the peels, the
“I hope our communities can grow like dimensions of the furnace’s primary
this plant, from here to here,” says Yen, and secondary air inlet holes, the width
pointing first at the layer of char and then at of the chimney, and the duration of the burn,
the lush green fronds. all of which must be precisely controlled. He
He explains that the government’s past notes further that it took a year and a half of
attempts at community development tended experimentation to determine the values that
towards one-off events or programs, the ef- yielded the best results.
fects of which didn’t last. Nowadays, efforts Lin points out that the high lignin content
have shifted to “placemaking.” Yen sees of water-caltrop skins makes them a good
high-value-added water-caltrop biochar as source material for biochar. They also have a
an example of the latter and hopes it will set high “specific surface area” (SSA) after burn-
the community’s economy on a sustainable ing, with just one gram of water-caltrop char
footing. having the same surface area as half a basket-
Broad cooperation ball court. This makes the char very adsorb-
With Yen pushing, the quiet community ent, enabling it to soak up moisture and odors
began to get busy. Now, when the water- and improve the quality of soils and water.
caltrop season arrives, the local se- He says that testing has shown that the levels
niors peel and sun-dry the skins, of dioxins and polycyclic aromatic hydrocar-
which are then collected and sent bons in the char fall within international stan-
to a kiln. Over the last few years, dards, meaning that it is very safe.
the “recycling” rate of the skins has As a model for placemaking and a pro-
risen to 60%. ducer of water-caltrop biochar, Guantian
Lin Hong-ping, a distinguished has become a campus of sorts. Faculty and
professor in the Department students from NCKU and other important
of Chemistry at NCKU, de- Southern Taiwan colleges and universities,
veloped the core technology including Kun Shan University and Chia Nan
for making char from water- University of Pharmacy and Science, have
caltrop peels. He explains visited and used their particular resources to
that the skins are dried in assist with the community’s development and
the sun until their moisture to learn to participate in community services.
content declines to 10%, Such forward-looking development has
and they are then loaded attracted young entrepreneurs who are
into barrel-shaped steel furthering the commercialization of “waste”
furnaces and burned materials, and proving that you can indeed
at 1000°C for 30 min- turn trash into treasure. l
utes, then quickly (Lynn Su/photos by Jimmy Lin/
cooled by spraying tr. by Scott Williams)
29
封面
故事
COVER
STORY
回歸減法生活
永續時尚．疼惜大地
Less Is More:
Protecting Nature with
Sustainable Fashion
文•蘇晨瑜　圖•林旻萱　版面設計•胡如瑜
鼓勵消費，不斷生產，時尚產業來到史上發展的
最巔峰，卻也衍生許多環境問題。 B y encouraging consumption and continually
increasing production, the fashion industry
has reached a new peak in its historical develop-
舊衣過剩、環境污染、勞工人權，時尚產業這幾
ment. But this has given rise to a many environ-
年開始正視永續議題，使用回收布料再製新衣，也
mental problems.
從二手廢棄材料做出新的產品應用，從產製端就先
We live amid a surfeit of old clothes, environ-
開始守護環境，疼惜大地。 mental pollution, and workers’ rights issues. But
in recent years the fashion industry has begun to
伸展台上，模特兒展示的一切華麗而炫目。時尚 face up to the issue of sustainability, and people
產業正在精心包裝更有野心的版圖。流行、最新、趨 have begun to make new clothes from recycled
勢、CP值超高，不買白不買，快時尚快速推出新款 material and to create new applications for waste
服飾的能力，以及用平價就能買到類似時尚精品的方 material, doing industry’s bit to protect the envi-
便，勾動消費者不斷掏出錢包。 ronment.

Story Wear以回收代替生產，
成功把丹寧布料搭配優質設計，
成為消費者喜愛的「新衣服」。
Story Wear makes clothes by
recycling used and scrap fabrics.
They have successfully used
outstanding design to transform old
denim material into “new clothes”
that are popular with consumers.
丹寧布料強韌耐磨，相當適合作
為舊衣再製作的原料。
Denim fabric is tough and durable,
making it a very suitable material
for manufacturing new clothes out
of old.
On the runway, everything presented

by the models is dazzlingly beautiful. And
the fashion and lifestyle industry is avidly
exploring even more ambitious new terri
tory. With trendiness, novelty and extra
ordinary value for money, fast fashion’s
ability to rapidly ring the changes of style,
Story Wear把時尚設計概念融入舊
and the easy availability of designergrade 衣回收，打造出「零廢棄」的時
garments at reasonable prices, inspire con 尚潮流。（Taipei Fashion Week
和 VOGUE Taiwan 提供）
sumers to continually open their purses Story Wear incorporates
and spend. fashionable design concepts
into the recycling of old clothes,
Consuming fashion is easy, but behind launching a trend for “zero-waste
fashion.” (courtesy of Taipei Fashion
it all there is a high price to pay. According Week and Vogue Taiwan)
31
創辦人陳冠百（左）從時尚產業出身，目睹該產業造成的種種問題，
決定奉獻一生，為減少環境問題而努力。
Story Wear founder Kuan Chen (left) has a background in the fashion industry. Seeing the many problems
generated by this industry, she decided to dedicate her life to reducing its environmental impact.
但這一切的背後，需要付出極大的代價。根據要扭轉時尚產業污染，一些有志之士已經付
綠色和平組織統計，台灣20∼45歲的民眾，每年諸行動。部分知名時裝設計師開始把永續議題
至少丟棄520萬件衣服，等於每分鐘有9.9件衣服帶上伸展台，例如用純天然的綿、麻材質設計
被丟進垃圾桶或是舊衣回收箱。2018年遠見雜誌服飾，拒絕使用石化人造纖維。還有一些人改
透露的數據更為驚人：「台灣每年約丟棄7萬2千變製程或延長產品終點，透過回收、再造，賦
噸舊衣，相當於每分鐘丟掉438件衣服。」予產品全新的價值，讓廢棄物點石成金。
例如標榜「不製造垃圾」的Story Wear，從全
人造纖維污染造成生態浩劫
台收集回收的衣物與布料，經過設計的升級再
另一個問題是碳排放。廉價的人造纖維材質造，與弱勢婦女裁縫師合作，重新製作出許多
相當好用，但是製程中釋放出的二氧化碳，是造型時尚的衣物，除了避免過度浪費，也創造
棉花的三倍。現在有超過60％的織物纖維是石更多在地的就業。
化燃料衍生的合成纖維，因此在衣服被丟棄而 Story Wear創辦人陳冠百2013年時揮別在台灣
進入垃圾掩埋場後，並不會腐化，而洗滌時從 5年的時尚產業工作，隻身前往英國攻讀碩士。
衣物掉落的超細纖維被沖入溪流、海洋，這些在英國她頭一次了解，時裝產業竟然是繼石化
微塑膠也是千年不會腐化，因此紐約時報以揶產業後，全世界第二大的污染源。「我的教授
揄的口氣報導，未來的考古學家可能會在垃圾專攻永續時尚，所以他長年都在談論這個議
場研究ZARA。題。」紡織業一直是個高度污染、相當不透明

每件Story Wear的衣服都有一個 Take for example Story
獨特的身分證，清楚標示產製
Wear, which takes pride in
流程。
Each piece of Story Wear making “zerowaste fash
clothing has a unique “ID”—a
label that clearly documents its ion.” Using clothing and
production process. fabrics collected from all
over Taiwan, through design
they turn them into fashionable
to Greenpeace, each year Taiwanese attire in a variety of styles. Also,
consumers aged 20–45 discard at least 5.2 by working with disadvantaged seam
million pieces of clothing, meaning that on stresses, in addition to avoiding waste they
average 9.9 garments are being thrown into create local jobs.
trash cans or clothes recycling bins every In 2013, Story Wear founder Kuan Chen
minute. In 2018 Global Views Monthly maga quit her job in Taiwan’s fashion industry
zine revealed even more astounding figures: after five years and went off to the UK to
“Each year Taiwan throws away 72,000 met study for a master ’s degree. It was there
ric tons of old clothing, which is equivalent that she became aware for the first time that
to 438 garments per minute.” the fashion industry is in fact the world’s
Manmade fabrics’ environmental impact second largest source of pollution (after the
Another problem is carbon emissions. petrochemical industry). “My professor spe
Cheap manmade fiber is very useful, but cialized in sustainable fashion, so he talked
three times as much carbon dioxide is re about this issue all year long.” Textiles has
leased in its production as for raw cotton. always been a highly polluting, quite opaque
At present more than 60% of textile fibers
made are synthetic fibers produced from
fossil fuels, and clothing made from syn
thetic fibers doesn’t rot down when it reaches 街角裁縫師的媽媽們因為有了訂單收入，生活
landfill. This prompted the New York Times to 獲得改善，也成為幫助減少環境污染的功臣。
Thanks to their income from Story Wear orders,
comment mockingly that future archeologists mothers working as “street-corner seamstresses”
may study the fast fashion retailer Zara in have seen their lives improve, while also playing
their part in the fight against environmental pollution.
ancient landfills. Also, microfibers that come
off clothing when it is washed are swept into
mountains, oceans, and glacial ice, where
they persist for thousands of years without
decomposing.
A number of dedicated people are taking
action to reduce pollution from the fashion
industry. Some famous designers have begun
to incorporate sustainability into their cat
walk designs, for example by using purely
natural cotton or hemp materials for their
attire and rejecting the use of manmade
petro chemical fibers. Still others have al
tered production processes or extended the
life expectancy of products, or are using re
cycling to give new value to products and
turn waste into gold.
33
的產業，不人道的剝削、超時工作，衍生不少工裁縫的二度就業或弱勢婦女，以及家有身障兒
人權問題。的勇敢媽媽們。
為了讓裁縫師有所依循，陳冠百會先設計打
Story Wear升級改造單寧布
樣，裁縫師再依據樣品從成堆不同顏色、厚薄的
自從中國拒收任何國家的紡織廢品後，陳冠布料中，挑選出跟樣品相同版型及同類型的布，
百意識到事態的嚴重性。「接下來紡織廢品的垃顏色要搭配正確，布紋刷紋是直或橫，都要費心
圾會越來越嚴重。」台灣的回收衣物無處可去，搭配，再去手工拼接。
紡織廢品全部集中島內，這件事觸動她創辦了這也是為何Story Wear的顧客拿到商品時，可以
「Story Wear」。看到衣物標籤上的字樣：「回收單寧布料、廢棄
Story Wear的衣物原料大多來自企業捐贈的回收碎布、棉」、「手工製作時間24小時」，以及裁
牛仔褲，經過清洗再製後，變身成外型時尚的單縫師的親筆簽名。
寧布料外套、長裙、拼接洋裝，或是長大衣、布
每件衣物擁獨特身分證
背包、電腦包，也製作成環保杯袋、鑰匙圈、面
紙袋等小物。「我們每件衣服的原料都不同，所以拼起來的
「最困難的是要把全部的牛仔褲拆掉，重新變顏色、布紋都不一樣。」衣物獨一無二，所以需
回一塊布。」與Story Wear合作的「街角裁縫師」要一個獨特的身分識別。使用回收布製成的衣物
拿到強韌耐洗、不易變形的單寧布料後，要先把標籤就可誠實告訴顧客：「這件衣服做了幾個小
縫線拆掉，這可真的是個大工程。「街角裁縫時」、「是誰做的」。標籤揭露了這些資訊，恰
師」是陳冠百給她們的暱稱，其實是一群熱愛手恰符合國際環保時尚產業的趨勢，希望所有的品
街角裁縫師要把成堆不同花色、紋路的丹寧布料再加以拼接，比做一件新衣服還難。
Story Wear seamstresses have to piece together cloth from big piles of denim fabric of different colors
and weave patterns; it’s more difficult than making clothes from new.

industry, which has generated many human
rights problems around inhumane exploita
tion and long working hours.
Upgrading and remaking denim
It was when China refused to accept tex
tile waste from other countries that Chen
fully realized the seriousness of the situation
in Taiwan. “In the future, the problem of tex
tile trash will become increasingly severe.”
There will be no place to send clothing col
lected for recycling, so all the textile waste
will be concentrated in Taiwan itself. This
thought moved her to found Story Wear.
The fabric for Story Wear clothing comes
mainly from recycled jeans donated by busi
nesses. After being cleaned, the material
is remanufactured into fashionable denim
jackets, long skirts, splice dresses, overcoats,
cloth backpacks, computer bags, and even
small products like tumbler totes, key chains,
and tissue packages.
“The most difficult thing is that you
have to completely take the jeans apart,
right down to single pieces of cloth.” After
the “streetcorner seamstresses” who work
with Story Wear receive the denim material,
which is tough, wash resistant, and holds its
shape, they must first remove all the stitch
ing, which is a major task. “Streetcorner
陳冠百喜愛時尚，設計出來的衣服追求不褪潮流
seamstresses” is a pet name bestowed on 的經典款式。
these women by Chen, but in fact they are a Kuan Chen loves fashion, and in her designs she
aims for classic styles that never go out of vogue.
group of courageous women who love hand
tailoring and are in their second careers, are
disadvantaged, or have disabled children at
home. When Story Wear customers buy their
To give the seamstresses a model to work products they can see on the labels infor
from, Kuan Chen first makes a design and mation such as “Recycled denim, cloth
creates a sample. Based on the sample, the waste, cotton,” “Handmade in 24 hours,”
seamstresses then select cloth of similar pat and the handwritten signature of the seam
tern and type from piles of materials of dif stress.
ferent colors and thicknesses. They have to A unique ID for every garment
pay careful attention in order to accurately “The raw materials are different for each
match the color and make sure the grain of item of clothing, so the colors and patterns
the cloth runs in the right direction before of the finished products are all different.”
they can then assemble the new piece of Information about the production process is
clothing by hand. printed on the label for everyone to see. “In
35
牌都可以公開透明，「如此可以確保勞工的權益就讀時認識，秉持對永續時尚的理念，攜手創辦
沒有受到剝削。」陳冠百解釋。了STUDIO LIM。
「街角裁縫師」是Story Wear的重心，這些媽
逆時尚潮流，從廢棄到精品
媽們因家境因素，有的無法出門工作，必須長期
照顧生病的孩子，在一般職場無法找到適合的工他們研發出的纖維木器，採用永續環保的回
作。與Story Wear的連結，讓她們在手工縫製中重收廢木屑、舊報紙及亞麻纖維，並以傳統漆器工
新看見自己的價值，也為環境保護盡一份心力。藝的八道工序，反覆上漆及砂磨，製作出平滑如
如今Story Wear朝著與快時尚的相反方向前進，鏡、質地堅硬的托盤。這些精巧的物件可以看見
自2018年開辦品牌以來，已經升級改造2,408件牛選用環保的材質，以及結合精準的現代工藝。更
仔褲，代表有2,000多件原本要被丟棄的牛仔褲，令人吃驚的是，這些從廢棄到重生的商品，並不
被重新再製成衣服。除了改造回收衣物，S t o r y 是破破爛爛的回收品，而是有著雅緻的不規則花
Wear也替企業製作環保VIP禮品與生日禮，每個紋，兼備漆器的輕巧與精品般的質感，完全顛覆
月平均為弱勢婦女帶來5萬筆訂單，創造更多在人們對回收再製品的想像。
地的就業。「我們原本是為了碩士畢業製作，在製程中尋
同樣點石成金的，還有來自台中豐原的林昀廷找一些可實驗的材料。」林昀廷與聶嘉希的時尚
與來自香港的聶嘉希。兩人在英國皇家藝術學院嗅覺敏銳，在尋找材料突破的過程中，因緣際會
林昀廷（右）與聶嘉希，兩人把「永續」作為品牌的核心，攜手在台灣開展出
新材質製作纖維木器的時尚事業。
Lin Yun-ting (right) and Patricia Lip have taken “sustainability” as the core value of their brand. They have worked
together to develop a lifestyle business in Taiwan that makes products out of a new material: fiberwood.
從廢木器與纖維等原型材質變身成為堅硬厚實的
小物，過程花費了無數的實驗與心血。
Countless experiments and enormous effort have
gone into the process of transforming wood shavings
and plant fibers into hard and durable objects.
graduation project.” In the course of seeking

new substances, Lin and Lip serendipitously
met scientist Lee Koonyang from Imperial
College London. Lee’s nanocellulosecoated
support material became the foundation for
their development of fiberwood artifacts.
Novel applications
The two continually experimented with
this way people can be sure that the workers different mixtures of plant fibers in different
have not been exploited,” says Chen. proportions and even in different colors.
Since the brand was founded in 2018, They tried out all the fibrous materials they
Story Wear has remanufactured 2408 pairs of could think of, including flax, cotton, sisal
jeans, representing more than 2000 pairs that hemp, and Manila hemp (abaca), and also
would otherwise have been discarded. Also, experimented with different shapes, thick
they bring in an average of 50,000 orders per nesses, and curved surfaces. For example,
month for other items made from recycled after flattening material into sheets they
denim, creating numerous jobs for disadvan made tubes, and after continually adjusting
taged women. the physical properties of the material, they
Swimming against the fashion tide finally created a flaxfiber product that was
Lin Yunting from Taichung’s Fengyuan hard and durable. Although this technology
District and Patricia Lip from Hong Kong did not involve nanoscale materials, for their
are likewise turning waste into gold. The graduation project they successfully used
two met when studying at the Royal College flax to make a cabinet, a piece of construction
of Art in the UK, and based on their shared board, and a stereo.
ideal of sustainable fashion, joined together “Flax has the second largest production
to form Studio Lim. volume of any natural fiber in the world.”
They have developed fiberwood objects This annual herbaceous plant can be har
sustainably made from recovered wood shav vested each year, and is very environmentally
ings, old newspaper, and flax fibers. They friendly. In the future there will be no need to
also use traditional lacquerware techniques, cut down forests if flax fiber can be made into
repeatedly applying lacquer and sanding boards from which to make large furniture.
it down, to produce serving trays that are Waste wood shavings are also mixed into
hard and durable, and as smooth as glass. In the fiberwood. Lin and Lip took shavings of
their ingenious products, the use of environ Taiwan zelkova, cypress, sweetgum and other
mentally friendly materials combined with types of wood from lumber processing plants
sophisticated modern craftsmanship greatly in Taichung’s Fengyuan District, mixed them
alters the impression people have of “re with flax fiber and then added coloring, to
cycled” manufactured goods. produce coasters and dessert plates with
“We started out by looking for some ma unique wood patterns.
terials we could experiment with for our MA Because fibers absorb water, Lin and
37
結識了帝國理工大學的科學家Koon-Yang Lee。纖維木器中還摻用了回收廢木屑。兩人把台中
Koon-Yang Lee的奈米纖維支撐材料，成為兩人後豐原木工廠職人刨下的櫸木、檜木、楓木等回收
續研發纖維木器的基礎。廢木屑，混合亞麻纖維再加以染色，做出每件木
兩人初見Koon-Yang Lee時，那些新的材料還停紋都獨一無二的托盤與點心盤。
留在研發階段，無法轉變成吸引消費者的商品。由於材料本身是纖維，相當怕水，林昀廷再從
「那些研究成果看起來非常原始，就像是一堆草豐原傳承百年的漆器中取得靈感，為纖維木器上
堆在一起的材料。」Koon-Yang Lee只埋首研究，漆，達到防水功能。「只要不刻意破壞，這些小物
缺乏現代設計或製程的推進，這一方面，林昀廷件都可以使用很久。」最近他們還混入了廢報紙，
與聶嘉希的專業剛好可以補足。做出複合材質的托盤，遠觀類似磨石子材質，近看
則仍可看到報紙上的字，是相當新穎的嘗試。
材料突破應用超新穎
永續這條路怎麼走下去？
「我們繼續嘗試不同的植物纖維實驗，不同的
比例，甚至不同顏色的混合。」兩個人把所能想材料實驗創新，STUDIO LIM取材自回收廢木
到的纖維材料全部玩遍，亞麻、棉花、劍麻、馬屑製成的托盤，從外觀上很難聯想到「廢棄」、
尼拉麻，也去實驗不同的形狀、厚度與曲面。例「二手」或「回收」等字眼，陳列在架上顯得相
如壓成片材，做成管狀，不斷改變材料的物理條當精緻美麗。
件，最後成功把亞麻纖維的質地變得堅硬。這項再加上「永續」這個字眼時，是不是就更為
加分呢？或是讓更多顧客買單？答案並不是這麼
簡單。「會來買我們東西的人，都不是因為這件
商品永續，而是因為東西漂亮。」林昀廷一語道
出推廣永續觀念的困難。聶嘉希也附和：「永續
是我們的品牌核心，但是在與顧客溝通時，永續
只能是一個附加的名詞。」因此要讓顧客接受永
續，先決條件是商品不能醜醜的，「沒有顧客會
願意掏錢買一個更醜的商品。」
陳冠百也說：「我本來是時裝背景，也喜歡時
尚經典的款式，所以希望設計的東西我自己也喜
歡，不會因為季節或退流行，大家就不穿了。」
為了讓纖維木器能夠長久使用，Studio Lim將傳統漆器工藝
與現代的製程結合，增強產品的永續性。
Story Wear在兼顧永續時尚的同時，也希望打造出
To enable consumers to get years of use out of fiberwood 有質感的品牌氛圍。
products, Studio Lim has combined the traditional craft of
lacquerware with modern manufacturing processes, making the 回歸到事物美好的本質，珍惜所有，珍惜身邊
products more durable.
的人事物，我們的消費可以有更好的選擇。「所
以我們鼓勵人們盡量把東西用到極致。」林昀廷
技術雖然沒有使用到奈米，但也成功在畢業製作與聶嘉希樂觀看待永續時尚的未來趨勢，也希望
中，把亞麻纖維做成一只櫃子，一塊建材板材，教育消費者能夠理解，永續時尚不只是某個品牌
以及一顆音響。的單一理想，而是一種生活態度。陳冠百則感性
「亞麻纖維是全世界產量第二大的纖維。」這地說，這輩子不會再回頭去生產全新的衣物，如
種一年生的草本植物，可以年年採收，也可在缺果有一天Story Wear消失了，也不會覺得可惜，
水的泥土中生長，非常環保。這也意味著未來不「因為那代表世界上再也沒有廢棄衣物、沒有
需砍伐森林，應用亞麻纖維一樣可以製作大型家勞工剝削的問題。」她現在唯一想做的，就是把
具的板材。「零廢棄時尚」的理念推廣出去。 l

Lip also drew inspiration from Fengyuan’s 纖維木器的誕生，代表未來不用砍伐緩慢生長的
centuryold tradition of lacquerware making, 森林，以一年生的經濟草本作物，也能製作成堅
硬的板材。
and applied lacquer to the fiberwood to make The creation of fiberwood could in future obviate the
need to cut down slow-growing forests. Flax, a widely
it waterproof. “So long as they aren’t delib grown annual herbaceous plant, can be turned into
erately damaged, these objects can be used hard board material.
for a long time.” Lately they have launched a

new experiment by adding in waste newspa
per to make a composite material from which
they produce serving trays. From a distance sustainable, Story Wear also wants to create a
they look like terrazzo, while up close you brand image for quality.
can actually read the characters from the Returning to the good side of our nature,
newspaper. we can make better consumer choices by
How can sustainability be achieved? treasuring the things around us. “That’s why
Looking at Studio Lim’s trays made from we encourage people to try to use things
reclaimed wood shavings, one’s thoughts do for as long as they remain usable.” Lin Yun
not incline to words like “waste,” “second ting and Patricia Lip are optimistic about the
hand,” or “recycled.” Arrayed on a shelf they future of sustainable fashion, and hope to
look exquisitely beautiful. educate consumers to understand that sus
Kuan Chen likes classic, enduring styles, tainable fashion is not just an ideal for a par
and she wants to design things that people ticular brand, but a way of life. l
won’t stop wearing when seasons or fashions (Sharleen Su/photos by Lin Min-hsuan/
change. While ensuring that its clothes are tr. by Phil Newell)
39
封面
故事
COVER
STORY
人人參與的
循環模式
好盒器與電電租
All Aboard for the
Circular Economy!
—Good to Go and
Homeapp123
文•陳群芳　圖•莊坤儒　版面設計•胡如瑜
面對地球資源有限，傳統生產、消費、丟棄
的線性經濟模式，需要新思維，而強調資源永續
的循環經濟或許能帶來解方。容器租借服務「好
盒器」，以及家電租借共享平台「電電租」，懷
抱與萬物共好的心意，開創新的經濟模式，拉近
大眾與循環經濟的距離。
電電租鼓勵民眾將家電放上平台，不僅創造資源的循環，
還能增加額外收入。
“Homeapp123” encourages people to make their home appliances
available for rental online, both to promote the circularity of
resources and also to bring in a little extra income on the side.

宋宜臻（左）與李翊禾（右）以
設計專長推出好盒器，實踐讓人
們、島嶼、物品彼此共好的理想。
Sung Yi-chen (left) and Li Yi-he
(right) employed their design
expertise in founding “Good to
Go,” putting into practice their ideal
of harmony between people, our
island, and material goods.
G ive n that th e pla n e t o nly has limit ed re -

s o u r c e s , p e r h a p s s ol ut i o n s c a n b e fo u n d
in the circular economy, which emphasizes the
ate 1.5 billion discarded drinks cups each year. Fortu-
nately, Sung Yi-chen and Li Yi-he, founders of the “Last
Longer Project,” are promoting the drinks container
sustain able use of resources. Embracing the ideal rental service “Good to Go,” providing an alternative
of human kind living in harmony with nature, the choice to single-use containers.
drinks container rental service “Good to Go” and “Painless” rental model
the home appliance rental platform “Homeapp123” When you come to Tainan’s Zhengxing Street com-
are creating a new economic model to bring more mercial district or the area around National Cheng
citizens into the circular economy. Kung University, you see many shops with a cute
cup-shaped sign hung on their doors or set out on
You can find shops serving custom-mixed tea drinks their counters. By scanning the adjacent QR code and
everywhere in Taiwan. However, while these drinks becom ing a Line friend of Good to Go, you can use
represent a huge business opportunity, they also gener- their container rental services. All you have to do is
41
只要加入好盒器的L I N E好友，便能在店家
使用好盒器的杯子，喝完再投入回收機；
簡單幾個步驟就能挽救免洗容器對環境造成
的傷害。
After you friend Good to Go on LINE, shops
can serve you your drinks in Good to Go cups,
which can be returned via partner businesses
or collection machines once you are done. With
just a few simple steps you can avoid harming
the environment with single-use containers.
台灣的手搖茶飲普及，連鎖品牌的足跡遍布創辦人宋宜臻與李翊禾，是成大工業設計系
全球；飲料帶來商機，卻也為這塊土地帶來每年的同學，2015年共同成立人嶼物股份有限公司，
15億個廢棄飲料杯。所幸，「人嶼物股份有限公「只要是還可用的資源，就會想幫它尋找第二生
司」的創辦人宋宜臻與李翊禾，推出容器租借服命，東西不應該是做出來被丟掉的。」宋宜臻緩
務「好盒器」，讓人們在追求便利的同時，也有慢而堅定地說著公司理念。李翊禾認為身為設計
代替一次性容器的新選擇。師有使命讓物品好好被製造，然後長久使用；然
而免洗容器的製造，卻是一開始就以被丟棄為目
「無痛的」容器租借模式
的。這個與理念對立的產品，便成為她們第一個
來到台南正興商圈或是成功大學周邊，不少想挑戰的議題。
店家門口擺著可愛飲料杯造型的小牌子，掃描旁她們在2017年開啟了好盒器的「正興杯杯計
邊的QR code，加入好盒器的LINE好友，即能開畫」，在正興商圈找到三間願意合作的店家，
始使用容器租借服務。購買飲料時只要向店家出開始實驗好盒器的運作。為取得民眾信任，好
示借用畫面，店家便會使用好盒器的杯子盛裝飲盒器最早使用的是透明玻璃杯，「我們天真的
料。飲用完畢，再回到任何一間好盒器合作的覺得只要把乾淨的杯子放到店家，他們就會用
店家歸還，好盒器團隊會到店家收回使用過的杯吧！」宋宜臻說。但實際訪談後才發現，店面
子，送交清洗廠清洗消毒。空間、人員訓練都是問題。「自帶環保杯政策
過去，喝完飲料要找垃圾桶丟，使用好盒器已推行十年，卻效果不彰，這中間一定有違背
的服務，只是把丟垃圾的步驟轉移成找店家回人性的部分，我們要做的就是把這一切的障礙
收。對民眾而言，不用自帶環保杯，也不用洗逐一清除。」宋宜臻表示。就店家端來說，自
杯子，生活習慣沒有太多改變，卻能大幅減少備容器規格不一，在講求速度的生意場所，研
垃圾產生，輕鬆就能隨手做環保。這看似簡單究開瓶方式、容量等都會增加操作的難度；對
的服務流程，卻是好盒器團隊嘗試了兩年多才民眾而言，忘記帶環保杯、事後清洗等不便，會
換來的成果。降低使用意願。

on-site visits they found that there were problems with
available shop space and staff training.
Good to Go spent a year designing their own tum-
blers, taking into consideration various factors including
heat resistance, transportation, and washing, as well
as recycling of broken tumblers. In the end they opted
to use polypropylene, which has a smooth, non-stick
surface, as the material, and they designed the cups
to be stackable. After tumblers are returned from the
cleaning plant, they are inspected one by one, then their
QR codes are scanned, and sets of ten cups are placed in
long waterproof bags designed by Good to Go. The cups
are stacked bottom up, making them easy to use. For
consumers, the cups add a designer feel to their drinks,
and they can be used with the tumbler totes and re-
usable straws that are available in stores. Moreover, each
time a consumer returns a rented cup they earn points,
which they can exchange for drinks discount coupons.
show the rental screen at the shop and they will put 使用過的杯子經專業式洗碗機清洗消毒後，再逐
your drink into a Good to Go cup. When you are fin- 一品管檢查。掃描條碼後裝成一袋袋，送到店
家，完成好盒器的外帶容器循環服務。
ished with your drink, return the cup to any partici- Returned cups are machine washed and sterilized,
pating business, and the Good to Go team will collect then individually inspected. Then their QR codes are
scanned and they are bagged up and sent out to
the used cups and take them to be machine washed shops, thereby completing the cycle of Good to Go’s
reusable take-out container service.
and sterilized.
For consumers this doesn’t call for much of a life-
style change, since you still don’t have to bring your
own travel mug and don’t have to wash anything, so
people can behave in an environmentally friendly way
with little effort. However, it took the Good to Go team
two years of trial operations to create the process for
this seemingly simple service.
Founders Sung Yi-chen and Li Yi-he were classmates
in the Industrial Design Department at National Cheng
Kung University. They jointly founded the Last Longer
Project in 2015, with the idea that they “wanted to find
a second life for all kinds of usable resources; things
should not be made just be to be thrown away.”
In 2017 they launched Good to Go’s “Zheng xing Cup
Project,” experimenting with various operating models
for Good to Go in the Zhengxing Street commercial dis-
trict. To win the confidence of consumers, Good to Go
started off by using transparent glass tumblers. They
assumed that as long as clean glass containers were
placed in shops they would be used, but when they did
43
好盒器做了各種調查研究，持續優化服務流借出隔天的午夜，逾時未還，系統會透過LINE發
程，嘗試過押金制、APP會員制，最終只要加入出提醒並暫時停權。會使用好盒器的民眾多是認
L I N E好友，即可租借。花了一年時間設計專屬同環保理念，不會故意破壞服務流程，所以目前
的杯子，考量耐熱、運送、清洗，以及杯子損壞杯子被帶走的比率非常低。「每個人家中都有許
後的回收機制是否完整等因素，最後選擇表面光多閒置環保杯，實在不需要多擁有一個。」宋宜
滑不易附著的P P聚丙烯為材質，並將杯子設計臻說。按時歸還，讓更多人有機會使用，也是好
成可堆疊的形式。從清洗廠送回來，會逐一品管盒器想跟民眾倡議的觀念。「想要嗎？趕快再去
把關，掃描杯身條碼後，以十個為一組，裝入自店裡租一個就好。」李翊禾笑說。
行設計的長型防水袋，讓店家打開袋子，杯底朝除了飲料店能見到好盒器，市集活動也有好盒
上，方便取用。對民眾而言，杯子外型與原本的器足跡，像是大港開唱、覺醒音樂祭等。攤位上
飲料杯無異，還多了設計感，市面的飲料提袋、不只杯子，碗盤叉匙一應俱全，民眾只要到好盒
環保吸管都能合用；且每完成一次租借加歸還的器攤位租借，就能在會場裡各小吃攤使用，大幅
完整服務，就可以獲得點數，累積兌換餐飲折價減少一次性餐具的用量。
券，提升使用意願。好盒器一路走來，不斷摸索嘗試，去年除了將
好盒器的杯子推廣至更多店家，也開發了自助回
一片真心，吸引宇宙集合力量
收機，只要對著機器掃描杯身條碼，將杯子投入
杯子具設計感，租借又不需要租金，難道不怕機器中，團隊便會定時到定點回收，希望增加民
民眾借了不還？宋宜臻表示，杯子的歸還期限是眾歸還的便利性。

吳亞靜（右）開放自
家攤位讓民眾租借好
盒器，帶到其他攤使
用再拿回來還也沒關
係，希望一起將減塑
的心意傳遞出去。
Wu Yajing (right) made
her own night-market
food stand available
for people to rent Good
to Go products. She
doesn’t mind if people
use them to buy food
from other vendors and
then return them to her,
so long as the ideal
of plastic reduction is
being put into practice.
Spreading the Good to Go message single-use containers has attracted a great deal of atten-
Sung Yi-chen explains that the deadline for return- tion. For example, Wu Yajing, who runs a Thai food
ing cups is midnight the next day. If the deadline is stand in the Zhonghua Road night market in Tainan,
missed, the system will send out a reminder over Line sought out Good to Go on her own initiative with the
and put a freeze on the person’s right to rent more aim of becoming a container rental point for the night
cups. Most people who use Good to Go identify with market. She wants to encourage people to rent contain-
the company’s ideals and will not deliberately wreck ers at her stand which they can then use at other food
the process, so that thus far there has been a very low vendors, as everyone works together to spread the ideal
rate of cups not being returned. Good to Go reminds its of reducing plastic waste.
clients that returning cups on time allows even more Good to Go has also beg u n to expa nd beyond
people to use them. Tainan, thanks to support from cooperative projects
Good to Go also makes its presence felt at events by the Kuang Tien General Hospital in Taichung, the
like the Megaport Music Festival and the Wake Up Fes- Hsinchu County Environmental Protection Bureau
tival. At the Good to Go booth, people can rent cups, and the Tainan City Environmental Protection Bureau.
plates, and cutlery to use at the event, greatly reducing This has led to cooperation with convenience stores:
the amount of single-use tableware consumed. For example, a number of convenience stores in Tainan
Last year Good to Go not only continued to promote now offer the option of purchasing coffee in Good to
the use of its cups in even more shops, they also devel- Go cups. As of the end of 2019, Good to Go has enabled
oped self-service cup return machines: consumers need shops to use 67,000 fewer single-use containers. Some
only scan the cup’s QR code and insert the cup into the day, when high-volume vendors such as drinks shops
machine, and the team will periodically come round to and convenience stores all provide rental containers for
collect the cups. The hope is to make it even easier for take-out products, the impact on the environment will
people to return their cups. be even greater.
Although Good to Go is still at the stage of seeking New value for home appliances
partner shops and trying to work out a feasible busi- Homeapp123, which went online in January of 2019,
ness model, their impact on the issue of trash from is the first home appliance rental platform in Taiwan.
45
民眾使用電電租平台租借家電，當面點交確保家電品質狀況。
When people rent home appliances through the Homeapp123 platform, the devices are
handed over and checked face to face to ensure they are in good condition.
雖然與店家的合作現今仍屬推廣，尚在摸索可電鍋、吸塵器、空氣清淨機等家電，上網竟然就
行的商業模式，但好盒器為一次性容器廢棄問題可以租的到。
所帶來的改變，已受到許多人的關注。例如，台 2018年1月上線的「電電租」，是全國第一個
南中華夜市泰國媽媽小吃攤的吳亞靜，主動找上家電出租共享平台。民眾只要加入會員，將家電
好盒器，希望成為夜市裡的容器租借點，還跟管拍照上傳，填寫家電的品牌、型號、使用心得等
委會及周邊攤商溝通，鼓勵民眾到此租用容器，資料，就能將家電上架，成為平台暱稱的「電租
帶到其他攤位使用，一起將減塑的善念傳遞出去。公」，將家電開放給網友搜尋。在出租訂單成交
又或像是台中光田綜合醫院、新竹縣環保局、前，家電仍是在自己家中繼續使用。
台南市環保局等都陸續以計畫合作的方式，支持家電是每個家庭裡必有的物品，有因為需要而
宋宜臻與李翊禾繼續前進，讓好盒器走出台南，買、有衝動消費，或抽獎贈品。每個家庭就像一
也進而開啟與超商合作的機會，如今台南有好幾間小型倉儲，電電租透過幾個簡單的步驟就能將
間超商都可以選用好盒器來盛裝咖啡。截至2019 每個人的家電串聯，讓閒置家電發揮功用，還能
年底，好盒器已經為環境減少了6萬7千多個免洗為家電主人創造額外收入。令人訝異的是，電電
容器的用量。我們期待，有朝一日，當民眾日常租平台的兩位創辦人都沒有資訊工程的背景，卻憑
消費的超商、飲料店都能提供外帶容器的租借，著比一般人多一點點的行動力，建置起電電租。
對環境的影響層面將會擴大許多。時間回到2016年，同為全職媽媽的莊惠珺與高
蓉琦，在「財富方舟股份有限公司」結識，希望
活化屋內家電，創造新價值
利用零碎時間增加收入，於是參加了自由財務實
除了外帶餐具可以租，在國人的創意發想下，戰班的專案課程，選擇了家電出租這個專案進行

After signing up as members, appliance rent an electric rice cooker that would cost
owners can upload pictures of their appli- only a few thousand NT dollars to buy new.
ances along with details including the brand, Renters fall into three types: The first
model, and any comments, to become “appli- wishes to use an appliance with no intention
ance renters” and make their appliances of buying it, while the second plans to try it
available to other Internet users. out, and to buy one for themselves if it fits
Every home is like a small warehouse. their needs. If everyone were willing to use
Through a few simple steps Homeapp123 the appliances on a platform like this, not
can link together individuals so that idle only could people get new value from their
appliances can be put to use and also earn possessions, the number of appliances that
some income on the side for their owners. are purchased and that accumulate in homes
It’s surprising to learn that the two founders could be reduced. “It’s not that we want to
do not have a background in information discourage people from buying home appli-
engineering, but rather created Homeapp123 ances, but rather to ask them to think clearly
just by having a little bit more initiative than about what they need before they buy. For
most people have. example, don’t go buy a large new oven
Back in 2016, two full-time homemakers,
Judy Zhuang and Michelle Kao, signed up
for a “financial freedom” class offered by
the Richark company, and decided to do a 高蓉琦（左）與莊惠珺（右）創辦電電租，
為閒置家電帶來新的價值。
project on appliance rental. Zhuang and Kao Michelle Kao (left) and Judy Zhuang (right)
founded Homeapp123 to give new value to home
made their own conventional and robot vac-
appliances sitting idle in people’s homes.
uum cleaners available for trial rental free
of charge to Richark members, and in the
process worked out details like the rental
procedures, contracts, and prices. They also
asked members skilled at setting up websites
to create a simple webpage using Google
Forms. To their surprise, even non-members
signed up for rentals, and the two began to
sense the market potential of home appli-
ance rentals. They formally established the
Homeapp123 company in July of 2017.
Ubiquitous demand
Michelle Kao says that at first they ex-
pected that customers would only want to
rent expensive high-end appliances, so they
set up just two rental plans and fee levels:
Rent on Tuesday and return on Friday for
NT$500, and rent on Saturday and return on
Monday for NT$700. These were the same
regardless of the type or brand of appliance.
It was only after they began real operations
that they discovered that demand for home
appliance rentals was very diverse, and there
were even people willing to pay NT$500 to
47
研究。為了解可行性，她們拿出家中的品牌吸塵第三種族群是商用需求，例如有公司為了消除
器及掃地機器人開放給財富方舟的會員免費試裝潢氣味，一口氣租了10台空氣清淨機，讓待在開
租，並從中研擬出租流程、合約訂定，以及出放空間辦公的同仁有舒適的工作環境；或是影視
租價格設定等細節，另請擅長網站架設的會員利劇組租借精品家電，作為豪宅的場景布置等。電
用google表單及weebly網頁，建置簡單的一頁式網電租平台至今接過捕蚊燈、電磁爐、電鍋等各種
站。沒想到真有陌生網友預約租借，兩人嗅到家電需求，商務訂單常常一次就是10台以上的數量。
出租市場的可能性，便在財富方舟裡募集資金，於高蓉琦表示，電電租常被誤會是一間買了各式家
2017年7月正式成立電電租股份有限公司。電等著出租的公司；但事實上租借需求五花八
門，沒有公司能承受龐大的庫存壓力，其實最大
租借需求無所不在
的資源就藏在每個人家中，平台的角色就是挖掘
高蓉琦表示，起初預設萬元的精品家電才有人這些潛在資源。
租，所以訂定了兩種租金類型：周二租周五還租電電租做為共享平台，也像是在跟大眾倡導物
金500元，或是週六租週一還租金700元，不論品品的使用權，而不是擁有權。在循環經濟概念逐
牌及種類，租金都只分成平日、假日兩種。實際漸成熟的現在，產品服務化已是未來趨勢，如何
運作後才發現家電租用的需求五花八門，就連幾以產品提供大眾更有價值的服務，產品的修繕、
千元的電鍋也有人願意以500元的價格租用。後續回收再利用的可能性，都會是設計產品時的
使用電電租平台租借的族群大致可分為三種，考量。例如發展光源出租模式的「漾拓國際股份
一是有使用需求但不想買，太貴、體積太大都是有限公司」，提倡租用LED燈具，由漾拓負責維
考量；另一種則是試用，確定符合需求再買。高修保養，以及後續的回收再生，對使用者而言就
蓉琦指出，全球的家電保有量超過十億台，每年像是租借一道更節省能源和資源的光，落實了循
有3,000多萬台家電被報廢，這些無形的浪費，都環經濟。
是對資源的損耗，如果每個人都願意使用平台共電電租的兩位創辦人最初只是全職媽媽想要靠
享家電，不但可以活化資產，還能減少家電的囤出租家電賺零用錢，沒想到卻意外成就了一番事
積跟生產。「不是鼓勵大家不要買家電，而是想業。不要小看天馬行空的想像，有時候，只要一點
清楚再購買。不要為了一時興起烘焙魂，而添購點行動力，就可能帶來意想不到的改變。參與循環
大烤箱，只用幾次就閒置一旁。」經濟，我們能做的，比想像中更多。 l
看似簡單的外帶杯設計，卻是好盒器團隊經過無數
次研發才有的成果。
The seemingly simple design of these take-out
cups actually required considerable research and
development work by the Good to Go team.

只要不斷嘗試，人人都有機會在循環經濟中，
找到與萬物共好的生活方式。
So long as we are ready to try new things, all of us
have the chance to discover new ways to live in
harmony with nature through the circular economy.
because of a sudden momentary interest in

baking, then just use it a few times and never
use it again.”
The third type of renters are commercial
users. For example, one company rented ten
air purifiers through Homeapp123 to get rid
of a lingering smell after redecorating, while
a TV drama production company rented
high-end appliances as props for a set depict-
ing a luxury dwelling. The Homeapp123
platform has accepted many commercial
orders—often for ten or more appliances at a
time—for items such as insect traps, induc-
tion cookers, and rice cookers. Kao notes that
many people mistakenly assume that Home-
app123 is a company that has purchased all
kinds of home appliances to rent out. In fact,
given the wide variety of items in demand,
no company could bear the burden of storing
that many appliances. Their role is to help
renters tap into the huge resource repres-
ented by the appliances kept in individual
households.
Homeapp123 urges people to t hink in
terms of “right of use” rather than “owner-
ship.” As the concept of the circular econ-
omy matures, making products into services
will be the trend of the future. For example,
t he Color Park Inter nat ional Group has
developed a model for renting out lighting
equipment. They promote the leasing of LED
lights, with the company providing regular
mainten ance and finally recycling. Users this activity would turn into a full-blown
have the experience of renting lights that enterprise. Sometimes, all it takes is a little
save energy and resources, thereby putting initiative for what seems like a wild idea to
the circular economy into practice. make an unanticipated difference. We can
The founders of Homeapp123 were just all participate in the circular economy more
two full-time homemakers who wanted to than we imagine. l
earn some extra cash through the rental of (Chen Chun-fang/photos by Kent Chuang/
home appliances; they never expected that tr. by Phil Newell)
49
我感
謝《
這片光華
土地》，
Th 上許
ank 因為
hav you
, Ta
許多多這道
e sh i 光，
『光 o ne w an P 瑰麗
華美
華』 upon th anorama 的吉
了
をよの光 is , fo 光
り美は台 land fo r the l 片羽。
しく湾 r so i g ht
（新照らの数々 many y you
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
麗的，異國 ew
因為土地 Tai
pei
I’ve 永恆它記翻 Cit
been 。錄剎 y）
from read 那成
m i n gT
my t y ba aiwa
ime refo n Pa
ot yo noram
mom abro uth a for
ent a ad, b all th yea
ecau e wa
裸足 nd m se it y thr rs,
akes capt ough
の頃 it be ures
華』をから autif the
読み異国 ully
eter
つを訪れ nal.
華』は一づけるま
つのてきで『光
にと素まし
どめ晴らた。『光
てくしい
れま瞬間
（挪す。を永
威E
ll isa
Yao
遠
/ Ell
isaY
ao, No
rway
）
我在
海外
擁有 40年
《國的歲
法，家地月裡
以及理雜特別
《財誌喜愛
As s
ome
》的《光
one 富》內涵華》
fond who h 雜誌的、《，因
ness as liv 編時代為它
Geog for Taiw ed a 排》雜
raphic an P broa 形式。誌的
, wri anora d for 寫
海外 ting li ma b
ecau 40 years
に暮 ke T se it ,Ih
んでらし ime,
a o ave a
きまて4 nd a ffers part
した 0年 layo cont icula
フィ。
『光、いつ ut lik
e For
ent li
ke N r
ック華も『光 tune. ation
我的『フ』誌に』の内華』を al
記憶ォー匹敵
在美中有チュし、文容は『ナ楽し
みに
好的一片ン』誌章は『ショ読
年代《光に匹タイナルジ
更有裡華》敵しム』誌オグ
著「除了，因ますラ
Taiw 光華美好為。、レイ
an P 」的輝的記アウ
mem anora
ma h 煌。憶，（美
國
トは
ori
es be a
s its 王福
權/
not cau own Ken
only
my o se then spac tW
e in ang
but wn m I get my , USA
Taiw to h ）
an P emo old o
私の anora
ma’s
ries
of g n to
記憶 brill o od t
ありの中 ianc imes
ますには『 e as
well
,
出。
しい美光華 .
とと時』の世
もに
常に『代の、美界が
光華しい
（台
北徐』があ思い
志蓮りま
/ Xu
Zhil
す。
ia n, T
aipei）
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
Taiwanesa because am
e it lets me
trends, cu
stoms, an read abo
外国語で d history ut
台湾の風 in other
langu
とができ土や民俗 ages.
る『光華』、歴史な
が大好きどを読む
です。こ
（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
台灣意象 ◎ 光華畫報雜誌社
好讀
月
一次出現在台灣地圖上，長達 400多公里的「樟之細
第路」，顯然不是觀光客心目中的「觀光景點」，但是比
起一座建築，一個地標，我感受到心底燃起的熱情，像是熱水
器的火星塞瞬間被點著那樣，我看著一幀幀美麗的照片，渴望
著自己的雙腳，能夠踏上這一條串連起古道、農路、登山步道
的美麗路徑。
如果你問我，我會說台灣適合觀光，但更適合體驗。
「台灣觀光」的時代，已經成熟，而「旅行台灣」的時代，才
剛要開始。
國際NGO 工作者／作家褚士瑩推薦
***
常外國人聽到台灣的第一印象就是高科技或腳踏車，但
通跟我一樣真正來過台灣、看過風景、體驗過人情味及各
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，
種民俗活動，才發現台灣真的很特別。
當然，最重要的是台灣的包容性，創造出多元融合的宗教文
化，客家人、原住民、閩南人、新住民都可以在這塊土地上和
平相處。
希望可以藉由這本書，讓世界更接近台灣。
金鐘獎行腳節目主持人／作家吳鳳推薦
書名：台灣意象
作者：光華畫報雜誌社編著
定價： 480元頁數：287頁
出版：光華畫報雜誌社
位於後龍的「舊過港隧道」內部利用圓拱力
全台灣
學原理，堆疊紅磚成漂亮的馬蹄弧形，頂部
還留有蒸汽火車煙囪燻黑的痕跡。如今隧道
已改成自行車道，並配上照明設施，供民眾
散步騎行。
53
北台灣
300多年前，憑恃著岬灣的天然屏障，野柳已然成為北海岸最大的天然漁港。
而矗立海上的單面山，彷彿昂首傲視的靈龜，在詭譎洶湧的波濤中，
堅毅守護著當地漁民。
布農族南安部落的耕地，世代都襲用傳統農作的方式，近年為
了保護環境及生態，轉為以「自然有機」方式生產「玉山瓦拉
米」，採天然日光曬米、親自碾米等工序，販售推廣，煮成香
噴噴的米飯「特別好吃，有陽光的味道」這是南安部落有機生
產、辛苦耕耘的註解。
南台灣
東台灣
一路南向來到國境之南的恆春半島，這裡是中央山脈餘脈的終
點。有狹長的丘陵、台地相間錯落，裙帶般的珊瑚礁海岸為太
平洋、巴士海峽、台灣海峽所環抱，每年的9月到翌年3月，
在強勁的東北季風（落山風）吹襲下，多樣性的生物與堅苦卓
絕的人們在此共生共存，誕生出別具一格的文化景觀。

中台灣
仰望星空，著迷於星際的無垠，一群業餘天文愛好者，合歡山上的鳶峰就
是他們的聖地。每逢朔日，總能見他們載著眾多裝備上山，細心組裝，然
後守候黯夜降臨，展開由眾星主演的星際大劇。
55
影像對話　PHOTO ESSAY
世界屋脊下的故事
──
雪巴⼈
On the Roof of the

World:
The Sherpas
圖／文•李安峰　版面設計•蕭郢岑

每天早晨，雪巴人會虔誠謙卑的唸誦蓮花生大士心咒，
誦經的同時會點火燒香，也開始了他們的一天。
圖中背景之山為聖山之一：Phari Lapcha Karu.
Sherpas piously recite the Padmasambhava Mantra every
morning. They burn incense during the recitation, which marks
the beginning of each day. Shown in the background here is Phari
Lapcha, one of the holy mountains.
57
圖為聖母峰攀登路線中，準備從基地營穿過危險的冰瀑至第二營，
雪巴冰瀑醫生出發前的祈福儀式。
On the way to Everest’s summit, “Icefall Doctors” (local Sherpas responsible for making the
Everest routes secure) carry out prayer rituals before traveling from the Base Camp to Camp
Two through the dangerous Khumbu Icefall.

我是一位熱愛戶外運動的攝影師，13歲移民加拿大後，就愛上了運
動，也熱中於登山健行。
聖母峰，那座落於尼泊爾與中國邊境交界的世界最高峰，幾乎是許多
人夢想中的人間仙境，當然也列入我這一輩子一定要走一趟的夢想。
1953年人類第一次登上聖母峰，一夕之間聖母峰與雪巴人舉世聞名。當
時尼泊爾的雪巴村莊還停留在最原始、最純樸的農業與遊牧生活型態。
從1953年至今的短短67年裡，來自全世界的旅客、NGO團體紛至沓
來，讓在地的雪巴人可以完全仰賴觀光為生，雖改善了雪巴人的收入
與生活，但也讓雪巴人經歷了一波波的文化浩劫。
500年前，雪巴人因為戰亂，一個50多人的隊伍，從今天四川省甘
孜縣的藏族自治區，帶著大量的氂牛群，逃到了拉薩，希望可以在這
個神聖和平的地方，安居樂業。
無奈1531∼1533年之際，穆斯林大軍打到了拉薩外圍，這群人又逃
到了今天中國邊疆的定日縣。由於氂牛群會破壞高海拔的作物，與當
地人發生了許多衝突。
50位雪巴先人中，有一位名叫Kira Gombu Doje的獵人，在群山冰
川中看到了一頭喜馬拉雅山麝鹿（Musk Deer），他帶著獵犬，緊
跟在後。沒想到這頭麝鹿，帶著他們穿越了層層險峻高山，找到了
Khumbu這片修行的淨土。
I am a photographer who loves outdoor activities. I developed an interest in sport,

as well as in mountain hiking, after moving to Canada at the age of 13.
Located on the border between Nepal and China, Everest—the world’s highest
mountain—is an earthly paradise that many people dream about. Of course it is also
one of those places I feel I have to visit before I die.
Mt. Everest was conquered for the first time in 1953, a momentous event that brought
immediate fame to the place and the Sherpa people. At that time the Sherpa villages in
Nepal were still primeval, combining traditional agrarian and nomadic ways of life.
Since 1953, within a space of just 67 years, visitors and non-governmental organiza-
tions from all over the world have arrived on the scene, enabling the local Sherpas to
subsist entirely on the tourist industry. However, despite the economic gains derived
from tourism, the Sherpas’ traditional culture has been severely impacted.
Five centuries ago, the Sherpas’ ancestors—a group of some 50 people with a large
herd of yaks—fled to Lhasa from their war-ravaged home in today’s Garzê Tibetan
Autonomous Prefecture in China’s Sichuan Province. They hoped to settle perma-
nently in this holy and peaceful place.
However, in 1531–1533, when invading Muslim troops arrived on the outskirts of
Lhasa, these people fled again to what is today China’s border county of Tingri. Be-
cause their yaks destroyed crops, they were plunged into conflicts with local people.
Among the Sherpa ancestors there was a hunter called Kira Gombu Doje. Having
spotted a Himalayan musk deer in the ice-clad mountains, he followed it with his
hound. Never did he guess that the deer would lead them over one steep mountain
after another to Khumbu, a pristine place full of spirituality.
59
傳說蓮花生大士（Guru Rinpoche）曾經在此洞窟修行。
400年前從此山洞望出是一片荒涼。因為信仰的關係，漸漸的有居民移居到此山洞下，
形成了今天的3個村莊。
Legend has it that Guru Rinpoche sought enlightenment in this cave, which overlooked a wilderness as
recently as four centuries ago. Because of their religious faith, more and more people arrived to live in
the area below the cave, giving rise to the three villages we see today.
61
Khumbila（Khumbu Yül-Lha）是雪巴之鄉Khumbu區域的守護神。
(right) Khumbila (Khumbu Yül-Lha) is the patron deity of the Sherpas
in the Khumbu region.
圖中的6歲小朋友正是轉世的Thame村仁波切
Nawang Tsering Dodub Rinpoche。
(facing page) The six-year-old child pictured here is the reincarnation
of the rinpoche of the village of Thame, Nawang Tsering Dodub.
至今，雪巴人還是認為當年的那頭麝鹿，就是
當地的山神──Khumbu Yül-Lha的化身，帶領
著雪巴人進到了尼泊爾。這也是其中一個雪巴之
鄉「Khumbu」地名的由來。
雪巴人虔信藏傳佛教，宗教也在雪巴文化中，
有著一席不可動搖的地位。根據流傳於Khumbu的
藏傳佛教經典裡的記載，Khumbu這個地區，也是
108個藏於西藏與喜馬拉雅山之間的聖地之一。
雪巴祖先有個傳說，藏傳佛教的創始之神，蓮花
生大士（Padmasambhava, Guru Rinpoche）遠從西
藏，到了Nangpa La，進到了Khumbu區域，祂飛到
了一個非常大的洞穴，在一個鐘形的洞穴裡修行。 Even today, the Sherpas believe that the musk deer
that showed their ancestors the way to Nepal was an
當地的百姓非常的敬重祂，細心照顧供養祂，
incarnation of the local mountain deity, Khumbu Yül-Lha.
在Guru Rinpoche閉關修煉完畢後，離開前問了村
The Nepali region of Khumbu, where many Sherpas live,
民希望什麼樣的禮物。祂問道：「你們會希望我
also derives its name from this legend.
在你們的國度裡賜給你們一座充滿智慧的佛塔， The Sherpas are pious adherents of Tibetan Buddhism,
還是以我的神力用高山與雪保護這塊淨土？」而 and religion plays a significant role in Sherpa culture. Ac-
當地的百姓選擇了保護這塊淨土。 cording to Tibetan Buddhist scriptures circulated in the
據經典記載，Guru Rinpoche曾經在Khumbu很多懸 region, Khumbu was one of 108 holy places tucked away
崖峭壁上的洞穴修行，照片中的洞穴就是其一。400 between Tibet and the Himalayas.
There is an ancient legend among the Sherpas that
年來，有許許多多的喇嘛及仁波切也在此修行。
Padmasambhava, or Guru Rinpoche (the deity who gave
雨季，對雪巴人來說是觀光旅遊業的淡季。因為
rise to Tibetan Buddhism), traveled from Tibet to spend
沒有觀光客，許多家庭才得以享受家庭團圓的天倫 some time in Nangpa La. When he entered the Khumbu
之樂，也只有雨季才可以觀察到雪巴人真正的生活。 region he flew into a huge bell-shaped cave, where he
其實在每年的6月～8月之間，雪巴人格外忙碌。 subjected himself to austere spiritual practices.
因為在雨季裡會有兩個特殊的節慶，其中最重要的 The locals venerated him and took meticulous care
莫過於Dumji Festival（Offering Ritual）。這個節慶是 of him. When Guru Rinpoche had achieved his aim of
enlightenment and was about to leave, he wanted to give
400多年前為了慶祝蓮花生大士的壽誕之日。每年藏
something to the villagers. He asked: “Would you like me
曆的5月10日，也就是猴月（國曆6月底～7月初）。
to build in your country a Buddhist pagoda, where wis-
Dumji Festival有非常錯綜複雜的儀式，有各式各
dom abides? Or would you like me to exercise my divine
樣的金剛舞；以及中場休息帶給人們歡樂氣氛的神 power and protect this pristine place by means of high
靈「長壽之神」Mi Tsering；也有由喇嘛穿戴代表 mountains and snow?” The locals chose the latter.
神靈的面具，用火弓箭射向一堆堆象徵厄運與邪靈 According to the scriptures, Guru Rinpoche carried out
形體的供品，為人們燒除一年來厄運的儀式。 his religious study in many of the caves on the precipices
63
這位神仙本名Mi Tsering，是長壽之神。在Dumji Festival中會在整個法會現場
搞笑作弄來參加的民眾，據說被他抓到且被他作弄的人會受到祝福與長壽。
This deity is the god of longevity, Mi Tsering. During the Dumji Festival, his
playful clowning brings merriment to the attendees. It is said that those who are
caught and teased by him will lead a long and blessed life.
最讓我感動的是，在這天，不分男女老少，不分宗教種族，不分貧富貴賤。
在儀式現場，彼此一視同仁。大家一起祈禱、一起吃飯、一起付出，眾人學習謙
卑，全場井然有序，彬彬有禮。
雪巴人不只是登山客的嚮導，雪巴之鄉也是喜馬拉雅山上的禮儀之邦！ l
in Khumbu, one of which is photographed here. Over the past 400 years, many lamas and rin-
poches have also come here to pursue their spiritual enlightenment.
For the Sherpas, the rainy season coincides with the low season for tourism. Owing to the
absence of visitors, many locals are able to enjoy their family lives to the fullest. Therefore, only
during the wet season can we gain a deeper insight into how the Sherpas really live.
In fact the Sherpas are particularly busy from June to August every year because the rainy
season witnesses two special events, the more important one being the Dumji Festival, which fea-
tures ritualistic offerings. This festival, inaugurated some four centuries ago, celebrates the birth
of Padmasambhava on the tenth day of the fifth month of the Tibetan calendar (the month of the
monkey). In the Gregorian calendar, it falls between late June and early July.
The Dumji Festival is known for its highly complex rituals. There are various vajra dances.
During the interval the deity of longevity, Mi Tsering, arrives to confer a jolly mood upon the at-
tendees. And then there are annual rites of exorcism, where masked lamas, who represent the dei-
ties, shoot flaming arrows at piles of offerings that symbolize ill fortune and evil spirits.
What is most touching for me is that on this day, all people are treated equally regardless of their
gender, age, religion, ethnicity and social class. They pray, dine, give and receive as one community.
Everyone endeavors to cultivate humility, and order and politeness reign throughout the place.
The Sherpas are not only mountain guides. Their home in the Himalayas is also a place where
culture and etiquette bloom. l
(photos and text by Tony Lee/tr. by Brandon Yen)

圖中的Tengboche Rinpoche Ngawang Tenzing Zangpo Rinpoche（右）坐著轎
子翻山越嶺了3天3夜，回來為轉世的Thame Rinboche Nwang Shedrup Sherpa
主持印證Thame仁波切回歸登基儀式。
Ngawang Tenzing Zangpo Rinpoche (right), of Tengboche Monastery in Khumbu,
spent three days and nights crossing the mountains on a palanquin in order to preside
over the investiture of the reincarnate Thame rinpoche, Nwang Shedrup Sherpa.
65
全球視野　GLOBAL OUTLOOK
數位外交，
連結世界
讓人民感受外交的溫度

The Rise of Digital
Diplomacy:
Making Diplomacy
Accessible to
the People
文•謝宜婷　圖•莊坤儒　版面設計•蕭郢岑
外交的本質是人與人的互動，在社群媒
體時代，科技讓兩國的友誼，更迅速且廣泛
地被傳遞出去。這份溫暖，不只有第一線的
外交人員感受得到，還有社群裡的每一位網
路公民。
透過社群媒體，不只開啟了外交機構與
民間更直接的雙向交流，也讓國與國之間產
生更多面向、更緊密的連結。
I nterpersonal interactions are at the heart of

diplomacy, and in the age of social media,
technology makes it possible to convey friend-
ship between countries even more rapidly and
widely. And it is not just frontline diplomatic
personnel who can feel this warmth—every
netizen can do so too.
Social media not only create an avenue for
臉書台灣辦公室的「波霸奶茶房間」，牆面
設計是臉書表情符號的「波霸」，透過多 direct interaction between foreign affairs agen-
樣的表情呈現台灣波霸帶給人的驚喜。 cies and citizens, they also make it possible for
The wall in the “boba milk tea room”
of Facebook’s Taiwan offices is countries to enjoy a wider range of contacts and
adorned with images of the Facebook closer ties.
emoji “Boba,” whose many facial
expressions display the delight
brought to people by Taiwan
bubble milk tea.
67
去（2019）年7月，外交部國際傳播司（簡稱題包裝。」過去政府機構所傳遞的資訊多為政策
國傳司）與臉書台灣分公司合作舉辦「數位外交導向，缺乏互動，民眾多半不感興趣，但是，臉
工作坊」，邀請司內新媒體負責人員與各國駐台書上的影片功能、主題問答、活動直播等，不僅
機構派員共同出席並互相交流新媒體操作經驗。可以增進大眾對外交事務的了解，也可以讓看似
冰冷的機構充滿「人味」。
找回外交機構的「人味」
多元管道，為台發聲
臉書總公司公共政策暨對外連繫經理S h a r o n
Yang一開場就表示，透過社群行銷並影響群眾是國傳司副司長黃志揚表示，外交部目前主要有
當今的趨勢，據統計，全球每天活躍在臉書的使臉書、推特、Instagram三個社群媒體，還有一個
用者大約有15億人，而台灣則有約1,400萬人。 YouTube頻道──Trending Taiwan潮台灣。
透過臉書，外交機構可以與不同面向的群眾臉書主題定調為外交部日常，透過貼文告訴國
建立連結：對內，可以迅速推廣最新外交政策及內外粉絲，台灣外交最新政策及國際交流現況；
現況，同時了解民眾的回應；對外，可以與國外 Instagram則強調用圖片說故事，因此照片常捕捉
不同類型的機構建立多元的連結，利用適合的管外交事務動人瞬間，以帶出台灣在國際舞台的獨
道向世界推銷台灣。特價值；相較於前兩者，推特使用者多為英語系
外交機構要如何拉近與使用者的距離？Yang分國家，加上即時與簡潔的特性，因此常用來表達
享了四個訣竅：「真實性、互動感、即時性、主政府對議題堅定的立場。
外交部長吳釗燮在推特上的署名JW，已經成為
國際上獨特的標誌，當台灣遇到不公平的對待，
外交部國際傳播司透過創意的臉書經營，向國內民眾傳遞
台灣的外交現況。（林旻萱攝） JW就會明確表達對議題的看法，並即時回應。而
MOFA’s Department of International Information Services uses 外交部推特也吸引了許多國外的政要、媒體與非
Facebook creatively to inform citizens about current events in the
diplomatic realm. (photo by Lin Min-hsuan) 政府組織追蹤，時常在社群網絡中互為連結與互
動。即使雙方沒有邦交關係，但只要理念相同，
在重要的時刻也能為台灣發聲。
「潮台灣」則希望透過鏡頭下的故事，向國際訴
說台灣的軟實力。2015年外交部決定以貼近人民生
活的影片敘事來取代艱澀的政策宣達，於是成立了
此影音頻道，以故事性的影片宣傳台灣。在許多重
要的國際場合，潮台灣也會推出相應的影片，來宣揚
台灣的理念與實力。
2018年世界衛生大會（W H A）舉辦前夕，潮
台灣就推出影片「阿巒的作文課」，描述罹患象
腿病症的越南女孩阮氏巒，在台灣醫療團隊的幫
助下，恢復健康並展開新生活。藉由這個故事，
台灣想向世界衛生組織（WHO）表達 “Taiwan
can help.”（追求普世健康，台灣能有所貢獻）
的實力與決心。影片播出後，吸引了千萬人次觀
看，其中觀看者有十分之一來自阿巒的故鄉──
越南。其他國家的觀賞者也在留言區表達感動並
支持台灣加入WHA。美國國務院東亞暨太平洋事
務局也在推特上轉發，表達對台灣醫療的肯定。

外交部國傳司副司長黃志揚在「數位外交工作坊」
分享外交部新媒體經營策略。
Volkan Huang, deputy director-general of MOFA’s
Department of International Information Services,
shares MOFA’s “new media” operating strategy at the
Digital Diplomacy Workshop.
In July of 2019, the Department of International Informa- form’s immediate, uncluttered nature, it is often used to
tion Services (DIIS) of the ROC Ministry of Foreign Affairs express the government’s position on issues of interest.
worked with the Taiwan offices of Facebook to hold a joint JW, the Twitter handle of Minister of Foreign Affairs
“Digital Diplomacy Workshop.” Staff from the DIIS respon- Joseph Jaushieh Wu, has become a notable mark inter-
sible for new media and personnel from foreign countries’ nationally. Whenever Taiwan is treated unfairly, “JW” will
representative offices in Taiwan were invited to attend and clearly express his views on the issue. Moreover, the MOFA
discuss their experiences in handling new media. Twitter feed has many followers among foreign political
Speaking for Taiwan through multiple channels figures, media, and non-governmental organizations, who
DIIS deputy director-general Volkan C.Y. Huang noted routinely make contact and interact on social media. Even
that the Ministry of Foreign Affairs (MOFA) is currently when their countries have no formal diplomatic ties with
active on three social media platforms—Facebook, Twitter, Taiwan, so long as there are shared ideals, these people
and Instagram—and also has a YouTube channel, “Trend- will speak up for Taiwan at important moments.
ing Taiwan.” The aim of the “Trending Taiwan” YouTube channel,
On Facebook, MOFA’s focus is on day-to-day foreign meanwhile, is to tell stories through video to inform the
affairs, using posts to tell fans from Taiwan and abroad international community about Taiwan’s “soft power.” In
about new foreign policies of Taiwan and ongoing inter- 2015 MOFA decided to found this video channel in order
national interactions. Instagram is used to tell stories to replace abstruse and intricate policy statements with
through pictures, often using images that capture the films about people’s daily lives, using narrative videos to
most moving moments of international relations in hopes promote Taiwan. Trending Taiwan also produces relevant
of evoking Taiwan’s unique value in the international films for major international events in order to extol Tai-
community. In contrast to these two, most Twitter users wan’s ideals and capabilities.
are from English-speaking countries, and given the plat- On the eve of the World Health Assembly (WHA) in
69
「駐外使館的串連也是一股強大的力量。」談、慶祝美國國慶、「自由開放的印太願景」問
黃志揚表示，當台灣對外有重大決策或聲明時，答，都使用了Yang所提到的訣竅──即時、真實
散佈各國的外交部小編就會同步更新臉書，展現性、主題包裝與互動。
台灣對外的團結精神，例如蔡英文總統的臉書在當時新媒體團隊針對「自由開放的印太願景」
2018年底換上「勇敢自信，世界同行」的封面規劃了一週的活動，透過問答的方式讓民眾了
後，其他外館的臉書也紛紛跟進。解政策中的重要觀念與台美合作的機會。即使
內容是政策導向，但是透過活潑的插圖與互動
社群經營關鍵：互動
的方式，依然獲得民眾熱烈的迴響。孟雨荷驚喜
美國在台協會（AIT）發言人孟雨荷（Amanda 地說，原本擔心這類貼文過於生硬，無法產生互
Mansour）在工作坊當天也分享了AIT的臉書操作動，沒想到台灣人反應這麼積極。這樣的對比反
策略，並歸納粉絲頁快速成長的原因，尤其2019 映出，創意的包裝會讓嚴肅的題材重新定調，使
年慶祝台美關係法40週年，其系列活動推出後，用者也可以輕鬆地接收重大資訊。
粉絲至少已經成長20%。除了創意之外，孟雨荷認為有策略的規畫也是
AIT臉書粉專不只有高成長率，也擁有平均每粉絲專頁成功的關鍵。AIT新媒體團隊透過短／長
則貼文3,000到5,000的高互動次數。點開他們的期活動、系列貼文、抽獎、幕後故事、台美重要
貼文：美國對台總統大選看法、AIT處長家中訪事件轉發，讓粉絲對貼文產生期待、喜愛，進而
外交部各駐外館處與總統蔡英文的臉書，同步換上「勇敢自信．世界同行」的封面。
（擷取自蔡英文臉書與各駐外代表處提供）
Overseas representative offices of the Ministry of Foreign Affairs and the Facebook page of President
Tsai Ing-wen switched over to screens declaring Taiwan to be “Brave and Confident: One with the World.”
(screenshots from President Tsai’s Facebook page and courtesy of overseas representative offices)

in the slogan “Health for all—Taiwan can help.” The video
attracted over 10 million views, with one-tenth of the view-
ers coming from Loan’s homeland of Vietnam. Viewers
from other nations left comments saying how moved they
were by the film, or supporting Taiwan’s participation in the
WHA. The Bureau of East Asian and Pacific Affairs of the
US Department of State retweeted the video, indicating their
recognition of the quality of healthcare in Taiwan.
Interactivity: The key to managing social media
At the workshop Amanda Mansour, spokesperson of the
American Institute in Taiwan (AIT), shared AIT’s Facebook
strategy and summed up the reasons for the rapid increase
美國在台協會（AIT）文化新聞組發言人孟 in the number of fans. In particular, fan numbers grew by
雨荷（Amanda Mansour）認為如何用創 at least 20% following a series of activities held in 2019 to
意傳遞政策導向的訊息是一大挑戰。
Amanda Mansour, spokesperson of the
celebrate the 40th anniversary of the Taiwan Relations Act.
American Institute in Taiwan, says that Not only has there been a rapid increase in the number
figuring out how to convey policy-oriented
information creatively is a major challenge. of fans on AIT’s Facebook page, its posts show a high de-
gree of interactivity, averaging 3000 to 5000 hits. Looking
at their content—the US perspective on Taiwan’s presiden-
tial election, an interview at home with the AIT director,
2018, Trending Taiwan put out a short film entitled A Per- Fourth of July celebrations, a Q&A on the US’ “vision for
fect Pair about how a Vietnamese girl named Nguyen Thi a free and open Indo-Pacific”—the posts all exemplify the
Loan, who was suffering from elephantiasis in one leg due four principles advocated by Sharon Yang, a member of
to lymphedema, was restored to health and started a new Facebook’s Politics and Government Outreach team: time-
life thanks to help from a Taiwanese medical team. Through liness, authenticity, experimenting with new formats, and
this story, Taiwan wanted to demonstrate to the World interactivity (building community).
Health Organization our nation’s medical capabilities and For the “vision for a free and open Indo–Pacific,” AIT’s
determination to contribute to world health, as expressed new media team planned out a week of activities, using
第五屆「全民潮台灣」短片
比賽，首獎由曾國安《媽媽
的樣子》獲得，內容描述來
自客家、原住民、越南，
三位不同台灣族群母親的故
事。（林旻萱攝）
Top prize at the Fifth Trending
Taiwan Short Film Competition
was won by Max Tseng for
his film Mom’s Way. It tells
the stories of mothers of three
different ethnicities: Hakka,
Aboriginal, and Vietnamese.
(photo by Lin Min-hsuan)
71
第五屆「全民潮台灣」短片比賽頒獎典禮。外交部希望透
過台灣土地上的感人故事，讓世界看見寶島的獨特魅力。
（林旻萱攝）
The awards ceremony for the Fifth Trending Taiwan Short Film
Competition. The Ministry of Foreign Affairs hopes to draw
the world’s attention to Taiwan’s charm through videos telling
moving stories from this land. (photo by Lin Min-hsuan)
分享讓更多人看見。長期主題式的經營，讓AIT產的人，爭取他們對台灣的支持，尤其受到國外的
生了一個鮮明的形象──親切、豐富、知識性。意見領袖（Key Opinion Leader, 簡稱KOL）支持
時，會讓更多人肯定台灣的美好與實力。
找尋夥伴，讓世界了解台灣
黃志揚也提醒「數位外交不是用來取代傳統外
外交部近年來也與國外網紅合作，讓不熟悉交，」兩者要搭配使用，才能有最佳效果，因為
台灣的國家看見寶島的軟實力，例如科威特網外交的本質還是人與人的互動。像是去年國傳司
紅阿不都卡苓（Abdulkareem Alhendal）在他的首次與與菲律賓、越南、印度與泰國的電視台合
Instagram帳戶上，推銷台灣的鳳梨釋迦，提升了作，製播「攜手台灣（Embracing Taiwan）」電
這款水果在當地的銷售量。經過這次合作，阿不視特輯，國傳司依每個主持人國家的特色，帶領
都卡苓也感受到台灣的人情味，因此成了外交部他們至台灣的重要景點，例如軟體工業發達的印
的忠實粉絲，時常主動分享「潮台灣」的影片。度被安排至新竹科學園區及南港軟體園區；以工
之前他還自行為影片「寶島酷日常」翻譯阿拉伯藝設計著名的泰國，到松山文創園區參訪。主持
文版本，分享至其Instagram，宣傳台灣如何實踐人也前進大學校園，受到來自故鄉學子的熱烈歡
聯合國「永續發展目標」（SDGs），影片點閱率迎。拍攝團隊中，有許多人都是初次到台灣，但
目前已經超過144萬次，並引起熱烈討論。是都因這次合作也透過各自臉書、IG網頁宣傳在
「透過網紅，我們可以打破同溫層，接觸到台見聞，讓粉絲對台灣產生好感，對寶島留下了
一群原本無法觸及的受眾。」國傳司專案管理科深刻的印象。
科長楊少華從管理臉書的經驗發現，由於演算法台灣數位外交的能量正在成長，即使目前面臨
的關係，外交部的粉絲專頁原本難以觸及對公共人力調配與思維轉變的挑戰，幕後的新媒體團
事務較無興趣的民眾，但是，透過國外網紅的分隊與小編們仍努力用創意讓世界看見台灣，就如
享，台灣的外交工作能被越來越多人看見。楊少華所說：「透過社群，台灣整體凝聚了對外
「觀看會產生理解，理解就能爭取支持。」交事務的共識，這份自信會吸引世界來支持我
黃志揚認為數位外交的精神在於，找尋理念相同們！」 l

a Q&A format to help people understand the important describes Taiwan’s efforts to implement the United Na-
concepts underlying the policy and the opportunities for tions’ Sustainable Development Goals, has already drawn
Taiwan–US cooperation. Even though the content was more than 1.44 million hits and sparked intense discussion.
policy-oriented, the use of lively illustrations and interactive “Through Internet celebrities, we can break through
approaches still drew a great response. filter bubbles and connect with groups of people we never
Besides creativity, said Mansour, another key to the suc- would have reached before,” says José Shao-hua Yang, chief
cess of AIT’s Facebook page has been strategic planning. The of the Project Management Section at the DIIS. He has dis-
new media team at AIT uses short- and long-term activities, covered from his own experience managing MOFA’s Face-
series of posts, prize draws, behind-the-scenes stories, and book presence that as a result of filtering by algorithms, the
sharing important events in Taiwan–US relations to give fans MOFA fan page was finding it difficult to punch through
something to look forward to, and these fans will then share to people with relatively little interest in public affairs, but
their favorite posts with other people. Long-term focus on sharing by Internet celebrities can make Taiwan’s diplo-
selected themes has enabled AIT to create a fresh image with matic efforts visible to more and more people.
its friendly, profuse, and knowledge-based presence. Volkan Huang reminds us that “digital diplomacy is not
Telling the world about Taiwan a substitute for conventional diplomacy.” The two must
In recent years MOFA has also worked with foreign be coordinated to be effective, because interpersonal inter-
Internet celebrities so that people in countries not familiar actions are the essence of diplomacy.
with Taiwan can see Taiwan’s soft power. For example, Taiwan’s digital diplomacy capabilities are growing.
the Kuwaiti Internet celebrity Abdulkareem Alhendal pro- Although there are challenges to be faced in terms of man-
moted Taiwanese custard apples via his Instagram account, power allocation and changing attitudes, behind the scenes
increasing sales of that fruit in his country. Through this MOFA’s new media team and editors are using their cre-
collaborative effort, Abdulkareem Alhendal also experi- ativity to raise Taiwan’s visibility in the world. As José Yang
enced the warmth and friendliness of Taiwan, and became puts it: “Through social media, we can build consensus on
a loyal social media fan of MOFA, often sharing Trending Taiwan’s foreign affairs positions, and that confidence will
Taiwan videos. He even translated the video An SDG a Day help us attract support from around the world!” l
into Arabic and shared it on his Instagram; the film, which (Tina Xie/photos by Kent Chuang/tr. by Phil Newell)
數位外交超越邦交國界，例
如外交部邀請科威特網紅阿
不都卡苓（中）來台，他在
IG上推銷台灣的鳳梨釋迦。
（駐科威特代表處提供）
Digital diplomacy transcends
formal diplomatic ties.
For example, the Ministry
of Foreign Affairs invited
Kuwaiti Internet celebrity
Abdulkareem Alhendal to
Taiwan, and he promoted
the sale of Taiwan custard
apples on his Instagram
account. (courtesy of
the Taipei Commercial
Representative Office in the
State of Kuwait)
73
全球視野　GLOBAL OUTLOOK
傳產拚轉型
台灣AI學校催生產業急行軍
Cultivating New AI
Professionals:
The Taiwan AI Academy
文•蘇俐穎　圖•莊坤儒　版面設計•蕭郢岑

深秋的新竹，九降風帶來收穫的消息，臨
海的福樂休閒漁村，一望無際的魚塭，只聽
得見風聲，卻不見半個人影。在這個重要的
日子，村裡的漁民，通通都聚集到了鄰近的
魚貨處理場。
一輛大卡車停泊在處理場前，巨大的貨箱
載滿了一大早捕撈起的烏魚，在眾人引頸盼
望之下，門板開啟，猶如瀑布一般的漁獲瞬
間傾瀉到地面，澎拜的水聲伴隨著眾人的驚
呼，就此迎來今年的收穫季。
產銷班成員之一的許豐立，是家豐養殖場
的負責人，在老化的漁村裡，壯年的他稱得
上是中堅分子，22年前，他從工研院離職，
從父親手中接下家業。
I t’s late fall in Hsinchu, and the November

winds are bringing news of the harvest. At Fu
Le Fishing Village, the fishponds stretch into the
distance, but there’s not a person in sight and the
only sound is the susurration of the wind. The
local fish farmers are having a big day elsewhere,
gathered at a nearby fish processing facility.
A large truck stands outside, the attached con-
tainer filled with gray mullet netted early that
morning. As the villagers crane their necks for
a glimpse, the container opens and a veritable
cascade of mullet spills out onto the floor. The
harvest season kicks off to the sound of the fish
and water pouring out of the container, and the
simultaneous roar of the assembled villagers.
75
雖然父親、叔叔都是在地的老漁民，但談起養察數據的變化，從中揣摩方法，直到兩年前引進
殖心法，受過科學訓練的許豐立，與父執輩大不由寬緯科技開發的智慧養殖系統，由機器取代人
相同，選擇「科學化養殖方法」的他，開口閉口力，省下不少心力。
不離溶氧、pH值、ORP（氧化還原電位）值等水「養殖產業一向是預防重於治療。」許豐立
質數據。說。漁家聞聲色變的「泛池」（整池暴斃），家
「農林漁牧，『漁』最困難。」許豐立解釋。家戶戶都經歷過，投入好幾年的成本，一時不察
人畢竟不是水中生物，如何掌握水質、魚蝦生長就全數付諸流水，損失動輒百萬起跳，但若要仿
的狀況？他曾試圖要傳承長輩奮鬥半世紀的經效傳統漁民的老方法，觀察水色、藻象、泡沫，
驗，最後卻輸給了老漁民口中「憑經驗」、「靠等到發覺事不對勁，往往為時已晚，趕忙投藥搶
感覺」幾個字，難以言傳的know-how，讓他更篤救，又衍生出藥物殘留的問題。
定要走一條不同的路。尤其極端氣候的無常，讓現代漁民的挑戰更為
嚴峻，光憑臆測尤其不靠譜。許豐立記憶猶新，
善用數據，樂當科技漁夫
2016年霸王級寒流襲台，新竹下冰霰，水溫一小
迎著風頭，我們回到漁場。福樂休閒漁村除了時就狂降2℃，嚴重性非同小可，他從數據了解
處處綠蔭，環境怡人，另一個特色是裝設在水池到水中溶氧仍高，在多數漁民束手無策、惴惴不
中的監控設備。
許豐立憶起早年摸索養殖的過程，一路跌跌
撞撞，不斷苦讀惡補相關知識，追求科學根據的卡車卸貨，肥腴的烏魚群帶來了豐收的喜悅。
With its load of fat mullet, this truck has delivered the joy of the
他，經常運用手持的感測器蒐集水質數據，觀 harvest to villagers.

蔡政勳（左）與許豐立（右）合作，
協助開放養殖的大數據，讓管理更
輕省，也更賺錢。
Otto Tsai (left) and Xu Fengli (right)
are working together to make
aquaculture data available to big-data
algorithms. Their goal is to make pond
management both easier and more
profitable.
Xu Fengli, a member of the village’s production and traditional Chinese medicine, the system helps its users
marketing group, is the owner of the Chiafong fish farm. to diagnose and resolve problems.
Xu left the Industrial Technology Research Institute 22 The system consists of both monitoring and control
years ago to take over the business from his father. Now, components. The former are located in the fishponds,
still in the prime of life, he has become an important fig- and test the temperature, pH, ORP, dissolved oxygen,
ure in the aging village. and salinity of the water every five minutes, 24 hours a
Xu’s scientific approach to aquaculture reflects his day. They upload this information to the cloud, where it
background in science and technology and is quite is analyzed by artificial intelligence systems to anticipate
different from the old-school approach of his father ’s future changes in water quality. If the AI foresees the
generation. His background is even apparent in his potential for degradation, the system notifies the pond’s
conversation, which never strays far from water quality owner, who can then deploy the control system to take
indicators like dissolved oxygen levels, pH values, and action remotely. For example, if the AI predicts a decline
oxidation–reduction potential (ORP). in dissolved oxygen levels, the pond owner can forestall
Putting data to use the problem by turning on more aerators.
Some time later, we turn our faces to the wind and re- Otto Tsai, Quadlink’s president,
turn to the fish farm. Fu Le Fishing Village is a pleasant,
well-shaded place, and its fishponds are equipped with
an array of monitoring equipment.
Xu recalls his early years in the business, feeling out
the production process. He pored over texts, cramming
由寬緯科技所研發
his brain with the science he needed to develop his meth-
的「水聚寶」，不
ods and negotiate the pitfalls in his path. He gathered 僅台灣有多家漁
water quality data with handheld sensors, tracked the 場使用，也南向
輸出到東南亞。
changing numbers, and honed his approach. Then, two Quadlink
Technology sells
years ago, he purchased an automated smart aquaculture
its Aquadlink
system developed by Quadlink Technology. It saves him aquaculture
management systems
a tremendous amount of work. to fish farmers in Taiwan
and Southeast Asia.
Xu relies heavily on Quadlink’s “Aquadlink Smart
Aquaculture Application System,” which was developed
in Taiwan. As with the “look, listen, smell, ask, feel” of
77
安時，果斷關掉大部分的水車，以免降溫過快，「所以，我們反而鼓勵漁民把資料開放出來。
最怕冷的虱目魚居然就此安然度過難關。開放後對他們反而有利。當我們協助把數據處理
完，還可以告訴漁民需要注意哪些地方，可以少
數據解密，打開養殖黑盒子
很多心力，卻管理得更好，降低更多風險。」蔡
許豐立倚重的這套系統，是由國人自行開發政勳說。
的「水聚寶」，猶如中醫診斷的「望、聞、問、高風險、高齡化、經驗斷層的水產養殖，有了
切」，協助漁民先診斷、後解決問題。人工智慧加持，有機會從沒落的夕陽產業翻身──
系統分成監測、控制兩部分。放在魚塭裡的監但這一切的前提是，你AI（人工智慧）了沒？
測系統，24小時不間斷地測量水中的溫度、p H
產學聯手，創辦「台灣人工智慧學校」
值、ORP值、溶氧值、鹽度等五種重要數據，每
五分鐘就會自動新增一筆，再上傳到雲端，匯整想做AI？必須先有人才。
後的大數據經過人工智慧演算，用以預測未來的 2017年11月，一件奇妙的事情發生了。
水質變化；若有惡化的可能，主動向漁民提出示這也許得歸功於台灣公民社會的活潑與彈性，
警，漁民接著利用控制系統，從遠端採取措施，有感於國內AI人才的匱乏，從學界開始，以中央
好比發現到溶氧不足，就即時開啟水車，防範於研究院院長廖俊智、院士孔祥重及研究員陳昇瑋
未然。為首，加上產業界的國票金控董事長魏啟林、益
寬緯科技總經理蔡政勳說明，在傳統的養殖鼎創投董事長邱德成，齊聚商討台灣產業轉型的
業裡，家家戶戶都會有一套「秘方」，這些過去迫切性。
被稱之為「養殖的黑盒子」，其實禁不起科學檢
驗，加上養殖涉及複雜的生物環境，不同魚種、
不同養殖環境、不同生產策略，所需要的條件都台灣人工智慧學校重視實作，同學集思廣益，跨域合作解題。
The Taiwan AI Academy emphasizes practical training. Students
不一樣，即便參考他人的資料，意義也不大。 work together to develop interdisciplinary solutions to problems.

猶如「AI傳教士」，目前
在玉山金控擔任科技長的
陳昇緯，積極從學術圈跨
界，他的演說也喚醒業界
對於AI的重視。
Chen Sheng-wei, chief
technology officer at E. Sun
Financial Holdings, is a
veritable “AI missionary,”
urging the business
community to recognize the
importance of AI.
explains that fish farming involves complex biological and two businesspeople: Waterland Financial Holdings
environments, and the “tricks of the trade” that tradi- chairman Wea Chi-lin and Top Taiwan Venture Capital
tional fish farmers like to hold close to their chests don’t chairman Andy T.C. Chiu, gathered to discuss the urgent
hold up well to scientific scrutiny. Different fish, different need for the transformation of Taiwanese industry.
environments and different production strategies all give They could see the AI wave approaching, and realized
rise to different requirements. That being so, anecdotal it was essential that Taiwan ride it.
data from other farmers has limited utility. With this objective in mind, they approached Formosa
“So instead we encourage aquaculturists to make Plastics, Chi Mei, Inventec, AU Optronics, Elan Micro-
their data open, because they can benefit from doing so. electronics, and MediaTek, persuading each to invest
We help process their information, and can then tell them NT$30 million to establish the Taiwan AI Academy.
what they need to pay attention to. This saves them a lot This private-sector-driven initiative set the fires of
of work and enables them to manage their ponds more change alight. The academy has drawn faculty from schol-
effectively and reduce their risks.” arly institutions ranging from Taiwan’s major universities
Aquaculture is a high-risk field. Moreover, farmers to foreign research institutes, Academia Sinica and the
are aging without passing on their hard-won knowledge Industrial Technology Research Institute, as well as from
and experience. Artificial intelligence offers the prospect the corporate sphere, with AI managers and entrepreneurs
of turning around what might otherwise be a twilight coming in to share their real-world AI experience.
industry, but farmers have to have access to AI to do so. The academy offers students both management and
The Taiwan AI Academy technology courses. The former teach programming and
Do you want to build an AI? You first need talented other technical skills, while the latter help their students,
people. largely senior executives with policymaking powers, de-
Something wonderful happened in November 2017, velop a thorough overview of the AI terrain. While differ-
something that owes much to the vigor and flexibility ently oriented, the courses of both types emphasize both
of Taiwanese civil society. Recognizing Taiwan’s relative theory and practical applications, challenge their students
dearth of domestic AI professionals, a group of three aca- with exams and group projects, and quickly transform
demics: Academia Sinica president James C. Liao, acade- participants into AI pros with the skills businesses need.
mician H.T. Kung and research fellow Chen Sheng-wei, The academy first opened in Taipei in 2018, but it has
79
眼看AI大浪即將來襲，若不趁勢站上浪頭，下但這不是補習班？「補習班靠的是快速轉台，
場無疑是死在沙灘。時數夠，就發證照，但我們起心動念是要推動產
秉持著這樣的想法，他們向台塑、奇美、英業業AI化，要是學員走出去，回到公司還是不會用
達、友達光電、義隆電子、聯發科技等六家企業 AI，那也走不遠。」台灣人工智慧學校營運長蔡
募資，各募得3,000萬，百分之百由民間推動的明順說得鏗鏘有力。
「台灣人工智慧學校」順利誕生。就這麼一本初衷，在2018年正式開課，從台北
這股社會內部自主引動的創新力量，點燃了逐步拓點到新竹、台中、台南，目前累計上課總
改變的火種。在師資上，重視知識與應用雙管齊時數超過120萬個小時，超過6,000名校友、200名
下，校方廣邀在台清交成等大專院校、外商研究授課教師，除了大型企業如台塑、友達光電，均
院、中研院、工研院服務的AI專家，也央聘大企已派遣上百名員工前來進修，寬緯科技總經理蔡
業裡負責推動AI的主管與新創公司的創業家，分政勳，也是畢業校友之一。
享落地使用的心得。蔡政勳悉數上課的實際收穫。因為公司長期在
課程上，分為經理人班與技術班。技術班教導養殖漁業領域的耕耘，小組同學利用公司從養殖戶
工程師學習寫程式；經理人班的學生主要來自企累積下來的數據資料，測試不同的演算法模型，從
業裡握有決策權的中高階主管，需要具備出題目中找到了誤差值最小的一種，幫助系統優化。
與定義問題的能力。但不論是哪個班別，除了傳
授知識，更要求實際應用，故所有學員都得分成
小組，共同完成專題，還有期中、期末考，紮紮「動態塗裝製程的AI+瑕疵檢測」的小組同學，大夥兒在解
實實四個月的學程，希望以最快的速度培養出合題過程中培養出猶如戰友的情誼。
The members of the “AI-based Defect Detection for Dynamic Coating
乎產業使用的AI大軍。 Processes” team became close while working on the project.

since expanded with branches in Hsinchu,
Taichung, and Tainan. To date, its 200-plus
teachers have provided more than 1.2 million
hours of instruction to over 6000 students
across Taiwan. Formosa Plastics and AU Op-
tronics have been active participants, each
enrolling more than 100 employees in the
academy’s courses, and Quadlink Technology
president Otto Tsai is himself a graduate.
Multidisciplinary cooperation
We next go to Machan International, lo-
cated in Taichung’s Waipu District. On the day
of our visit, Darren Chen, a special assistant
at the company, and five Taiwan AI Academy
alumni from other companies in various in-
dustries, have gathered together to follow up
on a project they originally undertook as part
of their management course at the academy’s
Taichung branch.
“Come on. I’ll take you inside the factory
for a look,” says Chen, after bringing them
to Ma chan’s facility in neighboring Dajia
District. Inside, different stations on active
production lines stamp, bend, weld and paint
metal sheets, which are finally packaged and
loaded into containers to await shipping.
The group pauses at the painting area’s
inspection station. Several inspectors are us-
ing flashlights to check the products for de-
fects. Meanwhile, a camera mounted above
the production line continuously films the
finished goods.
When Chen began the management course
a few months ago, he proposed a project
based on his company’s production processes:
“AI-based Defect Detection for Dynamic Coat-
ing Processes.” His hope was to develop an AI
system that could use imaging to automatic-
ally detect defects, thereby replacing human
quality assurance workers, who are fallible
and have a high turnover rate. His presenta-
tion of the proposal piqued the interest of a
group of classmates, and they formed a team
to bring it to fruition.
Team members used their expertise in 過去仰賴人工的品檢模式，在AI浪潮下即將退場。
Traditional manufacturing industries that incorporate AI into their production
their own fields to contribute to the work. The processes can remake themselves into highly technological “sunrise industries.”
81
「原本對AI只是一知半解，現在有了更紮實的
認識，對於公司未來的發展，如何與AI結合，也
會有明確的藍圖。」蔡政勳說。
跨域合作，解決產業痛點
場景換到了位於台中外埔的明昌國際工業公
司。這一日，以在明昌任職的特助陳琮仁為首，加
上來自不同產業、不同公司的趙定宇、林合一、林
載承、鄭東昇，以及逢甲工業工程與系統管理研究
所同學侯宇哲，六人齊聚一堂，他們之間的聯繫，
就是在台中分校經理人班上所共同完成的專題。
「來，我帶你們到工廠親自看一看。」陳琮仁
領著一行人踏入了位於大甲市區的廠房。廠裡一
條條帶狀的動態生產線，金屬板材通過不同的區
域進行加工，從沖壓、折彎、點焊、塗裝，最後
包裝等待上貨櫃車。
大家的腳步在塗裝區檢驗站停了下來。產線
旁，好幾名品檢人員正拿著手電筒，由上往下，
從產品的正面到反面，逐一檢查是否有瑕疵；在
高處另外裝設著一台攝影機，不間斷地拍攝下產
線上的成品。
時間逆推回數個月以前，學校剛開學，彼時陳
琮仁根據廠內的生產流程，提出「動態塗裝製程
的AI+瑕疵檢測」的題目，希望藉由人工智慧，
從影像資料自動判讀成品是否有瑕疵，藉此取代
不盡可靠、流動率高的人力。經過他的講解，成雖然專題早已順利告終，但對於明昌國際來
功吸引到一票有興趣的同儕組隊。說，只是邁出了AI化的第一步。陳琮仁解釋，學
雖然不需像在公司那樣背負考績壓力，但對於期短短的四個月，只足夠建置出系統的雛形，由於
解題，大夥兒都躍躍欲試，「真的跟上班不一樣。目前影像資料蒐集得還不夠多，隨著逐漸累積，估
從一開始，大家都是自動自發地報名，來的時候是計六個月後準確率可達95％，才能正式上線。下一
交朋友，參與活動也很踴躍，向心力足夠。與其說步，預計加入工廠內部的物聯網，將製程參數與瑕
是上課，不如說在享受學習的樂趣。」在矽品精密疵檢測結合，可以運用AI來作產品品質的預測。
工業擔任技術經理的趙定宇說。一旦臻於成熟，這套系統將可以運用在航太、
從學習跨領域合作，分工到整合，各自從專業工具機、自行車、手工具等與板金烤漆相關產
裡貢獻出一份力。像要做影像辨識，必須先為影業，造福中部地區大大小小的製造業廠商。
像資料分類，告訴機器哪些是良品、哪些是不良更重要的是，因著幫助傳產升級轉型，企業不
品，在公司負責品管的同學出面，協助建立瑕疵再走壓低成本的老路。就像蔡明順說：「台灣雖
品的標準；擔任專案管理的同學，主動負責掌控然擁有很多隱形冠軍，但So what？依舊缺乏競爭
期程、支出的資源、人力上的調配；真正需要寫力，現在因為升級轉型，不但要讓國外廠商下單
程式了，經校方媒合，正在技術班就讀的逢甲同給我們，而且，還要是非下不可！」台灣是否有
學就前來支援。機會成為AI大國？對此，他深具信心。 l

歷經紮實的課程洗禮，畢業學生將是受業界
倚重的AI大軍。
Taiwan AI Academy’s well-trained graduates will
play an invaluable role in the business world.
proposed system’s use of image recognition requires first net of Things, and to match the system’s defect checking
categorizing image data, and then using those images parameters to their manufacturing tolerances, so that they
to train the machine to distinguish good products from can begin to use the AI to carry out quality checks.
defective ones. A classmate whose job involved quality A fully developed version of the system should have ap-
control helped them establish the criteria for identifying plications at other firms that apply similar finishes to sheet
defective products. Another classmate, a project manager, metal, including those in the aerospace, machine tools, bi-
handled scheduling, expenses and manpower allocations. cycle, and hand tools industries.
The academy then matched the group with someone in As important as AI is to Machan, it could be still more
its technical program to do the necessary programming. important to Taiwanese manufacturing as a whole. It has the
The team has long since completed the course, but for potential to help traditional manufacturing businesses break
Machan their project was only the first step of its journey free of the cost-cutting treadmill they have been stuck on. As
into the AI world. Chen explains that the four-month- Richie Tsai, chief operating officer of Taiwan AI Academy,
long course provided them with only enough time to says: “Taiwan has many hidden champions, but so what?
build the prototype, and says that they are still in the We still can’t compete. In upgrading and transforming [our
process of collecting image data. He anticipates that the industries], we not only need to entice foreign firms to place
system will achieve 95% accuracy within six months, at orders here, we have to compel them to!” Can Taiwan be-
which point they will bring it online. Their next steps will come an AI powerhouse? Tsai is confident that we can. l
be to connect the inspection system to the factory’s Inter- (Lynn Su/photos by Kent Chuang/tr. by Scott Williams)
83
島嶼行旅　AROUND TAIWAN
一冊大木家屋
A Builder’s Love Letter to His Family

—The Story of a Timber-Frame House

（林格立攝　photo by Jimmy Lin）
文•鄧慧純　圖•一冊大木家屋童裕謙　版面設計•王敬勛
座落在島嶼南端，離屏東枋寮車站不到五分
鐘的車程，有一棟兩層半樓高的白牆日式建築。 N ear the southern tip of Taiwan, at a five-minute
drive from Pingtung’s Fangliao Station, there is
a white two-story Japanese-style building. Like many
這是一棟依著日式工法施作、採全榫接的大木家
family homes in Japan, this timber-frame house uses
屋，是楊三二50歲那年的願望。但從構想、繪
traditional carpentry joints. Yang San’er envisioned
圖、選料、立柱、上梁、屋頂等工序，就他一個 the house when he was 50, and he has done almost all
人，靠一冊書，起一間厝，一鑿一刨，一刀一 the work himself, consulting just one book. The whole
刻，施工即將迎來了第18個年頭，蓋屋的工程還 process—from conception and design, to selecting the
在進行中。 materials, raising the frame, and tiling the roof—has
taken 17 years, and the house still isn’t finished.
結縭37年的妻子陳慧娟最了解枕邊人，她一
Yang’s wife of 37 years, Chen Huijuan, reveals a
語道出蓋屋18年的秘密，「別人三天可以做好，
secret about the project and her husband: “What other
他要做一個月，慢慢磨，而且他用他的邏輯在做
people can do in three days takes him a month of grind-
事，就是要一勞永逸，想得很遠很遠。」對細節 ing slowly away. The process has been dictated by his
近乎苛求，固執近乎到任性的楊三二，堅持親手 own logic—by his belief that if you want to build a
構築一棟與環境共生、讓地球呼吸，為家人遮風 house that withstands the tests of time, then you’ve got
避雨的永續綠建築。 to take the long road.” Stubbornly exacting about every
detail, Yang San’er insists that the house that shelters
全榫接的綠建築 his family be as environmentally friendly as possible.
A green timber-frame building
起心動念是2000年時，楊三二想為夫妻倆退休
The story of the house began in 2000 when Yang and
後找一個住所，自己蓋一個家。另一個深藏在心
his wife were looking for a new place to live after they
底深處的是他對一個「家」的渴望。楊三二的父
retired, but the longing for a special family home had
親是白色恐怖的受害者，當年父親無故被牽連入 been implanted in Yang’s psyche at a much earlier date.
獄，家中頓失支柱，家人四散謀生，讓他對家有 Yang’s father, a victim of the “White Terror” during Tai-
一個憧憬，想有一間屬於自己的房子。 wan’s authoritarian era, had been unjustly imprisoned
楊三二小學畢業後，就投入各式的工作。從 when San’er was young. With that pillar of support
機械、土木再到石化工程，曾到過沙烏地阿拉伯 missing, the remaining members of the family scattered
85
擔任技術士操作重型機械，在台灣參與過中沙大施工，對木工完全外行的楊三二就決定照著書自己
橋、德基水庫還有國道一號后里路段工程。因為蓋，這也是「一冊大木家屋」名字的由來。
這些歷練，楊三二打從心底不喜歡鋼筋水泥，因
用時間換取空間
為石化物料生產過程會釋放巨量二氧化碳，更消
耗許多熱能。畫好設計圖，開始四處去找木料。選用加拿
再加上水泥建築過了使用年限後，漏水需要花大的花旗杉，進了一萬多材（建築構件的單位）
大筆錢翻修，「樓仔厝，就是漏仔厝（台語）」，的木料，送進枋寮車站旁跟台鐵租借的倉庫，楊
楊三二的女婿童裕謙說起諧音的雙關語，建材又三二每天跑倉庫，依著書上教的，幫每一段木料
不能重複利用，拆除重建都是一筆費用。編號，日本人以50音標註，他自創以子午卯酉標
2003年接觸到由日本建築師松井郁夫等人編示方位。房子的中心選用接近樹心的木料，靠近
訂的《木造住宅私家版仕様書》一書，發現木造
建築友善環境又環保永續，是楊三二心中的理想
住宅。雖然看不懂日文，但裡面有漢字，還有圖
解，書中每個細節都交代得清清楚楚。昔日工作的 2013年，中柱立起，讓家的構想從平面到立體，竄向天際。
In 2013, the central pillar was raised. Pointing skyward, it marked
訓練，讓他看工程圖很在行，找不到人會畫圖、能 that construction had moved from two to three dimensions.

to different places to survive. The experience instilled in
Yang a longing for a real family home, one that he could
design and build himself.
After graduating from elementary school, Yang found
employment in a variety of fields, including electrical,
civil and petroleum engineering. He went to Saudi Arabia
for a stretch to operate heavy machinery, and in Taiwan
he worked on building the Zhongsha Bridge, the Deji
Dam, and the Houli segment of National Freeway 1. See-
ing the carbon- and energy-intensiveness of reinforced
concrete as he worked on those projects, he developed a
visceral dislike of that building material.
In 2003 he happened on a book about timber-frame
houses by Japanese architect Ikuo Matsui and others and
一冊大木家屋的藍圖，就像楊三二寫給家人的情書。
learned that wood buildings are environmentally friendly （林格立攝）
and sustainable. That type of house became his ideal. The blueprints for the big wood house are like love letters
Yang San’er has written to his family. (photo by Jimmy Lin)
Although he didn’t understand Japanese, the text of the
book included many Chinese characters, and there were
detailed explanatory illustrations, which Yang had no
difficulty understanding thanks to his engineering experi-
ence. Unable to find anyone who could build or draw up
plans for such a home, Yang decided to design and build
one himself, despite his utter lack of carpentry skills.
Trading time for space
Once he completed his design and blueprints, he be-
gan to look for lumber. He selected Canadian Douglas fir,
importing some 12,000 board feet, which were placed in a
warehouse rented from Taiwan Railways next to Fangliao
Station. As instructed by the Japanese book, he carefully
numbered all the pieces of wood, and chose lumber from
the center of the tree for the middle of the house, and
wood cut closer to the bark for areas at or near the exterior.
“Imagine that a wooden house is a tree,” Yang explains. “If
you split it apart, it would radiate out from its core.” Every
piece of wood had to be installed in its proper place. Hav-
ing observed the whole process, San’er’s daughter Yang
Jingshu concludes, “The hardest part about building a
house like this is selecting the materials at the beginning.”
Once the wood was dry, the next step was to work on
the joints. “Making the cuts for the joints was the most
time-consuming part, due to its exacting nature.” The
parts of a joint can’t be cut exactly to size because wood
expands and contracts with the weather. For that reason,
the mortises and tenons are tapered and then the tenons
are pounded into the mortises with a mallet. The ap-
proach yields tightly fitted joints.
87
外圍的部分，用的就是靠近樹皮的木材，楊三二楊三二想把事情做好的極致用心，體現在房子裡任何
一個角落。（魚構逐光影像工作室Wade Studio攝）
解釋：「想像木造建築物就是一顆樹，把它分解 Yang San’er’s determination to do things properly is
demonstrated in every corner of the house.
開來，從中心輻射出去。」每一根木頭要適才適 (photo by Wade Studio)
所地安置在正確的地方。長年看著父親蓋房子的
大女兒楊淨淑說：「蓋這種房子最難的是一開始
的選料，也是大木師傅最重要的事情。」
等待木頭乾燥後，之後就是榫頭、卯眼的加瞠目結舌。但童裕謙爆料，楊三二生性愛聊天、
工。「花最多時間是在做榫接的地方，那個要社交，「這過程中，遇到朋友來聊天交陪大概花
求的精準度要夠。」楊三二說。卡榫不能做得了五年的時間。」
剛剛好，要預想到天然材料會隨著氣候膨脹收蓋一棟房花這麼久的時間，外人都不免質疑
縮，所以卯眼要加工成「大進小出」的梯形，到底能不能成，但楊淨淑說：「我們不會質疑爸
這樣一來榫頭叩進去時會卡住，再靠木槌從外爸，因為我從小印象最深的就是他把金龜車從一
施力敲入，這樣才能卡得牢。個空殼修到可以上路，把所有零件拆光光，再一
蓋房子的準備期超乎意料的久，回想這17年個個組起來。我不會覺得他做不到，只是不知道
多的光景，楊淨淑說：「在倉庫那段時間最難要花多少時間。」
熬」，童裕謙補充：「那時候就每天去（倉庫）曾經任職日商營造廠，楊三二說：「我知道日
加工，挖這些木頭的榫頭。我們都不知道他的進本營造廠的規矩，要先想清楚、計畫好，設計圖
度到哪裡，做到什麼程度。」「在倉庫的時間有要標清楚，才開始施工。缺工沒有人，就是用一
沒有一年？」「八、九年」這數字一蹦出，讓人個人的時間去抵四、五人的時間。」

楊三二選材，幫
每一段木料編
號，花費最多時
間在榫頭、卯眼
的加工。
As Yang selected
what lumber to
use where, he
numbered each
piece of wood.
Cutting the joints
was the most time-
consuming part of
the process.
蓋房18年，家屋
意外成為枋寮的
在地景點，還有
外國友人來打工
換宿，體驗怎麼
蓋木構家屋。
Under construction
for nearly 18
years, the house
in Fangliao has
unexpectedly
become a tourist
attraction. One
foreigner, who
was interested
in learning how
to build a timber
frame house, even
came to work in
exchange for room
and board.
The period of preparations proved unexpectedly long. ing an almanac to choose an auspicious date. At first, the
In reflecting on the entire 17 years and counting, daugh- exterior walls weren’t up, and they had to erect a tent in-
ter Yang Jingshu says, “The time when the wood was in side. But step by step, the house has been completed: The
the warehouse was hardest.” Her husband Tong Yuqian electricity came first, and then running water last summer.
adds, “Back then he was going there every day to work When the bathroom was finally finished at the end of the
on cutting the joints. We didn’t know what progress he year, they no longer needed to leave home to bathe.
was making or how far along he had come.” I ask, “Did The structure is largely finished today, except for the
the warehouse period last a full year?” The reply: “Eight lack of a railing at the side of the upstairs room, which
or nine years.” But Tong reveals that Yang San’er loves to overlooks the downstairs living room. (There are now
chat and socialize. “During that stage, he probably spent only empty mortises there.) Yang Jingshu explains, “The
five years chatting with friends.” Japanese way to build for a site like this would be for a
Having waited so long, Yang and Chen moved in with- team to complete the cutting and then to put the pieces
out having fully finished the house and without consult- together on site and set them up with a crane. But we
89
房子蓋太久了，夫妻倆也按捺不住，沒算好良楊三二不只一個人施工，還必須思考僅一個人工作的工法。
Building the structure mostly by himself, Yang San’er had to
辰吉日就先搬進去，但房子只有木架構，連牆壁 figure out what techniques were best suited to solo construction.
都沒有，就先在屋裡搭帳棚，儼然屋中屋的概念。
順著工序，才一步一步接了電，去年暑假才有了
水，年底浴室才完工，不用再跑到別處洗澡。
如今內結構已大致完成，但二樓挑高處的欄杆體現在房子裡任何一個直線、轉角。「每個角落
還沒裝上，只留著榫頭。楊淨淑解釋：「日本的都是收尾的地方」，楊三二說。
做法是一個工班在平地組好之後再吊上去，可是一進到屋內，楊淨淑導覽木屋，就先帶我們
我們沒有吊車，沒有那麼多工人可以在木樁的兩五體投地的趴在地板上看，「每一個細節都是我
頭一起打榫頭，我爸爸只有一個人，他必須要去爸做的，這個拉門的軌道很特別吧！不用輪子，
思考只一個人工作的工法。」楊淨淑的語氣中帶也不會脫軌，鋁條是為了讓拖拉門滑動的時候更
著驕傲與不捨。在缺乏支援的情況下，他必須顧順暢。」她語帶驕傲地說。地板的木料有四公分
念著每一個工作的環節，也無怪乎楊三二工作中厚，踩過去很紮實，不會有伊呀伊呀的聲響。天
的背影總讓人從心底由升敬意。然的物料會隨著氣候膨脹收縮產生縫隙，因此地
板是講究地將橫向跟縱向裁切的兩塊木料拼組在
細節裡的魔鬼
一起，加強它的強度、防震，不會錯位。
想要蓋一棟可以長長久久的房子就得一切照起窗子做成向外斜推，楊三二解釋道：「主要跟
工（台語）。楊三二想把事情做好的用心極致，空氣對流有關。斜推出去就有一個斜面，當風吹

neither have a crane nor a lot of workers to fit the
joints from both sides. My dad is just one person.
He’s had to think of methods that work for one per-
son.” Yang Jingshu’s tone of voice reveals pride in her
father’s perseverance. He has had to take care with
every step of the process. No wonder the sight of him
working here always earns people’s respect.
The devil’s in the details
If you want to build a house that will last, then
you’ve got to get everything right. Yang is extremely
exacting in his approach, an attention to detail demon-
strated by the trueness of every line in the house.
全榫接木架構從平地起，
Yang Jingshu gives us a tour inside. She first has 心中的家屋逐漸成形。
us look at the floor on our hands and knees. It’s four Once the central pillar
was raised, the rest of the
centimeters thick and feels sturdy as we walk across timber frame took shape
around it.
it. There are no creaks. Because wood expands and
contracts with the weather, it will develop cracks.
Consequently, the floorboards are laid with the grain
91
質感溫潤的木造家屋，是讓人一眼就喜歡的暖心空間。
The warm spaces within timber-frame structures immediately charm visitors.
進來時，會依著玻璃的斜面往室內吹，把室內的木造房子最怕「水」，因此斷水、洩水、防
高溫空氣導流向上。這種外推的窗型，你推開多水的工事做得好，就能夠一勞永逸。
少，進來的風量就有多少，跟左右開的窗子只有門口的木柱與地基的連結處，一般的做法是在
一半的通風量不同。」在靠近屋頂處，他也設計基石內挖一個凹洞，讓木柱直立其中，但遇到雨
一個百葉窗，讓熱空氣可以隨氣孔宣洩到外頭。水，水會順著木柱流入凹槽內，長久下來，木頭
牆面板用天然石灰抹壁，因為石灰不吸熱，太浸在水中就易腐壞。楊三二自創的做法是將交接
陽如何照射都不會升溫。又因為石灰會吸收空氣處切出斜角度，讓雨水順著斜度洩水，使水分不
中的水份，石灰牆吸水飽和，就能把外界的溼氣停留，木料自能保持完好。
擋掉，調節濕度，只差在石灰施工的過程比水泥窗子的施作概念亦同，重點是將窗框與牆面接觸
費工而已。的點做成斜面，如果只是水平的話，水反而會慢慢

running in alternating directions, making the floor 靠著自己研讀和想空想縫（台語），楊三二思考木造房子
所有銜接點，每一塊木料的縫隙該怎麼處理。
stronger and more earthquake resistant, and less likely
（魚構逐光影像工作室Wade Studio攝）
to move out of place. Relying on his own research and resourcefulness, Yang San’er
carefully considered each joint in the building as well as how to
The awning windows open at an angle. Yang San’er handle every crack in every piece of wood.
explains, “This is mainly to improve airflow. When the (photo by Wade Studio)
window opens at a slant, the entering wind will blow in

across the angled surface, moving the hot air inside in a
current upward.” High under the eaves, there is also a
louvered window, which vents hot air from the house.
The walls are plastered with lime, because lime re- Where the pillar on the front portico connects to the
flects heat and absorbs airborne moisture, lowering in- foundation, Yang created a downward slant so that the
side humidity. water wouldn’t collect there, thus preserving the wood.
Water is an enemy of wooden houses. Consequently, The same goes for the windows: Where the window
waterproofing and drainage need to be done well from frames meet the walls, there is an outward and down-
the get-go. ward slant, so that the water can’t seep into the building.
93
回滲進屋內，創造一個斜度，水就沒辦法往回流。訪，也意外成為枋寮的在地景點。還有人來打工
「這就是細節，重點就在這裡，你必須去思換宿，體驗怎麼蓋木構家屋。陳慧娟說一個月至
考木造房子的所有銜接點，會遭遇到的問題，將少有30組客人，算算每月約有100人次到訪，家
來會變成什麼樣子。木頭怕水，你要設想到每一屋採開放制，楊家人總會熱情把家屋的故事再說
塊木料的縫隙、細節要怎麼處理。」「我就是想一遍。採訪當天就有一位從香港來的環島客，聊
空想縫（台語），在想這些東西。」楊三二說，著聊著就決定晚上留下借宿，繼續交流。
「而且沒辦法快，因為有太多的細節要做，講白楊三二難得翻出當年手繪的設計圖，「我們的
一點，就是把未來要維修保養的工作，現在一次年代學機械，師傅就教我們用方格紙畫。」他解釋
做到位，將來使用就不會有這些問題。」著每一個卡榫的位置，如何作用。那一張張的設
計圖就像楊三二給家人的情書，設想著蓋一個永續
給家人的情書
安全、無後顧之憂的家，但這些心情他不會對誰明
2012年楊淨淑將一冊大木家屋的故事申請keep 說，「我的年代就沒辦法，不會講。」楊三二說。
walking夢想支助計畫，開始吸引許多民眾好奇來這棟屋子裡有許多卡榫機關，「卡是定位，
榫是固定，把它固定住不要鬆脫。」但隨著打
入暗楔，卡榫隱了身，從外頭是看不出榫頭和卯
眼是如何緊密的環扣著，就如這一家子，楊三二
以木頭為材，以石灰抹牆，楊三二堅持親手構築與環境對細節錙銖必較的堅持，陳慧娟對丈夫無私的包
共生、讓地球呼吸，為家人遮風避雨的永續綠建築。容，孩子們對父母的支持，這些無形的羈絆，固
Building with wood and using lime plaster for the walls, Yang
San’er was determined to build an environmentally friendly 守著這一家，是我們以為「一冊大木家屋」最
l
home that would both let the earth breathe and shelter his
family from the elements. 動人之處。

“Those are details. The main point is that you’ve got 陳慧娟（右1）對丈夫無私的包容及孩子們對父母的支持，
這些無形的羈絆，固守著這一家。（林格立攝）
to keep water away from wood, so you must consider Chen Huijuan (first on right) has shown selfless forbearance
every crack and junction,” Yang says. “I spent a lot of about her husband’s project, and the couple’s children have been
highly supportive. Such are the bonds that hold families together.
time thinking about how to handle spaces and cracks. (photo by Jimmy Lin)
What’s more it can’t be done quickly because there are so
many details to attend to. You can avoid a lot of future
maintenance by getting it right from the start.”
Love letters to his family
In 2012, when Yang Jingshu leveraged the building of structure. These drawings are like love letters from Yang
this house to apply for a Johnnie Walker “Keep Walking” to his family—the designs for a home that is safe and sus-
grant from Diageo Taiwan, a lot of people started to come tainable and that will require little future maintenance.
by out of curiosity. It has become a local attraction. To The house has many mortise-and-tenon joints. “Mor-
learn how to build a timber-frame house, some people tises locate; tenons attach.” But once a tenon is inserted
have even come to work in exchange for room and board. into a mortise, it becomes invisible, and it is no longer
Chen Huijuan says that at least 30 different groups and possible to see how they fit together. The joinery has par-
100 people all told come each month. The Yang family has allels in the family itself: Yang San’er’s exacting approach
opened the house to visitors and enthusiastically tells the to even the smallest of details, Chen Huijuan’s selfless
house’s story time and again. tolerance of her husband’s quest, and the children’s sup-
Yang San’er pulls out the old design drawings for the port of their parents… such are the invisible ties that
structure: “My generation learned engineering, and the in- bind the family together. l
structors taught us to draw on graph paper.” He explains (Cathy Teng/photos courtesy of Tong Yuqian/
the location of each carpentry joint, and its function in the tr. by Jonathan Barnard)
95
藝文脈絡　CULTURAL TRENDS

跳出框架
客語劇的精彩與亮點
Thinking Outside the Box:
The Splendors of Hakka TV Drama
文•陳群芳　圖•客家電視台提供　版面設計•王敬勛
自2008年、第43屆金鐘獎起，每年的戲劇節
目獎都有客家電視台（以下簡稱客台）的作品入 S hows from Hakka TV have been nominated for
Best Television Series at the Golden Bell Awards
every year since 2008. Hakka serial dramas cover
圍，至今已連續12年。我們這才發現，客語連續
a variety of topics from adaptations of Taiwanese
劇的題材包羅萬象，台灣文學改編、探討生死、
literature to life and death, mental illness, and rural
精神疾病、偏鄉廢校、隔代教養等。客台以每年 school closures. Over time, Hakka TV has improved
一至二檔的步調，從選材、編劇、選角慢慢打 on the choice of subject matter, the scriptwriting,
磨，一齣齣深具質量的故事才得以上演。 and the casting, enabling one quality story after an-
邀請大家拋開對客族的想像及語言的限制， other to make their way onto the screen.
帶著好奇心，共下看戲（共下：客語的一起之 So why not set aside your preconceptions of
意）。 Hakka culture, look past the language, and join us in

watching these shows?
2019年10月，客台推出台灣第一部探討精神
In October 2019, Hakka TV came out with the first
疾病的戲劇──《烏陰天的好日子》。故事以精 drama in Taiwan to explore mental illness, called Light
神療養中心為背景，劇情圍繞在病患、家屬及醫 of Cloudy Day. Set in a psychiatric facility, this warm and
護人員之間的互動而開展；因著各種精神疾病的 powerful drama tells the story of patients, family, and
症狀表徵，家屬面對疾病的各種反應，不管是自 medical personnel, and how they interact.
責、抗拒，或是包容，交織出一部充滿溫暖與力 Transmitting positive energy through drama
The show has resonated with viewers so much that
量的戲劇。
each time an episode airs, people leave emotional com-
用戲劇傳遞能量 ments on the Light of Cloudy Day fan page saying how
the show moved them to tears, or brought up some of
每集播出後，《烏陰天的好日子》粉絲專頁就
their own memories. The screenwriter, Huang Jingtian,
會有網友感性留言，不論是被劇情感動落淚，或 was once a nurse and has bipolar disorder, so she fully
是勾起自身回憶，演員們真實且自然的演技，成 understands the stigma attached to mental disorders, as
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功引起觀眾的共鳴。而能如此穿透人心，劇本是裡出現問題，但除了壓力、創傷等情緒的因素，精
關鍵。編劇黃靜瑱曾任護理人員，自身也罹患過神疾病其實也與腦部組織出現異常有關，例如，
躁鬱症，深刻理解大眾對於精神病患的汙名化，憂鬱症是腦內的神經傳導物質分泌失調所致，不
以及病患給自己貼的標籤。她希望透過戲劇讓社是叫病人想開一點就能解決。所以精神疾病與其
會對精神病患有多一些的理解，更希望病患能明他疾病一樣，可以透過找出病因，配合藥物及非藥
白，罹患精神疾病不是因為自己不夠好，或是做物的治療，讓病患的病情獲得控制。
了壞事的報應，而是要撕去貼在身上的標籤，獲客家電視台戲劇群召集人黃桂慧表示，這部
得面對疾病的勇氣。戲希望讓觀眾知道「病識感」，每個人都會有情
為求對精神疾病有更全面、真實的呈現，製作緒的問題，必須適時排解，假如真的生病了就要
單位找來身心科醫師當顧問，在開拍前替演員上看醫生，尋求專業協助，不要置之不理或聽信偏
課，指導有關自閉、躁鬱、思覺失調、人格分裂、方。為拉近大眾與精神疾病的距離，粉絲頁上放
創傷後壓力症候群⋯⋯的症狀表現、病因，以及醫置了各種精神疾病的介紹、溫馨小語，就像戲劇
護人員可能的處置方式。大眾常認為精神疾病是心的宣傳標語：「我們無法把自己裁剪成符合世
界的形狀，只要往前走，就算烏陰天也會是好日
子。」生活本來就是起起伏伏，不是要把陰天變
晴天，而是希望觀眾藉由戲劇的陪伴，獲得前進
的力量。
給大家看的客語劇
細數客台製作的戲劇，其實產量不算大。隨著
這幾年台灣電影的復興，影視工作者的數量並未
相應增加。電影拍攝經費高、酬勞高，電視台必
須以更高的金額吸引優秀的影視從業人員，戲劇
製作費便跟著上升。黃桂慧表示，自己剛接戲劇
組時一集的製作費大約80萬元，不到十年時間，
現在一集已增加到200萬元左右。在預算不變的
情況下，連續劇的製作便從早期一年兩檔、兩年
三檔，如今約是一年一檔的頻率。
若仔細觀察客台歷年的戲劇作品，除了戲劇製
作精緻化，還會發現戲劇取材也有顯著的改變。
黃桂慧表示，早期客台戲劇方向以「客家人客家
事」為主，希望透過戲劇向大眾介紹台灣這塊土
地上有個客家族群，他們有哪些打拚、奮鬥的故
事。像是2007年推出的《大將徐傍興》，由演員
客家電視台盼以《烏陰天的好日子》，讓大眾對精神
疾病患者有更多的理解。
Hakka TV hopes Light on a Cloudy Day can educate
viewers about people with mental illnesses.

well as how patients label themselves. While she hopes 《烏陰天的好日子》座談會上，民眾分享生活壓力所帶
來的情緒低潮，演員方宥心以擁抱代替言語，傳遞溫暖
her show can educate society on mental illness, she is
的力量。（林旻萱攝）
more concerned with helping patients understand that At a seminar on Light on a Cloudy Day, viewers share how
life’s pressures get them down. Actress Queenie Fang gives
having a mental illness is not because they are not good a hug to transmit positive energy. (photo by Lin Min-hsuan)
enough, nor is it retribution for doing something bad.
She wants patients to instead rip off these negative la-
bels and gain the courage to face their illness.
Most people believe mental illnesses stem from
psychological problems, yet in addition to emotional or believing in home remedies. As a trailer for the show
factors such as stress and trauma, mental illness in fact says, “We can’t cut ourselves into a shape which con-
may also be related to abnormalities in a person’s brain forms with the world’s expectations. Just keep walking
tissue. Depression, as an example, is caused by an im- forward and even a cloudy day will be a good day.” Life
balance in certain neurotransmitters; it is not an illness has its ups and downs. The goal is not to turn cloudy
which can be cured by simply telling someone to think days into sunny days. It’s about giving the show’s view-
more positively. Thus, like any other illness, mental ill- ers the strength to keep moving forward.
ness can be controlled by finding the cause and admin- Hakka shows for all
istering pharmacological and non-drug treatment. With the recent revival of Taiwanese movies, both
Huang Kuei-hui, head of the program department film budgets and remunerations have increased, so that
at Hakka TV, says this drama aims to raise awareness TV stations have needed to offer higher pay to attract
of such illnesses. She also hopes viewers know that talented cast, thus raising production costs. Huang
everyone will at some time have emotional difficulties Kuei-hui says that when she took over the program
that should be dealt with promptly, and that if you do department, it cost roughly NT$800,000 to produce one
get sick, you should see a doctor rather than ignoring it episode of a series, but in less a decade, that cost has
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溫昇豪飾演有「台灣外科第一刀」之稱，也是台《出境事務所》以戲劇探討死亡，描述每個人必
經的人生課題，引起觀眾共鳴。
灣棒球推手、美和中學創辦人的客家裔醫生徐傍 Long Day’s Journey into Light addresses the topic of
death, something everyone experiences in their life.
興。或是2009年的《十里桂花香》，描述鼎泰豐
創辦人楊秉彝與客家裔的妻子賴盆妹，他們是如
何創業奮鬥，打造台灣的小籠包傳奇。
但以宣揚客家成就為主的戲劇做久了，勢必
會遇到瓶頸，尤其以真人為藍本的戲劇，必須深作品。客台讓戲劇內容能更面向大眾，試圖以具
入挖掘具有戲劇張力的人生故事，所有的劇本內親和力的連續劇作為民眾認識客台的入門磚。
容都必須取得當事人及家屬的同意，有時候一磨對於沒接觸過客語連續劇的民眾，黃桂慧推
就是一年，其前製準備可能還比原創劇本來的薦可由《出境事務所》入門，劇情以禮儀公司為
更久。再加上同樣題材做久了，會強化客家的界背景，找來實力派演員吳慷仁、柯淑勤等詮釋生
線，讓觀眾誤以為客台的戲劇只做給客家人看。死議題。每個人都會有親友離世的經驗，劇中演
為打破這樣的刻板印象，電視台轉換戲劇目標，員完美詮釋人在歷經生離死別時，可能有的情緒
改以議題性的取材，讓客語連續劇能吸引更多非反應及行為表現，「讓觀眾可以套入自己的經驗
客籍觀眾。像是2010年的青春校園劇《牽紙鷂的產生共感，從中得到安慰，是一部蠻療癒的作
手》，是以中輟生遇上教學風格特殊的老師而展品。」黃桂慧表示，客台的戲劇，在首播時或許
開的故事，也是編劇呂蒔媛第一部獲得金鐘獎的不那麼受注目，但好的題材與堅強的演員陣容，

increased to NT$2 million. With the budget unchanged, For those who have never been exposed to Hakka-
only one series can be produced per year nowadays, language drama series, Huang Kuei-hui recommends
when two or three were possible in the past. starting with Long Day’s Journey into Light, which is set
As Huang notes, in the past shows on Hakka TV used in a funeral home and explores issues of life and death.
to focus on stories about “Hakka people and Hakka Everyone has experienced the passing of a loved one,
affairs,” portraying the struggles of the Hakka people and the actors in the show perfectly portray how we
in Taiwan. For example, in the 2007 drama The Story of might react when saying goodbye to someone close to
Hsu Pang-hsing, actor James Wen plays the eponymous us. “A rather therapeutic work of art, the show reso-
Hakka doctor, said to be “the best surgeon in Taiwan”; nates with viewers by getting them to draw from their
Hsu was also the founder of Meiho Senior High School own experiences, and find some solace in the process.”
and an avid promoter of baseball in Taiwan. Huang states that shows on Hakka TV may not garner
However, over time, this emphasis on extolling the a lot of attention on the first airing, but the high-quality
achievements of Hakka people tended to confuse peo- material and strong cast help the shows stay fresh and
ple into assuming Hakka TV dramas were only meant popular years after their releases. For example, accord-
for Hakka viewers. To break this stereotype, the station ing to a data analysis from online video platforms, Long
began to center its shows on specific issues to get non-
Hakka viewers interested in Hakka serial dramas. In
the 2010 campus youth drama The Kite Soaring, a group
of high-school dropouts encounter a teacher who uses
黃桂慧期望客台用心製作的連續劇，能在世界客家文
unconventional teaching methods. The series attempts 化中占有一席之地。（林旻萱攝）
to relate more to viewers and get them to dip their toes Huang Kuei-hui hopes Hakka TV’s carefully crafted
dramas have a place in worldwide Hakka culture.
in the dramas offered on Hakka TV. (photo by Lin Min-hsuan)
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使作品歷久彌新，上檔幾年後仍能受到民眾青慢速朗讀、一次正常速度的形式，讓演員在開拍
睞。以《出境事務所》為例，透過網路影音平台前就能先背好台詞；開拍後，語言指導會依角色
的數據分析，自2015年首播至今，仍是客台最受性格調整台詞的語氣，並在拍戲現場協助監督台
觀眾歡迎的戲劇作品，不斷有新的觀眾收看。詞發音的正確性。演員同時要兼顧台詞與演技實
在不容易，也因此，假如拍攝華語戲一天需要10
突破語言的侷限
小時，拍客語就需要16小時，如此給予導演與演
為了跳脫非客籍人士對客家的既定印象，例員磨合的充足時間。
如客家大院、花布等元素，黃桂慧總是跟劇組強就黃桂慧長期的觀察，判斷演員對客語是否學
調，「製作客語連續劇的客家元素就是客語。」得來，有個有趣的分類。通常會講閩南語的人，大
若場景或劇情裡需要客家元素的地方，客台在劇概一個月就能學會；但若只會講國語的人就會學
本討論階段就會給予建議，例如以符合地域的客得比較吃力。因為客語有七個聲調，而閩南語有八
家宅第來拍攝時代劇，不需要刻意在場景布置大個，國語只有四個聲調，在轉換聲調時就常會遇到
量花布，因為那並非客家人生活的真實樣貌。所困難。所幸台灣演員的學習能力都蠻強，使用不熟
以製作客語連續劇的劇組團隊，如導演、編劇，悉的語言也不影響演技，能讓劇情詮釋流暢，一
甚至是演員，都不一定要是客籍人士，「處理客
家文化的問題，我們來就好。」黃桂慧笑說。
每齣戲的選角，客台都是以製作好看的戲為優
先，依角色屬性尋找合適的演員，即使不諳客語
演員溫昇豪（左）飾演的《大將徐傍興》，是客台典型的
也沒關係。只要願意接受挑戰，客台會找來語言
「客家人客家事」。
指導，幫演員作客語發音的訓練。除此之外，語 James Wen (left) plays the title character in The Story of Hsu
Pang-hsing, a classic Hakka TV show about “Hakka people
言指導會將台詞譯成客語並一句句錄音，以一次 and Hakka affairs.”

Day’s Journey into Light has remained the most popular 《醬園生》以萬家香醬油為藍本，加入虛構的戲劇
元素，講一部手工釀製醬油的創業故事。
show from Hakka TV since its first airing in 2015 and Based on the history of the Wan Ja Shan soy sauce
there are constantly new viewers watching it. company and embedded with fictional elements, Jiong
Ien Sen is a show which tells the story of starting a
Breaking language barriers business in artisanal soy sauce.
Hakka TV prioritizes producing a quality show
when casting characters, and so looks for actors who
would best fit the role. Even if the actors are not versed
in Hakka, as long as they are willing to accept the chal-
lenge, the station will hire a language coach to train them are quick learners, and performing their lines in an un-
in Hakka pronunciation. The coach will also translate familiar language doesn’t affect their acting. They can
their lines into Hakka and record them sentence by sen- still maintain the flow of the plot, so most viewers won’t
tence, once at a slow pace and once at a normal speed, so even notice it’s not their native language. As for view-
that the actors can memorize their lines before shooting ers who worry they won’t understand Hakka shows if
begins. Once shooting commences, the coach will help they do not understand Hakka, Huang points out that
the actors adjust their intonation to better match the role, Taiwan has seen a surge in Korean dramas in recent
and will be present on the set or on location to check that years, which has increased audiences’ acceptance of
their pronunciation is correct. It’s no easy task for the foreign-language dramas. Even if viewers don’t under-
actors to focus on both their lines and acting, so if it takes stand Korean, it doesn’t prevent them from following
ten hours a day to shoot a show in Mandarin, it will take the plot. Both domestic and foreign drama programs
16 hours to make the same content in Hakka, to give the broadcast in Taiwan are routinely subtitled in Chinese,
director and actors sufficient time to get things down pat. so audiences are used to seeing subtitles on their TV
Interestingly enough, according to Huang Kuei-hui’s screens. Huang encourages everyone to take the same
years of observation, actors learning Hakka fall into two approach towards Hakka serial dramas.
categories: those who know Taiwanese and can learn Globally-oriented Hakka shows
Hakka in about one month; and those who only know As part of the publicly owned Taiwan Broadcasting
Mandarin and struggle more in learning the language. System, Hakka TV is not concerned about revenue like
Hakka has seven tones, and Taiwanese has eight. But a commercial TV station. It has a mission to highlight
since Mandarin only has four, Mandarin speakers find social issues and transmit cultural traditions, which
Hakka tones more difficult. Luckily, Taiwanese actors in turn impacts the depth and breadth of the topics
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《日據時代的十種生存法則》演活了賴和筆下的台灣人，的節奏，拍攝成《勞動之王》，盼能藉由戲劇引
傳遞了跨越百年的時代共感。
Survival brings to life the Taiwanese people as portrayed in Loa 起民眾對議題的好奇與關注。
Ho’s works, connecting us to a world a century in the past.
2019年推出的《日據時代的十種生存法則》，
則是以戲劇重新詮釋台灣文學，由成功大學台灣
文學研究所畢業、研究賴和的陳南宏擔任製作
人，精選賴和的作品編寫成時代劇。將日據時期
般觀眾在看戲時根本不易察覺。面對民眾不懂客台灣人的身分認同問題，會社壟斷市場、控制收
語就看不懂客語連續劇的擔憂，黃桂慧表示，近購價格等當時庶民的生活景況以戲劇重現。即使
幾年韓劇大量來台，降低了戲劇的語言限制，即穿越百年，賴和筆下的台灣人所面臨的種種困
使不懂韓語也不影響對劇情的理解，她鼓勵民眾難，與當今台灣社會的貧富差距、年輕人對未來
也能以同樣的開放態度來欣賞客語連續劇。的不確定性等，都契合了現代人的鬱悶，也拉近
了台灣文學與大眾的距離。
立足世界的客家劇
秉持推廣的想法，客台製作的連續劇皆可在官
身為公廣集團裡的電視台，客台少了商業電網、YouTube、LINE TV等網路平台免費觀看。
視台的營收考量，多了對社會議題的關注與文化「我們敢說全世界也沒有別人在做客語發音的節
傳承的使命，也因此影響了戲劇選材的深度與廣目。」黃桂慧自信地期盼，「我們想做世界的客
度。例如《雲頂天很藍》，就演出了偏鄉廢校、家，希望以後不管在哪裡講到客家，大家就會想
新二代、隔代教養等社會現象；這幾年常在新起台灣有個客家電視台。」透過網路的無遠弗
聞裡看見的勞工權益問題，例如保全人員休假制屆，讓客語連續劇在世界的客家文化中占有一席
度、過勞認定、勞檢機制等，客台也以比較輕鬆之地。 l

covered by its dramas. The show Somewhere over the Sky, selected the best of Loa Ho’s works and adapted them
for example, features social phenomena such as rural into a period drama. His drama portrays the problems
school closures, second-generation immigrant children, the common folk faced during the Japanese colonial
and skipped-generation families. Labor rights issues era such as an identity crisis, corporate monopolies,
that have often been in the news in recent years, such as and government control of purchasing prices. Even a
the working hours of security firm employees, the legal century later, the many problems Loa described the
definition of overwork, and the labor inspection system, Taiwanese people as facing still reflect the pent-up
are addressed in a more lighthearted way in a Hakka TV frustrations modern Taiwanese people have towards
series called Karoshi, which aims to use drama as a me- wealth disparity and the uncertainty of their youth’s
dium to inspire curiosity and awareness of social issues. future. In this way the show has bridged the distance
The 2019 drama Survival is a reinterpretation of Tai- between Taiwanese literature and ordinary people.
wanese literature. The show’s producer Chen Nanhong, To promote these series, all Hakka TV serial dramas
who graduated from the Department of Taiwanese Lit- can be watched for free online on the station’s official
erature at National Cheng Kung University and studied website, on YouTube, and on LINE TV. “We dare to say
the Taiwanese physician and poet Loa Ho (1894–1943), that no one else in the world is producing shows in
Hakka.” Huang Kuei-hui says confidently, “We want to
be Hakka with an international outlook, and we hope
that when anyone talks about Hakka culture, they will
think of Taiwan’s Hakka TV.” Thanks to the global
《日據時代的十種生存法則》將賴和的文學作品 reach of the Internet, there is a place for Hakka serial
l
以朗讀貫穿其中，增添戲劇質感。（圖為劇中重
現賴和在自家醫館寫作的情景）
dramas in the world’s Hakka culture.
Throughout Survival, Loa Ho’s literary works are read (Chen Chun-fang/photos courtesy of Hakka TV/
aloud to add a dramatic undertone. The photo shows
a scene in which Loa Ho is writing in his clinic. tr. by JR Lee)
105
藝文脈絡　CULTURAL TRENDS
在異域
激盪藝術火花
文 •
李珊瑋
　
圖 •
海外藝遊．圓夢計畫
莊坤儒版面設計 •
Have Dreams, Will Travel:
　
NCAF Program Expands
王敬勛
Young Artists’ Horizons
邁入第七年的國藝會「海外藝遊專案」，是時，有許多接待各國來訪學者的機會，開啟宏觀
扶助年輕藝術家圓夢的重要推手。在截然不同的視野。足跡遍及美國、加拿大、冰島、紐西蘭的
社會文化衝擊下，卸下禁錮的思維，六覺全然釋文化工作者黃雅憶，沉浸在探索民族根源的廣漠
放，汲取異己元素，發酵內化，邁出全新步伐。天地中。
具有布農與阿美族血統的黃雅憶，以無畏的曾經在東華大學國際事務處工作三年，黃雅憶
尋根精神，勇敢地全球探索。在海外藝遊專案深刻體會到，使用對方的語言交流時，親切感瞬間
中，她驚嘆紐西蘭毛利人傳統會所，竟與南島根升溫。「我會對民族語言有興趣，其實是受到爸
源萬里相逢；善用肢體展演藝術的張堅豪，2017 爸的影響。」從小看著父親在工作場域，隨時切換
年透過亞洲文化協會到紐約駐村期間，與泰國舞五、六種語言與人交談，讓黃雅憶崇敬又羨慕。
者相遇，開啟他在2018海外藝遊專案中，進一步「沉浸式教學是訓練語感最好的方式。」2018
探索東南亞舞蹈元素，與深層的民族意涵。年在第六屆海外藝遊專案中，參加「紐西蘭毛利
族Marae傳統會堂藝遊」的黃雅憶，對毛利族傳
承族語的認真態度非常感動。她在台灣從事口述
跨海尋根：黃雅憶
吟唱文學，對族語獨立出版研習持續關注，深刻
黝黑的皮膚、深邃的褐色大眼，以及濃密的體會族語保存的重要性。「爸爸曾經笑我講得太
自然捲髮，黃雅憶笑著說：「我本身就很有特生硬，像是沒有鹽巴的語言。」經歷過禁止方言
色。」天生運動健將的體型，她的父親是阿美的年代，無法流利的用族語溝通，講不出母語的
族，而她的外型則是遺傳了媽媽布農族的特徵。味道，讓人無奈又沮喪。「我很害怕有一天我們
「曾經在機場被安檢人員誤認為是外籍移民，鬧的身分會消失。」當原住民離開棲息地到外地謀
了很多笑話。」就讀東華大學原住民族相關科系生，祖先的傳承逐漸模糊，連族語也會淡忘。

N ow in its seventh year, the Overseas Art Travel 「長弓」團員流暢俐落的肢體語言，張力十足。
Chang Dance Theater: Well-defined and fluid yet
Program sponsored by Taiwan’s National Cul- tension-filled body language.
ture and Arts Foundation (NCAF) functions as a piv-
otal promoter that helps budding artists realize their
dreams. Temporarily immersed within an alien social
milieu, funded artists free themselves of inhibited left her footprints across the United States, Canada, Ice-
thinking, and emerge freshly energized. land and New Zealand, she is immersed in the vast world
Panay Kumod, who is of Bunun and Amis parentage, of “ethnic roots.”
bravely explores the world with a fearless root-seeking Having worked for three years at the International Af-
spirit. Thanks to her chosen project, she visited a num- fairs Office of National Dong Hua University in Hualien,
ber of traditional Maori marae (clubhouses) in faraway she realizes that when one uses the language of one’s inter-
New Zealand, where she had an unexpected encounter locutor, it immediately increases a sense of familiarity be-
with her Austronesian roots. During his project in 2018, tween speakers. As a child she watched her father at work,
dancer Chang Chien-hao was able to further explore the noting how he switched between five or six tongues in
essential elements of Southeast-Asian dance, as well as conversation, an ability that she both revered and envied.
the deeper meaning of an ethnic group’s identity. “Immersive study is the best way to foster an intuitive
feeling for a language,” says Panay Kumod. During the
Panay Kumod: Austronesian epiphany sixth Overseas Art Travel Program in 2018, in which she
She has a bronze complexion, deep-set chestnut eyes, spent time at traditional Maori marae in New Zealand,
and a head of dense, curly hair. “I’m one of a kind,” as- she was moved to discover how seriously the Maori take
serts Panay Kumod, smiling. She also has the figure of a the transmission of their language. Having lived through
born sportswoman. Her father is Amis, but she has the the period in Taiwan when it was forbidden to use any
Bunun looks of her mother. A cultural activist who has language except Mandarin in schools and the media, she
107
「雖然有原住民的臉，卻沒有原住民的靈魂。」
一種流失的焦慮，讓黃雅憶憂心。
然而看到毛利族由幼稚園到大學，一貫沉浸式
語言教育，開啟黃雅憶對復興族語的夢想。「他
們進入學校後，就只能使用族語。」打造單一語
言環境，極具學習效率。「我希望有一天，也能
建構完整的沉浸式教學空間。」
祖靈的召喚，尋覓族源
「每一項活動，都蘊含著深遠的意義。」毛利
人所崇敬的貝殼樹，象徵撐開天地的祖靈。當黃
雅憶隨著毛利族人在漆黑的夜色中，肅穆行進，
抵達祖靈面前時，燈光瞬間打亮，那種五感全
開，毛細孔在樂聲中一開一合，一股靈氣由頭頂
串流全身的奇妙體驗，只有身歷其境才能感受。
「走進毛利人的會所，會有一種莫名的感動。」
與太巴塱Kakita'an祖屋極為接近的外型與功能，
黃雅憶感受到回家的親切。「它是族人的精神核
心，婚喪喜慶都在這裡舉行。」建築意象彷彿是
張開雙臂的祖靈，慈悲的俯視，包容接納族人的
一切。雖然不同區域的會所，建材和色澤會有些
微差異，但是整體型式都有固定的規範，是族人
精神團結的象徵。「我們布農族的石板屋是會呼
吸的房子。」祖先的智慧和文化遺產，不能在歷
史中消失斷層。「看到他們對會所的保存與尊
重，讓我非常感動。」見賢思齊，讓黃雅憶更覺
得對守護傳統，有一份無可推諉的責任。
種子名片，守護自然
「毛利人和台灣原住民一樣，非常敬畏大自
然。」首次接觸，那種相識多年的親切感卻油
然而生。「曾經有學者研究，南島族群有共同的
血源。」那種血濃於水的連結，冥冥中牽引著黃
雅憶去探索。黃雅憶別出心裁地把大自然的種
子包藏在她的名片中，落實珍愛自然的理念，
「如果有一天，名片被丟棄了，只要遇到適當
的環境，它就會發芽。」生生不息，在每一個
黝黑的皮膚、深邃的褐色大眼與濃密的自然
捲髮，黃雅憶的外型極具特色。機緣中發生。
With her bronze complexion, deep-set
chestnut eyes and head of dense, curly hair, 每個民族的語言、音樂、舞蹈、飲食、生活
Panay Kumod has a distinctive look.
型態、信仰，都是無可取代的文化資產。「我覺
得發展觀光，不能只著眼在消費，而是要突顯文

毛利人的會所與太巴塱
Kakita'an祖屋，外型與
功能極為接近。
（黃雅憶提供）
Maori marae clubhouses
like this one are very
similar in appearance
and function to the Amis
kakita’an ancestral house
at Tafalong in Hualien
County. (courtesy of
Panay Kumod)
cannot communicate fluently in the language of her “When you enter the marae, you feel oddly moved,”
people; this leaves her feeling helpless and frustrated. she says. Its appearance and function are strikingly sim-
“I am afraid that one day our identity will disap- ilar to the kakita’an, or ancestral house, in the Amis com-
pear,” she confides. When indigenous peoples leave munity of Tafalong in Hualien’s Guangfu Township,
their traditional communities to make a living in the and she felt a sense of familiarity as if she had returned
outside world, the culture of their ancestors gradually home. “It’s the spiritual center of the tribe, and wed-
blurs, and even their languages are forgotten. dings, funerals and celebrations are held there.”
Observing how the Maori use immersive learning to The building resembles the open arms of the ances-
study their mother tongue from kindergarten through tral spirits, their gaze full of compassion, accepting all
university has stimulated Panay Kumod’s dream of aspects of the tribe. “I was deeply touched when I saw
reviving her own people’s tongue. “From the moment their preservation of the marae, and their respect for
they enter the school campus, they can only speak in them.” Inspired by their wisdom, Panay Kumod felt an
Maori,” she says. Creating a monolingual environment unshirkable responsibility for guarding tradition.
is highly effective. “I hope that one day, I too can create A calling card that germinates
a complete space for immersive learning.” “The Maori, like Taiwan’s Aborigines, deeply revere
Call of the ancestral spirits Nature.” Panay Kumod has ingeniously embedded
The kauri tree (Agathis australis), which the Maori scallion seeds in her calling cards, her way of express-
revere, symbolizes the ancestral spirits that once broke ing the idea of cherishing Mother Nature. “If one of my
apart the seamless embrace of the Sky Father and business cards is discarded, as long the seeds find the
Earth Mother, thus creating our world. Proceeding appropriate environment, they will germinate.” Life
solemnly, Panay Kumod followed her Maori guides in is never extinguished, and burgeons at the slightest
the darkness of the night. When they arrived before the opportunity.
ancestral spirits and the lights suddenly shone bright, Each people’s lifestyle, language, religion, music,
she was overcome with an extraordinary sensation— dance and diet are irreplaceable cultural assets. “In de-
her five senses came alive, her pores opened and shut veloping tourism, the focus shouldn’t be on ‘consump-
in tandem with the music, and spiritual energy flowed tion,’ but on highlighting culture and familiarizing
through her from head to toe. It was a feeling that could tourists with it.” Panay Kumod believes that only by
only be experienced in such a setting. treating culture as the main attraction, conveying its
109
黃雅憶的外婆（中間手持花束者）是布農族人，
80大壽時親友相聚慶生。（黃雅憶提供）
Panay Kumod’s Bunun grandmother (center, holding
bouquet) celebrating her 80th birthday with family and
friends. (courtesy of Panay Kumod)
化，讓遊客認識它。」黃雅憶認為，只有以文化
作為主商品，彰顯價值，成為文化監護人，才能
贏得恆久敬重。
黃雅憶用一首詩〈一把火的故事〉，表述她對
發揚原民文化的使命。
我們的語言和文化就像這把火一樣∼
起一把文化的火在我們的家中，
是傳遞語言和文化的火；
起一把文化的火在我們的社區，
提倡母語和原住民的文化。
當我們心中都有這把文化的火，
世界將會看見
原住民美麗、多元、有智慧的文化。
東西文化的牽引碰撞
黃雅憶望著遠方，喃喃地說：「回家的路很難
走，但那是我們自己的家。」 2017年張堅豪獲選A C C亞洲文化協會獎助，
在紐約駐村半年，和韓國、泰國、柬埔寨舞者，
基因天賦：張堅豪
共同創作發表「Boundary」。「一直以來，我的
空蕩蕩的舞台上，緩緩走進四個人，成為視目光都專注在歐美，但是駐村後發現，原來東南
覺焦點。沒有喜怒哀樂的表情，更突顯眼神的專亞也是那麼有深度。」一種未竟的探索，促使張
注。「長弓舞蹈劇場」（以下簡稱「長弓」）正堅豪進一步向東南亞邁進。2018年獲得國家文化
在排練一支感情豐沛的當代舞。藝術基金會「台灣、泰國當代與傳統探究」海外
2011年張堅豪和弟弟們共同成立「長弓舞蹈劇藝遊專案，得以一圓心願。藉由和泰國女舞者
場」，初試啼聲，就引起當代舞壇的注目。「我 Kornkarn Rungsawan合作，完成雙人舞。
們四兄弟不約而同的都走上舞蹈的路。」張堅豪「我第一次參與泰國舞團每天例行的基礎訓練
說，大哥和小弟年齡相差10歲，卻先後在國立台北時，真的被震撼到。」紮實的訓練，將傳統與當
藝術大學接受舞蹈專業教育。「媽媽是我們的啟蒙代結合。在那種看似違背常理的扭轉和延伸中，
者。」人稱「宋老師」，在雲林斗六教舞數十年的了解到原來肢體還有很多可以開發的空間。「我
宋秀君，對舞蹈有極大的熱忱。「媽媽希望培養我在Kornkarn身上看到東方的特質。」這個熟悉的
們有『帶得走的能力』。」雖然沒有強制四兄弟以影子，讓張堅豪更深層地檢視舞蹈的內涵，思考
舞蹈做為職業，而今卻總以孩子在舞蹈上的成就如何運用身體做為媒介，在傳統和當代的碰撞
為榮。八年來，「長弓」不僅在台灣各地巡迴演間，取得平衡。
出，更數度受邀在法國巴黎、蘇格蘭藝術節、西班藝遊的一個半月期間，張堅豪把舞蹈、走動、
牙馬德里希古洛藝術中心、巴勒斯坦伯利恆、香港靜止、對話，藉由影像紀錄，體現生活中的慣性
等地演出。2017、2018連續兩年獲得文化部評選參和重複，找到雙人舞的主題「日常」。因為文化
加「愛丁堡藝穗節臺灣季」的殊榮。背景的差異和對肢體與傳統的解釋不同，在東方

value and serving as cultural guardians, can a people 藉由舞蹈，體現親密手足間競合的矛盾關係。
Dance expresses the contradictions inherent in the close yet
win long-lasting respect from others. competitive relationship of brother with brother.
“Returning to one’s roots can be a difficult journey,
but after all, it is our home,” she whispers, gazing into
the distance.
Born talent: Chang Chien-hao East–West cultural attraction and collision
In 2011, Chang Chien-hao and his younger brothers In 2017, Chang was selected by the Asian Cultural
jointly established Chang Dance Theater. Their debut Association to do a six-month artist’s residency in New
performance attracted the attention of Taiwan’s contem- York City. He collaborated with Korean, Thai and Cam-
porary dance circles. “We four brothers each took differ- bodian dancers to choreograph and perform a work
ent paths toward dance,” says Chang, who is ten years entitled Boundary.
older than his youngest brother; but they all eventually “All the time, my eyes had been focused on Europe
received a professional education in dance. and the US, but thanks to that residency, I discovered
“Mom was our earliest mentor,” says Chang. Their that Southeast-Asian culture also has great depth.”
mother, Song Xiujun, has been teaching dance in Yun- The sense of an unfinished journey prompted Chang
lin County’s Douliu for several decades, and is very to reorient himself toward Southeast Asia. In 2018, he
passionate about this art form. “She wanted us to have won a place in the Overseas Art Travel Program with a
‘portable skills.’” project to explore contemporary and traditional dance
In the past eight years, Chang Dance Theater has in Taiwan and Thailand. He worked in Thailand with
not only toured Taiwan, but has also been invited to Kornkarn Rungsawan, a Thai female dancer, and to-
perform in Paris, at the Edinburgh Festival Fringe, and gether they composed a duet.
at Madrid’s Circulo de Bellas Artes, as well as venues “In Kornkarn I recognized traits unique to East Asia.”
in Hong Kong and Bethlehem in the West Bank. In 2017 These familiar traces stimulated Chang to scrutinize the
and again in 2018, the troupe was chosen by Taiwan’s connotations of dance in a deeper way, contemplating
Ministry of Culture to participate in the Taiwan Season how to use the body as a medium to strike a balance
at the Edinburgh Fringe. when the traditional and contemporary collide.
111
繼演出手足成長的幼年和青少年時期，兄弟四人再次排 During the one-and-a-half-month project, while cap-
演成年後的相處劇本。（長弓舞蹈劇場提供） turing video images of dancing, walking, standing still
Following earlier performances portraying their childhood
and adolescence, today the four brothers are portraying their and conversing that reflected the inertia and repetition
relationship as adults. (courtesy of Chang Dance Theater)
common in daily life, Chang happened upon the theme for
his duet, entitled “Routine.” Due to differences in cultural
background and interpretations of body movements and
dance traditions, the contrast between East and West led
與西方的對比中，深層體悟舞蹈的本質，是在 Chang to a deeper understanding that the essence of dance
演繹生命的淬鍊。透過理解和空靈的想像，用 lies in conveying how we are tempered by life.
肢體傳遞重量、速度、溫度的同時，尋找源源 Putting yourself in someone else’s shoes
不絕的創作靈感。 The four brothers have performed together overseas
many times. Although they were influenced by their
換位思考的智慧 mother and all came to love dance, each developed distinct
fortes. Chien-kuei, the third-born, is the head of the dance
曾經多次共同在海外演出的四兄弟，雖然在
troupe, second-born Chien-chih serves as artistic director,
母親的耳濡目染下，共同愛上舞蹈，但是卻各
and big brother Chien-hao and their youngest brother Ho-
自發展出不同的認知。老三張堅貴擔任舞團團 chien are both resident artists. Each performs his specific
長、老二張堅志是藝術總監、大哥張堅豪與小 duties and respects the others.
弟張鶴千為駐團藝術家，四個人在舞團中各司 Having undergone the baptism of the Overseas Art
其職，相互尊重。「我們都有其他的工作在進 Travel Program, Chang Chien-hao came to the realization
行。」或是教職，或是編舞，或是表演。除了 that seeking one’s inner essence is one of the most down-to-
earth sources of inspiration in dance. One of the brothers’
團練，四兄弟每天都各自奔波忙碌。
earlier dance works, Bon 4 Bon, told the story of childhood
經歷海外藝遊的洗禮，體悟回歸本質是最
and adolescence as the brothers grew up, in moving per-
質樸的原點。之前的舞碼是敘述兄弟成長的幼
formances that resonated with audiences. Now the quartet
年和青少年時期，撼動人心的演出，引發觀眾 describe their mutual relationships as full-grown adults.
的共鳴，這次兄弟四人再次描繪成年後的相處 “We want to express the contradictions inherent in close yet
模式。「我們想要表達手足間競合的矛盾。」 competitive relationships between brothers.”
回歸到排練半年多，精雕細琢的舞碼中，時而 For more than half a year now, they are once again en-
躑躅獨行，時而列隊前進；相互擁抱，彼此 gaged in group rehearsals for a finely crafted dance set. “We
are all dancers. We are ruthless competitors in the work-
撲打，每個人的角色不停地轉換，學習調整自
place, but in terms of our shared lineage, we are inseparable,
我，配合對方。「我們都是舞者，在職場上是
loving siblings.” Through their dancing, the wisdom of em-
無情的競爭對手，但是在血緣上，又是無法切 pathy is expressed, and introversion and extroversion alter-
割的親密手足。」藉由舞蹈，體現換位思考的 nate constantly.
智慧，內斂和外放不停地交替。 In addition to dance, the troupe has also joined forces with
舞台就像一個遊戲場，在音樂的牽引下，流 partners in other domains, such as theater, circus and new
暢俐落的靈巧翻滾，即興而優美，張力十足。 media. Chien-hao, whose eyes were opened thanks to partici-
pation in the overseas program, constantly reminds himself
除了舞蹈之外，「長弓」也多次與戲劇、馬
that via dancing, he must examine life’s experiences and set-
戲以及新媒體跨領域合作演出。在藝遊中打開
backs in order to rediscover his inner self and creativity.
視野的張堅豪不斷地提醒自己，藉由舞蹈，檢
“This is the lifelong gift given us by our mother.” Cherish-
視生活上的體驗和挫敗，沉醉於透過練習的總 ing her patient cultivation, and cherishing the emotional
和，重新回到自己和創作本身。「這是媽媽給 bond between brothers—such is the troupe’s destiny. l
我們的終身禮物。」珍惜母親的栽培，珍惜手 (Lee Shan Wei/photos by Kent Chuang/
足之情，「長弓」就是家族生命。 l tr. by Bruce Humes)
113
產業新創　ENTREPRENEURSHIP
范振海今年的豐收，讓他成為「苗栗一號」最佳代言人。
Frank Fan’s bountiful harvest this year makes him the best
spokesperson for the Miaoli No. 1 jelly-fig cultivar.

高山族變平地族的愛玉子苗栗一號
Down from the Mountains:
Jelly Figs’ Journey to the Lowlands
文•曾蘭淑　圖•林格立　版面設計•王敬勛
試問誰最愛台灣？種植愛玉子的農夫、研究
隱花果的學者專家有共同的答案：「愛玉小蜂最
W ho loves Taiwan the best? Farmers who cul-
tivate jelly figs and researchers who study fig
reproduction will all reply: “The jelly-fig wasp!” The
愛台灣！」由於愛玉小蜂只能在台灣散播花粉與
fig wasp that pollinates the jelly fig can only survive
繁衍，帶來台灣獨家的特產──愛玉。 and reproduce in Taiwan, giving Taiwan a unique
與愛玉小蜂互利共生的野生愛玉子，總是攀 product—the jelly fig, from which we make aiyu jelly.
緣著樹幹生長，結成果實，高不可攀，採摘危 The wild jelly fig (Ficus awkeotsang) is a vine that
險。苗栗區農業改良場開發出苗栗一號、二號的 grows in the mountains and climbs up tree trunks.
平地愛玉，產量高，採摘又更為便利；還發現愛 Like most fig species, it lives in symbiosis with its
own variety of fig wasp, which acts as its pollina-
玉子胚細胞具有美白功效，進一步研發推廣美白
tor. Wild jelly-fig vines bear their best fruit high
產品，提高愛玉子的應用價值。
in the treetops, so that harvesting them is fraught
with danger. But the Miaoli District Agricultural
這一處對外管制、看似不起眼的苗圃，溫煦 Research and Extension Station has developed two
的陽光穿透溫室，自動灑水系統正澆灑著綠色小 new lowland jelly-fig cultivars—Miaoli No. 1 and
苗，這裡是苗栗區農業改良場（簡稱苗改場）以 Miaoli No. 2—which are high-yielding and easier to
廿年光陰，自全省山林、田野蒐羅而來的115種愛 harvest. Researchers have also discovered that jelly-
玉子幼苗種原庫。 fig embryo cells contain efficacious skin lightening
agents, and they are developing cosmetic products
在苗改場工作卅年的技術人員劉茂榮，一聽到
based on these substances, thus raising the value of
哪裡有特殊的愛玉苗，就趕緊奔去，例如種原圃
the humble jelly fig.
裡收藏一株採自草嶺石壁、據說有百年歷史的愛
玉子苗。劉茂榮說：「這株愛玉子由傳承三代採 In the unremarkable-looking plant nursery, which
愛玉的家族帶路才找到，老樹仍結實累累，單單 is not open to the public, the greenhouse is pierced by
愛玉子的樹藤就有人的手臂般粗。」但是移回平 warm sunshine. An automatic sprinkler system is wa-
地種植，卻不適應平地氣候，產量不佳。 tering the green seedlings. This is a germplasm bank
containing 115 varieties of jelly fig, collected over the
愛玉子種原庫裡有各式各樣的愛玉子，例如
last 20 years from mountain forests and countryside
洗出來的愛玉較金黃，還有可以冬天結果的越冬
all over Taiwan by the Miaoli District Agricultural Re-
種，品系各異，各有所長，但這些來自五湖四海
search and Extension Station (MDARES).
115
的愛玉子，論產量、或是可以適應北、中、南的愛玉小蜂與愛玉樹互利共生，而且唯有台灣是牠的家鄉。
The fig wasp that lives symbiotically with the jelly-fig vine is
氣候，或果膠的含量，都比不上苗改場所開發的 found only in Taiwan.
苗栗一號、二號愛玉子。
馴化栽培，「平」易近人
苗改場會一頭栽進愛玉子的培育，卻是「愛玉品系」，進行無性馴化，2012年、2013年培育出
小蜂」牽的線。由於苗改場的前身為「蠶蜂業改良苗栗一號、二號，是平地生長速度快、結果量與
場」，因為研究蜜蜂家族，也研究同為「授粉昆果膠含量多的愛玉子品種。
蟲」一族的愛玉小蜂。但不同的是，蜜蜂露天採不論是有抗蟲基因的苗栗一號，或是早生型
蜜，愛玉小蜂卻是鑽進愛玉子果實內，完成交配產的二號，透過設立約十台尺高的水泥柱，供愛玉
卵的神秘任務。為研究小蜂，愛屋及烏，當時的副子的藤蔓攀爬。採果人只要拿著採收檳榔的伸
場長吳登楨開始帶領團隊擴及愛玉子的研究。縮刀，甚至不用爬梯也能採果，可以說是達到
林務局過去曾開放一百多個中、高海拔林班地「平」易近人、採摘便利的目標。
採摘愛玉，基於採摘人口減少、位於國家公園內只不過，苗改場提供一號、二號技術移轉，為
等因素，目前只剩奮起湖工作站內的林班地開放總價40萬元的套裝方案，包括提供1,000株愛玉子
採摘，使得野生愛玉產量銳減。加上愛玉子大多苗，輔導栽培管理技術與協助愛玉小蜂授粉，還
野生天養，長於深山，攀附於大樹生長，愛玉子不包括水泥柱一支約1,000元的成本，加上愛玉子
氣根爬得愈高，結果愈多，也增加採果人攀高採從育苗到收成最快三年，最慢五年才能達到穩定
摘的危險性。產量，使得許多農民卻步。
雖然已有農民採集野生愛玉予以馴化栽培，
解甲歸田，開墾老家
可能對愛玉小蜂認識不足，降低成功授粉機
率，加上不易掌控雌雄株的栽培比例，使得果花蓮玉里范家愛玉園的主人范振海卻是「慧眼
實產量及品質良莠不齊，導致愛玉產量有限，識英雄」，2013年他一聽到苗改場開放「苗栗一
價格居高不下。號」技術轉移，馬上報名簽約，成為第一位技轉
苗改場為了降低愛玉攀高採摘的危險性，以及的農民，經過五年的努力，成為苗栗一號最佳代
培育產量高的愛玉子，從種原庫中篩選出「優良言人。

Engineer Liu Mao-jung, who has worked at MDARES where research was done on bees and on other insect
for 30 years, rushes off to anyplace where he hears there pollinators including fig wasps. As part of their study
is an unusual jelly-fig vine to collect cuttings from. For of the wasps, the team under the station’s then deputy
example, the germplasm bank includes plants propagated director, Wu Dengzhen, also began researching their
from a vine said to be 100 years old, growing on a rocky host plant, the jelly fig.
cliff at Caoling in Yunlin County. Liu recounts: “We were In order to avoid the danger of harvesting wild jelly
guided to the location by a family that has been harvest- figs, which involves climbing high into the canopies
ing jelly figs for three generations. The old vine was still of host trees, and to produce high-yielding varieties,
fruiting heavily, and its stem alone was the thickness of MDARES selected superior strains from its germplasm
a human arm.” However, after the cuttings were propa- bank and conducted asexual domestication. They bred
gated, the resulting seedlings could not adapt to the low- Miaoli No. 1 in 2012 and No. 2 in 2013. These are jelly-fig
lands climate and have not produced much fruit. cultivars that grow rapidly in the lowlands, and pro-
The jelly-fig germplasm bank has a wide collection of duce large quantities of fruit with high pectin content.
jelly-fig varieties, each with its own strengths. But none For both the pest-resistant Miaoli No. 1 and the early-
compares with the Miaoli No. 1 and No. 2 varieties de-
veloped by MDARES in terms of yield, adaptability to
the climates of northern, central and southern Taiwan, or
pectin content.
Breaking the climbing habit 苗栗農改場的愛玉子幼苗種原庫，蒐羅了來
自全省山林、田野115種愛玉子苗。
MDARES was led into studying the cultivation of The jelly-fig germplasm bank at the Miaoli District
jelly figs by the jelly-fig wasp. MDARES was previously Agricultural Research and Extension Station has
115 varieties of jelly fig collected from mountain
the “Sericulture and Apiculture Experiment Station,” forests and countryside all over Taiwan.
117
范振海廣發英雄帖，經常接受各方拿著高山野吃著愛玉子樹，心裡非常掙扎想要噴藥，只能不
生或平地愛玉來 PK，他說：「從產量與愛玉子的斷用高壓水把蟲噴下來，他也因此養了一群「工
果膠含量來評比，至今很少遇到對手。」作夥伴」放山雞，專吃高壓水噴下來的害蟲，真
長期派駐大陸十多年的范振海，由於玉里老家是瘦了愛玉樹，肥了放山雞。
有一塊父母留下來、卻已荒廢的農地，2005年他經過五年復育，克服病蟲害，因應氣候變遷，
託人開始種植肉桂樹，種植有成，卻遇到銷售的調整耕作方式與採收時機，尤其是培養了愛玉小
瓶頸。「依中藥法的規定，乾燥加工後的肉桂是蜂與愛玉子樹共生互利的環境，現今有機種植的
中藥材，只能由中藥行販售，新鮮肉桂賣給中盤愛玉子生態盎然，而且有機愛玉果實紮實，果膠
商又不符成本。」同時也是玉里特用作物三班班含量豐富。
長的范振海說，他也想過種苦茶籽樹，但是大陸對范振海來說，之前在外商公司壓力大，造成
廣西有滿山滿谷的苦茶籽樹，如何抵抗大陸的低他甲狀腺亢進、過敏，現在每天日出而作、日落而
價傾銷？唯有台灣獨家的愛玉子。息，不僅拾得健康，最重要的是重新開墾父母留
退休後的范振海狠心地將原先的肉桂樹砍掉重給他的土地，穰穰滿家，連上小學的小外孫女都
種愛玉子苗，並且決定有機種植，前二年看著蟲已表示，長大後要回玉里來繼承愛玉園。「愛玉
是台灣的寶，我的夢想，就是把愛玉子，像紐西蘭
的奇異果一樣，銷售到全世界。」范振海說。
愛玉小蜂：唯有台灣是家鄉
愛玉子果實以45度C低溫烘55個小時，
即成可食用的愛玉子。說到「台灣獨家」，范振海確實是眼光獨到，
Jelly figs baked at 45°C for 55 hours make
a tasty snack food. 愛玉子是台灣特有種，原因就在愛玉小蜂。

ripening No. 2, concrete posts about three meters tall 具有抗蟲基因的「苗栗一號」愛玉子，若經妥善照
are provided for the jelly-fig vines to climb. Harvesters 顧，果大、皮薄且種子多。
If properly cared for, the pest-resistant Miaoli No. 1 jelly
can simply use the telescopic cutters used for harvesting fig will produce large fruit with thin skin and lots of seeds.
betelnuts and don’t even need ladders to pick the jelly
figs, making for easy harvesting.
MDARES offers technology transfers of Miaoli No. 1
and No. 2 in complete packages costing NT$400,000, in- growers. He says, “Miaoli No. 1 can produce two har-
cluding the supply of 1000 jelly fig seedlings, guidance in vests a year, and thus far I’ve rarely met its match in
crop management techniques, and assistance in pollina- terms of production volume or pectin content.”
tion by fig wasps. However, this does not include the costs Fan, who was sent to work in mainland China for
of NT$1000 per concrete post. Add the fact that it takes at over a decade in his former career, inherited a long-
least three years from the seedling cultivation stage to the neglected plot of land in Yuli from his parents. In 2005
first harvest, and up to five years to achieve stable produc- he contracted someone to plant cinnamon trees on this
tion, and you can see why many farmers shy away. land, and they grew successfully, but Fan ran into diffi-
Returning to the old family land culties finding sales channels. “According to the regula-
Frank Fan, owner of the Fan Family Jelly-Fig Orchard tions governing traditional Chinese medicine, dried and
in Hualien County’s Yuli Township, has a discerning eye processed cinnamon is a Chinese medicinal material,
for opportunity. In 2013, when he heard that MDARES and can only be sold at traditional Chinese pharma-
was offering technology transfers for Miaoli No. 1, he cies. But if you sell fresh cinnamon to middlemen, the
immediately signed a contract with them. He became the price is too low to recoup your costs.” Fan, who heads
first farmer to undertake this technology transfer, and a production and marketing group for special crops in
after five years of effort he has become the best spokes- Yuli, had thought about growing oilseed camellia, but
person for Miaoli No. 1. the Chinese province of Guangxi grows vast amounts
Fan has searched far and wide for challengers, and of this crop, and Fan feared he wouldn’t be able to com-
often pits his jelly figs in head-to-head comparisons with pete against low-price dumping from the mainland. His
those from high-mountain wild harvesters or lowlands only option was a plant unique to Taiwan: the jelly fig.
119
苗改場副研究員林孟均指出：「愛玉樹的繁用礦泉水來洗愛玉子，水中的礦物質與愛玉子中的果
膠酵素結合，即可成愛玉凍。
殖，唯獨靠體長只有 0.3公分、不會叮人的愛玉 When jelly-fig achenes are kneaded in mineral water,
the mineral ions in the water combine with the pectic
小蜂傳遞花粉。由於愛玉子雌雄異株，也就是雌 enzymes in the fruit, producing aiyu jelly.
樹只產雌果，雄樹只產雄果，從外表上很難分
辨。當愛玉子結成小果時，果實尾端會自行打開
一個0.3公分大的小裂縫，散發出獨特香味，吸引
愛玉小蜂鑽進果實內。」短，不容易夾帶，縱使真的走私愛玉小蜂帶至大
「從雄果飛出來的愛玉雌蜂，在鑽出果實的過陸，由於數量不夠，近親交配的結果，會形成弱
程中，全身會沾滿雄果花粉，如果飛入雌果中，勢族群，不易繁殖。中國大陸其實有愛玉子的近
會接觸到雌花，完成授粉，當果實成熟後，即可親，名為「薜荔」，只是果膠量遠遠不如愛玉，
長成可以洗出愛玉的愛玉子；但如果飛入雄果，也有專家試圖以薜荔小蜂取代愛玉小蜂，但由於
也能在雄果內產卵，達成為小蜂家族傳宗接代的在演化上薜荔小蜂與愛玉小蜂已形成不同族群，
任務。」愛玉樹與愛玉小蜂互利共生，展現大自薜荔小蜂只會鑽進薜荔的果實裡，不會對愛玉子
然神奇與奧妙的一面。有興趣，培育愛玉子還是功敗垂成。
早在20年前，即有台灣農民想到中國大陸與近年來，大陸不斷成功地仿製台灣農產品，諸
東南亞種植愛玉子樹，甚至帶著台灣愛玉小蜂前如鳳梨釋迦、香蕉、玉荷包荔枝，只有愛玉子仿
往，可是小蜂們水土不服，無法達到授粉、結果製不了，這是老天爺送給台灣的禮物。
的任務，病死異鄉。為強化愛玉產業，苗改場鎖定特定品種進行萃
林孟均解釋，目前全世界還沒有發展出可以取與調製，發現愛玉子的胚細胞精華具有抑制黑
用人工繁殖培育愛玉小蜂的技術；由於小蜂壽命色素形成、促進膠原蛋白生成的功效，經與中國

After five years spent on organic conversion of the Lin Meng-jin explains that there is no technology
land, along with overcoming disease and insect pests, anywhere in the world for raising fig wasps by artificial
coping with climate change, adjusting cultivation meth- reproduction. In mainland China there is a fig that is
ods and harvesting times, and especially preparing closely related to the jelly fig, known as the creeping
an environment conducive to the symbiosis between fig (Ficus pumila), but it is far inferior to the jelly fig in
the fig wasps and the jelly-fig vines, today Fan has an terms of pectin content. Some experts have tried to use
ecologically flourishing organic farm producing plump, Wiebesia pumilae, the wasp for the creeping fig, in place
firm jelly figs with abundant pectin content. of Wiebesia awkeotsang, the wasp for the Taiwanese jelly
Fan says: “The jelly fig is a unique treasure of Tai- fig. But while the two wasps are close cousins, because
wan. My dream is to sell Taiwanese jelly figs around the their populations have developed separate identities
world, just like New Zealand does with kiwifruit.” over the course of evolution, the creeping-fig wasp can
The jelly-fig wasp: Only in Taiwan only penetrate creeping-fig fruits, and efforts to use it to
In mentioning “unique to Taiwan,” Fan has put his pollinate Taiwanese jelly figs have ended in failure.
finger on an important point: The jelly fig grows only in In recent years, mainland China has succeeded in
Taiwan, and the reason for that lies with the jelly-fig wasp. replicating various Taiwanese agricultural crops, such
MDARES associate researcher Lin Meng-jin notes that as atemoya, bananas, and Taiwanese Yuhebao (“jade
“the reproduction of jelly-fig vines is completely dependent purse”) lychees. But they have been unable to grow the
on pollination by jelly-fig wasps [Wiebesia awkeotsang], which jelly fig, which can be seen as a gift bestowed specifi-
are only three millimeters in length and do not sting peo- cally on Taiwan by nature.
ple. After the jelly-fig fruits form, a small fissure of 3 mm To strengthen the jelly-fig industry, MDARES has
automatically opens at the outer end of the fruit, and the selected specific varieties for research on substances
fruit releases a special scent that attracts fig wasps to enter.” extracted from the fruit. It has discovered that extracts
The symbiotic relationship between the jelly-fig vine and its taken from jelly-fig embryo cells can suppress melanin
fig wasp demonstrates the wonder and mystery of nature. production and boost collagen production. Cellular
As long as 20 years ago, farmers from Taiwan came up
with the idea of planting jelly-fig vines in mainland China
and Southeast Asia, and even transported jelly-fig wasps
from Taiwan to these places. But the wasps could not ac- 愛玉可以拌入黑糖薑汁、冬瓜茶或是檸檬汁，或是加入金棗、
話梅做成的愛玉凍，兩者皆是很受小朋友歡迎的天然食品。
climatize themselves to local conditions, were unable to Aiyu jelly can be flavored in various ways, such as with brown
achieve their mission of pollinating the jelly figs, and died sugar, ginger juice, winter melon tea, and lemon juice; or with
kumquats and dried plums. Both versions are popular with children
of disease. and are all natural.
121
平地種植的苗栗一號、二號，產量高、採摘便利， and animal testing in collaboration with China Medi-
可以增加農民的收成。
Miaoli No. 1 and No. 2 jelly figs can be cultivated in
cal University has confirmed their skin-lightening and
the lowlands, are high-yielding and are easy to pick, skin-restorative properties, and there are no technical
enabling farmers to increase their harvests.
obstacles to their being developed into skin-lightening
cosmetics.
MDARES researcher Lu Mei-chun says that normally
about 200 milliliters of aiyu jelly can be made with the
醫藥大學合作，進行細胞與動物實驗，驗證其可 pectin squeezed out of one jelly fig by the traditional
以幫助肌膚淨白與修復，開發為美白產品也沒有 method of kneading by hand. But through extraction
using biotechnology, one jelly fig can be turned into 500
技術上的問題。
facial treatment masks or 400 bottles of jelly-fig essence.
苗改場研究員盧美君指出，通常一顆愛玉子可
Currently MDARES is seeking out business partners for
以搓出約200ml的愛玉凍，但經過生物科技的萃
technology transfer. If new products can be developed,
取，可以作成500片面膜或400瓶精華液，CP值很 this will increase incentives for farmers to plant jelly figs,
高，目前苗改場正在尋找技術移轉的廠商，若能開 and give rise to uniquely Taiwanese beauty products! l
發成商品，除了可以促進農民種植愛玉的誘因，最 (Esther Tseng/photos by Jimmy Lin/
重要的是，這將是台灣獨家的美容產品呢！ l tr. by Phil Newell)

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□一年1 year╱US$32
□二年2 years╱US$55
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書名版本售價
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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 平裝 Paperback US$15 本
—Taiwan and Southeast Asia
台灣意象
Taiwan in the Mind's Eye: 平裝 Paperback US$20 本
Stories and Images of Taiwan
合計
本
Total
以上定價皆含郵寄處理費。
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□附寄款項（支票抬頭請開 Kwang Hwa Publishing (USA), Inc.)
Payment enclosed (make checks payable to “Kwang Hwa Publishing (USA), Inc.”)
★請將訂款連同訂單裝入信封內直接匯寄“美國光華出版公司”
Please enclose this form with your remittance in an envelope and mail to “Kwang Hwa
Publishing (USA), Inc.”
3731 Wilshire Blvd 104, Los Angeles, CA 90010 USA. TEL: 1-888-829-3866 FAX: 1-213-389-0021
★第一期訂閱雜誌將於二週內寄達
Please allow 2 weeks for your book or first issue to arrive.

Taiwan Panorama 2020 Mar

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全 球 ． 在 地 ． 人 文

中華民國109年3月 第45卷 第3期

Treasures from Trash

總 監 ／ 鍾宜蓉 國人聽到台灣的第一印象就是高科技或腳踏 還有跳脫以往客家戲劇的框架，在以華語為

for the World

8 封面故事 Cover Story

2 連結世界的窗口 1 海漂垃圾的華麗變身 52 月月好讀

島嶼行旅 Around Taiwan

藝文脈絡 Cultural Trends

8 台灣光華 Taiwan Panorama

( 流程圖由 EPEA 台灣分公司提供

Simply put, a “circular economy” focuses

10 台灣光華 Taiwan Panorama

12 台灣光華 Taiwan Panorama

14 台灣光華 Taiwan Panorama

16 台灣光華 Taiwan Panorama

18 台灣光華 Taiwan Panorama

TecHome Technology is wedged be-

20 台灣光華 Taiwan Panorama

24 台灣光華 Taiwan Panorama

26 台灣光華 Taiwan Panorama

28 台灣光華 Taiwan Panorama

30 台灣光華 Taiwan Panorama

On the runway, everything presented

32 台灣光華 Taiwan Panorama

34 台灣光華 Taiwan Panorama

graduation project.” In the course of seeking

38 台灣光華 Taiwan Panorama

for a long time.” Lately they have launched a

40 台灣光華 Taiwan Panorama

G ive n that th e pla n e t o nly has limit ed re -

42 台灣光華 Taiwan Panorama

44 台灣光華 Taiwan Panorama

46 台灣光華 Taiwan Panorama

48 台灣光華 Taiwan Panorama

because of a sudden momentary interest in

Thank you for accompanying us on

54 台灣光華 Taiwan Panorama

On the Roof of the

56 台灣光華 Taiwan Panorama

58 台灣光華 Taiwan Panorama

I am a photographer who loves outdoor activities. I developed an interest in sport,

64 台灣光華 Taiwan Panorama

66 台灣光華 Taiwan Panorama

I nterpersonal interactions are at the heart of

68 台灣光華 Taiwan Panorama

70 台灣光華 Taiwan Panorama

72 台灣光華 Taiwan Panorama

74 台灣光華 Taiwan Panorama

I t’s late fall in Hsinchu, and the November

76 台灣光華 Taiwan Panorama

78 台灣光華 Taiwan Panorama

80 台灣光華 Taiwan Panorama

82 台灣光華 Taiwan Panorama

A Builder’s Love Letter to His Family

84 台灣光華 Taiwan Panorama

機械、土木再到石化工程，曾到過沙烏地阿拉伯 missing, the remaining members of the family scattered

86 台灣光華 Taiwan Panorama

88 台灣光華 Taiwan Panorama

90 台灣光華 Taiwan Panorama

92 台灣光華 Taiwan Panorama

window opens at a slant, the entering wind will blow in

94 台灣光華 Taiwan Panorama

96 台灣光華 Taiwan Panorama

全球．在地．人文

中華民國109年3月第45卷第3期

總監／鍾宜蓉國人聽到台灣的第一印象就是高科技或腳踏還有跳脫以往客家戲劇的框架，在以華語為

( 流程圖由 EPEA 台灣分公司提供　