百年品牌線香包裝圖像設計之研究

本研究以百年香舖之線香包裝為研究對象，並針對線香包裝圖像研究，運用
田野調查法，收集創立於1756 年至1920 年37 間臺灣百年香舖資料，選取28 間仍
營業中的香舖，並收集1930 年至2020 年86 個線香包裝樣本進行內容分析，目的
在探索線香包裝圖像分類與意涵分析，並運用符號學方法歸納線香圖像系譜軸。
研究結果顯示，百年香舖線香包裝圖像北、中、南三地區有以下特點：
1. 北部地區，文字邊框以使用書卷邊框最多、主要圖像以使用植物為最多、輔
助圖像以使用雲紋最多、背景以使用自然景觀最多、花紋使用植物最多。
2. 中部地區，文字邊框以使用書卷邊框最多、主要圖像以使用器物最多、輔助
以使用自然最多、背景則較少使用、花紋使用捲草紋最多。
3. 南部地區，文字邊框以使用卷軸外框為多、主要圖像以使用動物最多、輔助
以植物最多、花紋以回紋使用最多。
圖像意涵分為以聯想線香之器物或現象、吉祥符號兩大類。線香包裝圖像所
使用吉祥符號，分為兩種，單一吉祥符號及組合吉祥符號，單一符號本身具有意
義，且組合多種相似意義之吉祥符號，能夠加強符號意義。
本研究以「文字邊框」、「主要圖像」、「輔助圖像」、「背景圖像」、「花紋」作
為毗鄰軸，並歸納出系譜軸。「文字邊框」系譜軸為卷軸、書卷、扇形、捲草紋、
花卉、正方形、長方形、神獸、神靈、緞帶、雲紋，「主要圖像」系譜軸為神獸、
神靈、器物、自然、動物、人物、植物、花卉，「輔助圖像」系譜軸為植物、動
物、器物、自然、捲草紋、線條、神靈，「背景圖像」系譜軸為植物、自然、幾
何圖案、動物、建築、圖片、捲草紋，「花紋」系譜軸為捲草紋、雲紋、器物、
線條、自然、茛苕纹、回紋、煙霧、文字、植物、幾何圖案、神獸。
百年香舖線香包裝圖像的演進在過去幾十年間呈現了明顯的變遷，1990 年以
前，主要採用傳統圖像作為包裝的主要趨勢，1990 年到2000 年之間，線香包裝圖
像呈現出更多元的設計風格，2000 年後，線香包裝圖像的設計風格更加多元化。
研究期望通過保存並記錄百年香舖線香包裝圖像，同時深入瞭解這些圖像背後的
意義也期望有助於增進對臺灣百年香舖文化的認識和理解。
關鍵詞：圖像設計、包裝、百年香舖、宗教文化

This study focuses on the packaging of incense sticks from century-old incense shops and conducts research on the imagery used in these incense stick packaging. Field research methods were employed to collect data from 37 Taiwan century-old incense shops dating from 1756 to 1920. A total of 28 currently operational incense shops were selected, and 86 incense stick packaging samples from 1930 to 2020 were gathered for content analysis. The aim is to explore the classification and semiotic analysis of incense stick packaging imagery and to utilize semiotics to deduce a genealogical axis for the evolution of incense stick imagery. The research findings reveal distinctive characteristics in the evolution of incense stick packaging imagery in the northern, central, and southern regions of Taiwan:
Northern Region: Text borders are predominantly designed with folded page borders. Plant imagery is most common in primary graphics. Cloud patterns are frequently used in supplementary imagery. Backgrounds often feature natural landscapes. Plant patterns are the most prevalent.
Central Region: Text borders predominantly employ folded page borders. Object imagery is predominant in primary graphics. Supplementary imagery predominantly features natural elements. Background usage is comparatively limited. Scroll patterns are the most frequently used as patterns.
Southern Region: Scroll borders are predominantly used for text. Animal imagery is the most common in primary graphics. Supplementary imagery commonly includes natural landscapes and plants. Repeating patterns are the most frequently used as patterns for this region.
Imagery interpretations fall into two main categories: associative imagery related to incense or phenomena, and auspicious symbols. The usage of auspicious symbols in incense stick packaging imagery is further categorized into single auspicious symbols and combinations of similar auspicious symbols, enhancing their symbolic meanings.
This study employs "Text Borders," "Primary Imagery," "Supplementary Imagery," "Background Imagery," and "Patterns" as adjacent axes and deduces genealogical axes: "Text Borders" genealogy includes scrolls, folded pages, fans, scroll patterns, flowers, squares, rectangles, divine beasts, deities, ribbons, and cloud patterns. "Primary Imagery" genealogy comprises divine beasts, deities, objects, nature, animals, people, plants, and flowers. "Supplementary Imagery" genealogy includes plants, animals, objects, nature, scroll patterns, lines, and deities. "Background Imagery" genealogy encompasses plants, nature, geometric patterns, animals, architecture, color blocks, pictures, and scroll patterns. Lastly, "Patterns" genealogy consists of scroll patterns, cloud patterns, objects, lines, nature, calamus patterns, geometric patterns, and divine beasts.
The evolution of incense stick packaging imagery in century-old incense shops has undergone significant changes over the past few decades. Before 1990, traditional imagery dominated the packaging. Between 1990 and 2000, the imagery exhibited more diverse design styles. After 2000, the design styles of incense stick packaging imagery became even more diversified. This research aims to preserve and document the imagery of century-old incense shop packaging while delving into the meanings behind these images. It seeks to contribute to a deeper understanding and appreciation of Taiwan's century-old incense shop culture.
Key words: iconography, packaging, incense shops, symbolism, religious culture