依據文獻及地方替老所敘述，大溪木器業的萌生與清末咸豐、同治年間(1851-1874)，鄉紳豪族相繼興建宅第有關O當時大木匠、小木匠師多由唐山原鄉被敦聘來臺監造建築主體大木構造、小木裝修及後績的家具製作O而製作的材料也都不惜鉅資，遠從中國西南沿岸渡海運臺O因而此時期在大溪地區流傳通用的祭把木器或木製家具，一律都以原鄉清式漢體的形式典範，作為製造的依歸與準貝IJ0

yc:�者二十一年(1895)滿清將臺灣割讓給日本，隨著大和文化與西洋文化 的輸入，大溪的木器產業在生產結構、產業文化與作品形式風格上產生流動異變O日治時期，漠、和、洋多元混搭的形式風格，取代了上一個世紀單一的傳統漢式原型O藉由機械的輔助、新裝飾材料的引入與交通網絡的建立，大溪傳統的木器產業，在二十世紀前葉進入分工、量產的新紀元O

大溪從晚清至日治時期，在歷經百年歲月的悴煉後，透過代代傳承的衍生，業已積澱出自成系脈的文化軌跡O而這份有形、無形的資產，貝IJ於戰後六0、七0年代趁勢m屆起，並轉化為展露風華的原動力O本文旨在探討大溪木器產業，在達顛峰前(戰前)，其源起與開展的草創歷程O在分析從晚清到日治時期，大溪木器形式風格演化時，同時也嘗試將人、社會、宗教、文化及藝術思潮等環境背景因素，交織到木器工藝的發展脈絡中，以再現大溪居民與木器文化密不可分的生命圖譜。

According to the written and oral sources, the woodcraft industry
in Ta-hsi started to prosper during the Ch’ing dynasty, from 1851-1874. This
arose as a result of the house building by influential families. At that time,
the craftsmen of major carpentry (tamutchiang) and minor carpentry (shiaumutchiang)
were mostly invited from Fujian and Guangdong Provinces
(Tangshan) to supervise the house construction and furniture making. All the
materials of woodwork were imported at great cost from the southeast coast
of China. Therefore, both the religious woodwork and ordinary furniture
popular in the Ta-hsi region were modeled after the styles prevailing in
Tangshan, the motherland.
After 1895 when Taiwan was ceded to Japan, the colonial government
imported Japanese and Western cultures to Taiwan and accordingly Ta-hsi’s
woodwork production changed gradually in terms of construction, industry
culture, and styles. During the colonial rule, a mixed style of multi-culture
replaced the traditional Chinese monotype adopted in the last century. In the
first half of the 20th century, the traditional woodwork production in Ta-hsi,
by means of mechanic assistance, importation of new decorative materials,
and the setup of transportation system, turned to a new epoch featuring division
of labor as well as mass production.
From the late Ch’ing period to the colonial rule, the art of woodcraft of
Ta-hsi having been passed down from generation to generation for one hundred
years, developed into a systematic cultural form. Then during the 1960s through the 1970s, the woodwork production of Ta-hsi as both tangible and
intangible cultural heritage, was transformed into a dynamic art form. This
paper aims to discuss the origin and development of the woodcraft production
of Ta-hsi before 1945 when it reached its zenith. It will analyze the evolution
of characteristics of Ta-hsi’s woodcraft from the late Ch’ing period to
the colonial rule in its social, religious, cultural and artistic context, so as to
demonstrate the close connection between the townspeople’s life and woodwork
production.