臺灣廟宇石雕深受中國福建惠安崇武體系的影響，在日治時期惠安崇武石匠大量來臺，其中以來自惠安崇武峰前村的蔣氏石匠一族最具代表性，他們的石雕作品遍布臺灣各地，對臺灣廟宇石雕各方面的影響也最為深遠。本文研究對象蔣九（1899–1973）於昭和年間從福建惠安峰前村渡海來臺工作，之後終其一生定居於土庫，並將技藝在台傳承，至今已傳到第三代。而他的廟宇石雕作品散布於雲嘉一帶，作品包括麥寮拱範宮、大埤三山國王廟、土庫順天宮......等等，其中被指定為古蹟的廟宇就有三間，因此在臺廟宇石雕的藝術與歷史發展中具有一定的討論價值，所以蔣九是一位非常值得深入探究的傳統石雕匠師。然鑑於目前，有關於廟宇石雕匠師基本資料的相關文獻並不多見，因此本文主要的研究目的，在於建立出石雕匠師的基本資料，同時一併進行田野蒐集為主。另外，在探究蔣九生平事蹟的過程中，為了取得相關資料，還須透過蔣九後代子孫的口述訪談與協助，同時經由實地田野調查雲嘉一帶的廟宇，才得以清楚紀錄蔣九的生平事蹟及其在臺發展，期望建立出石雕藝匠蔣九的基本資料。而經由這樣的資料建立，希望有助於臺灣廟宇石雕發展的相關研究。

Tai-Chi is one of the most important concepts in Chinese culture. Due to the fact that many companies or organizations use the Tai-Chi diagram as their logos, this study aims to investigate and analyze the Tai-Chi diagram and its applications. A sample of 433 studies on Tai-Chi diagram was reviewed and analyzed according to the theories of design and visual arts. Three components of this study are: (a) the development of Tai-Chi diagram and the forms of Tai-Chi symbol designs, (b) the conceptual presentations of Tai-Chi diagram, and (c) an analysis of the shape and form of Tai-Chi symbols. The findings show that variants of Tai-Chi diagram dominate the form, which indicates that in Tai-Chi symbol designs the meaning is more highly valued than the form. Furthermore, Tai-Chi
symbol designs are mostly combined with the letter S and shaped like a circle, with a rate of 52.88%.Finally, the most frequented single subject matters in Tai-Chi symbol designs is human figure.