臺灣女性神明種類繁多，佔廟宇主祀女性神明比例甚高的媽祖，其神 像的表現有兩種方式：一種是屬官方正式的形象，以頭戴冕冠、手持笏板 或如意、身著蟒袍，如同官員位階般的天后造形；另一種則是私密而擬似 真人的軟身像，頭上束髮或帶小冠，從手腕、手肘到肩部關節皆可彎曲， 營造出非常豐富的手部表情，而腿部關節亦活動自如，整體細膩的可動關 節可模仿真人的各種姿勢。 本文主要考察臺灣傳世媽祖軟身神像，分別以臺北萬華艋舺啟天宮的 鎮殿軟身媽祖，以及苗栗白沙屯拱天宮的白沙屯大媽為例，透過神像身體 在工藝技術上如何被製作與再現（藝術身體），以及身體如何被展演（宗教 身體/社會身體），反思軟身媽祖神像的形態與其文化表徵的獨特性，其間 「技術」所代表的意涵。 透過不同地點兩尊軟身媽祖神像的分析，不論是其製作技術或是展演 技術，都不是一種勞動或商品經濟概念下的產品概念，它們讓人們確認自 身象徵體系的關鍵。兩個案例皆反映出漢人女性審美觀下形成女神身體展 演的方式，並表現在軟身媽祖神像的外觀型態與展演的模式上。

There are many types of female divinities in Taiwan. Among them, Mazu is one of the most worshipped as a main deity in temples. It is often seen to be represented in two ways: one is an official and formal image, with a crown on the head, holding a "Hu"（jade pieces representing official status） or "Ruyi" （Ganoderma-shaped jade）, dressed in clothes of a robe with python pattern. It is shaped like a queen of official rank; the other is a private and realistic image, so-called "flexible body", with hair tied or a small crown on the head, its wrists, elbows and shoulders have movable joints that allow various gesture expressed in a richly creative way. Adding to that, the legs also with joints can move freely. The overall delicate movable joints can simulate various postures of people. By examining the "flexible bodies" of deity statues Mazu handed down to generations from Mainland China to Taiwan, including the main statue of Matsu in the Wanhua Mengjia Qitian Temple, located in Taipei and the other, the famous Baishatun Ma, in the Gongtian Temple of Baishatun, located in Miaoli, this article mainly explores how a deity statue is produced and represented（art body） and how its body is performed（religious body/social body）. All these aspects reflect the uniqueness of the "flexible body" and its cultural representation, as well as how the techniques attach meaning to the deity statue in between. By analyzing the two "flexible bodies" of Mazu in two different locations, it doesn't matter in terms of production or performance techniques but both are not products from concepts of labor or commodity economy. In fact, these crafting techniques provide people a key opportunity to confirm the self value in the symbolic system. The two cases actually reflect that the need of a goddess body declaration is generated from the aesthetics of Han women and eventually expressed in the appearance and performance of the "flexible body" of the deity statue Mazu.

軟身媽祖；身體展演；製作技術；艋舺啟天宮；白沙屯拱天宮

Flexible Body Of Mazu；Body Performance；Crafting Techniques, Baishatun Gongtian Temple；Mengjia Qitian Temple