漢民族閩南、客家文化—台灣民俗工藝十七世紀中葉，台灣在荷蘭人短暫的殖民統治期間，中國東南沿海閩南地區的漢民族應荷蘭人的招募，首度大規模遷移來台。之後隨著明鄭、清朝的統治，不斷有著閩粵地區的漢族移民來台。當時台灣相對於中國是邊陲之地，移民多為勞動人口，因此中國明清時期常見於文人雅士文房生活中的精巧雕刻工藝，並未隨之傳入，倒是廟宇建築因民間信仰而興盛，建造神像器具、裝飾廟堂屋宇的雕塑工藝跟著發達起來，來自閩南漳州、泉州、福州與粵東潮州等第區的「唐山師父」，在台灣製作木雕、石雕、與交趾燒，技術風格逐代傳承，發展為茂盛發達的產業，匠師們鬥技鬥藝、薪火相傳，更是將雕塑工藝推昇至追求藝術表現的層次。但是，自古以來，像雕刻等工藝大多以實用性功能取向，並非純粹的藝術創作，因此並未刻意留下創作者的名字。在日治時期（1895∼1945），這種發展自民俗信仰的工藝更被帝國主義且洋化的日本所忽視，久而久之許多作品與創作者都逐漸失傳。 1970年代鄉土意識高漲，維護本土傳統文化資產的觀念逐漸建立。自此，台灣傳統工藝的優秀創作者與作品，得到了應有的重視與維護。幾位從傳統雕刻出身邁向藝術創作之路的藝術家，在創作歷程上經歷了一番轉折與錘鍊，終能以優異的技巧、創新的藝術思維與形式，獲得藝術界的推崇。
Hokkien and Hakka Cultures of the Han People—Taiwan's Folk Arts and CraftsIn the mid-17th century, during the short period of Dutch colonization, Han people residing along the southeastern coast of China were encouraged by the Dutch colonizers to migrate to Taiwan in a large scale. During the following rules of koxinga (Zheng Cheng-gong) in the Ming Dynasty and of the Qing Dynasty over Taiwan, immigration of the Han Chinese from Guangdong and Fujian Provinces were also frequently heard of. However ,Taiwan back then was still considered an isolate island in the margin of the Chinese map and most of the immigrants were laborers. Therefore, the intricate sculptures and craftworks common in the study of literati during the Ming and Qing Dynasties were not introduced into Taiwan. Instead, due to the growing number of immigrants, the number of temples increased while the industry of producing temple sculptures, deity statues and ritual utensils prospered consequently. Carvers from southern Fujian Province (Minnan/Hokkien-speaking area), such as Zhangzhou, Quanzhou and Fuzhou, and from eastern Guangdong, such as Chaozhou, moved to Taiwan and Produced wood and stone carving and Cochin ceramics. Known as "Tangshan Masters," each of them featured unique skills and passed down the skills to their disciples, elevating carving craft to the level of artistic expression. However, it was a long tradition that carving craft was mostly made for pragmatic functions, not for pure artistic creation and few carvers would intentionally leave their names on their works. During the Japanese colonization, this form of craft originated from religious beliefs of the grassroots was neglected by imperialist Japan who was pursuing modernization. Consequently, many carvings and names of carvers became a forgotten part in the history. In the 1970s when the awareness of localism arose, the idea of preserving traditional local cultural assets was gradually established. Since then, outstanding artists of Taiwan's traditional crafts and their works started to receive due recognition and appreciation. Several artists who were originally skilled in traditional carving finally earned acclamation from the artistic circle with their mastery of techniques as well as innovative thoughts and forms after having been through a series of twists and turns on the path of their creation.
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