柯象、高田與李師科：從三尊特異塑像談歷史流轉與生死迴控術——當代藝術中的東瀛女性形象轉向

本文透過雲林縣大埤北極殿的柯象木乃伊（帝爺公柯象）、高雄紅毛港保安堂的高田又男，以及新北市新店山區的李師科廟等三尊「神像」（塑像），進行一種非傳統民俗學式的，更接近於政治與美學的討論：首先，聚焦在三尊塑像背後所撐托的意識形態與造型之間的關係，透過造型的語言重新賦予死者一種永恆而靜默的發言形象，進一步探討藉由塑像來再現民族主義、帝國主義以及社會主義等諸多不同思想的問題。其次，探討這三尊堪稱頗具異質性的塑像在形成的過程中，經由現場口述、官報、乃至於雜然的民間野史等，探討活人與死者之間的迴控術，並且進一步討論有關於死者作為某種歷史的技藝，以及歷史的現實與虛構等問題。  This article focuses on the politics and aesthetics issue of three "idols" (statues), including the mummy of Ke Xiang in the temple North-Pole Hall in Dapi, Yunlin, Takada Matao in Baoan Temple in Kaohsiung, and Lee Shike Temple in Xindian mountain area, New Taipei City. First, through these three statues, the article also focuses on the relationship between ideology and fiction of history. Statue as a silent statement, always represent ideology such as nationalism, and imperialism or socialism. Secondly, By on-site oral, official newspapers and folk, etc., to explore the process of the formation of these statues, the inter-control between the living and the dead, and to rethinking the questions the relation of history, “the Technologies of the Dead” , and the reality and fiction of history.