建築彩繪瓷版，源於九世紀的中亞，隨回教的傳播與商人的貿易活動而流布至西、南歐，後經英國而輾轉傳至日本，再因日本的殖民與經貿活動而傳遞至台灣及其他東南亞洲地區。彩繪瓷版曾經風行世界，其紋樣隨著流布地域的不同，而載負著不同的文化內涵，故具有源遠流長的海洋文化身世，至今絕少有任何一種建築裝飾藝術可以有如此深厚的文化淵源，並且曾在東亞地區被流布、使用。在台灣重要的河港及其流域、澎湖、金門，以及東南亞的海運樞紐港市，如新加坡及麻六甲，均可以發現彩繪瓷版的貼覆與使用，並由於其介入不同的文化界域，而產生不同的文化詮釋與寓意。本研究將藉由建築彩繪瓷版，探討其流布於東亞地區重要港市建築文化之遞變，分析其在傳統東方美學的建築上，所承載的文化意涵，並比較當其被使用在東方與西方文明交會的港市中，所傳承、創生出的美學與文化思想。希望藉由本文的研究，能夠對於建築彩繪瓷版在台灣、金門、澎湖、新加坡與馬來西亞等諸港市的流布與文化傳播，做出深入的探討，並提出個人的淺見以就教方家。

Decorative tiles (or polychrome tiles, majolica tiles) came from the central Asia in 9th century, as the spread of Islam and the merchants' trade activities, they had been transferred to the west-southern Europe, and then reached Japan by the influence of Britain. After this, decorative tiles transmitted to East Asia because of the colonization and international trade of Japan. Decorative tiles had been prevailed over the world; their patterns have different cultural meanings as the regions are different. Therefore, they have the well established oceanic culture life experience from 9th to 21st century. There is not any kind of architectural decorative art like the tile that owns such a deep cultural origin so far, and be widely disseminated in the important port cities in East Asian area. Even until today, we still can easily find the applications of the polychrome tiles in the important river harbors and basins of Taiwan, Penghu, Jinmen, as well as the pivot harbor cities of Southeast Asia, such as Singapore and Malacca (Melaka). Furthermore, as the result of their involvement in different cultural border areas, they have the different cultural annotations and implications. This research will probe into the innovation and changes when polychrome tiles propagate the architectural culture between the important seaport cities of Taiwan, Malaysia and Singapore. In addition, this article will also analyze the cultural transition on those glazed tiles from different architectures. In view of these issues, the article would like to call for more attention to the significant architectural cultural heritage, and even the worthless value of their oceanic culture life experience.