1943年（昭和18）春天，享有盛名的日本民藝之父柳宗悅率領著民藝運動同仁，浩浩蕩蕩的渡海來到臺灣，進行全島民間生活用具的考察活動。在為期一個月左右的停留期間，柳宗悅等一行人的足跡踏遍全臺大街小巷，不論是漢人所居住的農村聚落與市集，或是分布於深山幽谷的原住民部落，皆不難看到他們所留下的蹤跡。究竟當時臺灣的民藝呈現什麼景象，而柳宗悅在親身接觸到這塊土地上的民藝時，是否產生出什麼火花？本文以「柳宗悅」與「臺灣民藝」為研究核心，通過柳宗悅考察時所留下的言談紀錄與相關文獻的描述，以說明柳宗悅民藝美論所涉及的審美概念，與臺灣民藝接觸下所產生的互動關係。目的除了藉此檢視臺灣民藝具有的內涵與傳統特質之餘，期望能為今日臺灣民藝面對時代背景、社會環境的挑戰時，提供一個形塑與再生的精神與力量。

In the spring of 1943, Yanagi Muneyoshi, the father of Japanese Mingei (Folk Crafts), leading the fellows of the movement of Mingei, went across the sea to Taiwan to conduct detailed research on the instrument of the islanders' every day life. For the one month of their stay, they left their tracks not only in the Pan-Chinese communities but also in the villages of aboriginal inhabitants. What were the images of Taiwanese Folk Crafts (Mingei)and were there any sparks produced at that moment? This article will illustrate aesthetics of the folk crafts theories of Yanagi Muneyoshi and the interactive relationships with Taiwanese Folk Crafts through the records that Yanagi Muneyoshi had made himself and related documents. The objects of this article are to show the inner meanings and characteristics of Taiwanese Folk Crafts, and to provide the spirit and power of reshape and rebirth when it comes to a brand new era to the contemporary Taiwanese Folkarts.