傳統工藝為健全造型文化的磐石，厚植生活美學涵養之基礎。台灣這塊土地上自古以來即存在著豐富多樣的工藝活動，反觀以台灣工藝作為知識課題的學問發展，其起步卻相較於其他學門來得緩慢。長久以來，當我們試圖回溯早期台灣工藝研究的發展歷程，享有台灣工藝研究先驅之稱的顏水龍始終呈現一枝獨秀之姿的存在。事實上，同時期旅居台北的人類學者金關丈夫、畫家立石鐵臣等人，對於台灣工藝研究萌芽所投注的心力亦不可忽視。特別是金關丈夫自雜誌《民俗台灣》創刊以來，持續於該刊連載〈民藝解說〉專欄，藉由各式台灣民間工藝品來闡述其具有的美感價值，此舉顯露出金關丈夫對於台灣民間造型的關注及熱愛。同時，在金關丈夫於民間工藝之美的用字遣詞及觀念陳述中，更讓我們感受到與當時由柳宗悅所倡導的民藝運動的思想及手法極為相似。本文藉由相關史料的發掘及時代背景之分析，探討金關丈夫於台灣工藝研究及民藝思想萌芽時期具有的位置，希望藉此逐步還原早期台灣工藝研究發展脈絡軌跡，並進一步造塑日治時期台灣工藝史及造型文化之發展樣貌。

Abundant craft movements have existed in Taiwan since ancient times, but the study on Taiwan craft started later than other disciplines. When it comes to development in Taiwan craft study from way back, Yen Shui–Long has always been the indicator. In fact, efforts of people such as anthropologist Kanaseki Takeo and painter Tateishi Tetsuomi in the beginning of Taiwan craft study cannot be disregarded. Kanaseki Takeo, in particular, kept publishing columns Narration of Folk Crafts in installments on Folk Taiwan since its initial publication. He expounded aesthetics of each folk handicraft which demonstrates his interest and love in Taiwan craft. At the same time, his word choice and description of craft beauty at the column felt similar to conception and technique of Yanagi Muneyoshi. The article through discovery of historical materials and background analysis investigates position of Kanaseki Takeo in study and enlightenment of Taiwan craft, in the hope of organizing sequence of development in Taiwan craft study and restoring Taiwan craft development under Japanese rule.