本文一方面藉由家將的裝扮與傳說，解讀其象徵意義及其傳達的主要思維，另一方面則探討不同身分與立場的人，如何因其個別的需求，解讀這些象徵與符號；最後綜合此二方面的討論，推測台灣家將文化之所以多樣與易變的原因。「陰陽」、「五行」、「無常」的思維，貫穿於整個家將的裝扮與傳說之中，這些圖像與元素，強烈表現出家將的「中介」（liminality）性質與狀態。將爺起源的傳說顯示他們一開始是來自於「陰」與「惡」，後來他們的力量經過「收服」（馴化）後，轉化為高深的驅邪除惡法力。在此「禁忌」與「神聖」的轉化與交織中，塑造了家將神鬼雜揉的兩面性，也因此造就其特殊的跨界能力與邪惡的高深法力，用以壓制並驅逐另外一種惡鬼，達到保護生人與宇宙和諧的最終目標。在意義的傳達過程中，家將團的成員不是遭到各種素材綁架的人質，而是特殊環境背景中積極的代言人。過去的人根據相同的母題，採取無常的詮釋方式，創造出形形色色的家將團；而如今，各家將團也在變動的慶典背景中，考慮新的變遷，就原有的符號元素發展出新的解釋，並透過身體的表演及語言的論述，重新定義自己。這是一持續不斷的文化建構，也是一個動態與靜態穿梭交叉的對話過程，就像陰與陽並非靜止不動，卻又不是一直處於變動之中，而是以動、靜交錯的「無常」方式呈現。從這個角度，我們才較能理解台灣家將文化的多樣性、易變性與創造性。

The article is on the one hand to interpret the symbols of the legend and the apparel of Jiajing and also the main thoughts they express. On another hand, it discusses how people in different status and position explain these symbols and thoughts according to their individual needs. Then to consolidate the discuss above to presume the reason why Taiwan Jiajiang is diversified and variable."Yin-yang," "Wu-xing," "Wu-chang," penetrate into the apparel and the legend of Jiajiang. These icons and elements show intensely the liminality of Jiajiang. The origin of Jiajiang reveals that they were out of "Yin" and "wickedness" in the beginning. Their power then was tamed and converted into advanced power of exorcism. Interweaving and converting the taboo and sacredness mix Jiajiang's duality of deity and ghost. This duality accomplishes Jiajiang's special trans-world ability and advanced power to suppress and expel another evil spirit to protect human beings and make the universe in concordance.In the process of conveying significance, the members of Jiajiang aren't the hostages of different materials but the active representation in the particular background. Based on the same thesis, people in the past took the interpretation of wu-chang to create various Jiajiang groups. Nowadays, each Jiajiang group considers new transition in the changeable festivities. They develop new interpretation by using the original symbols and elements and define themselves by their body performance and literary discuss. It's a continual cultural construction and also a dynamic and static interaction. Just like "yin" and "yang" don't keep still nor always fluctuant, but appear in the way of "wu-chang." With this viewpoint, we can understand Taiwan Jiajiang's diversity, changeability and creativeness.